Brian Kane mentioned the connection between sound ontology and individual cultural relationship in his thesis “Sound studies without auditory culture: a critique of the ontological turn”. He thought that the formation of sound ontology has a relative precondition, which comes from human affection and cognition mechanism regarding sound message. Hence it could generate reaction and produce a network of perception.
This network has a relative condition that we could turn sound art into virtual reality. In this condition, the requirement for sound art to transfer from virtual to relative ontology conception will be the individual sensory mechanism. Hence if we give them the authority of sound creation to each individual, will the layer of sound become more stratified?
Based on the various cultural experience, we could gain diverse sound creation from each individual. In this case, the sound creation(e.g. rhythm, strength, timbre) is based on an individual’s subconsciousness. Therefore, the interaction within affection and cognition has influences when individuals taking action, hence it will have an impact on their creation.
During this series of my practice, the audience interaction is always being the essential part of the whole project, since I think the collaboration between cultural experiences and virtual reality must be built on the audience interaction.
At the moment the audience having to interact with the installation, the virtual form of sound art becomes reality in each individual’s sensory-perceptual system.