The piece is divided into two untitled movements which, with permission from Goodwin, anteroom performed in reverse order. In movement II. Goodwin, inspired by a recent interaction with Jaap Blonk, has arranged a system of connected groups of phonetic characters the performers are to move through freely. The phonemes are pulled from the first word of movement I. consider. Movement I. is entirely text-based and offers a meta-structure for a piece. It is an excellent example of the kinds of text-scores which originally sparked our interest in the medium. It's openness allows the performer to pour oneself freely into the music and into the performance, while its general guidelines offer helpful direction which aid in preserving a coherent intention throughout an ensemble.
Our process for realizing movement I. was as follows: improvise with the words with no prior discussion, discuss patterns and metaphors we noticed, improvise under more guidance, sketch a general graphic score, refine delivery. Through this process we were able to agree upon a point of unity which was realized by dropping metal coins into metal pots and revolving them in a counter-clockwise motion. We established two stages to precede the point of unity. First, Miller moved wood against wood in a vertical motion while Jackson moved wood against metal in a circular motion. Second, Miller moved skin against skin in a sweeping motion resulting in a rapid vibration between the two materials; Jackson, meanwhile, rapidly vibrated metal against metal. Each stage was divided into two characteristics: material and gesture. In stage one neither material nor gesture aligned between Miller and Jackson. In stage two gesture aligned while material did not. In stage three both material and gesture aligned. Thus, a simple three step motion towards a point of unity, followed by a pause, and, finally, a slow detachment.