The Enigmatic Symphonies of Instrumentism #17 by Lewis Gesner

SI Seventeen                       

Negative Tabula Rosa        

Cut circle from stiff white paper.  Perforate the center, and attach to a larger white
piece of paper using a paper clasp .  This pinwheel should move freely on its center.
Attach other pieces of paper to the larger piece.  Attach smaller pieces of paper to this
in layers and from various sides and corners.  Make like pages on an attached paper
that overlay each other. Attach transparency paper also, over different areas and of
different sizes, attached from various sides so they swing out in different directions.
To this, attach additional pieces of white paper to expand the area; make some of these
attachments accordion-like paper forms that can be extended to several times the
size of a single sheet.  In this way, make as complex and nested within itself as possible.
Now, this is to be read, variously opening, flipping out, turning, extended and
compressing the mass as if it is a composed score; as the elements are unfolded, it
should be sung, in an interpretation unique for that particular extension, unfolding, or
compression of space.  Each moving element should be understood as a section or
distinct segment of a composition to be sung, though the pages themselves are
completely blank. It is sung as it is opened.
    
Instrumentism Transfers and Transitions with Circumstantial Form,
and Qualities of a Rummage

The movement begins with the setting up of a small table.  A cardboard box is
placed on the table.  The top is open, and it is filled to the edge with small beach stones.
A second smaller empty box is introduced and set on the table beside the first.  This box
is less than half the size of the first box.  The performer produces a chair and sits down
at the table.  The performer begins to pick rocks from the larger box filled with stones
and drop them into the smaller empty box.  This continues, a pace is established and
sustained.  Eventually, the small box is filled.  There are still a lot of stones left in the
larger box.  The performer continues to pick stones from the larger box, putting
them now in the overflowing smaller box.  The stones form a round at the top and
overflow onto the table, floor, etc. as the transference continues.  Eventually, the larger
box will be empty.  When this happens, the performer proceeds to pick up the stones
that have overflowed onto the table, floor, etc. and continues to place them in the
smaller box, which the performer continues to add the overflow to, and which continues
to overflow indefinitely.  This piece begins at the beginning of the performance period if
possible.  The end is not in sight, but if the final looping stage is reached early on, the last
stage will continue for a minimum of two hours.  Otherwise, the twenty four hour period
would be made available as a maximum duration for the piece, and  the four hour
minimum time would easily be satisfied. The “Rummage” aspect to this piece is the
special sound qualities it will generate, some steady, small, static, and continuous.
Other sound will not effect this, and in terms of volume, the piece would likely not
interfere with any other piece, having very low impact sound and activity levels.