In Manifesto no.6 (2023), two performers wearing eye-tracking devices glance across the score markings displayed on their computer screens to trigger a series of changes in sound, projected visuals, and ûickering lights. These devices are constrictive and require performers to remain incredibly still, such that their only signiûcant movements can be those of their eyes. It is this limitation, however, where I found the poetic core of Manifesto no.6.
As performers are frozen in a catatonic state, their subtlest movements transformed into sound and image, the audience is emboldened to stare deeply at the alienated performers without fear of catching their reciprocal gaze. From another perspective, however, the performers represent a state of heightened power; their slightest movements prompt the electronics to gaze at and speak to the quietly alienated audience with burning, threatening intensity.
The audience9s relationship to the performers is thus characterized as much by intimacy as it is alienation, a dialectic familiar to the condition of living in digital culture in general: we are watching others who cannot watch us, and watched by dead, empty eyes that cannot see.
Recording Notes
Performed by Jack Hamill and Jay Tazman Reinier. Cinematography by Abygai Peña.
First performance at Fava Gallery in Oberlin OH by Jay Tazman Reinier and Ivy Fu.