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Collision Blossoms | SURformalism and the Evasive Principle

experimental writing and literature | performance art | performance scores | sound

“Interested mostly in the way things come together unexpectedly when forced into proximity, I have presented performances in keeping with this, which are in large experiments that I have not tried before - working with sound, object making, and writing, likewise. Each division of the expressive catalog you might define reveals its own conniptions, fusions, and collision blossoms. As this is a written medium, I have presented a work in writing, which maintains this principle throughout; subject my thought and catalog of memory to forms as varied as I am familiar, and try not to infuse it with my expectations. I suggest in this reading others do the same.” Lewis Gesner

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Collision Blossoms

Someone learned that they could paint a wall inside the air. It hung and you could walk through once it was dry. You dust the speckles off yourself, and should repaint if you would pass through it too much, but as a wall, it served its purpose, and could block the view of something or some land another owned and wanted to protect from being seen which some have thought should not be something done for free. While the land was owned the air above was not so subject to a clearly written rule, so there came also some who claimed that they could own the air, and painted it and blocked the views of some who owned the land who wished to see it...

Enter with a large bag. Empty bag onto floor. Many tightly wadded balls of paper fall out. Take them one at a time and uncrumple, flattening and smoothing, and then stacking.

There is weight of several objects in a potato sack. We should not discuss what they might be, but feel them and shift them around and over each other, and try to force the sack into different sized areas and enclosures, and enclosures that are shaped different though of the same volume but requiring the objects in the sack be relocated within.

Download Collision Blossoms (pdf, 1.2MB) (Previously published by White Sky Books)

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SURformalism and the Evasive Principle

Order of urgency simply means the compelling or compulsion to use materials in a certain order, where getting to something first is based on excitation to act on it over other things, with no thought to overall narrative-like sequence of presentation, or performative contour of large to small, low energy output in performance followed by high, and other such performance considerations that would be compositional and prepared thought of a performance or construction’s internal working as a balanced form. In other words, it is important, for simplicity, to, to use the analogy of a meal, if the desert looks most appealing, than, eat it first- reacting directly to impulse- with no regard to the killing of appetite or affect of food taste sensations in the wrong order, or, to even the completion of the meal.

The score is a useful and directional tool for the most open form as well as the tightly inflexible.

Download SURformalism and the Evasive Principle (pdf, 485KB)

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