“Empty Drawings”- A Collaboration Betwixt Linda Lynch and Heller Levinson

   

1

tantamounts                talk

committee

[bracket orphans

hesitancies

lush audibility

11

plus              flush

subtraction

r   e   m   a   i   n   s

111

drawing empty:    drawing out, withdrawal

, extrude

empty drawing:   a pull in(halation),   an invitation

pulley-in(g)

muffled lace

Heller Levinson & Linda Lynch- “lines erupting”

hurly burly   PoptabtapRapa’boomboom boundwound zippery blare saw buzzardry

buzz churn chomp coil blaster

zithersslitherroutereachmonstrositycrushfactor

puissance         push        power           (-) fully                        loaded

loadfully          loading                        amassment ://: dispersal

                                  — disburse

                                        — burst

                                               –bust

                                                     — bust out

moil roil burble boil blizzardry bloom

to go forth, violently, — to be sent, a banish, …  to will, … a vanish, erasement

exfoliate…exfoliation

to arise, extend, blast unfurl unfold up/out of,              taproots

                — go forth —                                                        wellings

in the going forth

congregations (chorus lines, batteries) pre-date, gather/assemble/accumulate 

the materials/ingredients out of which/through –>fuelings  actions  accruals , agitations   

coagulation, agencies commingling, causal commontionery

(boardside bombinant bombard bazaar

   bomb(s) away    bluster bristling blurt brood-bound cylindrically combustive

saltation smote

     lurch-ridings      carousel flexions           dungeon press

                 depth charge                    density flush

                                       rodomontades)

the eruption confiscates the erupting & commits it to the hurl

    — erupting consecrated

void ambushed by collectivity

up-rising

congealment concussing

convexity spasms

Heller Levinson- “Horse”

Horse

the digits cobbling

                                    clubbing the hoof corral

peristalsis

hooves of crepitant

this surge    these leggy prancers    these scrupulous gymnasts throaty upon the earth

most noble animal

sprig nymph                Godiva shareholder

first lute master

choir of mighty gallopers

sing

rearing peals of skyscrape thrall

the trot that establishes then oozes gallop

Pegasus

Bucephalus

Trigger

Sleipnir

Xanthus

Man O’ War

Whistlejacket

Hi Yo Silver

harness is a construction for intimacy

strapless intimacies, …  amassments

            Horse is one of the few marveloulsy muscled , airily coursing animals that doesn’t want to eat you.

to cantilever the stirrup a time of reprieval and renewal

saddle up

giddyup

loosed in the ecumenical corral these nuzzlings:

Xenophon says, in his The Art of Horsemanship:  “And in his frame, the first things which I say you ought to look at are his feet.”

Eohippus[1]  piano-ing the earth, to play upon the earth as if  you were tickling your beating heart beneath it, to spectate that …

the individually segregated congregating to hoof, a clopped ensemble, can support more mass, now percussive, more of a striking instrument,

fingers, … fist/club

support is an instance of mass

 piggyback the man

Virilio writes:  “Man is the passenger of woman, not only at the time of his birth, but also during their sexual relations….  Paraphrasing Samuel Butler, we could say that the female is the means that the male found to reproduce himself, that is to say, to come to the world.  In this sense, woman is the first means of transportation for the species, its very first vehicle, the second would be the horse with the enigma of the coupling of dissimilar bodies fitted out for the migration, the common voyage.”

From this, we seek to explore the phenomenology of man’s initial dismount from his primary vehicle, to mounting his secondary.

dismount … dissolution?

is the desire to mount the horse, this more steeply alterior body, an erotic ilmpulse, an impulse to exotic.  What does the exotic offer?  Is each serial vehicle – woman[2], horse, train, automobile, airplane – an additional erotic encounter?

range of motion           explicities

idea hopping – abstraction mounts?

with

mount(ing), … here

to bring forth               covering

to cover,   on top of …

climb upon, to en-counter       voicings

the over and under    attaching

attach-ments                the cling to

umbilical soundings    to further

to go

gather

in an ensemble (to assemble)

erasing the self in this act of twinning

romance bridles//strapped intimacies

the support bra

support and port

demiurge         the urge to move is the urge to extinguish where you are

with

wheel, …         rotation,

 go round & round, to

& away from      rubbering to jointure   dis-

misses here delivers there

proximity legislator

campaign manager

reeling cartographer

to mount the horse to mount the machine is to breakthrough the borderline, it is to trace oneself out of the isolate self, it is a gesture toward Alterior Organization …

“As a species, horses could not have survived without human intervention.  Humans could not have created wealth-generating (and, for that matter, leisure) opportunities that come with large cities without horses.  As the perceptive 1881 New York Times editorial observed, ‘Deprived of their human servitors, the horses would quickly perish; deprived of their equine servitors, the human population in cities … would soon be in straits of distress.’”[3]

Horse is bridge, is root splurging through sinew, is a sienna siren strophing the curvatures of an outsourcing periphery sonata, is the declamation in foetal bounding, the orchestral lightning spraying through the forelegs of a rearing defiance …

“Among the Scythians, when a leader died, his horses were killed & buried with him.  The expectation was that they would be re-animated to serve the dead man in the after life.”

Re-Animation:

stallion black heaves from the stable cuckold-winds toss manefuls kicks & furies prows vertical lavades to erring Jezebels – converyors of halters grooms stables whips saddles coachmen riding crops all manner of tack rupture annihilative – the landscape grows cumulous sinewy, voluptuous mares trot from the forest, the black glee grows, pony stallions squeeze from his monumental shoulders, the de-humanization is vast & good, it is sound, pools of union flutter the tribe, there is intercourse & pawings ….

Consideration:

& horse looked unto man & saw that man was puny & would need speed, elevation, & haulers, saw that they could provide man with horsepower (33,000 foot pounds of work per minute) & great diversion & prove a showpiece & companion & understood that man could be good & could care for horse & would mitigate a great many perils that might befall in the wild & horse considered long & mightily & chose man to groom him & feed him & to tutor him in the dance … & man undertook horse & prospered & to this day no other animal summons the monies that horse does ….


[1] Eohippus or Hyracotherium, the earliest believed ancestor of the horse.  “They had four toes on their front feet and three toes on their hind feet.  Each toe ended in a separate small hoof.  Large, tough pads similar to those on a dog’s foot kept the toes off the gorund,  These pads bore the animal’s weight.”  The text is exploring the ancestral telluric sensitivity prior to the padded toe evolving into the more hardened hoof.

[2]   Woman/man is meant to be used interchangeably with no gender pronouncements – other than child-bearing – intended.

[3] Clay McShane and Joel A. Tarr, The Horse In The City:  Living Machines in the Nineteenth Century (Baltimore:  TheJohnHopkinsUniversity Press, 2007), 178.

Heller Levinson- “Cymbalology”

Cymbalology

(for Anke L. Nolting

 

Zildjean           Sabian             Meinl               Wuhan

metallurgical crash cousins synoptic palimony           circumlocu-navihabitational

thinnest of instruments           sound

resounding bound round         clown sound

pound down clown round      pound pound     ping     a-ling

Samba sound   Rock    Mambo   Hop   Night In Tunisia sound

go round round           around bound              circu-larity       cymbal-solidarity

cymbal-hilarity            cymbal celerity

cymbal-sizzle cymbal pop       cymbal singularity

singularly cordial-convivi-al-ity

 

                        [This is an installation piece.  The Galaxy Gallery in Chelsea created an acoustical marvel to showcase my CymbalOlogy installation.  Cymbals from around the world, cymbals of all shapes and sizes, are arranged in Smash-Fashion.  Striking implements — sticks and mallets, brushes, etc. – are placed on wall mounts to enable gallery guests to contact the various cymbal-essences.  The Galaxy Gallery champions the world’s first Cymbal-Scape.]

 

::  The cymbal was first used by an orchestra in the 1680 opera Esther, by Nicholas Strungk, performed in Hamburg, Germany.  The Zildjean company in the United States manufactures the most widely used cymbals in the world.  The company has been making cymbals by a secret method since 1623. ::

    ADVERTISING   SPACE  AVAILABLE                                  

  TO FUND THE CYMBALOLOGY 

INSTALLATION PROGRAM                                                                                      

APPEALING TO LARGE BRAND NAMES SUCH AS WAL-MART 

THE GAP  COCA COLA  FORD   McDONALDS   CINGULAR     

VERIZON      CALVIN KLEIN     ARMANI       GUCCI

and

LOUIS VUITTON

A musical cymbal sound is one that blooms or grows after it is set in motion.

amalgamation agglomerator cruise missiling diameter stretches a shame if Kangaroos lose that grace                    

identifying marks establish creature-hood      the bell is cymbal-hood

                   (salt solutions salinity palpable saliva stations)

providential-ity     in psalm 150, David exhorts “Praise him upon the loud cymbals; praise him upon the sounding cymbals.”  and here they come, the janissaries, loud sounding and Terraplane rousing, with their armies, their shouts and hurrahs, their edged weapons spitting fire, their clanky shields whacking through enemy and field, surmounting fiefdom and moat, sound as support as chronicler and bastion basher as cavalry and charger siege engines trebuchet trench counterweight torsion master masterful mankind mastermind cymbal STRike

cymbal MiGHT

 

the sound of two great cities – New York & London, or Paris, say – performing, rising up, melted and hammered into format, tempered, and should they strike in this fashion, crash together, two giant Cymbal-Cities (New York & London, or Paris, say), & were it pleasing, would other cities conjoin, succubussed by the music in their ears, their very marrow ringing, could this be the start of a movement –

Barcelona & Naples — *********

Chicago & Baghdad –*********

Tampa & Tehran — *************

Moscow & Mogadishu — *********

Milano & Michigan — *************

Bogota & Berlin — ****************

Sao Paulo & Reykjavik — ####*******

will this sound production, ringing from the center to the extremities, create a global giddiness, a planetary parade – drum sticks, bass drums, cymbal crashes, trumpet voluntaries, color garrisons overloaded, unconventional and ultra-beaming, could this musicality/communality/commonality (and why not) produce a paradigm shift, a political revolution, a … – P-A-R-T-Y!!?

 

            and does this (and why not) spell an invitation to the solar system to respond, to behave in kind, for earth to clay & clang with Moon and then with Venus, & Venus with Mars, & Mars with Jupiter, inciting a chain – planetary – reaction, — each planet being granted a “musical-leave-of-orbit,” & as this jangling carillon honking prospers, producing squeals & peals of planetary ploans, won’t other galaxies take notice, desire to plunge into this alloy spinning dervish fest, …

 

            Important to the symphony orchestra is contrast.  Seek exaggerated highs & lows in choosing your cymbals.  Cymbalic mood swings.  Prescription drugs to promote Cymbal-Calm ….

 

‘working the iron cymbals

I take the low road gouges

in the esophagus of the right eye

 

nuyon kidi

nuyon kadan

nuyon kada

tara dada i i’

 

corralling the gold cymbals

I load the high road gauges

in the big toe of the engine room

 

cyber spume     crypto cycadaceous syllogistic jisms

splash sumptuosities

crackling correlative cambiatas

 

cymbalogy-biology-symbology-astrophysiology cartographygeographytopographyapostropechoreography

 

Suggested Cymbal Soundings:

Chico Hamilton’s 32 second Eric’s time, Romeo and Juliet, Mozart’s opera The Abduction from the Seraglio, Beethoven’s Ninth Symphony, Max Roach’s simoom-cymbals / tongue-wafters/on Delilah/Clifford Brown & Max Roach, Elvin’s entrance on A Love Supreme – buoyed harem sizzle – Rachmaninoff’s Piano Concerto No.2, the New World Symphony, Das Rheingold, Scheherazade, … your hometown marching band

 

‘Most cymbals are made of an alloy comprised of varying percentages of copper, tin, & silver.  After the cymbals leave the hammering area, they are lathed for a consistent & uniform taper.  Lathing is a process in which the oxidation is removed and tonal grooves are added.’

 

Schooling/lathing – school children de-oxidized, spun into vapor, vapid mind pits, calcification clusters, wrapped around technical gadgetry, drips spilling – intensive care unit — from their brains,

mind-lathing our young with – unlike cymbals – no redeeming sound feature

 

‘Characteristics that affect timbre are the bell size , cymbal weight & profile.  The larger the bell, the more overtones the cymbal produces.’

 

shoaling buoyancy fanfare dollop truce

a fruit repast                calabash, pineapple, oranges, gourds zingling from cymbal slake

a flying citrus fiesta       encountering in air, seed spluttering playful humbuggery

            tintinnabulation saltatory salutation stall

 

B.B. King’s Lucille truss rod endlessly rocking

 

‘A full sound is one that produces partials.  It is not the distinct sounds but rather one broad articulation that blends the sound of both cymbals.’

 

coming together the coming together & entailment outcome contact outcroppings the misuse the use the downright utility/futility of entity-crash … no abbreviation capable of diagnosing the plagiarisms of horn flagellant overexposed bushwhack cafe air pocketed coffers trilogy

 

does one morph free like sound?  an emotional organism rippling into the ether?  at point of contact, where is one?  suction cusped?  compressed into a dualistic blur?  a duality posturing fusion?  a flight to the elusive and legendarily promising One?

 

navigate sound, laboratize sound, navigate contact-ings, penetrations, trip the peel lids to child slide boatswain bowsprit pistol whip the blueprints

                                                                                            gas firing

oven splutter triadic marshmallow sundae sliver timbre palette roastings      psychedelic blues biopsies                  dream bends                climax seeds                sequin hammers

glimmer arousal jostlings splash eighteenth century enlightenment rakings

 

Hal Bennink at Tonic1/9/07:

‘I play what they give me.  I used to bring my own cymbals … but now I play what is there.  My goal is to come into town with a matchbox and 2 matches and play the hell out of it.’

 

to the playground

to play is to ground

                                    to be ground-ed

clown sound resound bound round

                        Formica filly growth the bloom

frills & flummeries

                         frolic frolic candle bake

                         show me yours I show you make

 

rousing mandibular veracity fustigant perse

 

playground corporeal coil corporal the body preach the body Sound the Body Cymbalic!

lungs collude & collide – oxygen SPlash

kidneys thunderclapping

right atrium/left atrium

small intestine/large intestine forte-piano crash // clams prestidigitating

vulva lips

testicle gong

buttocks bash

hallelujah hip lock hammerheads

traditional hand hammered cymbals in pure B20 bronze

smash lash envelope CRASH

 

‘For I was Inca but not King.’

                                                  (Elvin cymbal scintillator

and I am stable and horse in the dying heart of the cloud

ringing perpetuosity prayers from fractious plates

palettes unwhettted & scolded on  the  eve  of  levitational  storm

 

 

Sources:

1.  The Ultimate Guide to Cymbals by Nick Petrella.

2.  Antonin Artaud quotations from Here Lies (Exact Change, Boston, Translated by Clayton Eshleman, 1995, page 201).

Heller Levinson- “from hands this guitar”

from hands this guitar

                                          

arc funding utter

       — libretto arch

[11/29/08   107 Broadway

           Guitarists

    Joe Giglio/John Stowell]

attack                settle

scrum ambush volley          rivulet rue

the fire next time

scatting Satin Doll press Blakey roll Blasts careen cylindrical pistol bricolage pops                   

                                                                      lambent tango reed sustain Satie drips

                                                                                            serried ruminants

rapid fire ascension transportationals                  seaweed drift skirt folds meditation moss

                                                                                                        ferrying breakwater

                     b(g)lade s(t)urf runner c(g)lad (light)ning breather

          {Lesion:  the fifth string of Joe’s Forshage Clownfish Ergonomic and the first string of John’s SoloEtte quit their guitars.  The players remark, are non-plussed.  The strings tangle and cavort.  Divide and sub-divide – four strings, eight, sixteen, form into hands, shadow the player’s hands, elongate into pure fingers, imagine music without fingers, champion fingers – recollect – eight, four, two:  Music is a collectivizing and divisionalizing of tones.   Can there be an occupation with no occupier?  The absence on the fretboard.  Coming to this absence.  With aptitude, with ammunition.  Migrating this space to purly allocatives ravenous with gypsy garish whorl dress churn.  Session:  the strings return –enlivened from exploring the prehistory of sound — settle & attune.}

                     

                      The Hand is a meditation upon design.

                 

                               Embraceable You

                               four handed lunge

                         white Percherons carriaging tune

                              embracing a tune

                              embarking upon a tune

                                    — tune-full         full-filling

tune                  attune-ment           adjustment ://: augment

                                Joe/John

perfervid robust lasso leaps spur placement perfidy city boulder mass transversible pasta breach

                                                             succor carousels … pink flamingos

carpentry Camargue stallions

                                   (rouse) ambulan(ce)t ruse

                    {the spine connects the brain to nerves in the hand}

Pollock splash Klein swipes                           El Greco     Picasso

                                                                                 Blue Guitar

                                                                         Rothko pastel sleights

                                                                                      (sleddings

                  thi(e)s(e) hand(s)            thi(e)s(e) guitar(s)

                  

                                   Con

                                   — Versions

                                   

                                    the

                                    In

                                    Contro

                                    Vertible