One pianist is jealous of another, whose piano produces more pleasing constructions than hers and often with moving parts. Her attempt to contrive an exchange is unsuccessful.


A man plays for several hours and opens the lid to reveal a pronged and dented apparatus he subsequently puts to use
in the kitchen.


Of the four piano-playing members of a young family, not one can produce anything but adjustable book rests. They send the piano back for refitting. It is returned unchanged and with a letter guaranteeing the arbitrary configuration of each instrument’s mechanism as a prerequisite of its authenticity.


A broad comparative analysis begins among musicologists
at the London schools, pairing scores with their resulting constructions and cross-cataloguing them both chronologically and by provenance of composer, pianist and (provisionally) technician.


Venue programmers arrange for pieces to be pre-played and for their objects to be displayed in the auditorium throughout the final performance of their originary pieces.


A composer isolates the effect of each key of her piano and with the lid raised learns to compose objects according to visually aesthetic criteria. She learns to sight read the constructions produced on her own piano and to play them back into sound.


A man finds a perfectly sculpted bust of Franz Schubert under the lid of his piano as he concludes the Trout Quintet in A. The technician to blame is swiftly identified and an example is made of his dismissal. Pianists subsequently suspect their own pianos of equivalent calibrations and play with apprehension. Those who do not take advantage of the manufacturer’s newly extended exchange policy turn exclusively to improvisation and composition.


A pianist makes it a point of pride never to lift the lid at all. He prefers the constructions to accumulate in confinement and reveal themselves by force as their uppermost parts begin to press against the lid from inside.


The improvisation of an inexpert performer produces a scale rendering of a rural property with pear tree in full fruit. A bewildered technician identifies in the vignette her childhood home whose architectural and horticultural detail she had long forgotten. Following an investigation, the correspondence is attributed to uncannily precise sympathetic correlations between pianist and technician who are consequently furnished with one another’s telephone numbers as a gesture of goodwill.


Under increased pressure to guarantee the principle of arbitrary configuration, factory foremen enforce restricted access to mechanical testing in post-production.




ISBN 978-0-9565919-2-0
ISSN 2044-2599