"Acta Combinatorial" for Solo Cello Bil Smith Composer final copy (Dimensions 60" X 90") from the opening performance notes: 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.

3. 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,SHAMEFORTHECONTEXTUALELEMENTS.THESEPOETICETYMOLOGIESRECALLARGUMENTS
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
INTERESTINGFIBERABOUTIT.IT’SALMOSTLIKEREADINGFINNEGAN’SWAKEANDHAVINGADMITTANCE
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
ABSTRACTIONUPONWHICHANINTERPRETATION
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.

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12. 17$%$$$%$$$%$$$%$$dk
6:5
5.5”
habisa cogentrom
habisa solcoco
habisa ghentata
nabir colopesgra
illustranda fo
suo moneta
esten prll
bonmiyetta
ghesqui noisiettre
yemeno boldann
acset moddo piema
dusout
planetas decomple
tempre i
poel nmento
eassoud moge
gg
hhhmmmmm
k
pppp
tenambre
forma colosta
9B
9
quay barnard
aliesta reola
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exdept uladi
comth geraboth
arth noth
pike relou
sdo minore
code bikosolegno
atoma mellapho
poince bahto
kyri elliso pe compte
$!
gy retha bluo
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pohmpomohtpomgrepomr
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sumpto mo uova bikemy sojournestal
canot mova novaega
abrain menota Yu heherewe
splay reade fortesta
plast estehnorah ghentisimmo
du lululemo