sound art for one and two and one :: by Larry Johnson and Lewis Gesner :: Mobius :: 175 Harrison Street, Boston :: June 13 and 14 at 8:00 p.m.

Different objects, manufactured and natural, through their molecular structures, or their shapes or the resonant properties of their volumes, provide an infinite variety of sounds which can be delightful to those who have developed a taste for them. Gesner and Johnson will play solos that exploit these materials; sandwiched between the solos will be a duet .

It is no longer novel to listen to non-musical sounds as music. Different objects, manufactured and natural, through their molecular structures, or their shapes or the resonant properties of their volumes, provide an infinite variety of sounds which can be delightful to those who have developed a taste for them. Gesner and Johnson will play solos that exploit these materials; sandwiched between the solos will be a duet .

(SURformalism, ((INSTRUMENTISM), Lower Consciousness) examples; Eleven Brick-Flip Compositions Lewis Gesner

This solo performance gives examples that are derives from three principles I developed and continue to refine as performance guidelines. The words of the title have specific unique meanings within a system. SURformalism is a principle in which a vacuum is ideally generated- form and concept supersede material and action- action and material are open and subject to circumstance and setting at performing- open to infusion- rather than performing directed outward. This confronts issues of relevance in terms of performing language and subjective content- in structure, content becomes as matter, and, an INSTRUMENTISM method of actions and choice continue the open channel principle- for the invitation to local infusions. The motivation of SURformalism is a drive toward a universality and complete adaptability of all parts of the performing process, from inception to preparation and to “performing”- with a special emphasis on the broader envelop of performing, inclusive of all of these, as the body of performing. INSTRUMENTISM involves materials as they lend themselves best to use as “instrument”, circumstance, and act- all consider equally and evenly distributable to fulfill any required aspect of a “composition”, be it previous composed, or spontaneously rendered. Lower Consciousness is a term referring to the state best applied to explore the simple principle of INSTRUMENTISM. Lower Consciousness is being in the moment, with materials present- acting on them in a way without reference to previous knowledge, memory, or predetermined desire for a result. The eleven compositions here ( eleven, pointing to one more, or one less- so, suggesting movement- like the lines going to the edge of the canvas on a Mondrian painting- continue off the canvas- the brick-flips- are previously composed graphic plans- this seeming inconsistency with Lower Consciousness is allayed by my desire to give examples that are ideal- of my principles- so, they are an artifact- of the performing, which was the act of their writing.

Duet- using fabricated raw material- which could be applied to many uses- I further explore with INSTRUMENTISM- which is in conjunction with Lawrence Johnson’s use of objects at the same time, sharing the space- and, interacting- while my method will be specific, it is consistent and sensitive to Lawrence’s use of materials and objects- and, responsive to it. I will work with predetermined sets of material- in a non-returning series. This will give my end or side of the performance a sequence from beginning to end, and a relatively fixed set of sounds to which Lawrence may or may not choose to respond.

Lapis: solo by Johnson. A phallic stone and a Victrola-like horn from a nineteenth century scientific device provide the means for various evocations. What does each object or material wish to say?