surroundings to compose works that could be performed in non-traditional settings including the out-of-doors. She began working on instructional pieces, composed of words invoking actions, which she termed "action poems." This approach grew out of her increasing doubt about the real nature of music, and her growing belief that its essence did not reside in sound waves per se, but rather in sensations of time that could include physical actions. While many of her "action poems" consisted of written imperatives, she also began making objects that visually and physically invoked action. Examples of these early "action poems" include Boundary Music, which instructed performers to "make the faintest possible sounds of a boundary condition," and Endless Box, a series of nested paper boxes Shiomi described as "a visual diminuendo" that performers could un-nest and manipulate. In 1963 Shiomi was introduced to George Brecht's event scores through Yoko Ōno and Ichiyanagi Toshi, and she recognized her work fell into a similar vein, thus she began referring to these works as "events." By the time she took up correspondence about her instructional scores with Maciunas, the name "event" stuck. Thus one of the first Fluxus editions of Shiomi's work published by Maciunas (with help from Takako Saito) was Events and Games of 1964: a box containing double-sided cards with Shiomi's instructional scores in English on one side and Japanese on the other. Water Music Although created in 1964 just before she went to New York, it was first performed during her time there, and exemplifies Shiomi's increased focus on audience participation as well as her new awareness of everyday actions as potential performances. The basic instructions read:1. Give the water still form. 2. Let the water lose its still form.After she performed the instructions privately with Maciunas in the form of offering and accepting cups of water to drink, Maciunas made an editioned series of printed bottles out of the instructions. It was performed using these bottles, which Shiomi passed around to audience members asking them to carry out instruction 2, at the Perpetual Fluxfest in New York in late 1964. She performed it again for Flux Week in September 1965, at Gallery Crystal in Tokyo. In the Tokyo version she interpreted the instructions in several ways, including drawing up water from a kiddie pool using syringes and other tools, and dripping water onto a glue-covered record. In the case of the record,