METHOD NO. 23  (JUNE 1, 2003)

Email-Bulletin "METHOD" is a free monthly on "Method Painting, Method 
Poem, Method Music (Methodicist Manifesto)."  Publishers are three 
Japanese artists, Hideki Nakazawa, a (visual) artist, Shigeru Matsui, a 
poet, and Masahiro Miwa, a composer.  You can read the manifestos of 
Methodicism at

This issue, METHOD NO. 23, carries a text by Shigeru Matsui and a web 
piece by Masahiro Miwa, and word and info by the three Methodicists.


The Measure of the True Joy
by Shigeru Matsui, poet

      As a Methodicist, I do the appreciation of art on the basis 
whether a work has logical inevitability or not.  According to the 
definition of Methodicist Manifesto, I perceive a painting how a colored 
plane has logical inevitability, a poem how the row of letters has 
logical inevitability, and music how vibrating time has logical 
inevitability.  After the logical inevitability got the measure of my 
appreciation, I often came to evaluate the work low which I had felt 
pleasant, and high which I had felt tedious physiologically before.  The 
value judgment of "Method" does not insert one's taste into a work.  
That is natural because the Methodicism requests stoicism and discipline.  
In order for Methodicists to obtain true joy, physiological pleasure is 
not only unnecessary but also harmful.  We are able to give absolute 
evaluation to a work by eliminating physiological pleasure.  This can be 
called the measure of the true joy independent of physiology.
      I am dealing with Ballet as an example.  "The Swan Lake" and "The 
Sleeping Beauty" are famous ballets.  I liked "The Swan Lake" as my 
taste better than "The Sleeping Beauty."  Because whichever productions 
of "The Swan Lake" evoked physiological pleasure.  On the other hand, 
"The Sleeping Beauty" was tedious to physiological feeling.  However, 
the work that offers the true joy suited to the Methodicism is "The 
Sleeping Beauty."
      Ballet is the art that consists of dancing, a tale, and music.  I, 
as a Methodicist, would like to esteem the work in which the logical 
inevitability exists among elements.  We can recognize the logical 
inevitability in "The Sleeping Beauty" as followings.
      Many works of the Romantic ballet were arbitrarily formed by 
dancing, a tale, and existent music in the first half of the 19th 
century.  On the other hand, the Classical ballet, completed by Marius 
Petipa in the second half of the 19th century, arranged each stylized 
dance in accordance with a stylized tale.  They commissioned a composer 
to compose music specifying the rhythm, the number of measures, and the 
instrumentation suited to a tale and dancing.  The Classical ballet 
aimed to consist with dancing, a tale, and music, eliminating 
arbitrariness as much as possible.  The model is "The Sleeping Beauty," 
and there may be no other work in which dancing, a tale, and music 
harmonized so perfectly.  Contrarily, "The Swan Lake" being performed 
today is the one exaggeratedly reconstructed after the premiere breaking 
the style, and the appearance of typical Classical ballet is being lost.  
The physiological pleasure of "The Swan Lake" is not true joy.
      Thus, Methodicists do not consider individual physiological 
pleasure as the measure of the value.  That is natural because the 
Methodicism is a proposal to one's sense of values of art itself.


The Matarisama-Doll (Prototype version)
by Masahiro Miwa, composer
The Matarisama-Doll is a member of an 8-robot-player ensemble, a 
substitute for an 8-human-player ensemble, which realizes the music 
called the "Matarisama" automatically.  In other words the doll is an 
XOR-operating device driven by water stream with 1 bit memory and 
logical I/O.  The same as the Matarisama ensemble by humans, each input 
of 8 dolls is to be connected to each output of the next doll circularly 
so that they may play bells or castanets automatically.  Please look at 
the brave figure of the Matarisama-Doll!


Hideki Nakazawa, artist:
- Seven months has passed since I came to the U.S.  The circumstance 
that nobody knew me gave me a golden opportunity to remember my original 
purpose of methodicism, because, while in Japan, I almost tended to 
enjoy offending against methodicism.  That might have been reflected in 
my new works shown at the open studio.  You are welcome to visit my 
studio if you are in NY but have not seen them yet (appointment needed).
- METHOD NIGHT VOL. 6 by Hideki Nakazawa:
Talk with Reiko Tomii on 'Method Art Festival'
7 pm, Fri., June 20 at ISCP #610, 323 W 39th St., (btw 8th & 9th), NYC. 
... I will talk with Reiko Tomii, PhD, an art historian and curator, 
watching the documentary videos of "Method Art Festival No. 1 & 2" held 
- Fumie Hihara, a koto player, will play contemporary music pieces by 
Shigeru Matusi et al., including my "After Hanon No. 1-3 for Thirteen-
String-Koto in Five Parts," at "WINDS CAFE 78" on Sat., June 14 at Winds 
Gallery, Kichijoji, Tokyo.  Collaboration with her sister, Mizue Hihara, 
a sumie painter.  Info in Japanese:

Shigeru Matsui, poet:
- "Pure Poem" with fixed pitch and value was premiered in the concert by 
Reisiu Sakai on May 25.  As it proved successful, I am producing a new 
work for reading in which I will designate pitch, value, timbre, 
intensity and language.  The work will be the one that gathers each 
element according to the principle of Pure Poem as minimalism. This is 
an experiment for reading ruled by the thought of total serial music.
- Performance of my works for koto, "Summer in Tokyo" and "Pure Poem," 
by Fumie Hihara at WINDS CAFE on June 14, 2003 (Tokyo).
Info in Japanese:
- Performance "marathon READING 2003" on June 28, 2003 (Tokyo)
Info in Japanese:

Masahiro Miwa, composer:
- When you read this issue, I will be in Cairo for the world premiere of 
the piece "Bolero by Muramatsu Gear-Engine," my first work for orchestra.  
... 9 pm on June 5, at Cairo Opera House.  (Please come and enjoy it!)
- In May I was crazy about making the Matarisama doll.  The doll 
simulates the Matarisama-play by a human who simulates logical (boolean-) 
operation in a computer (that is, the simulation of the "reverse 
simulation music")!  From this prototype version of the Matarisama doll 
I will make the final version (8 dolls) using bamboos and show them at 
XEBEC hall in Kobe in October.  This project is my personal trial on the 
ultimate algorithmic composition and at the same time my first work in 
the form of sound installation.

Group "METHOD":
- Those who want to work with us will be invited from any positions such 
as advisors, assistants, brains, critics, doll-makers, editors, managers, 
observers, patrons, performers, photographers, planners, publishers, 
programmers, promoters, sponsors, theorists, translators, volunteers...


The next issue, NO. 24, will be published on July 1, carrying a text by 
Masahiro Miwa and a web piece by Hideki Nakazawa.  There are two 
versions of this bulletin; one is only in English which you are reading 
right now, the other is accompanied by Japanese translation which we can 
send you at your request.  To read the back numbers, visit the above URL 
of "METHOD."  To subscribe or unsubscribe to this bulletin, email any of 
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others freely, but corruption and appropriation are prohibited.

Monthly Email-Bulletin METHOD NO. 23 published on June 1, 2003
(C) Hideki Nakazawa, Shigeru Matsui, Masahiro Miwa, 2003