became involved with the international Fluxus movement. For example, his 1961 score Anagram for Strings was published and distributed by George Maciunas’s Fluxus Editions in 1963. This work was Tone’s first graphic score, and it was performed during the first Fluxus festival, a 1962 tour around Europe. Dasha Dekleva describes the score, writing that it “is populated with small white and black circles and dots, and with random whole numbers (positive and negative) along the top and left edges. The realization of the piece involves drawing a line across the score and using basic arithmetic calculations that determine how a series of downward glissando is to be performed.” Among other shorter scores, Anagram for Strings was translated to English by Yoko Ono. In another 1961 work, Days, Tone recorded himself counting to past one hundred at a low volume. He then played the recording back at a high volume, re-recording it. This process was repeated multiple times until the distortion has completely obscured the sound to unintelligibility. In 1961 Tone also produced Geodessy For Piano in which he “experimented with the inevitable indeterminacy of a precise execution of sounds,” according to art historian and curator Alexandra Munroe. In this work, Tone stood elevated on a ladder above an open piano. He then took various handheld objects such as a tennis ball or cork and dropped them one-by-one onto the exposed strings. Tone would also modify the method by ascending or descending the ladder to increase or decrease the distance from which the objects were dropped. 1962 saw a multitude of notable events in Tone’s oeuvre, including his first solo concert “One-man Show by Composer” in February. The concert occurred at the former Minami Gallery space with assisting performers seated on tatami mats on the floor. Compositions performed here include Anagram, Smooth Event, Silly Symphony and Drastic, in which the performer took a large amount of laxatives and performed on the drums until they had to use the bathroom. 1962 also saw the Yamanote Line Incident, by Natsuyuki Nakanishi, Jirō Takamatsu and Hiroshi Kawani. Tone and Kosugi also participated, although they performed on a different spot along the circular loop of the Yamanote train line than the other group. Tone and Kosugi were supposed to meet up with the primary group at Ikebukuro, but the primary group ended their performance prematurely when Nakanishi became too nervous to continue. Tone and Kosugi,