IN DREAMS BEGIN RESPONSIBILITIES…IT IS A FASCINATING RAPPROCHEMENT BETWEEN SEEMINGLY

DIVERGENT AESTHETICS; NEOLOGISMS, CONCRETE DEMARCATION AND GRAPHIC DESIGN…NOT TO

MENTION ART FOR ART’S SAKE. LET’S CONSIDER THE WORDS AT STAKE…THIS IS A PIECE OF MUSIC

SO TO SPEAK.

THE DISTRIBUTION OF VERBAL UNITS, WHETHER LETTERS, MORPHEMES, PHONEMES, OCTOMEMES,

CANTOMEMES OR COMPLETE WORDS…ON THE WRITTEN SCORE DIFFERS FROM WISDOM IN THAT

IN THE FORMER VISUAL FORMAT, DOES NOT PLAY A CENTRAL ROLE IN THE AURAL DELIVERY OF

THIS PIECE.

SHAME , SHAME FOR THE CONTEXTUAL ELEMENTS. THESE POETIC ETYMOLOGIES RECALL ARGUMENTS

AGAINST THE EARLY REPRESENTABILITY OF THE SIGN. PERHAPS THE DESTRUCTION OF SYNTAX

AND NOMOPHONY DECRIES A HYPOTHESIS.

THE RESONANCE OF SUCH THOUGHTS CATALOGS AND SPLICES FASCINATING YARNS, OBSERVATIONS

AND IMAGES OF MOVABLE PASSAGES OF SONIC DELIVERY WHICH MUST, AS YOU ENCOUNTER,

ARTICULATE WITH RELIGION AND CONTRITE, STEAM AND CITATION, REVELED WITH FRAMING

DEVICES, BETWEEN AUTHENTICITY AND ARTIFICE, ADMITTEDLY FACTUAL TELEPATHY AWAITING A

COMPLEX PROCESS OF NEGOTIATION; A BIOSKETCH OF IRISH LYRICAL MONTAGE AS CONCLUSIONS

OF MONOCLE LOVE CLEANSING FROM SLOW DISAFFECTION WITH LURID STILLNESS.

IN THE END…IT IS STILL MUSIC. AUTHORITATIVE, ORNAMENTAL, COMPENSATING, PUNCTUATED,

EMBEDDED, UNATTAINABLE MUSIC.

WHAT DOES IT MEAN FOR A WORK TO BE EMINENTLY LIKEABLE AND ALMOST COMPLETELY

UNREADABLE? EGOTISM OR THE PROCESS OF BREAKING DOWN LARGER COHERENT PHRASAL

UNITS INTO ASSEMBLAGES OF MORPHEMES, PHONEMES, NANOMEMES, FRESOMEMES, BELOMEMES,

LOMEMES, RONOMEMES, TRITOMEMES, OPONOMEMES, HISTOMEMES AND JESTOMEMES.

THERE IS AN APPREHENSION WHEN INTERPRETING THIS WORK, AS ONE IS CREATING A COOL AND

INTERESTING FIBER ABOUT IT. IT’S ALMOST LIKE READING FINNEGAN’S WAKE AND HAVING ADMITTANCE

TO ALL ITS CHARACTERS AND A KEY TO ALL THE ALLUSIONS AND COVERT ADUMBRATIONS.

IDEA, EVENTS, FACTS AND ACTIONS MEDIATED AND MATERIALIZED ARE, IN PRACTICE {FACT}, THE

NUCLEAR POINTS OF THE UNANIMITY OF DOCTRINE AND IMAGE. THEY LEAD TO A BROADENING OF

EXPERIENCE REGARDING PARTICULAR IDEAS, FACTS AND ACTIONS. THEY ARE UNAMBIGUOUS.

THEY ARE THE VIRTUAL EPITOME OF A NATURAL HUMAN FACT OR LAW. IT IS NOT IMPORTANT IF

THE CONTENT {MATERIALS} THAT RESULT ARE EXECUTED IN A PARTICULAR MATERIAL, OR IF THEY

RESPOND TO PREVIOUS REALIZATIONS OF THE COMPOSER THAT MADE THEM OR OF OTHERS.

A VISUALIZED AND MATERIAL IDEA DOES NOT CONTAIN A PROGRAM. IT DOES NOT FOLLOW AN

INDIVIDUAL OR SOCIAL HISTORY, IT IS WHOLLY A REPRESENTATION OF A TERM.

THE PERFORMER, PLACING HIMSELF AT THE POINT WHERE IMAGE AND IDEA CONSOLIDATE, BECOMES

THE TRUE PALADIN OF THE EVENT. HE IS INTEGRATED WITH TOPICALITY AND THE IMPENDING

EVENT OF HIS IDEAS.

ACTA COMBINATORIAL IS COMPOSED

CONSISTENT WITH MUSICAL PRINCIPLES AND

IS INTENDED TO SERVE AS A SCORE FOR A SOLO

CELLIST TO PERFORM. THE INDICATIONS OF

SOUNDS, NOISES, AND MUSICAL RELATIONSHIPS

DO NOT FIGURE IN THE SCORE, WHICH IS PURELY

FIGURATIVE. DURATION OF PERFORMANCE

OF EACH PAGE OF THE SCORE IS DICTATED

BY THE PERFORMER; HOWEVER THE TOTAL

PERFORMANCE TIME OF THE ENTIRE WORK

MUST EXCEED 4 MINUTES, 44 SECONDS.

THE INTRODUCTION OF A NETWORK OF

NEOLOGISMS INTERSPERSED THROUGHOUT

THE SCORE, BEGS FOR THE PERFORMER TO

DEFINE HIS PERSONAL SYNTACTICON TO

EMPOWER HIS INSIGHTS.

IN THIS WORK, THE CELLIST INTERPRETS THE

SCORE ACCORDING TO HIS OWN ACUMEN,

INTUITION AND SENSIBILITY.

THIS SUGGESTS THAT THE WORK IS A

LIVING ORGANISM WITH A SPINE. AS SUCH,

PERFORMANCES OF THIS WORK WILL

NATURALLY REFLECT THE INTERPRETATION OF

ITS PERFORMER MORE THAN NECESSARILY THE

SCORE AS A TRADITIONAL COMPOSITION. SOME

OF THE SYMBOLS IN THE SCORE CLEARLY ECHO

WESTERN NOTATION.

AS STATED BY CARDEW IN HIS PERFORMANCE

NOTES FOR TREATISE:

INTERPRETER! REMEMBER THAT NO MEANING IS YET ATTACHED TO THE SYMBOLS. T H E Y A R E H O W E V E R T O BE INTERPRETED IN THE CONTEXT OF THEIR ROLE IN THE WHOLE. DISTINGUISH SYMBOLS THAT ENCLOSE SPACE; THOSE THAT HAVE A CHARACTERISTIC FEATURE.

WHAT SYMBOLS ARE FOR SOUNDING AND WHAT

FOR ORIENTATION? THE BARS IN THE SCORE ARE

THE MAIN AND MOST CONSTANT ORIENTATION;

WHAT HAPPENS WHERE IT CEASES (OR BENDS)?

DO YOU GO OUT OF TUNE? CHANGE THE

DIRECTION OF THE INSTRUMENT?

THERE ARE AN ABUNDANCE OF CONCRETE

SYMBOLS, THAT IS TO SAY THEY ARE NOT AN

ABSTRACTION UPON WHICH AN INTERPRETATION

CAN BE PLACED, BUT ACTUALLY HAVE A MEANING

IN AND OF THEMSELVES.

I AM OFFERING NO DIRECT EXPLANATION OF

HOW TO INTERPRET ANY ASPECT OF THE SCORE,

MUCH LESS THE NEOLOGISMS. ONE COULD

JUST TREAT THEM AS ANOTHER SYMBOL WITH

WHICH ONE IS WORKING WITH. HOWEVER, IT IS

PART OF THE ORAL RECORD OF PERFORMANCE

OF THE WORK, THAT THE NEOLOGISMS ARE

TREATED AS OUTSIDE OF THE SYSTEM.

17$%$$$%$$$%$$$%$$����d��k��

6:5

5.5”

habisa cogentrom

habisa solcoco

habisa ghentata

nabir colopesgra

illustranda fo

suo moneta

esten prll

bonmiyetta

ghesqui noisiettreyemeno boldann

acset moddo piema

dusout

planetas decomple

tempre i

poel nmento

eassoud moge

gg

hhhmmmmm

k

���� pppp

tenambre

forma colosta

9B9 �

quay barnard

aliesta reola

obfwiefpifj09uut40rfj0[-94jg09jrt3gh[r03jtgph[r-]02rjng[rg]-ek[prnbgu[gr9e-0ie2pkpoer[e0i-wq[pobfwiefpifj09uut40rfj0[-94jg09jrt3gh[r03jtgph[r-]02rjng[rg]-ek[prnbgu[gr9e-0ie2pkpoer[e0i-wq[pobfwiefpifj09uut40rfj0[-94jg09jrt3gh[r03jtgph[r-]02rjng[rg]-ek[prnbgu[gr9e-0ie2pkpoer[e0i-wq[p obfwiefpifj09uut40rfj0[-94jg09jrt3gh[r03jtgph[r-]02rjng[rg]-ek[prnbgu[gr9e-0ie2pkpoer[e0i-wq[p

romanat colar

exdept uladi

comth geraboth

arth noth

pike relou

sdo minore

code bikosolegno

atoma mellapho

poince bahto

du lululemo

kyri elliso pe compte

$!

gy retha bluo

Kolo

Trillend

>>>>

splinters in my physical future

Black flame opened

513

Organs against crazy concrete and exploding skiesOrgans against crazy concrete and exploding skies

descending steel

Boof! Assooff!

Vibrant Atla:

portcullis white oceanica fists grinding brain time as he laughs and laughs and laughs and lauaaghs and lauugehes and laffeesss, and luaeffes

Lips Sleep

cOTTON Cascade empties the s 00000000 89 999999 9 0 90 90 90 889 0 00treet

Poi:kio

7888

For corner, corner agile incest

IIncidentally, lots of grain: gain sounds snake

flowers, motored to vishonomatic grestology.

bested best rested rest deere John vested vestredreated frested nosted

78

62

55

24

17

38

57

59

9696

07

88

30

02

77

19

1717

39

48

59

60

07

88

0000

48

83

00

37

9

obfwiefpifj09uut40rfj0[-94jg09jrt3gh[r03jtgph[r-]02rjng[rg]-ek[prnbgu[gr9e-0ie2pkpoer[e0i-wq[p

pohmpomohtpomgrepomr

enchi fomara

Arctu Plevenia

sumpto mo uova bikemy sojournestal

canot mova novaega

abrain menota Yu heherewe

splay reade fortesta

plast estehnorah ghentisimmo

17$%$$$%$$$%$$$%$$����d��k��

6:5

5.5”

habisa cogentrom

habisa solcoco

habisa ghentata

nabir colopesgra

illustranda fo

suo moneta

esten prll

bonmiyetta

ghesqui noisiettreyemeno boldann

acset moddo piema

dusout

planetas decomple

tempre i

poel nmento

eassoud moge

gg

hhhmmmmm

k

���� pppp

tenambre

forma colosta

9B9 �

quay barnard

aliesta reola

obfwiefpifj09uut40rfj0[-94jg09jrt3gh[r03jtgph[r-]02rjng[rg]-ek[prnbgu[gr9e-0ie2pkpoer[e0i-wq[pobfwiefpifj09uut40rfj0[-94jg09jrt3gh[r03jtgph[r-]02rjng[rg]-ek[prnbgu[gr9e-0ie2pkpoer[e0i-wq[pobfwiefpifj09uut40rfj0[-94jg09jrt3gh[r03jtgph[r-]02rjng[rg]-ek[prnbgu[gr9e-0ie2pkpoer[e0i-wq[p obfwiefpifj09uut40rfj0[-94jg09jrt3gh[r03jtgph[r-]02rjng[rg]-ek[prnbgu[gr9e-0ie2pkpoer[e0i-wq[p

Romanat Colar

exdept uladi

comth geraboth

arth noth

pike relou

sdo minore

code bikosolegno

atoma mellapho

poince bahto

kyri elliso pe compte

$!

gy retha bluo

obfwiefpifj09uut40rfj0[-94jg09jrt3gh[r03jtgph[r-]02rjng[rg]-ek[prnbgu[gr9e-0ie2pkpoer[e0i-wq[p

pohmpomohtpomgrepomr

enchi fomara

Arctu Plevenia

sumpto mo uova bikemy sojournestal

canot mova novaega

abrain menota Yu heherewe

splay reade fortesta

plast estehnorah ghentisimmo

du lululemo