of responses indicating directions and locations for Direction Event, a calendar from which pages could be ripped for Falling Event, and a microfilm with plastic viewer for Shadow Event. The full final set of responses were compiled by Shiomi into an editioned book in 1976, allowing a retrospective overview of the sets of events that comprised the Spatial Poem performances. Art historian Jessica Lynne Santone sees Spatial Poem primarily as a window into Fluxus' networked community, serving "as an illustration of the process of community in formation, an event that is a function of the circulation of performance and document." Art historian Kristine Styles takes this a step further in claiming the work is a quintessentially Fluxus performance, creating "a sort of metaphysics of the dynamics of social exchange and human action that extends from the infra to the supra—from the personal to the political, from the regional to the international.” Music historian Miki Kaneda however, takes a cue from art historian Midori Yoshimoto's assertion that the work responded to the specific situation—a mother of two young children—Shiomi found herself in in the early 1970s. Kaneda focuses on how Spatial Poem allowed Shiomi to remain active in Fluxus networks even after marrying and having to run a household in Osaka. Kaneda focuses on how Shiomi uses the technologies and media at hand for a busy housewife and mother outside of the art centers to redefine the parameters of performance, creating the possibility of domestic performances so as to allow her everyday experiences to serve as a continuation of her investigations into sound. Technological interests Shiomi was already experimenting with electronic media in the 1960s, using a theremin-like electric-wave instrument for her contribution to Ichiyanagi Toshi's 1961 performance at Sōgetsu Art Center, and employing electronic synthesizers in performances for the Intermedia festival she co-organized and the Cross Talk/Intermedia event, both in early 1969. Yet in the 1960s these uses of electronic technologies were intended more as a means of exploring the gaps between different media or bridging across traditionally distinct media, as signaled by her use of Dick Higgin's term "intermedia," rather than explicit content in her work. In the Fluxus Media Operas of the 1990s, she set narrative instructions against conflicting music triggered by electronic sensors, playing with the intelligibility of a voices in a performance using international phone calls and electronic synthesizers, or commissioning a text for performers to