which was rotating on a turntable, the act of dripping the glue dissolved it to reveal the record and gradually allow portions of the record to play. She again performed the work in 1992 at Xebec in Kobe, hitting the surface of water in several basins with upside-down cups. Shiomi's own variable interpretations of the instructions gesture toward the openness of the instructions, which many other performers have taken up in the interim. Sally Kawamura argues that the strategy used in Water Music, which changes the participant/performer's attention to everyday experiences from a utilitarian perspective to a playful one, helps enliven everyday experiences beyond the performance. Kawamura sees this as an anti-consumerist gesture that places value on exploring and enjoying one's given environment as experience rather than focusing on production and consumption. Shiomi herself now sees the bottled version of Water Music as an exemplary instance of her concept of "transmedia," which she describes an artwork "continu[ing] its creative evolution by transferring from one medium to the next." Spatial Poem Shiomi launched what would become her best known and most ambitious work just before leaving New York in July 1965 by sending out instructions to a list of addresses George Maciunas kept on file of Fluxus-friendly individuals. Unlike most mail art at the time, what she sent out was not a work that others would simply receive, but rather a set of instructions to which she was soliciting responses. Through this simple conceit, Shiomi created performances that spanned geographic distance and time, addressing her growing concern with the privileging of traditional event dynamics that require everyone to simultaneously meet in the same architecturally delineated space. The full series of Spatial Poem events are as follows (invitation texts can be seen on the MoMA's archives page):Spatial Poem No. 1 (Word Event), 1965 Spatial Poem No. 2 (Direction Event), October 15-16, 1965 Spatial Poem No. 3 (Falling Event), until August 31, 1966 Spatial Poem No. 4 (Shadow Event), December 11-31, 1971 Spatial Poem No. 5 (Open Event), July 15, August 5, 1972 Spatial Poem No. 6 (Orbit Event), May 3-23, 1973 Spatial Poem No. 7 (Sound Event), March 5-6, 1974 Spatial Poem No. 8 (Wind Event), October 7-27, 1974 Spatial Poem No. 9 (Disappearing Event), June 2-July 22, 1975The first four events were turned into Fluxus edition objects, namely a map with pins of responses for Word Event, an offset-printed graphic map