The Enigmatic Symphonies of Instrumentism #8 by Lewis Gesner

Symphony of Instrumentism Eight   

Random String Roll Lococompulsion

There will need to be three distinct locations in which this symphony will be performed.
The first, the gallery or room, and immediate vicinities, represents the synthetic
orderly surface as composed for casual, low physical impact human use. I use a
domestic material, cotton string, as a means of passing through it toward a second
destination.  I, the performer, standing this empty clean space, take one end of
the roll of string in my hand, and toss it out away from me with the other. The effect
is that the string rolls away like a ball, and leaves behind the line of string as the ball
unravels, me, still holding onto the end of the string to keep it from following the ball
away from me.  Of course what then is produced is the ball in one location, with a
white line drawn from me to it.  This is also a path, which I then follow to the ball,
which, when I reach it, I pick up, holding the string now close to where it is wrapped
around the ball, and throw the ball again in some direction, so that it continues to
roll out.  While the rolling has a haphazard quality to it, I intend to roll it ultimately
out of the space and into the surrounding outdoor environment. The place I roll my
string to would be an outdoor park-like area, or, a more utilitarian public place. 
There are objects and abutments here, either trees and shrubs, or, magazine racks
and turnstiles.

Lococompulsion by Hook and String to Advance or Retreat

In this outer environment, I change my means of locomotion.  Now, I tie string to
me, and attach wire hooks to the other ends, throwing them outward and advancing
like a mountain climber..  The hooks secure me to the space, and as I become
attached, I cut myself loose from some hooks with scissors  to allow myself to
advance in one direction, while limiting myself in another; the attachments and
string allow me to swing like on hinges from the various abutments and obstacles
in the environment, and advance, through increased understanding and manipulation
of this means of lococompulsion, to move to another uniquely characteristic space/
environment. I do this “hooking” until I am clear of rough landscape, onto a sidewalk
or grassy, lawn-like area.

The Flip Progression

When I arrive at a less rugged outdoor area, with flat surfaces and expanse, I
 produce my third means of lococompulsion, a board, which I flip end over end
and follow in the direction from where I came.  Were landscape to change again
along any of the way here, I would digress to the use of a previous means of
advancing, like a musical reprise or leitmotif.  In terms of space, there is a need
for three different kinds of landscape within reasonable distance of each other. 
There is no technical requirement, though the generally circular path I might take
makes anything more than an approximate duration hard to be exacting about.
However, I would give myself or performer a good two hour frame for this
symphony.  This should mildly suggest how far afield the performer might want to