The Enigmatic Symphonies of Instrumentism #9 by Lewis Gesner

Symphony of Instrumentism Nine   

   
Nature with Manufacture

Collect a large number of smooth beach stones, all from the same beach at
once so the material of the stone are relatively uniform.  Collect in groups of three
distinct sizes; pebble sized, distinctly larger, the size of a lighter perhaps, and larger,
the size of a fist or apple.  Collect as much as possible, several hundred of the
small, perhaps fewer of the largest size.  Bring to the performance space in separate
bags.  Deliver to the space still in bags, resting at center space, the three bags side by
side on the floor.  Also collect objects from attics, salvation army stores, and yard sales,
random things of no particular focal use, just utilitarian things.  Bring them in a box
to the performance space and empty the box along the wall where it meets the floor,
like spreading seed for the length of the room.  After doing this, push the clutter
in with feet and hands, to more densely pack the objects into the wall/floor meeting.
Now taking a position in center space beside the bags, and empty the bags of beach
stones onto the floor in three piles, being careful to keep the piles separate. Now
sitting on the floor, select stones from the three piles in any combination or
series/sequence, and pelt the objects packed between the wall and floor the length
of the room.  Develop this instrument though observation of specific item-in-object-pile
locations, interactions with stone weights and size, and effect of combinations possible
within the parameters.

A Sheet Solo Sound Progression

Produce a queen-size linen sheet from a plastic bag.  Pull it over your head and
body standing up and center it so that it meets the floor all around you if possible.
Now, by scratching, blowing, tearing, snapping, fluffing pulling taunt and otherwise
touching/interacting with this sheet, produce a spontaneous sound making vocabulary
of action, generating one sound at a time, with silence before and after, so that each
sound exists in its own spatial  location.

Rattling Damage

Buy or collect as many manufactured objects with several attached elements
 or armatures on each. Examples might be toys, various kitchen utensils, like a
manual egg beater, ink pens, office items, staplers and so forth. Arrange neatly
in the performing space, and then, selecting one at a time, strike the chosen
object using a board and a stone. After each strike, shake the object to observe
any rattling effects. Continue to strike objects with uniform blows, shaking the
object between each strike to produce a possible associated progression of
rattling from object breakage, or, find the limit of its breakage, where the items
stops being affected by force.  Continue on individual objects until they have
deteriorated and fall apart in the hands, or until this maximum damage limit has
been reached.