```METHOD NO. 27  (OCTOBER 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 http://aloalo.co.jp/nakazawa/method/

This issue, METHOD NO. 27, carries a text by Masahiro Miwa and a web
piece by Hideki Nakazawa, and word and info by the three Methodicists.

>>>METHODICIST'S TEXT OF THIS MONTH:

Listing for All Patterns of Matarisama-System
by Masahiro Miwa, composer

The rule called "Suzu-Kake" from "Matarisama"(*) custom are not
only a strange tradition but also a strict mathematical system.  Each
output of numbers (eight in our case) of the XOR operator with one bit
memory is fed for the input of the next operator in an endless loop.
And of course, the results of calculations (bit patterns) are always the
same, if initial states of (eight) players (= "Koan") are fixed.  The
followings are series of numbers generated by Matarisama with eight
players.  There are six different "Koan"s, the initial states (0, 1, 7,
11, 13 and 109) which generates all possible bell/castanet combinations
as a logical consequence.  In other words, Matarisama as music is a
general term of these five different sequences (except 0, "Koan of 'Ku'").
Each decimal number is an expression of the states of 8 players as the
8-bit binary code.  For example, the number 1 in the list symbolizes
00000001 as the binary code, and it means that only the first player
played "1" (= castanet) during the time when the other seven players
played "0" (= bell).  Because these decimal numbers are made from one
cycle (8 bits) unit, you will not see the rhythmic patterns, which are
rarely audible and independent of 8 bits punctuation.  (The best example
will be the strange Hoshiai's Koan: 109-219-182 is 8 times repetition
of "1-1-0".)
[Koan of 'Ku'(empty) (1 cycle)] 0 (0)
[Koan#1 (63 cycle)] 1, 255, 170, 153, 136, 135, 130, 129, 128, 127, 213,
76, 196, 67, 193, 64, 192, 191, 106, 38, 226, 161, 96, 32, 224, 95, 53,
19, 241, 80, 48, 16, 240, 175, 154, 137, 120, 40, 24, 8, 248, 87, 205,
68, 60, 20, 12, 4, 252, 171, 102, 34, 30, 10, 6, 2, 254, 85, 51, 17, 15,
5, 3, (1)
[Koan#2 (63 cycle)] 7, 253, 84, 204, 187, 150, 141, 132, 131, 126, 42,
230, 93, 203, 70, 194, 65, 63, 21, 243, 174, 101, 35, 225, 160, 159, 138,
121, 215, 178, 145, 112, 208, 79, 197, 188, 107, 217, 72, 56, 232, 167,
98, 222, 181, 108, 36, 28, 244, 83, 49, 239, 90, 54, 18, 14, 250, 169,
152, 119, 45, 27, 9, (7)
[Koan#3 (63 cycle)] 11, 249, 168, 103, 221, 180, 147, 142, 133, 124, 212,
179, 110, 218, 73, 199, 66, 62, 234, 89, 55, 237, 164, 99, 33, 31, 245,
172, 155, 118, 210, 177, 144, 143, 122, 214, 77, 59, 233, 88, 200, 71,
61, 235, 166, 157, 116, 44, 228, 163, 158, 117, 211, 78, 58, 22, 242, 81,
207, 186, 105, 39, 29, (11)
[Koan#4 (63 cycle)] 13, 251, 86, 50, 238, 165, 156, 139, 134, 125, 43,
25, 247, 82, 206, 69, 195, 190, 149, 140, 123, 41, 231, 162, 97, 223, 74,
198, 189, 148, 115, 209, 176, 111, 37, 227, 94, 202, 185, 104, 216, 183,
146, 113, 47, 229, 92, 52, 236, 91, 201, 184, 151, 114, 46, 26, 246, 173,
100, 220, 75, 57, 23, (13)
[Hoshiai's Koan (3 cycle)] 109, 219, 182, (109)
1 + 63 x 4 + 3 = 256 (cycles)...all of the possible combinations with 8
bits!  QUESTION: Can you make 233 from 13 using Matarisama-System with
eight players?  ...Thank you Mr. Iwasaki, Mr. Hoshiai and sister of Mr.
Sokabe for helping the research!  (M.M.)
(*) About the rule and the history of "Matarisama," please look at:
www.iamas.ac.jp/~mmiwa/XORensemble.html
Please refer also to the following issues of "METHOD."
No.14 The simulation software of "The MATARISAMA" (web piece)
No.23 The Matarisama-Doll (Prototype version) (web piece)
No.24 Matarisama-Dolls And The Cult of Istamia (text)
No.26 Matari-o-Max VR v1.0 (web piece)

>>>METHODICIST'S WEB PIECE OF THIS MONTH:

Simulator for "Rope No. 1 with 15 Pulleys and 6 Weights"
by Hideki Nakazawa, artist
http://aloalo.co.jp/nakazawa/method/work027.html
I want to claim that a single line with several curves can be called an
art work.  "Rope No. 1 with 15 Pulleys and 6 Weights" is my latest piece
that satisfies the claim, currently being exhibited at my solo show.
Its simulation model can be seen at the above url, where you can see the
photos as well.  As for this piece, the rope as a single line is free
itself; not attached to any walls, ceilings nor pillars, but supports
six heavy sandbags by the function of the pulleys.  Do not touch any of
them, or the whole system will lose the balance, which will cause
dangerous movement.

>>>METHODICISTS' WORD & INFO OF THIS MONTH:

Hideki Nakazawa, artist:
nakazawa@aloalo.co.jp  http://aloalo.co.jp/nakazawa/
- Solo show at Goliath VIsual Space in Brooklyn : through October 12.
Further info on the exhibition can be read on my website, and further
info on the main work can be read on this bulletin.
- Finally I have finished my monthly event series, "METHOD NIGHT."  Many
thanks to those who came (and witnessed today's true radicalism).  You
can see all the documents of the events on my webpage except the latest
one, "Method Music Concert," which is coming soon.
- My stay in NYC for a year with a support from Japanese government is
almost finishing.  The pursuit of methodicism will be continued in Tokyo.
- My music piece, "Musical Composition No. 2 Which Consists of 126
Descending Figures,"  will be performed with a toy piano in the program
of "WINDS CAFE 82" by Rere Ishiwata et al. on October 11 in Kichijoji,
Japan.  www.st.rim.or.jp/~mal/Cafe/ (only in Japanese)

Shigeru Matsui, poet:
shigeru@td5.so-net.ne.jp  http://www008.upp.so-net.ne.jp/methodpoem/
- I did my performance at Toyota Municipal Museum of Art on September 14.
I performed "Pure Poem Walking" from the 3rd floor to the 1st floor of
the museum.  This is the realization by the number of steps in
conformity with the row of letters of "Pure Poem."  My poetry keeps
being poetry even if the row of letters is transformed into movement.
- I exhibit "Pure Poem" and "Quantum Poem" for the theme exhibition
"YUMITSUHO" at Toyota Municipal Museum of Art, Aichi, from September 14
to December 28, 2003.  "YUMITSUHO" is the exhibition by Yutaka Matsuzawa,
artist, and Mitsu Sakura, poet.
Toyota Municipal Museum of Art  www.museum.toyota.aichi.jp
- I will hold my solo exhibition at appel, Tokyo, which will be open
from December 4 to December 28, 2003.  Related events will be performed
during the term.  Details will be informed later.
appel  www.bit-rabbit.com/p1.html

Masahiro Miwa, composer:
mmiwa@iamas.ac.jp  http://www.iamas.ac.jp/~mmiwa/
- 10/4: At the Honen-in, a famous Buddhist temple in Kyoto, I will
dedicate performances of Matarisama by human and also as a MAX patch to
the god of a shrine.  It is a part of the opening event of "Kyoto
biennale 2003."  www.kyotobiennale.com/E/e_main.html
- 10/11: Unfortunately I couldn't show you the 'moving' Matarisama-Dolls
in Linz.  They were built but they didn't play 24 hours a day.  I will
try again to let eight Matarisama-Dolls be always playing.  Dolls came
back to Osaka Airport from Linz now.  We (Mr. Ogasawara and I) will
fight against physics of real world...  Finally you must see the 'moving'
Matarisama-Dolls at XEBEC Hall in Kobe soon!
www.xebec.co.jp/xebec_hall/event/index.html (only Japanese)

Group "METHOD":
http://aloalo.co.jp/nakazawa/method/

>>>POSTSCRIPT:

The next issue, NO. 28, will be published on November 1, carrying a text
by Hideki Nakazawa and a web piece by Shigeru Matsui.  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
us at the above email addresses.  You can send on this bulletin to
others freely, but corruption and appropriation are prohibited.

Monthly Email-Bulletin METHOD NO. 27 published on October 1, 2003
(C) Hideki Nakazawa, Shigeru Matsui, Masahiro Miwa, 2003```