The concept of this game is expressed as literal guidance and prepared knocking tools, which I think both of the two steps are designed as a conception of the game. The audience could be attracted by that guidance and tools with different shape, hence they will be able to interact and participate in the game.
The series of “Sound is fact，music is fiction” is just like a game platform.
Hence the selection of vibrating materials and method in recording sound vibration are the maximum control in my practice.
The illustration might be tear down/destroyed, and the audience may choose not to obey the given rules (e.g. knocking with other objects they found).
Before setting the conception of this game, I tried to discover the possible outcome that could acquire from the audience’s interaction with those illustrations.
And then I came up with idea/concept of “control-abandon” (i.e. transfer of sound authority).
While control-abandon is also taken as part of this sound game.
However, this can be regarded as “relative” control-abandon.
During the exhibition period, I recorded the sound created by each individual audience, which was all extemporaneous plays. Those sound could be well-ordered or disordered, could also be minded or meaningless.
After the exhibition, I had the chance to re-editing all the recorded sound. Again, the uncontrollable became controllable.
In this process, all the sound files were being superposed, and every legible sound file became chaotic and fuzzy after superposition.
And maybe, the eventual sound itself will be chaotic…