Degré 48, Daniel Foucard — Manifeste #3


Installation, new media, performance, sound - music...

Degré 48, Daniel Foucard
Manifeste #3

Past: Friday, June 28, 2013 at 8 PM

Manifesto #3: Bertrand Belin, Nicolas Tilly et Stéphane Bérard, in the frame of Daniel Foucard’s writing residency Degré 48.

[itterature, conversation, concert]

There may not yet be a specific space to promote the exercise of manifestos, but let’s just say that Degré 48 is a candidate. The manifesto is in general a place unto itself. It is published, proclaimed, printed, it is the place for discussion and a performative practice. It is, by definition, unexpected; you do not go out in search of, it jumps out and finds you. Unless we proclaim, in its name, a brand new function for it, bringing people together, creating meetings. A dozen or so evenings are programmed this year, every evening presenting, orally or with whatever varied technical performance approach chosen, of one or two manifestos commissioned from artists, writers, essayists, groups, a complete event enlivened with readings of manifestos that have influenced participants. The graphic artist collective g-u-i will develop their publishing project as it takes shape with every event planned during the residence. These publications are intended to communicate the manifestos in the form of tracts and other published articles that can be distributed publicly.

Bertrand Belin : Summer Gloss on the flabby manifesto

Composer, singer and musician Bertrand Belin invents and explores the concept of the Flabby Manifesto (“manifeste mou”). “The Manifesto has only a distant relationship with the caress of a verse of courtly poetry. It is not the warm wind that the August dusk gently releases among the oats before settling into a fragrant night. The manifesto, in the moment it is pronounced, comes to the minds present with the same tact as a steel cable lying across the top of a mousse. The manifesto, emptied of the imperious need that gave birth to it — in short a solemn inner call to do and to say something new, to act, think, tread in a new way — a manifesto with no imperatives, with no higher goals, will hold up about as long as a pound of lard forgotten in the sun. Everyone knows that this exercise created around the concept of the manifesto cannot be confused in any way with the announcement of a real manifesto which falls with its author’s voice like a natural disaster on the society of men. The manifesto can have no hope of an “after” that is perfectly in line with its recommendations, which due to their radical nature divide more than they gather together, yet it is necessary for the creation of a “before”.

Nicolas Tilly : In front of the recording machine

“On 1 March 2010 a Sydney-based business, Depth Analysis, announced the introduction of MotionScan, a revolutionary new system that would forever change high definition 3D motion capture technology and actors’ performance in the gaming and cinema industries. The look of video games since their beginning — a two or three dimensional space visible on the screen — took a decidedly different turn with the announcement made by the Australian company. This press release, used as the raw material for the writing, will be first examined as a technology manifesto declaring to anyone who will have it that the future of video games will develop around amazing facial architecture. Actors reproduce the entirety of human features in front of the tool designed by Depth Analysis, a recording machine, under the watchful eye of Mona Lisa. Video games now include the face as a potential building block, from gags to a reprogrammed human psyche. This event will begin with a video, then will continue with a reading (or manifesto conversation) that will address the concept of facial architecture, positing that video games can generate forms of writing, part technological manifesto, part artistic process.”
— Nicolas Tilly

Stéphane Bérard : Live At Aubervilliers

Live at Aubervilliers is a psychological-pedagogical tool to raise awareness among the public about innovative sound forms. The approximate power — strength of the law of genres is here made explicit — used in situ will be unveiled as a tool to radicalise musical ambiance struggles. To make the new, 6th Aesthetic Republic possible, if the context is even favourable, plucked strings, song and rhythm section with France Valliccioni, Cécile Noguès and Stéphane Bérard will endeavour to do just that for the better part of the evening. Sometimes it only takes a single spark to set off the most beautiful revolutions. Live at Aubervilliers is decidedly in the service of the aesthetic revolution currently underway and will add more and more appearances-conditions for instituting grace, for newfound joy. Live at Aubervilliers stands as the infinite fruit in the face of the worm Live at Pompeii by Pink Floyd who slowed their sound down so much with long, swaying, travelling shots that the public became too impure for it. Dear viewers, hold on just a little longer! It is coming to meet you, just as you are coming to meet it, the Anti-flonflon! Live at Aubervilliers will not negotiate, no need to come whining to virtuosos. You’ll really have to pull your socks up! Auditory lazing about was for the bourgeoisie. A new Marseillaise, coming to your ears now.

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