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日本語訳は下方にあります。 --- METHOD NO. 20 (MARCH 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 three manifestos of Methodicism at http://aloalo.co.jp/nakazawa/method/ If you want to unsubscribe for this bulletin, email: nakazawa@aloalo.co.jp This issue, METHOD NO. 20, 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: About the Name And Concept from "A Definition of Reverse-Simulation Music Founded on the Three Aspects of Music" by Masahiro Miwa, composer Reverse-simulation music is a general term for specific phenomena, that can include acoustic events, born of intentional human actions. An important characteristic of reverse-simulation music is that human actions are carried out according to sequences resulting from iterative calculations. Reverse-simulation music was imagined as music of the kind that perhaps had been once performed by the ancients or by primitive tribes ... or music that could have been performed by them (which we refer to as "music that could have been"). At the same time, however, it is an experiment in new music depending mainly on computer simulation-based trials. Reverse-simulation music does not necessarily depend on existing social structures related to music such as the distinction between concerts, composers, performers and audience. Furthermore, traditional music often conceals the origins and underlying regulations of the sounds performed with notions of the intuitive and spiritual. Reverse-simulation music, on the other hand, rather seeks to expose them through the use of the aspect of "rule-based generation" (logical computations); and, adding to it two other aspects of "interpretation" and "naming," it defines itself through the concept of those three "aspects." The three aspects of music referred to in this definition can also be applied to musical styles other than reverse-simulation, as they are presented as a new conceptual point of view on the music of mankind. However, requirements presented here like the use of iterative processes are specific only to reverse-simulation music. This experiment seeks to reverse the usual conception of computer simulations. Rather than modelling within a computer space the va
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