The Enigmatic Symphonies of Instrumentism #4 by Lewis Gesner

Symphony of Instrumentism Four                    

Four Corners

A ten by ten inch square piece of board in brought to the empty performance space.
Using a felt marker, the performer draws a diagonal line at each corner, making a
triangle at each tip.  From a bag, he then produces hammer or rock, a sanding block,
a knife and a saw.  Choosing a corner, the performer hits the edge with the hammer
using whatever hold or position seems to give most control, striking until the corner
snaps off approximately where the diagonal line is, or breaks apart up to along that line.
He then turns the square and takes to another corner with the sand block, sanding
until the corner is even with the diagonal line.  Turning the square to the next corner, he
begins to whittle at it with the knife, which he continues until the corner is again
taken down to the diagonal line.  Lastly, he turns to the fourth corner, and proceeds to
saw at it along the diagonal line until this corner is also gone.

Targets Wet Missiles

The performer takes black duct tape and cuts short two inch pieces, placing each on the
the wall in a row from the left end to the right with about twelve inches between.  He
then returns to the left end of the wall and begins another row about twelve inches
below the other.  He repeats this with one more row.  He then produces a bucket of water
and two rolls of toilet or tissue paper.  He then takes a single tissue or segment of toilet
paper and dips it into the water, taking it out without wringing it, and throwing it with
some force at the first upper left piece of black duct tape, the target.  He does this with
successive pieces of tissue at progressive targets from left to right, and beginning at
the next row, progressing to the right until all the black tapes have been targeted.  

Floor Rotations with Black Noise Voice

The performer clears the space and places tape lines on the floor which intersect
at a center point, forming eight pie slices, or, eight radial line positions until they
repeat.  A black dot at the center point will help to separate the continuous lines
and help them appear like radius rather them diameters.  The performer then lays
down on the floor in first position, which is a line running from front center straight
back toward the wall.  The performer lays on his side, body rigid, head at the wall
end of the line, with body and head directed to the right.  He then opens his mouth
and emits a “black noise voice” sound, which is like a hoarse throat which is vocalize
but sounds unpitched.  He does this, or, emits a sub-vocal version (apparatus is in
place, wind force withheld)  The explanation of this can be seen in a self explanatory
vocal score sample given here.  The performer will alternate vocalized and
nonvocalized articulations of black noise voice.  After one iteration, either long or
short, loud or soft, (in the score, vertical axis means volume, horizontal, time) the
performer moves the body position to align with the next radius in clockwise movement,
and repeats the action, with variation in its obvious parameters.  This may be done
once all the way around the circle as a simple example, or it may be continued in
rotations beyond one.  An mpp (mouth part position) may be chosen for the iterations,
preferably one of my standard seven of                                                           .  The
mpp should be retain at least through one rotation until another is chosen, if change is
personally desired.