manifest_real time /one

title : real time_zero one text

author : multiplied

THE TIME OF THE REAL

all arts that are not done in real time are not or are done for.  they have ceased to have any form of impact on the audience. this impact being the creation of a dialogue in which the lines of separation between the "performer" and the "viewer" are discarded. DO YOU WANT PASSIVE VIEWERS ( question).  the answer to this question forms the thought patterns for the possibility of researching into and creating new forms of communication. THESE MACHINES, THEY BLEED. or should. in this state of affairs and this time , we condemn all arts as decorative and nothing more.  your words fall on empty ears, your images on closed eyes, your sounds on deaf ears. INCORPORATION OF THE REAL or escapism. COMMUNICATION OF THE NOW or seduction with the past.  ART IS A CONSTANT STATE OF EMERGENCY OR NOT AT ALL.

FROM REEL TO REAL

all this is necessary is one digital camera , a projector and a cable sending a live feed from the camera to the projector and therefore to the viewer. the fewer mediations, the better. 

forget film. remember presence. 

WE DO NOT SUFFER FROM ARCHIVE FEVER.

NO WE DO NOT WANT THE IMAGE EMBALMED

MEMORY BANK (roots in flux/collective sky/our ill fitting skin)

vito acconi,j.g ballard, antonin artaud, joseph beuys, christian boltanski, george brecht, marcel broodthaers, rene clair, felix guattari,yona friedman, ramon gomez de la serna, dan graham, jerzy grotowski, george grosz, 

william burroughs,tadeusz,kantor, mike kelly, david lamelas, eli lotar, +

buenaventura durutti, maruja mallo, matt mulican, juan munoz, bruce nauman, pat oleszko, genesis p orridge, michelangelo pistoletto, klf, roberto rosellini, aldo rossi, oskar schlemer, ernst schwitters, extreme noise terror, superstudio,michael gira, +

 hugo ball, robert filiou, isidore isou, bertolt brecht, bill drummond,erwin piscatory, cabaret voltaire, gilles delouse, gutai group, visual arts research group, al hansen, coum,

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HERE IS WHERE THE BATTLE IS BEING PLAYED OUT

PRESS PLAY NOT RECORD

discrepant PLAY_in which the text, the performers gestures, the sets unfold indifferently to one another, out of step, can no longer have a usual layout, let alone a usual visual writing.

ENERGY MADE VISIBLE

SITUATIONS

why do we always go to the theatre/the cinema to see what is happening and not to see what is happening to us?

FREE AND DISINTERESTED EXPRESSION

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CRISIS OF FORM

ANARCHITECTURE

the power of place (how specific is site specific)

theatre/cinema_power (THERE HAS NEVER REALLY BEEN ANY ART OF ARCHITECTURE)

the emergence of theatre as an enclosed architectural form in the sixteenth century coincided with the codification of new perspectives laws and with the political emergence of the bourgeois city state. for the first time architecture froze the positions and seating arrangements of spectators viewing the dramatic spectacle into an orderly perspective that reflected not only a visual coherence, but also a new political hierarchy.

HERE WE DRIFT _displacement is geography/neither center nor periphery

EXPOSE THE VERY MACHINERY OF THEATRE/CINEMA

WE SHOOT IMAGES IN THE FIRING RANGE OF THE NEW REALISM ACTION AREA

NO

WE DO NOT ACCEPT SCANDAL AS ART 

BUT

WE DO DESIRE

SABOTAGE 

A STUDY ON THE SHIFT OF THE RECEIVER _as historical person_ as mass

1-with regard to the spectacle in general, there is no harm in them. we don't object. but it must not be forgotten that the spectacle is not for us as we believe that todays receiver deserves something more than a spectacle.  of course the spectacle is a pleasant visual vacation of meaning for THE DEAD CLASS.

NOT AFRAID OF AGIT PROP

meaning with no fear of meaning in that this meaning does not have to be current, nor old but must be fundamentally inappropriate.

GESSAMKUNTSWERK_AND YET TRANISITORY

real time, critique, document

the possibility of recognition, of reading, of multiple points of view(ing) or a moment that might help us to discern, in brutal unfolding, that something different, another possibility is happening, now.

CINEMA IN REAL TIME

here in the darkness under the bright overhead projector  there must lay exposed the open wound of violence.

OUR ENEMIES _

immovable structures

sacred forms

flawless image construction patterns

sophisticated technology/ the perfect machine fetishists

the bankruptcy of excessive refinement

REAL TIME FORMS ARE RICH ONLY IF THEY ARE RICH IN FLAWS