“Dominos, Steps, Ghostskirt” reads as a chamber of cause and trace. The page stages a chain reaction where notational tiles topple through space, each glyph cueing the next event. Arcing slurs and red dotted connectors sketch paths of transfer, while stacked accidentals and beamed ladders propose steps that climb and buckle. The treble clefs act like wayfinding posts rather than ordinary clef changes, pinning orientation inside a terrain that behaves more like architecture than staff paper.
At left, the pale square is a negative photograph. Look closely and a woman in a skirt appears faintly, her figure ghosted over a staircase whose risers hold domino chips that ascend into the mouth of an industrial tannery. This image anchors the title. Dominos name the chain reaction. Steps name the staircase and the score’s measured ascent. Ghostskirt names the residual body that haunts the mechanism.
Center frame, a vertical strip of sprocketed film becomes a spine for time. Orbiting rings of serrated waveform suggest rotating focus, the ear circling a sound to inspect its grain. The circular gray modules and orange cap in the lower right read as resonant chambers or valves, a reminder that the page is also an instrument diagram waiting to be assembled by breath, bow, and touch.
The score treats notation as choreography. Domino logic organizes entries. Steps measure energy, not only pitch. Ghostskirt records the afterimage of motion that remains once articulation has passed. The result is a lucid paradox. Everything is diagrammed with surgical clarity, yet the performance it invites is tactile, unstable, and vividly alive.
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