Fluxus Sonus is not based on any religious, spiritual, or political ideology. It does not align itself with belief systems, parties, movements, or doctrines. Its position is one of perceptual independence.

Fluxus Sonus is not a nostalgic revival of Fluxus. It is a mutation of Fluxus ideas and principles adapted to an interconnected world. It absorbs the original impulse and reconfigures it through contemporary conditions of communication and technology.

Fluxus Sonus is not based on performance, poetry, sculpture, theater, or live action. Fluxus Sonus is strictly and exclusively grounded in sound as its primary and only artistic medium. Any visual elements associated with the movement are secondary, functioning solely as extensions of contemporary technological communication. When posters, graphics, or social media visuals appear, they are not artworks in themselves but transmissions — a digital-era approach that replaces physical printed matter and uses the communicative infrastructure of the Internet as its distribution space.

Fluxus Sonus does not speak through traditional slogans, posters, or printed ephemera. Its voice exists within the ever-shifting field of the network: electronic media, signal flow, and digital transmission.

Fluxus Sonus alters the definition of art by introducing a new layer of technological connectedness that did not exist during the original Fluxus era. Internet-based communication, digital transmission, and networked listening are integral to the work itself.

The purpose of Fluxus Sonus is not to prioritize price over product. Many of the compositions and art objects associated with Fluxus Sonus are obtainable, accessible, and in many cases free. Value is not determined by scarcity.

Fluxus Sonus is a multinational art movement composed of artists residing in different countries and time zones, including Sweden, the United Kingdom, the United States, Mexico, France, the Netherlands, and Japan, among others. Artistic direction is not centralized. While curatorial aspects of Fluxus Sonus are important, every participating artist retains equal creative rights. Each voice and opinion holds equal weight. The creation and ongoing revision of this manifesto stands as a living example of this principle.

Unlike Fluxus, where intermedia practices and performance served as primary information conduits, Fluxus Sonus focuses on the inner cinema and the logic of listening. The act of listening replaces spectacle as the central site of experience.

Fluxus Sonus challenges how art is created and perceived by placing technology in tension with humor and play. Artistic rights are extended to the listener and audience, who become active participants through interaction, puzzle-solving, decoding messages, accessing phantom websites, engaging with portable electronic documents, and receiving objects through standard mail. Fluxus Sonus relies on instant communication through continuous, 24/7 display and transmission of messages and encoded media. The movement depends on digital portability, allowing works to circulate freely across devices, platforms, and locations without fixed physical anchors.

Fluxus employed slogans, short directives, and declarative language as a primary means of transmission. Fluxus Sonus translates this linguistic economy into sound: sines, textures, noise, data streams, and granular structures. Where words once carried instruction and provocation, Fluxus Sonus operates through listening and interconnectiveness. Sound is inseparable from interactivity, making the listener an active participant in the creative process. Each composition functions as a sonic statement—a response to specific prompts, subjects, or conceptual inquiries—encoded not in language, but in signal.

luxus Sonus does not rely exclusively on the living. Doctrines and practices such as EVP, microtonics, transcommunication, and signal-based experimentation are considered valid forms of sound art and are explored alongside established techniques.

Fluxus Sonus is an all-inclusive movement in which all personal ideologies are valid components of the creative process. Sexual orientation, religion, gender identity, or culturally imposed limitations do not restrict participation or subject matter. Fluxus Sonus actively studies and engages with themes such as LGBTQ electronics, the sonology of sex, and the destabilization of localized cultural boundaries. Once a composition becomes part of Fluxus Sonus, it exists as ideology-free information, detached from the personal belief systems of its creator.

Fluxus Sonus incorporates the work of artists who have passed away as a means of re-channeling their creative energy for future generations. The intent is not to dilute their voices but to transform selected works in order to continue their legacy, adapt them to new contexts, and keep the creative dialogue open.

Peace is a fundamental driving force of Fluxus Sonus. The movement emerges during a critical moment in the history of history and seeks to address this condition through sound art as a non-violent, perceptual, and reflective practice.

Fluxus Sonus asserts, through audition, lateral thinking, and human emotion, that AI-generated art and music do not constitute a symbiosis. They are digitally programmed simulacra—algorithmic reflections without lived experience, perception, or affect. Fluxus Sonus recognizes AI as a tool, a process, and a signal generator, but not as a sentient collaborator. Meaning arises through listening, interpretation, and human consciousness, not through automated synthesis alone.

Nature is neither symmetrical nor asymmetrical; it is deviation. Fractal geometries in nature do not repeat endlessly—they mutate, collapse, and disappear. Only through mutation can evolution exceed its own boundaries and establish new paradigms, new possibilities, and new forms of creative expression. Destruction is not an opposite of creation but its prerequisite. To evolve is natural, necessary, and essential for growth.

Fluxus Sonus calls for the practice of unlearning, so that creation is not trapped within closed loops of logic and reason. Art functions as a technique of illumination—a catalyst for growth, a light that penetrates darkness. Darkness, in turn, is not absence but contrast: the condition that grants light its visibility. Fluxus Sonus insists on preserving the human element of indeterminacy, the presence of chance, and the productive tension between uncertainty and control. Intuition cannot be fully programmed, nor can all knowledge be known or learned. It is within this limit that art remains possible.

Creativity and musicology are no longer the exclusive domain of experts. Disciplines such as electroacoustic and computational music once relied on specialized languages accessible only to a few. The widespread availability of plugins, applications, and online creative platforms has dismantled these barriers, enabling artists and non-artists alike to produce sound in new and unexpected ways. Fluxus Sonus extends this shift further by providing listeners and users with raw sonic elements, the materials of creativity itself, inviting them to manipulate, remix, and subvert sound in order to generate an infinite field of compositional permutations.

Welcome to the Sonic Vault, the centralized archival infrastructure of Fluxus Sonus. This evolving databank aggregates structured and unstructured materials, including documentation, images, texts, metadata, and biographical records of all participating artists. Designed as a living system rather than a static archive, the Sonic Vault supports continuous expansion, versioning, and contextual linkage, ensuring the long-term preservation, traceability, and integrity of Fluxus Sonus works, practices, and participants.