Method No. 17 (November 3, 2002) Guest: Makoto Nomura The bulletin "Method" is an email bimonthly of free forwarding. The purpose is to pursue and exhibit method arts, such as method painting, method poem, and method music. If you have any trouble with receiving, please contact us. We will meet your wishes. - "Method" members: Hideki Nakazawa (artist), Shigeru Matsui (poet), Masahiro Miwa (composer) - Manifestos of Methodicism http://aloalo.co.jp/nakazawa/method/ - Japanese translation http://aloalo.co.jp/nakazawa/method/index_j.html Preface by Masahiro Miwa Guest's manuscript: Shogi Composition (1999) by Makoto Nomura Guest's work: Musical Scores for "Shogi Composition" by Makoto Nomura Members' manuscripts: Appearance: From Euclidean Geometry to Topology by Hideki Nakazawa Machine for Writing Poems by Shigeru Matsui Building a New Religion by Masahiro Miwa Members' works: Circuit No. 2 of a Regular Hexahedron Type by Hideki Nakazawa Quantum Poem No. 50 - 60 by Shigeru Matsui Fragment, from "For All Time" for Harp by Masahiro Miwa Information, Editor's notes -- Method No. 17 Guest: Makoto Nomura Preface by Masahiro Miwa The guest of this time, Makoto Nomura, is one of those musicians who continue to engage in some of the most unique activities in the Japanese music world. For instance, his experimental group composition in recent years, "Shogi Composition," if considered merely for its clear rules, should no doubt be ranked as "method" music. (Shogi is a Japanese board game like chess.) However, the appeal of Nomura's works lies not in any ostentatious intellectual challenge but in his search for the joy that music originally possess ... or possessed. This joy is the joy of making sound, the joy of telling a story, the joy brought by our amazement at a world changing in the continuum of music. Though these pleasures are surely forbidden in Methodicism, the craft of Nomura's music lies in structurizing as action what only our body knows; going beyond a simple quest for pleasures. P-blot http://www.arts-calendar.co.jp/P-blot.html Guest's manuscript & work: SAMPLE TITLE OF THE MANUSCRIPT by Makoto Nomura Shogi Composition is a kind of recipe for collaborative composition among various people with different musical backgrounds and various musical abilities. It is just like playing cards around a table. A few players around a table compose short passages one after another instead of playing cards. Please enjoy it and compose new interesting music! 1) The number of players In order to do Shogi Composition at least 2 players are required. Although you can do it with 10 or more players theoretically, with the more players you will have to prepare the greater amount of time. Practically speaking, the proper number of its players can be 3, 4, 5, or 6. Each player is supposed to bring his/her musical instruments, some objects which makes sound, etc. 2) Useless paper etc. and coloured pens/pencils etc. In order to do Shogi Composition you have to prepare paper to write music down. Of course you don't have to prepare 5-lined-music-paper because in Shogi Composition each player is allowed to write music down in his/her own way. You can use drawing paper, useless calendars, useless posters and so on. You also have to prepare coloured pens/pencils etc. Each player is supposed to choose one colour and use always the same colour. When you complete the composition, the paper will be the artistic picture as well as music score. 3) The process At first you have to decide who will start, and which way to go round the circle. Then the first player starts to compose his/her part on his /her own instrument(s). When s/he completes his/her part, s/he writes it down on the paper in his/her own way with the coloured pen/pencil. Please notate it in any way as you will remember it later. You may draw a picture how to play, you may explain by sentences, or whatever. As soon as s/he writes it down, s/he hands the paper to the next player, starts to play his/her own composed part and continues it until his/her turn comes around again. Similarly the next player makes another part which goes well with the first part, writes it down in his/her own way next to the first part on the paper, hands the paper to his/her next player, and continues the part until his/her turn comes around again. Similarly keep this process. Finally the last player writes his/her own part, s/he hands the paper to the first player. Then the first player stops playing and listens to every sound, makes a new part which goes well with what other players are playing, writes it down on the paper, hands the paper to the next player, and continue it until his/her turn comes around again. Similarly continue this process. Each player's notation does not have to be understandable for everyone. If each player understands his/ her own notation and replays it later, any notation can be welcome. The length of each part does not have to be the same. For example after the first player composes a 4-bar phrase of 4/4 meter, the second player can compose a 2-bar phrase of 7/8 or a 10-second-graphic-notated part. Continue this process without any break until you can not find any space to write down on the paper. When the paper is full, composition is finished. Don't stop the process until the paper is full. If you can't help going to the toilet, wait for your turn to compose. During your turn you may go to the toilet quickly. For musical reason having a break during composition is absolutely bad. 4) Performance For the performance, at first the first player starts his/her first part and hands the paper to the next player. Then the next player starts playing his/her first part and hands the paper to the next player. Similarly keep the process until everyone plays every part. Consult and decide how to finish the music before the performance. In order to play fluently, practise the piece you composed according to the Shogi Composition many times before the performance. For example it takes 2 hours for composition and only 6 minutes for performance. You may photocopy the paper for each performers. Musical Scores for "Shogi Composition" by Makoto Nomura http://aloalo.co.jp/nakazawa/method/g017nomura.html A few examples of written scores for Shogi Composition. Members' manuscripts & works: Appearance: From Euclidean Geometry to Topology by Hideki Nakazawa Every art concerns both logic and sense, but the method art does logic more than sense. For example, ordinary visual art is strictly dominated by its appearance which visual sense determines, while the method visual art is not always dominated by its appearance. Rather, it is strictly dominated by its method or construction or logic. To seek method art is to discard sense and to choose logic, that is, "from Euclidean geometry to topology" using the terms of geometry. Suppose there is a simple electric circuit which consists of a battery and a midget lamp and two cords which connects the battery and the lamp (*1). If this circuit is an ordinary visual artwork, it matters greatly whether the cords are five inches long or seven inches long because they have different visual appearance. The issue of whether five or seven may manifest the artsit's aesthetic value. But if this circuit is a method visual artwork, it does not matter greatly whether five or seven because they have the same method or construction or logic as an electric circuit; the same electric current, the same voltage. These two standpoints can be explained as: ordinary visual art is dominated by Euclidean geometry which treats quantity as well as form, while the method visual art is dominated by only topology which treats only form. CGs may be one of more familiar instances. If you are an ordinary visual artist, it matters greatly whether you print a certain CG data in a five-inch square or in a seven-inch square because they have different visual appearance, that is, different quantity. But if you are a method visual artist, it does not matter greatly whether five or seven because they are exactly the same as CG data, that is, form. Or, some of my artworks are text-based. If I am an ordinary visual artist, it matters greatly what kind of font I use because they have different visual appearance. But if I am a method visual artist, it does not matter greatly what kind of font because they are the same row of letters. This is another example for the Euclidean geometry and topology. Accessories are of Euclidean geometry, while order is of topology. I think this argument can be applied not only to visual art. For example, musical performances are of Euclidean geometry, while musical compositions are of topology. (*1) My new artworks are the series "Circuit." Machine for Writing Poems by Shigeru Matsui When poetry was born, the God existed. The God was the personification of the outside world which could not be seen. Phenomena beyond one's prediction seemed to be expressions of the God's will. For instance, a natural phenomenon was the expression of the God's will. Therefore to write about transition of nature and seasons was to know the God's will. They called it poetry what the God's will was written. And the God's words needed a different structure from general ones. In ancient Japan it was meter and repetition that mainly characterized the God's words. As a result the fixed form of the verse was completed to know the God's will. That is Waka, a Japanese traditional poem. To write the God's will in characters and tell it to ordinary people was the duty of a man of religion and a statesman in the period of theocracy. They were emperors and aristocrats in ancient Japan. So they became writers of poems. The God's will was written in annual events performed at the turning of the seasons and funerals. And those expressions were naturally stereotyped. As time went on, the fixed form became dogmatized. For example, they made a poem A at a natural phenomenon A' and a poem B at a natural phenomenon B'. That became like a function. The God's will was transformed automatically in accordance with the fixed form. The expression of the God's will became fixed. Emperors and aristocrats came to write poems not to know the God's will, but to guarantee their own existence. But the God has been dead since the 20th century. In Japan the then Emperor denied his divinity in 1946. That is to say the poetry has been dead, too. But the form and the deed have remained as tradition. If I am to concern myself with poetry in the stream of this history, I have to be no longer a part of the traditional form and the deed. Therefore I have become a machine for writing poems. Building a New Religion by Masahiro Miwa Someone said, "I am jealous of religious people, I too would like to believe in something." The strangeness of this statement comes from the fact that originally, the meaning of the word "believe" went beyond those of transitive verbs defined in respect to a subject influencing on a given object (*1). In other words, "to believe," in essence, is neither active nor conscious, but denotes the state of lacking doubt. From this, it could be said that the person above believes in the fact that he has no religious belief. In this way, the belief that data streaming on the internet from some unknown origins could actually be a message from God is not something meant to be the object of scientific scrutiny (*2). Even if, after having researched the IP address of the sender, it comes out that the data in question was actually intentionally generated by someone, this simply means to the believer that God worked through this person to get his message across. To push the example further, manipulated by something that goes beyond human understanding (God), it is possible that the person who is sending the data himself, unknowing of the truth, might be utterly convinced that "this is a new form of musical presentation that I, myself, came up with." However, should he come to doubt this interpretation of his action, see it only as one possible explanation, or see it as the product of a certain faith in the concept that people act of their own free will, he would come to realize the real meaning of his daily goings; that might be said to be the birth of religion. (*1) "Believe" is always a transitive verb in Japanese although it is an intransitive verb in some cases in English. (*2) cf. Propaganda Broadcast from the Head Quarters of "The New Era" http://www.The-New-Era.org/ Circuit No. 2 of a Regular Hexahedron Type by Hideki Nakazawa http://aloalo.co.jp/nakazawa/method/work017.html Batteries are authorities, lamps are meanings, and the circuit is the device which incarnates authorities into meanings. Series "Circuit" treats lines or form, not dots or color. The form of "Circuit No. 2" is topologically congruent to a regular hexahedron (cube). The exsistence of two batteries symbolizes the plurality of the authorities, that is, collage in the context of art. Quantum Poem No. 50 - 60 by Shigeru Matsui http://www11.u-page.so-net.ne.jp/td5/shigeru/QuantumPoem.html Works from September 3 to October 27. Fragment, from "For All Time" for Harp by Masahiro Miwa http://www.iamas.ac.jp/~mmiwa/F-AllTime.html A visual representation of the melodies from my harp piece, "For All Time." All the pitches used in this piece are chosen only through a self-feedback algorithm. cf. "For All Time" for Harp http://www.iamas.ac.jp/~mmiwa/AllTime.html (only in Japanese) Information: from Makoto Nomura - My new CD "Semi" is going to be released from Steinhant in December, which includes 3 pieces: "Semi" (2000) for Javanese gamelan, "Semi Bongo" (2002) for koto ensemble by 31 musicians, and Shogi Composition piece by 21 musicians "Semi Ogura" (2002). - P-blot, which is a keyboard harmonica quintet, holds a concert at Monnaka Tenjo Hall in Tokyo on January 12, and at Sazanka Hall in Nara on 16 March 2003. - P-blot is releasing its first CD in March. - My new piece for syamisen and marimba will be premiered on 8th March in Kyoto by Kazuko Takada and Mutsumi Tsuzaki. - Another new piece for koto duet will be premiered on 9th March 2003 by Naoko Kikuchi and Shin Ichikawa. from Hideki Nakazawa - I am now participating in ISCP in NYC. I will be in USA for a year. November 10 ... Open Studios as part of the Asian Contemporary Art Week. December 13-14 ... ISCP Open Studio Exhibition. http://www.iscp-nyc.org/ - Solo show "Set" at SAI Gallery in Osaka is being held until November 9. (Solo show "Circuit" at Gallery Cellar in Nagoya ended on November 2.) http://aloalo.co.jp/nakazawa/200210cellar&sai/ - Group show "Tanagokoro 8" until November 23 at Roentgenwerke in Tokyo. - Essay "The Third Surrealism, Its Contradiction ... Art Therapy's 'Possibility'?" on the coming MOOK by Filmart (only in Japanese). - Mails to and fro between Hiromi Unakami and I, the second round on the coming Korogi-Kirigirisu (only in Japanese). from Shigeru Matsui - Contributed to "Kitkat+" http://www2u.biglobe.ne.jp/~artbooks/kk/ - Contributed to "suigyu" http://www.ne.jp/asahi/suigyu/suigyu21/ - Perfomance "READING" on December 7, 2002 (Tokyo) http://plaza13.mbn.or.jp/~rensyu/Reading.html - "About Method Poem" at Urawa Art Museum "About Method Poem" is an event related to the exhibition "Melting Point: On Poetry and Sculpture" by poets and artists. Perfomance and lecture programs are organized by Shigeru Matsui. 1. 'What is Method Poem?' at 2:00 pm on December 21, 2002. 2. 'One Hour for Poetry of Shigeru Matsui' at 2:00 pm on January 5, 2003. 3. 'The Recital: Method Poem and Surrounding Arts' at 2:00 pm on January 19, 2003. http://www11.u-page.so-net.ne.jp/td5/shigeru/info.html from Masahiro Miwa - World first performance of; From "an administrative daily report by the office on day nursery, the department of social service, N city" for a cello and a computer, composed by The Formant Bros. (Masahiro Miwa & Nobuyasu Sakonda), will be performed by Yuu Nakata (vc) on December 19 at Tokyo Opera City recital hall. from "Method" - Event "About Method Poem" ... see Shigeru Matsui's info. - Back numbers http://aloalo.co.jp/nakazawa/method/index_e.html Guests up to the issue No. 16: Motoaki Shinohara, Toshiaki Furuya, Masahiro Miwa, Akira Tatehata, Kenjiro Okazaki, Haruyuki Suzuki, Tatsuhiko Ishii, Yutaka Matsuzawa, Yuji Takahashi, Shin Tanabe, Shigeyuki Toshima, Yasunao Tone, Yasuko Toyoshima, Clarence Barlow, John Solt, Takashi Murakami. - Those who want to subscribe for this bulletin, contact the members. - Volunteer assistants wanted for the activities of "Method." Editor's notes: This is the fifth issue since Masahiro Miwa took over the member of "Method" from Tomomi Adachi, and also the first English-language edition of "Method." During this time, through the Second Method Art Festival, meetings with bimonthly guests, and individual activity of course, methodicism has been understood and criticised by a greater audience. Seeing this response as an asset, we feel that it will be possible to clarify the direction of methodicism in contemporary society and further its growth. We hope you will look forward to our future developments! (MM) -- Bimonthly Bulletin "Method" No. 17 published on November 3, 2002 Publisher: Hideki Nakazawa, Shigeru Matsui, Masahiro Miwa firstname.lastname@example.org http://aloalo.co.jp/nakazawa/ email@example.com http://www11.u-page.so-net.ne.jp/td5/shigeru/ firstname.lastname@example.org http://www.iamas.ac.jp/~mmiwa/ Although you can send on this bulletin freely, each writer still holds the copyright. Corruption and appropriation are prohibited. Your sound judgement is required in forwarding this bulletin to others.