The Enigmatic Symphonies of Instrumentism #7 by Lewis Gesner

Symphony of Instrumentism Seven       

Object Set Locomotion
Select a body of objects that vary widely in texture, size, weight,
composition, rigidity and other relevant qualities that distinguish them.  Place
them all together unorganized at the beginning or extreme edge of the space
to be performed in.  Consider any adjoining rooms, corridors, restrooms and
entryways as being part of the performing space.  Now, Make selections from the
object set based on likeness in their ability to be moved in a common way; for
instance, if certain objects lend themselves to being picked up and carried
cradled in arms against chest as one group, transported together across a room,
this is one criteria, the selection can be made with this in mind, and that subset
of objects will be transported across the appropriate space in this way, until a
door, hallway, rug, or other environmental condition, if it is varied, interferes or
offers a more promising means of locomotion. (a rug might be used as a carrier,
and a selection of objects moved by dragging the rug, for instance. Select another
subset to be, for instance, dragged, plowed across the floor space using one object
for that purpose, and so forth.  Objects may be such that they need to be
transported one at a time, or attached to each other in the case of paper clips, or
chain links.  There will be a starting point, and a finishing point for all objects at
extreme opposing locations in the usable performing space.  This section may vary
widely in duration.  It ends when it is completed as a thoughtful and, satisfactorily
solved and challenged task and exercise, and all objects have been sufficiently
 and appropriately transported from one end of the space to the other.
    Ridge Patterns

    Collect or make a set of slats; narrow, long boards, varying in width and height
by a degree of one hundred percent or more, but consistently the same length.
Now place them in one half of a space on the floor so that they are parallel to
each other, and so that the length of the sides are facing the performer in his
position in the other half of the space.  Improvisationally space the slats, randomly
or in patterned distances from each other, as widely varied as is pleased, but always
perfectly parallel to each other.  Now, empty a bag or box of small objects of different
sizes, some round, some compact and angular, and attempt to roll the objects over
the slats in their configuration.  After the objects have been thus rolled, retrieve them
from where they have ended up, return them to the launching position in the performer
occupied half space, and make another improvised spacing of the slats.  Repeat
this again, and several more time. After several variations of slat arrangements,
begin to make object edits, breaking down and limiting the object group to things with
a certain likeness, or, uniform differences.  The number may also be systematically
diminished down to a single object, placing then all of the emphasis in variation in
the arrangements and distances between the slats, changed between every roll of
the object. (If multiple objects remain in use however, the slats may be left in one
position while variations are made in the roll number and sequence.)

Object ‘Scape Transits

 Sight read the scores for Object ‘Scape Transits from the 31 volumes I’ve
written of these scores.  The score volumes should be in a single stack on
the floor of the central performance space.  The volumes will be gone through
randomly by performer, who, making a selection, will stand straight with volume
open like hymnal in one hand, and deliver the interpretation. For the uninitiated,
these score consist of a single unbroken like running from the left margin
of a white page, across  to the right margin.  The path of the single line is
drawn like a cross section of earth, a terrain, or, a landspace in profile.  At the far 
left, as if resting on the very beginning of the ‘scape line, is a closed topological
shape.  In the interpretation of this as a score, this topological shape, however
symmetrical or oddly formed, is imagined tumbled over the length of the ‘scape
line, from its location at extreme left, to the line’s termination at the extreme right.
Simultaneous to this imagining, the transit of this shape in its journey is vocalized
 as a similar tumble or the phonetic, pitch, and dynamic range that might
spontaneously and reasonably be delivered.  If scores are not available at the
reading of these notes in your hand, here are three example Object ‘Scape Transit
scores, to clarify: