Amplitude of Chance
Kawasaki City Museum Produced Group Exhibition
Kawasaki City Museum
1-2 Todoroki, Nakahara-ku, Kawasaki-shi, Kanagawa-ken, 2110052 Japan.
(10 minutes by autobus from Musashi-Kosugi station of the Tokyu-Toyoko-Line and JR-Nanbu-Line)

tel. 044-754-4500


Achim Wollscheid / Germany
Charly Steiger / Germany
Shimizu Jiou / Japan
Yanai Shinichi / Japan
Brandon LaBelle / USA
Tsunoda Toshiya / Japan
Roel Meelkop / Netherland
Peter Duimelinks / Netherland
Furuya Toshihiko / Japan
Miyama Michiyo / Japan
Asai Mariko / Japan

Opening Performance

7/20 14:00- Kapotte Musiek (Frans de Waard, Peter Duimelinks, Roel Meelkop)

Lecture, Execution

7/21(Saturday) 14:00-16:00 Achim Wollscheid, Brandon LaBelle
8/4 (Saturday) 14:00-16:00 Miyama Michiyo, Furuya Toshihiko
8/5 (Saturday) 14:00-16:00 Shimizu Jiou, Tsunoda Toshiya

Furuya Toshihiko's Work

The Synthetic Texts on Hexagonal Letters
Furuya Toshihiko
The letters are generally considered to be one dimensional and linear but the chances are that they cannot be created solely with a linked line as the chain-structure of probability. The letters are certainly synthesized with clear and principled lines, that is the writing lines in nature. But in terms of the choice of written line, a probability space does not necessarily exist. So, for the present, in order to avoid the adhesion of the lines, a distribution of space has been prepared. This is a process from the deletion of meaning to the deletion of shape. Letters don't correspond to the information that is defined by the theory of probability, indeed, it will become clear that they don't even have the identity of a linked image. If it is possible to discover the instant when the shape is born, you must go to the place when there is still nothing, in the instant before. In this work, hexagonal letters have been synthesized from 12 straight lines forming 6 triangles included in a hexagon. These letters are also in a group of hexagons which are linked in 3 layers. The total width of their linked texts is 20 meters in half circumfrence and this can be seen through the transperant shapes. The basic principle that letters conclude only linearity of writing lines will be apparent because of the transperancy. The accumulation of lines follows strict principles as they interseeeect, graft, circuit and split. In this work I decided on a relatively simple structure based on just the principle of lines to graft. In this case, it is possible to see the scene where one principle creates another one. But in terms of the fixture of the letters, this process of creation of the principles has no actual meaning. This is because the creation of the principles has simply been in expedient procedure. The process where the density of the space distribution changes to 2 layers, can be seen in the overall arrangement of the group of texts. What appears at that stage is the relativity of our threshhold of consciousness regarding our everyday perception of letters. Depending on where you view the process of change from, the borderline between what you can and can't see is clearly different. This change may be one that is generated only within the time span of 1,000 years or more of history. Consequently, the fixture of letters plays a very important role in this work. Fixture is the final unconditionality which undertake the elimination of meaning and shape and all other choices. It cannot usually be obtained without the passing of a long time period. After confirming complete synthesization of fixture, we must become conscious of the relativity of our threshhold of consciousness regarding letters.