Crackle by Kimberly Phan

it smells like past love

like thunder

like heat

like silence.

it crackles

it sizzles

it whispers embers.

it feels like anger,

like blankets, like melting skin.

it feels like yesterday,

like nostaglia, like open

air into space into

sky.

it sings in waves,

warms up my face

warms up a secret place,

all the while dancing quite loudly.

The Enigmatic Symphonies of Instrumentism #5 by Lewis Gesner

Symphony five is lost

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.

The Enigmatic Symphonies of Instrumentism #3 by Lewis Gesner

Symphony of Instrumentism Three       


Flips and Flip Maps

A stack of flat(ish) pieces of various materials is brought into the space and placed
on the floor to one side of the performance space.  These materials may be short
lengths of board, plywood, a book, a CD case, a brick, and a variety of other materials
that vary in weight, texture and composition.  They should be predominantly flat(ish)
and rectangular.  The performer enters the space, holding a stack of blank business
card size pieces of stiff paper, and a roll of adhesive tape.  He places these supplies
on the floor and squats beside them.  He them takes two of the cards and, using
the tape, attaches them along one like edge of each card.  So, a long side would
be taped to a long side, a short side, to a short side.  The pieces are now hinged
together by the tape.  The performer then proceeds to attach another card to the
two, randomly selecting a side to attach it to, creating an additionally hinged
element.  Each time a card is attached, it will be folded along the hinge over the
previous cards, so that what results is a stack of cards that are all attach to each
other on one of their sides.  He continues this procedure until he has lost any count
or any sense of the elements’ ultimate orientation to each other.  He then takes the
stack of attached cards and unfolds it onto the floor, revealing the resulting
single flat shape he has created; his map.  Standing up, he looks down on the spread
map.  Next, a piece is chosen from the stack of rectangular materials off to the
side.  The chosen material is placed on the floor beside one end of the “flip map”,
or, paper shape, just revealed.  Then, the material is “flipped” on the floor from face to
face in a parallel path to the flip map beside it, turning corners and moving in exact
duplication of the paper path, until the end of the map has been reached.  Completed,
the map is refolded and placed aside.  New cards are retrieved, and another shape
is begun using the cards and adhesive tape, following the same procedure with these
as before.  This is repeated several times.  If the performance space is very large, the
shapes and flip materials may be left in place after each process is complete.      

    Transfers

A box of one to several hundred small household materials and objects is
gathered.  While these things should be common and easy to acquire, consideration
should be made for variety.  The performer takes two objects at a time out of the box.
The selection may be made for similarity or contrast.  The only stipulation is that there
is awareness of material aspects of the objects chosen. The performer initiates a sound
made with one of his chosen object. It may be rubbed, or scraped.  If it is struck or tapped,
it must be done repeatedly so that a continuous sound is sustained.  After the initial
articulation, the sound should be made to reach a dynamically steady, even state.  At this
point, the performer begins to initiate a sound with the second object, using the same
means of articulation as with the first object, which he continues to sound.  He then begins 
to recede in his playing of the first object, as the second gains an even dynamic, the first
finally retiring as the second replaces it.  The transitions should be as even in volume and
dynamic as the tonal and sound generative differences allow.  Think of the passing of a
baton in a relay race. 
This is what the composition looks like, with the dynamic decline of one and
introduction of the other sound placed in a square where they dynamically pass one
another in a “transfer.”  Also note the mirrored ends of the envelope, with one sound
attack, the transfer made evenly in the center, and the tapered decay of the second
sound that closes in…

Two of the Same Threshold

Two identical wine goblets are wrapped and tied with equal numbers of paper
towels and string.  Each goblet will be wrapped, as part of the performance,
with one complete roll of standard paper towel roll, torn off into its perforated
segments and individually wrapped around the goblet.  In sequence, the goblets
are then dropped onto the floor at arms length, a segment unwrapped from it,
dropped again, segment unwrapped, and so forth until the goblet is no longer
sufficiently cushioned, and it breaks from the drop.  The second wine goblet is
then repeatedly dropped and unwrapped in the same way.

The Enigmatic Symphonies of Instrumentism #2 by Lewis Gesner

Symphony of Instrumentism Two               

   
Evolution
   
    Using my three note system of hest, midst and lest, this movement explores one means
    of generating the wide note, midst, pitches, as well as a visual equivalent that functions
as a spontaneous score and an illumination.  I use seven mouth part positions (m.p.p.)
here to form the phonetic sounds I will make.  These mouth part positions are
ah,   ooo,   eee,,, rrr   lll,   mmm,   and   zzzzzzzzzzz.

and they correspond roughly to the sounds you would make vocalizing with your mouth
apparatus positioned in this way.  Firstly, I have a piece of paper that completely covers
a wall.  This paper can be from a roll or may be made of separate pieces of paper that have
been attached to each other.  The important thing is that the papered wall surface will be
used like it is a single continuous piece of paper.  When the paper is in place (this prep.
Is not part of the live performance) I divide the paper in various rectangles, squares, and
even triangles using a highly visible marker.  In the upper corner of each of these shapes,
I draw an m.p.p. symbol.  That is the prep for this movement.  When the piece begins,
I enter the space and approach the papered wall.  I hold a colored marker in my hand.  I
take my time, then, choosing a place to start, I begin making a line.  The height at which I
start will correspond to the pitch I emit; above will be higher, below, lower.  I will make a
closed shape, not raising the marker from the paper.  The shape will take full advantage
of the size of the paper and wall.  The contours of the lines I will draw will influence pitch,
effects such as trill or tremolo, and anything else I can see to interpret in a direct responsive
way.  The phonetic envelop of the sound I make at any time will be determined by the
particular section I am drawing in,  with its m.p.p. symbol in the corner, making that
determination for me.  I can and will of course, make decisions concerning my path based
partially on what phonetic territory I will be forced to pass through.  Again, the marker will
not be raised. This will be a closed shape, begun with the first mark, and ended when the
            line I make circles around to the point where the line began.  I will vocalize simultaneous
to my drawing throughout in a point by point correspondence.  While I may dynamically
change in volume, especially if I have discovered a means of notating this parameter
with my line contour, the simultaneous vocalizing will always be implied, even if for
dynamic’s sake it is not heard.  This section may vary widely in the time it takes to
complete.  It should largely be a matter of inspiration, and if the drawing space allows,
not crossing lines and retaining the single closed shape theme as the larger parameter,
this movement may last as long as the sense of invention lasts.     
   
   
Weight Pitch Generator

    A square measuring two feet by two feet is marked off on the floor to the
    left or right side of the performance space, approximately six feet in front of
    the wall where “Evolution” movement has been posted.  The tape should be
    of sufficiently bright color to clearly demarcate the square from surroundings.
    A collection of small to medium sized objects (all of a size that may be held
    in hand(s)) are taken from a box and dumped into the square.  The edges of
the square are tidied up so the objects don’t spill over the tape borders.  The
performer then steps into the center of the square amid the objects and stands
facing forward. One at a time, the performer picks up objects and assesses
the weight, bouncing it in the hand, tossing it in the air and catching it and so
forth.  He makes an evaluation based on a mental scale of from light weight
to heavy.  This scale may be adjusted in relation to other objects he picks up
later.  He now thinks about his vocal range in terms of pitch, and makes a
pitch equivalence judgment in relation to the weight of the object; a heavy
object will have a related lower pitch in his vocal range, a medium weight object
will be in middle range, and a light object (again, this will become relative to
other objects)  will receive a pitch at the higher end of his range.  He then emits
this pitch, sustained for the length of a breath with no vibrato.  This done,
the object is returned to the pile he stands in, and another object is plucked
from inside the square.  The same process is performed again, this time also
measuring the objects weight and related vocal pitch in memory to the last
object.  The pitch chosen will then be in relation to the weight and related
pitch of the last object.  This is repeated many times, the relationships of
object weight to vocal pitch become more precise, repeatable and accurate.

Weighted Roller Roll Emphasis

A square measuring five feet by five feet is marked off on the floor to the left
    or right side of the performance space, on the side where the other square
isn’t, approximately six feet in front of the wall where “Evolution” movement has
been posted.  This tape should also be of sufficiently bright color to clearly
demarcate the square from surroundings, but of a different color from the other
square of tape.  Cardboard rolls of different sizes will be placed now in this
square.  Some will be the size of empty toilet rolls, while others may be lengths
cut from poster tubes, and much larger diameter pieces, cut from cardboard
cement column forms.  Several bags of stones will then be placed in the square,
a roll of duct tape and a razor.  The performer enters the square himself.  He
sits or squats facing forward.  A cardboard roll is picked up, rolled along the floor
 in front of the performer, another is picked up, and so on until one is selected.
A stone is now taken from one of the bags.  A piece of duct tape is cut, and the
stone is taped to the inside of the chosen cardboard tube.  The tube is then
rolled outward from the square, forward into the audience area.  The rolling
pattern is observed.  A second choice of tube is made, and another stone is
selected.  It is also taped to the inside of the roller, which is also sent rolling
out of the square and observed for special rolling emphasis and characteristics.
Others will be done, now in obvious variations.  Multiple weights may be placed
inside the rollers to observed possible complexified rolling patterns.  These
are also acts that may be specifically scored.  Here are some scored “rolls”
that may be interpreted, and further specified for more exacting weight and roll
dimensions.

The Enigmatic Symphonies of Instrumentism #1 by Lewis Gesner

 Symphony of Instrumentism One                        


Chromatic Tapers

The piece begins with this first movement.  Lines are laid down on the
floor with colored tape.  The lines cross at a center apex, so that they form
pie slices of what might be a circle.  At the apex is placed a large black paper
circle; like a bull’s eye.  In the space of each pie slice are placed multiples of
a single material; in one slice, a stack of typing paper. In another segment,
a pile of rubber bands. In another is a box of toothpicks, in another, envelops
and paper clips, in another, plastic bags and little rocks.  I construct this setup
as part of the piece, quickly and efficiently in front of the audience.  When all
is in place, I choose a slice of the circle to sit in, do so, and begin.  Let’s say
the first slice contains elastic bands.  I take each band, and as quickly as I
can, I flick them into the center dot to their accompanying snapping sound. 
When I finish this, I move onto the next segment clockwise, which has envelops
and paper clips.  I place a paper clip in each envelop and seal it, then throw it
into the center until the material in that segment is used up. I get up and move to
the next segment, which contains the box of toothpicks.  I open the box and
taking them out one at a time, snap each between my thumbs, then throw them
into the center dot, again, working as quickly, or, chromatically as I can.  I perform
this way until I complete the circle and all the materials have been used up in a
similar, simple way, each having its own signature repetition of sound event,
performed in a chromatic, or, -no space between events -way.

variation

There is one person in each of the segments of the circle.  Each works as rapidly
as possible, but of course each person’s rate is different.  They will end at different
times.  The first person who ends goes and works with the person in the segment
to the right or next closest.  The next person finishing does the same, and so forth
until all segments have been finished.  While the manpower performing the piece
remains the same then, there is a shaping of the sound output; it begins maximally
broad, with a person in each segment, each working with a different material, but
ends with a uniform sound quality, everyone crowded into one segment, with one material.
While this is a gradated shape, with broadest variation tapering down to uniformity, it
will be erratically shaped  as well, as completion times will naturally vary, and be
complicated by the additions of workings in some segments.

Wall Swings

I produce a handful of small eye-hooks from my pocket and screw them into a wall
from left to right, at widely varied heights, from the beginning of a wall to its end.
I then retrieve a big cardboard box filled with many common objects, from marbles
and rulers to kitchen utensils and office supplies.  I take the box and strew its
contents along the length of the wall, where it meets the floor. I produce a roll
of cotton string and a pair of scissors.  I cut a random length of string, choose an
object from along the wall and tie the string to it.  I then attach the other end of the
string to the first eye-hook, farthest left on the wall.  Holding the object out now
at arms length, taut on its string, I let it swing into the wall, or, if the string is longer
than the height of the eye-hook, onto the floor.  I proceed to select another object
from along the wall, and cut a length of string for it, performing the same swing-to-wall
act.  I do this until all of the hooks I have placed on the wall have been used for a
swing-to-wall.



Object Mute, Negate

I produce several rolls of toilet tissue, and again, my roll of string and scissors. 
Selecting from the objects still strewn along the wall, I select one and drop it onto
the floor at arms length, let it hit bounce and come to rest, observing sound and other
qualities of the material.  Now, I wrap the object once fully in the tissue and secure
with string.  Again, I drop the object, observing the now muted sound quality.  Picking
 the object up, I wrap it again, and drop.  I do this until the unique qualities of the object
have been lost and it has gone from muted to negated.  Now, I proceed on to the next
object, performing the same act.  I continue gradating then negating the sound qualities
of these objects until the objects are used up or I achieve the performance’s maximum
duration.  This is the end of the symphony.

Detroit

the wild dogs went roving
through the late decades
of the twentieth century

clomping their jaws
here and there
excavating the hulls
of burnt out riot houses

the dogs
with their wireskin thighs
and long cheeks, doomed
prevented kids from attending school

spat more than you spat
groomed the steel wool which bloomed them
breeding

the last bus left town at 6:15pm
everybody was on it,
kids climbed on the back bumper
tossing steaks
into the fog of exhaust
blending dogs and headlights

the adults
were hypnotized by the ticket
in their hand
, how the driver
was not mean

Smart phones

here's an idea
the city

how it is all stacked up
like a pancake pile
beginning in the basement
which is a poetic device
meaning the subway

and rising to the skyscrapers
can you see how this is literary?

but no - City of Layers
(as it should be called, i think)
will never be written

because now Vanessa

has me thinking about people instead

and the way you sometimes catch them

sincerely smiling at their smartphones

Saints

the great blood of saints

and stakes on which

they peppered

and brought to boil

entranced

dehydrated and pale

dehydrated like cured meat
whose hide became a drum
and like a drum

they have no memories

picking rocks out of their mouths

salting sidewalks

handing you the gum they chewed

all the saints revolting
like the cupping of your hand

it's the holy shape, the rhombus

erratic and dizzy
real prayer

Indiana

midwestern morning skies i've seen

the sun stretch thru the clouds

to pierce the earth from space

it is nothing like distressed leather

shhh

the AM radio, the interstate

forgiveness, resilience

Rod Sterwart and The Small Faces

proclaim It's All Too Beautiful

to the beat of glass shattering

in a city, probably

midwestern morning skies i've seen

the sun stretch thru the clouds

to pop the dreams that sleep us

they are not selling m&ms, peanut