What is reality, really?
Are humans more special or important than the non-human objects we perceive?
How does this change the way we understand the world?
We humans tend to believe that things are only real in as much as we perceive them, an idea reinforced by modern philosophy, which privileges us as special, radically different in kind from all other objects. …… The world, is clearly not the world as manifest to humans. ……whether real, fictional, natural, artificial, human or non-human – are mutually autonomous.
–Graham Harman
The most significant sound art work of the past half-century…has explored the materiality of sound: its texture and temporal flow, its palpable effect on, and affection by the materials through and against which it is transmitted. What these works reveal, I think, is that the sonic arts are no more abstract than the visual but rather more concrete, and that they require not a formalist analysis but a materialist one.
–Cox Christoph
Following the philosophical concepts, audio technologies, and compositional acts that slowly expose the nature of sound as virtual. Music, participating in the symbolic and imaginary order, is an assemblage that captures the sound and turns it into form. Through composition, music directs attention away from the sound as such and onto formal features of its organization.
By applying the different sequence and the set of tone vibration, we use mucus to produce a format, which transfers human attention from the sound ontology to an organic virtual structure.
However, since John Cage’s practice of sound, sound itself be regarded as an object. The connections between music and sound art could be presented by the practice of artwork when we began to discover the Sound issue in ontology perspective.
Refer to the conception raised but Cox, the conception of Music Fictionality hence becomes blurry. If we think that the ontology of music forms a virtual format, hence I would like to discuss that whether we could connect this form with other occurred format from our real-world (for instance, the form and manifestation of a stone).
On this basis, Sound Art is divided from Music and tends to invisible reality. Although under the concept of sound ontology, both sound art and music are formed by physical vibration (structurally on a material), compare with music, only sound art could reflect the discussion upon the issue with Sound Ontology. Therefore, sound art tends to become part of the metaphysics.
In my series project #1, the installation is divided into two parts.
The first part is formed by a set of seven different recording modules, where each individual module can be used to record and play audio voice independently. By usage of cables, the audio could be connected to mobile phone. Hence these seven modules together could form a virtual acoustical space.
The second part is based on the physical vibrating feature. The audience could make sound by using the given tools knocking on steel wires.
In the box of virtual sound space, I recorded six pieces of different audio file into the first six sound modules. The audiences are encouraged to cover my previous recorded audio file by connecting to their mobile phones.
However, with more and more interaction by our audience, the audio file would be covered and replaced continuously. In this way, the sound from these audio files tends to flow.
Meanwhile, the sound occurred by physical vibration could be recorded and replaced by the seventh audio module (the storage time for every single audio file is set to be one minute).
In this practical condition, I would like to present my reflection regarding the issue of Sonic Fiction by comparing between the two forms of sound.