Bill Dietz is a composer and writer, born in Bisbee, Arizona. Since 2012, he has been co-chair of Music/Sound at the Milton Avery Graduate School of the Arts at Bard College. His work on the genealogy of the concert and the performance of listening has brought him to festivals such as MaerzMusik and the Donaueschingen Festival, museums such as the Brooklyn Museum, the Stedelijk Museum, and Kunsthalle Wilhelmshaven, and into publications such as Performance Research, boundary 2, Blank Forms, and MusikTexte.
Dietz’s large-scale public works have been realised in sites such as Le Corbusier’s Cité Radieuse in Marseille, the Bauhaus-Archiv in Berlin, and along the entire city block of Im Stavenhof in Cologne. From 2007 to 2014 he was the artistic director of the Berlin-based Ensemble Zwischentöne. He co-founded and co-edits the online magazine Ear | Wave | Event.
Jordan A. Rothacker is a writer who lives in Athens, Georgia where he received a MA in Religion and a PhD in Comparative Literature from the University of Georgia. He also received a BA in Philosophy from Manhattanville College in Purchase, New York, the state in which he was born. His essays, reviews, interviews, poetry, and fiction have been featured in such publications as The Exquisite Corpse, Guernica, Bomb Magazine, Entropy, Vol. 1 Brooklyn, Brooklyn Rail, Rain Taxi, Dead Flowers, Literary Hub, and The Believer. Rothacker is the author of the novels: The Pit, and No Other Stories (Black Hill Press, 2015); And Wind Will Wash Away (Deeds, 2016); My Shadow Book by Maawaam (Spaceboy Books, 2017); The Death of the Cyborg Oracle (Spaceboy Books, 2020); and the short story collection, Gristle: weird tales (Stalking Horse Press, 2019). Spring 2021 will see his first collection of non-fiction, Dead Letters: Epitaphs, Encomia, and Tributes (Reprobate Books).
The logic of Zak Ferguson’s work is one of expansion and collapse, putting forward a thread only to subtlety fold in or snap under, yet felt in body and under skin. Reverberating like a playlist on repeat, songs and memories almost forgotten. His novels: some bizarre, sprawling, frequently obscene, riddled with intentional typos and grammar lapsed-ed-ded-ness, confeve, absurdist, and all intimately observed. He also writes extensively about his experiences with autism or neural diversity in relation to art, which is something that doesn’t get examined or considered in this manner. It is not common to stumble upon a world so fully formed and after the fact like blizzards.
Steve Finbow’s non-fiction includes Allen Ginsberg: A Biography, Grave Desire: A Cultural History of Necrophilia, Notes from the Sick Room, Death Mort Tod, and The Mindshaft. He is currently editing the Infinity Land Press Anthology.
Jared Pappas-Kelley is an artist and writer. His recent book Solvent Form: Art and Destruction was published by Manchester University Press and his newest collection To Build a House that Never Ceased: Writings, Interviews, and Letters on Art was released in August of 2020. His visual work has exhibited internationally.
The Manifesto project includes writings and work by: Dodie Bellamy, Rebecca Brown, Dennis Cooper, Simon Critchley, Bill Dietz, Jack Halberstam, Thomas Hirschhorn, International Necronautical Society, Michael Lent, Geert Lovink, Douglas A. Martin, Lev Manovich, Gustav Metzger, Jean-Luc Nancy, Santiago Sierra, Mark von Schlegell, as well as artists and theorists across fields.
Transmission 1: In our own words
Ansgar Allen, Angela Bartram, Marc Beattie, Pamela Booker, Stefan Brüggemann, Sandra Crisp, Lee Deigaard, Steve Finbow, Liam Gillick, Michael Hampton, Alexander Hetherington, Douglas A. Martin, Maureen McAdams, Thomas Moore, Chris Kelso, Nathan O'Donnell, Jared Pappas-Kelley, Jordan A. Rothacker, Gary J. Shipley, Jasper Spicero, and many more.