The labyrinth is no longer architectural; it has become sonorous and musical·····But only the dithyramb spreads itself out over the earth and embraces it in its entirety. Dionysus has no territory because he is everywhere on the earth. The sonorous labyrinth is the song of the earth, the Riornello, the eternal return in person.

(Deleuze, G., Smith, D. and Greco, M., 2009. )

In the study of Deleuze on Nietzsche’s narration of Dionysus, I noticed the wandering of a sound and a kind of wandering breaking through the territory and space. It’s eternal and unrestricted imagination and solution domain movement based on the discussion on the concept of how dithyramb (sound) is becoming.

Maria and I collaborated on such immersive installation project called “Inner”.

In the sound part, I used a medical device stethoscope to extract eight segments of resonant sounds from different positions of the body during my phonation. Here, the resonance no longer interacted with the medium like the air, and its resonance was an intrinsic, hidden and real movement. All the recordings were edited and processed into infinite loops of sound.

The resonance movement of body is affirmed in this work. The sound is the vibration of body itself, it’s a kind of lightness or floatation which floats in the body and belonged to the noumenon of life. Here the body becomes a labyrinth, and the sound wanders in the labyrinth. The sound produced by oral resonance is not used because oral resonance seems to be a kind of weight that assumes the issues for communication and orientation, it’s an exit of the labyrinth, and needs to be answered and understood to be an exit.

But the work focuses on the labyrinth itself rather than the “exit”. The acoustic environment of the whole worksite is also fuzzy and psychedelic

The sound wanders and surrounds in the set encirclement. No story needs to be narrated here, story is a clue and it needs to get out of the labyrinth, while what I need to do is to present the labyrinth itself.

The orientation of mouth lies in the person being talked to, it’s a kind of communication. The exchange of energy and the flow of sound come from the flow of two or more energy. The exit of the labyrinth will also become an entrance at the moment.

The movement of sound is an expression, a movement for communication. A carnival of Dithyramb is behind every sound, while the entrance of labyrinth only overflows some of the sound. The noumenon of movement is inside the body, it’s a pure movement. Dithyramb never left the labyrinth, it has always echoed in it, and sound is flowing liquid that just overflows the exit.

I apply eight sound devices inInner for the acoustic design, present the movement of internal sound inside my body through surround and the real-time transition of sound directions. There is no beginning and end of sound, eight different soundtracks loop continuously; there is no music, just movement itself. Sound bounces freely in the whole space; the labyrinth of sound is simulated and reproduced by electronic sound signals; Dithyramb floats from the inside of the body to the physical space, the movement itself is invisible, but the sound is perceptible.

However, this time, the ears of audiences are the exits of the labyrinth.