MANIFESTO ANTI MANIFESTO [ADENDA 2]

catalogue noun ( LIST )  (US USUALLY catalog) /ˈkæt.əl.ɒg/ /ˈkæt ̬.əl.ɑːg/  •

[C] a book with a list of all the goods that you can buy from a shop a mail-order catalogue Phlegmy coughs shook the air of the bookshop, bulging out the dingy curtains. The shopman's uncombed grey head came out and his unshaven reddened face, coughing. He raked his whose Mona Lisa adorned with moustache and goatee is a Dada classicthroat rudely, puked phlegm on the floor. He put his boot on what he had spat, wiping his sole along it,and bent, showing a rawskinned crown, scantily haired.

•

[C] a list of all the books, paintings, etc. that exist in a place catalogue noun ( BAD EVENTS )

(US USUALLY catalog) /ˈkæt.əl.ɒg/ /ˈkæt ̬.əl.ɑːg/

[S] A catalogue of unwanted events is a series of them . The whole holiday was a catalogue of disasters, a catalogue of errors/crimes/complaints Exhibitions, catalogues and books on twentieth-century art have generally presented a transition, the dialogue between hyperbole and finite structure, between that which exceeds the totality and the: catalogue verb  /ˈkæt.əl.ɒg/ /ˈkæt ̬.əl.ɑːg/ [T] to record something, especially in a list. Many plants become extinct before they have even been catalogued. _--Mr Chairman, ladies and gentlemen: Great was my admiration in listening to the remarks addressed to the youth of Ireland a moment since by my learned philosophy and psychology. It was while at university that he met a friend. It seemed to me that I had been transported into a country far away from this country, It is at this stage where a brief description of the differences between an age remote from I didn't like the death-hussars, and not the howitzers with girls' names, And at the end when the great days came, I went discreetly away. this age, that I stood in ancient Egypt and that I was listening to the speech of some highpriest of that land addressed to the youthful Moses._ of preposition ( POSSESSION ) WEAK FORM /əv/STRONG FORM /ɒv/ /ɑːv/  used to show possession, belonging or origin a friend of mine the president of the United States employees of the company the colour of his hair a habit of mine that revolting dog of hers the love of a good woman the complete plays of (= written by) Federico Garcia Lorca. A creak and a dark whirr in the air high up. The bells of George's church. They tolled the hour: loud dark iron._Heigho! Heigho!

Heigho! Heigho!

Heigho! Heigho!_

wonder verb ( QUESTION )

/ˈwʌn.dər/ /-dɚ/

•

[I] to ask yourself questions or express a wish to know about something

[+ question word] Hadn't you better phone home? Your parents will be wondering where you are. He's starting to wonder whether he did the right thing in accepting this job. [+ speech] Will this turkey be big enough for eight, I wonder?  "Have you decided where you're going next summer?" "I've been wondering about (= considering) going to Florida." • An evening with music, dance, manifestos, theory, poems, pictures, masks and costumes used in phrases, at the beginning of a request, to make it more formal and polite  [+ speech] I wonder - could you help me carry these books? [+ question word] I wonder whether you could pass me the butter?  I wonder if you could give me some information about places to visit in the area?

--I am happier than you are, he said. We have committed many errors and many sins. A woman brought sin into the world. For a woman who was no better than she should be, Helen, the runaway wife of Menelaus, ten years the Greeks made war on Troy. A faithless wife first brought the strangers to our shore here, MacMurrough's wife and her leman, O'Rourke, prince of Breffni. A woman too brought Parnell low great rumour new men see in paper - and only see a world of crystalsimplicitymetal - neither art nor painting. Many errors, many failures but not the one sin. I am a struggler now at the end of my days. But I will fight for the right till the end.

wonder verb ( SURPRISE )

/ˈwʌn.dər/ /-dɚ/

[I] SLIGHTLY FORMAL to feel or express great surprise at something

[+ (that)] He was behaving so badly at school today, I wonder (that) he wasn't sent home.

I don't wonder (that) she burst into tears after the way you spoke to her.

do/work wonders

INFORMAL

to have a very good effect

Doctors have discovered that keeping a pet can do wonders for your health.

wonders never cease

HUMOROUS an expression of surprise used when something unusual or unexpected happens. Lynda actually managed to get up before ten o'clock. Wonders never cease! work wonders/miracles  (UK ALSO work a treat) to produce very good effects

A little bit of oil works wonders on squeaky hinges.

Running works wonders for the metabolism.

He held up a forefinger of warning.

_--If anyone thinks that I amn't divine

He'll get no free drinks when I'm making the wine. But have to drink water and wish it were plain that i make when the wine becomes water again But the confusion was only a cover. The provocations, demonstrations and oppositions were only a means to provoke the bourgois' rage and bring them to a rude awakening. What really moved us was not so much the dispute, the contradiction and the 'anti per se', but rather the elementary question of these days (as of today) WHERE-TO-GO?

boy wonder noun

[C]

a young man who has achieved more than what is expected for his age

(Definition of boy wonder noun from the Cambridge Advanced Learner's Dictionary

chinless wonder noun

[C] UK INFORMAL

a silly man, typically of high social class

one-hit wonder noun

/ˌwʌn.hɪtˈwʌn.dər/ /-dɚ/ [C] INFORMAL

a performer of popular music who makes one successful recording but then no others A meaningless term improperly derived from the above. There is no such thing as situationism, which would mean a doctrine of interpretation of existing facts.

 

in 2004 pieter hurst wrote:

an odd manifesto

in form of a musical

noisy rose:

plotinus once wrote that

 he who loves music too much will be reborn as a bird,

thus antony’s album titled ‘now i am a bird’?

now we all are birds, it seems so.

metacollage, said karlheinz stockhausen to jonathan cott, means, of course, going beyond collage. in music, he enthuses, they’ve always called this method the ‘citation technique’, and it’s a very old technique, it has existed since the gregorian chant, which often integrated popular tunes. famous folk songs were integrated into halleluia melodies which then became official gregory chants. stockhausen continues, explaining that ‘collage is gluing together and seeing what happens. it’s not really meditation’, he says. ‘the glue between people is mainly the knife and mutual exploitation and hatred. but that’s the first stage, naturally, because real love would go beyond this, it would create a metacollage. and then real mingling and symbiosis would begin. but we artists of the second stage have to announce that stage – to go far beyond the collage and reach intermodulation of all the different forces that are combined in one composition.’ wise words finalise the thought saying that ‘what is old is always stronger than what is the unfamiliar, and what is simple is always stronger than what’s complicated. metacollage and integration mean setting up no exclusive systems, but rather really dealing with strong subjects and then trying to create balanced situations, mediating and inter-modulating.’ But then the composer inventor says that: music is like air. You inhale it and use it in order to live. Everybody has a different system, and it shouldn’t be verbalised, what the sound and sound combinations mean: the more you verbalise the more you kill the music’

clytus gottwald says: pieces originally written for one combination of instruments were adapted for others – one need look no further than bach’s arrangements of vivaldi. the nineteenth century saw a veritable flowering of the art of transcription, as can be seen in, say, the work-lists of beethoven or haydn. the tradition was conspicuously maintained in the twentieth century by the composers of the viennese school around arnold schönberg, the best-known example being webern’s arrangement of bach’s six-part ricercar.’ and we had luciano berio’s [1925–2003] orchestral transcriptions of purcell, bach, mozart, schubert and even of brahms!

inspiration, a word so much loved by romantic novelists writing about composers, wrote antony hopkins, would be regarded with some scepticism by the composers themselves. hopkins continues saying that ‘when we say a work is inspired it is a verdict on the music, not a description of the state of mind of the composer; thus the image of handle composing his ‘messiah’ in a mystical frenzy is spoiled by reality – which was him foraging among the manuscripts if the italian love-duets written the previous year for music that could be easily converted into choruses. [we could say appropriation* is being taken of… see below…] hopkins tell us that instead of inspiration we should use the term ‘stimulus’, and not the other famous ‘perspiration’… as stimulated were debussy by the sea [‘la mer’], beethoven by the concepts of brotherhood of men to write the ninth, bach hyper stimulated by the 24 major and minor keys to write the ‘preludes’ and ‘fugues’.

franck krawczyk: kapellmeiseir! once i saw a brightly-coloured little butterfly that had become trapped between the strings of your double clavichord. the little thing fluttered gaily up and down, and beating its glittering wings touched now the higher, now the lower strings, which then began very softly to exhale notes and chords perceptible only to the sharpest practised ear, so that at last the tiny little creature seemed only to be swimming in the vibrations, as in gently lapping waves; or rather, to be swept along by them. but it often happened that, when a string had been touched more forcibly, it struck the happy swimmer’s wings as if in anger, so that the injured wings scattered their finery before them like colourful pollen; yet, paying no heed to this, the butterfly continued to fly around amid this joyous music and song, until the strings injured him ever more severely, and he sank down silently into the opening of the soundboard… it seemed to me then as if nature had built a thousand-course of clavichord all around us, in whose strings we bustled about, imagining that we ourselves produced their notes, their chords, by their own action; and as if we were often thus mortally injured, without suspecting that the injuries were inflicted by notes discordantly touched!

diversion one: accordingly to charles lamb’s essay ‘a dissertation upon roasted pig’, a careless boy set fire to his father’s house and several little pigs were roasted. the smell seemed delicious to the boy, and when he licked his fingers after touching one of the pigs to make sure it was dead, he found the taste equally delightful. before this time people had lived on raw meat, but now they knew much more tasty it become by cooking. at first they used to burn down a house every time they wanted to have roast pork; but soon someone, wiser than the rest, found out how to make and use gridirons, frying-pans, and things of that sort, and so to get cooked food without burning themselves out of house and home. of course this is only a tale, and not to be taken as real history, but it may help us to understand the difference, or one of the differences, between discovery and invention. discoveries are sometimes, by no means always, made by accident. either accidental or not, a discovery is a finding out of something that is, in some way or other, already there. […] with invention it is different. something wants doing that has not been done before, or wants doing in some better way than it has previous been done. the inventor finds how the thing can be done, and very often he does this by contriving some tool or machine specially suited for the purpose.

thus we start explaining what we shouldn’t be explaining, the odd records line of work: metacollage.

#1 example: the collection/compilations of don pi and allegro noir, the so-called ‘cinematic pervbeatz’, mixing records assembled with lots of laughter, errors, casual wows and adoration for tunes, sounds, ambients, distorted sometimes, plain 4x4 others. it is not showing off the quotes above too! we could [re] cite the futurists, dadas, surrealists, beats, etc, etc, etc… ‘cinematic pervbeatz’ are secret parodies, for instance, of chartbuster dance compilations, those that are boring. this series are funny and evidence of imagination, scratching the burgeoisie on their back and then kicking then too, in the arse. post coitum melancholia venit and we all are ravenous birds: we want to be coldcut ninjas, respect! may the metacollage be with you. a question of time [ours], texture and form [the sounds], assembled, cut, pasted, crashed, expanded, reduced, distorted, dubbed over, sometimes, exaggerated and obsessed: work of sound, works of art, art of work, sound of artwork. most improvised [what the hell is a semitone on the bar up there in the computer? we just know we know nothing!] we dare to surprise ourselves, if we don’t like it, who will? creating a chaos, digest it and decorate it once again. de-de-construction. a bit of politics, o! yes, well, politics are good. kinky musical politics!

* appropriation accordingly to the artist george condo: the process of appropriation has two possibilities that interest me: the simultaneous presenting of a known thing into a state of an unknown landscape that makes that thing more of what it was before; and taking the methods of one person or a number of different people and dealing with those as you’d deal with techniques. for example, the thing that interests me about picasso is not so much his images but the way he took whatever was around him and turned it into his work. he painted david’s work into his, he was interested in louis cranach and el greco, he did a million le dejeuner sur l’herbe. people might say that one of my paintings looks like guston meets monet in a picasso format in cézanne’s world, but ultimately, i consider it to be just about knowledge of painting. you want to reach a point where your work is a sum total of everything that ever happened to you. that’s basically my goal, that my art would be the sum total of every other form of art in the universe.’

diversion two: in an unfortunate echo of prog rock, some have even erected the concept of ‘progressive house’ [the future sound of london, the orb, guerrilla records] as a bulkwark of good taste against the hooligan hordes of ‘ardkore. history shows us that the dispised ‘black sabbath’ went on to exert a huge influence on underground rock in the 80s and 90s [from the fall and black flag through the butthole surfers to seattle grunge], while progrockers jethro tull, elp and pink floyd went on to influence practically nobody. ‘maturation’ was always only one possible route of development for the music of the post-aciiied and techno – mind-less repetition, stroboscopic synths, bass-quake frequencies – and coarsened and intensified it. just as with metal, bad drugs [barbiturates, then, dodgy E now] have helped them focus on that essence. In a way ‘ardkore actually presents a kind of degraded avant-gardism, of arrested futurism: headless chickens running wild with avant-garde techniques [timbral/textural/spatial invention rather then melodic/harmonic developments, drone theory, extreme repetition/extreme randomness, musique concrete, etc], albeit with little idea how to build around them.

#2 example:  ‘mute pleonasm’, a miasma-vortex by pieter hurst ¬ there we can find original compositions as well a melting pot melismatico-surreal-post-post-everything, in a word: metacollage, themes from toru takemitsu are nexus invertebrated of messiaen pianos and birds chants altogether with the seraphic schizoid of the viennese school masters, even mozart has a cameo appearance trampled on the electronic intrincacies of the portuguese telectu duo, decaux’s sombre piano pieces haunts some pieces and even a salt pinch of berio goes into hurst’s mix and composing.

#3 example: ninjatune records, london/mister sho.nuff the xen commandments:

innovate ¬

evolve ¬

approach life with an Openmind.

Choose to be a player and not a pawn in the xen game of life; become a chemist, not just an element, in the ninja global experiment. supermodify into a frestyle samurai surfing over the waves of digital chaos, while last century’s dinosaurs consume their way into extinction in drastic plastic chariots carved from the stuff of conformity.

proclaim yourself as a confusionist; adapt the con ¬ breed new styles of fusion.

katalyse, synthesize, bounce to the beat.

stop buyng gear, and start making it.

sell your shares on the slack exchange, and sanctify your successes via the tao-jones index.

murder history; on your cue, a thousand musicians can jam on two turntables and a mixer. nothing is true, everything is permitted. Your sampler is a sword waiting patiently by your side, your record boxes are crammed with memory and froxen life. you have the power to reanimate and give birth to new forms…

life is in the mix; cut it up…