The Seven Concerts Series runs October of 2007 to April of 2008 on first Thursdays. Presented by Andrew Lafkas, Bryan Eubanks, and The Tank.nnYasunao Tone (b. 1935, Tokyo), who co-founded the group Ongaku in 1960, devoted to creating events and improvisational music, began participating in the Fluxus movement in 1962. His first concert, "One Man Show by a Composer", was held at the Minami Gallery in Tokyo in 1962. In the years that followed, Tone became an organizer as well as contributor to various avant-garde groups. His activities encompassed happenings, sound installation, experimental music, performance and art and technology. Primarily a composer, Tone has worked in many media, creating pieces for electronics, computer systems, film, radio and television, as well as environmental art.nnSince coming to the United States in 1972, he has given solo concerts at the Kitchen, the Experimental Intermedia Foundation, Roulette, P.S.1, and participated in numerous Fluxus concerts. Since 1976, Tone has been designing musical compositions as a compound of cultural studies which have been ideas based on post-structuralist theories and audio visual materials compiled with ancient Oriental texts and musical sounds generated by electronic means. One of these works, Geography and Music, was commissioned by the American Dance Festival for Merce Cunningham's dance Roadrunners. It was part of the Cunningham Dance Company repertory between 1979 and 1986 and was heard in many festivals, including the Festival d'Automne � Paris, the John Cage Festival in San Juan and the Berlin Festival.nnTone has developed a specific and groundbreaking approach to altering digital data on CDs by using tape and other obstructions to deliberately alter the playback of information, he calls this technique "wounded cd" and has employed this as an approach in his music since 1985. In the liner notes for his album, "Solo for Wounded CD" (Tzadik, 2000)� he describes this process in terms of wounding compact discs: "I wondered if it was possible to override the error-correcting system; if so, I could make totally new music out of a ready-made CD. I called my audiophile friend who owned a Swiss-made CD player and asked about it. I bought a copy of Debussy s 'Preludes' and brought it to my friend s place. We simply made many pinholes on a bit of Scotch tape and stuck it on the bottom of a CD. It worked. ... To my pleasant surprise the prepared CD seldom repeated the same sound when I played it back again, and it was very hard to control."n