This is a ‘laboratory’ project performance, in which the presentation mode of sound in the digital world and implied relations were explored through the performance itself. The performer no longer created the sound in the project but became a link of the sound set, and the character that was acted presented the flowing, covering and participating processes of the sound.
During the period of video editing and recording, the diversity of entire sound based on the concept “real time” on different platforms became impressive. In the mean time, an interesting political issue was noticed while setting the sound programming codes for these platforms.
For example, zoom and teams, as typical conference software, form a very obvious political relation, and the level of sound is presented as follows: If anyone makes the sound at the moment, his/her voice will cover the former, the follower will also be covered, and it will be repeatedly circled. There are several layered levels like the sound level and time level. Different program settings impacted on the presentation issue of the sound. The processing and coding method for this programming isn’t so much viewed as the application for meeting, whereas it is considered to continue the framework of capitalist in the sound system. For example, the host of the meeting has the right to initiate the voicing ban function against the participants and others, all such functions, without exception, demonstrate the voice hegemony phenomena in the context of capitalist.
Viewed from recorded videos presented by Instagram on which free social platform is preferred, it seems that the sound tracks of my collaborator, Iris and me are more parallel and stable than those of teams. Such parallelism and stability are evident in the positioning of Instagram as a social platform.
Zhou Zhiqiang, a Chinese scholar wrote in a paper on the political nature of sound;
“Actually, sound had been processed and encoded in oriented manner long before it is heard, and it is massively produced in a way suitable for listening. Here, what seems to be “heard” is actually the consequence of political program of special technology for “hearing creation”
As a matter of fact, the development of sound technology (especially the progress of digital sound technology) ultimately makes sound gradually get rid of its “placeness”. Only specific sound and space blend mutually can special vitality or mysterious connotation be created and generated. Such kind of sound capable of being self-preserved has already formed a type of “culture”. The functions of such culture are to create the self perception of the listener constantly and to finally isolate the outside world.”
The “nonplace” is forced to present a “place” in the live streaming (sound and picture are synchronous in the real and virtual spaces). A place-based on real-time nature is a self-salvation of mankind’s sound technology. In such a long-lasting and unavoidable digital world, the ontology of the auditory system is looking for one of its realities in this world.[i]
When sound flows across from one virtual space to another based on real-time form in this work, does it acquire a solution domain when facing different platforms for program coding? Or is it a kind of imprisonment? What flows into space, and what flows out that space?
In my mind, it is communication, the action of communication flows across the carrier like the sound into different times and spaces, and it is Dithyramb of Dionysus, which flows across and flows out such spaces.
No matter how political level of sound technology and means is designed and encoded, the generation or origin of all the sounds, is the moment each collaborator turns on his/her microphone. If the action of communication isn’t available any more, then the sound will not exist in the work any longer.
Communication is irrelevant to the politics.
It will be influenced or distorted, just like the distortion or delay of the sound caused by different platforms. However, human communication, the instinct and impulsion, can’t be eliminated.
No technology is capable of removing such instinct.
[i] https://www.oxfordreference.com/view/10.1093/oi/authority.20110803100237780