Nakazawa Hideki
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Works exhibited in the bulletin

Works exhibited in the bulletin "Method" from No. 1 to 12 (originally in japanese)
under translation except below

Banff Email Piece
http://aloalo.co.jp/nakazawa/method/work006.html ...in Method No. 6
This is a re-record of my method color paintings that were distributed as email art last month to more than 400 people, during my stay as the artist-in-residence in Banff, Canada. This is also the same one as was already exhibited in this bulletin as a serial of the "Different-pixel arrangement No. 1 - No. 5" and "Supplement." The reason why I used the chemical symbols and prime numbers as pixels is that both atoms and prime numbers are self-evident materials which "cannot be devided any further."

Set No. 1 which consists of 511 natural numbers
http://aloalo.co.jp/nakazawa/method/work012.html ...in Method No. 12
You will find in all numbers such as 15, 248, 357, 1278, 46789, and 12456789, that, in each number, figures on the left side are always smaller than those on the right. There are 511 natural numbers like those, which I used as the whole element of "Set No.1." Together with "Set No. 2" (whose figures on the right side are always smaller than those on the left), it was exhibited in November at Helen Pitt Gallery in Vancouver.

Works exhibited in the bulletin "Method" after No. 13 (originally in english)

Set No. 3 which consists of 180 palindromic numbers
http://aloalo.co.jp/nakazawa/method/work013.html ...in Method No. 13
I chose one hundred and eighty palindromic numbers, like "12321," using a simple rule for this set. It is an accumulation of numbers, and these numbers are different from each other. Suppose each number is like a colored brush-stroke. Can you imagine a certain sensation of logical color, in spite of lack of real physiological color like red or blue?

Mass Measurement
http://aloalo.co.jp/nakazawa/method/work014.html ...in Method No. 14
This performance piece has two stages. In the 1st stage, two things are scaled together, e.g. A+B, B+C, C+D, D+E. In the 2nd stage, the last thing and the first thing are scaled together, e.g. E+A. Each thing's mass can be known only when the number of things is odd.

Composition table of "353100 yen which consists of 149101 coins (Money amount No. 23)"
http://aloalo.co.jp/nakazawa/method/work015.html ...in Method No. 15
I gathered Japanese coins using a certain simple rule, which generated 353100 yen which consists of 149101 coins. This composition table tells the rule: every means should be taken to indicate each sum from 1 yen by one 1-yen coin to 100 yen by one 100-yen coin. For example, 5 yen is indicated by one 5-yen coin, or, by five 1-yen coins.

Letter-Coordinates-Type Painting No. 1, Stone-Arrangement Painting No. 1
http://aloalo.co.jp/nakazawa/method/work016.html ...in Method No. 16
"Letter-Coordinates-Type Painting No. 1 of 29 Letters by 29 Lines" (1997) ...I arranged Chinese characters and Hiragana letters (Japanese alphabets) as/instead of bitmap CG's pixel dots. "Stone-Arrangement Painting on the Board No. 1 of 35 Points by 35 Rows" (1999) ...I arranged black Go stones and white Go stones and vacant points as if like a low resolution bitmap CG.

Circuit No. 2 of a Regular Hexahedron Type
http://aloalo.co.jp/nakazawa/method/work017.html ...in Method No. 17
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.

Letter-Coordinates-Type Painting No. 4 of 106 Letters by 53 Lines
http://aloalo.co.jp/nakazawa/method/work020.html ...in Method No. 20
"Letter-Coordinates-Type Painting No. 1" and "No. 2," made in 1997, were my starting point as a fine artist. Actually, one of the reasons why I drafted the Methodicist Manifesto in 2000 was to explain those pieces. Yes, I used monochrome letters instead of colored dots, thus those pieces were not visual poems. My idea has tended to deny even a grid since 2001, because I noticed that a painting was mere a set of dots which need not be fixed any longer. But this latest piece, "No. 4," is different. It obeyed a grid again in order to synthesize dots, which resulted in the use of dots larger and more irregular.

Sentence No. 1 Which Consists of 903 Palindromic Coined Words
http://aloalo.co.jp/nakazawa/method/work024.html ...in Method No. 24
This piece was shown at the ISCP open studio exhibition held in May. I installed it in the size of 103 by 51.5 inches directly on the wall using cutting sheets. However, I consider text data itself is my art work. Thus the installation at the exhibition was just one of possible ways to exhibit. I can print it in a different size on paper, or, I can show it as a pdf file on the monitor of computers. I am just doing that here on the website. In addition, you can also read how to make this piece, and can see photos of the exhibition, and can listen to a sound file read aloud, from the links in the above url.

Simulator for "Rope No. 1 with 15 Pulleys and 6 Weights"
http://aloalo.co.jp/nakazawa/method/work027.html ...in Method No. 27
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.

Artist's Writings on Art History
http://aloalo.co.jp/nakazawa/method/work031f/ ...in METHOD NO. 31
I have written three books on art history including the one that has not been completed yet. In spite of the fact, I consider myself an artist, not an art historian. Although my writings can be called "art works" because of their forms being different from general literary books, they are also different from what art works should be if seen from the viewpoint of a methodicist, whom I style myself. Therefore, I am reluctant to be declared that those writings are my "art works," but am also reluctant to be declared that those writings are NOT my art works. This time, I dare to self-refer to these three books and present their comparative table as a work in the bulletin "METHOD."

The Same Two Frames No. 1 - 10
http://aloalo.co.jp/nakazawa/method/work036f/ ...in METHOD NO. 36
"The Same Two Frames" is a simple html-piece made using a "frame," an elementary function of webpage. The same single html-file is loaded in each frame on the right and the left. However, their appearances are sometimes different each other. Altering the width of the browser-window itself, or moving the dividing line between the frames to the right or the left, will also change the appearances of the two frames.

The Same Two Frames No. 11 - 20
http://aloalo.co.jp/nakazawa/method/work040f/ ...in METHOD NO. 40
First, make a single long row of letters. Secondly, replace each letter with a colored square and get a row of colored squares. Thirdly, link to the row of colored squares from each frame on the right and the left. That's all. When the both frames are of the same width, their appearances are the same. When of the different width, their appearances are different. No matter how the appearances are, the contents themselves are the same. The reason is that they have originated from the same sigle row of letters.
cf. Please see also "The Same Two Frames No. 1 - 10" appeared in "METHOD NO. 36." Please read also "One, Two, Thousands" appeared in "METHOD NO. 37."

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