on the other hand, completed the circuit of the Yamanote line, playing mobile tape players so that the sounds from the tapes and the sounds from around the train lines intermingled. Tone’s first submission to the progressive Yomiuri Independent Exhibition, an annual exhibition that had become a hotbed of experimental artistic activity and discourse, also occurred in 1962. This submission was titled Tēpu Rekōdā (Tape Recorder). The work was initially a reel to reel tape recorder which, after some uncertainty, he painted in hopes of making it a more acceptable submission to the art exhibition. Unhappy with this, he placed this entire tape recorder inside of a big white cloth bag that belonged to Kosugi. The result was an amorphous cloth form that would occasionally produce strange sounds on the thirty to forty minute loop. The following year, the final year of the Yomiuri Independent, Tone produced Something Happened (1963). Acquiring the stereotype mold of the Yomiuri newspaper (the exhibition sponsor) published that day, Tone rendered the news in plaster. Other works from this period were more performative, such as Catch Water Music (1965), a collaboration with Tatsumi Hijikata, in which Tone threw water from a balcony onto the stage below. Around this time Tone also frequented the events at the Sōgetsu Art Center. It was here that Tone met Nam June Paik, who had been working in Tokyo with Shūya Abe between Summer of 1963 and Spring of 1964. Criticism and theory Tone was also a prolific and important writer and theorist of art. In his 1961 “Toward Anti-Music,” for example, he describes a progression in Western music from “musical tone” to “abstract music.” From here is outlines its logical successor as “concrete music” in European musique concrète and American “indeterminate music,” invoking John Cage. He writes, “They focused on concrete sonority (i.e., actual sound of instruments) in a rejection of the abstract musical tone.” In conclusion he notes that while these developments have certainly inspired experimental music in Japan, Japanese artists must not assimilate concrete music as “novel techniques.” “[W]e are making a fresh start after realizing that Japanese ‘avant-garde’ music always appropriated new Western trends only to imitate their techniques,” he declares. The text gives some insight into the aims of his concurrent activities with Group Ongaku activities that Tone and how they might diverge (through an emphasis on group improvisation, for example) from the European precedents