It is an experience of becoming other for the self and own perception and habits in the world. People thought that those experiences in the 1990s were transcendental. On the contrary, it is considered in this paper that what virtually immersive technology unveils is purely intrinsic space and generates something beyond the sensory system of the body that we are used to in the life. Of course, it is required to create a new body without organs or a type of purely intrinsic “new body” remediated by technologies to achieve the goal. (Michael N. Goddard,2020)(https://www.caa-ins.org/archives/6091)

Interestingly, the development of modern audio technology is exactly moving to the opposite direction: That is to strive to separate the sound away from the scene where it happens, and become an “absent presence”, that is, the sound is increasingly conditional to get rid of coexistent status between it and real audio source or the logos emphasized by Derrida, and independently becomes an cultural product allowed to be coded willfully. (Zhou Zhiqiang, 2018)

Modern audio technology, with its unique and effective coding logic, shows the invading, permeating, transforming and becoming abilities of the self significance (the sound itself). The sound produced in a live broadcast in the context which modern sound technology seeks to present the context of nonplace sense becomes extremely interesting. The conduct for live broadcast is based on the concept titled “real-time”.

However, what is real-time? Does the realtime depend on the timeline which the audience or the performer stays? Can the concept of virtual space be added here? A generation, as what Deleuze pointed out, was not only the generation of the timeline but also the production of time track and space interaction. According to the live broadcast conduct of the ‘real-time’ prefix, the artist chose to use the delay of an audio signal and the loss of transcoding in the digital world to present a symbiotic ensemble of sound in the phenomena like the intersection between the timeline and space.

Hao Long as co-director, she wrote this after the performance：

The show acts as a laboratory gathered by sets of sounds, distributed across different social platforms. Under the premise of physical prefabrication, real-time superposition of similar ‘Digital Polyphony’with reduced intervention is realized. To produce a final work through the delay generated on-line, the loss of transcoding, and overwriting. Explore what is lost and what is gained from the ‘real time’ ideality. With binary, hexadecimal and MIDI protocols etc as the fundamental law of signal conversion algorithms, what ‘Real Time’ is? Reality, does the ‘real’ have a reference substance? Is the mechanism of communication just plain distortion, reproduction, recombination? (Hao Long/07/2020）

The identity symbol of artist was weakened in this work. The artist embodied herself as an audio system and danced with the audio signals created by all of her collaborators. In this conduct, she abandoned audio creation right and delivered it to her collaborators. The audio signals created by the co-performers were transmitted into the audio system set by artists through different platforms. Different physical and electronic means were utilized to complete the audio system. She wasn’t clinging to creating a harmonious note but turned to finish a light game with her co-performers. The boundaries of this work were also so thin here. The sounds of collaborators jumped lightly, sliding into numerous virtual spaces and physical spaces. The act of control-abandon reattempted to present a type of lightness here.

Just as this work is inspired by the electronic noise presented by artists during online course after the post epidemic, our lifestyle indiscriminately accelerates sliding into a smooth virtual space in the era.

There is no return to normal, the new “normal” will have to be constructed on the ruins of our old live, or we will find ourselves in a new barbarism whose signs are already clearly discernible.(Slavoj Zizek,2020)

We are entering a new age of digital barbarism. The sound is wandering in this new and primitive labyrinth with its unique vitality.

Is it the surrender to the technology? No, it’s not.

As Zizek pointed out in his new book:

These days, when you meet someone close to you(or even a stranger) and maintain a proper distance, a deep look into the other’s eyes can disclose more than an intimate touch…No coronavirus can take this from us.

Similarly, no technology is capable to remove the vitality of the sound ontology.

The existence of sound is closely related to the auditory system of mankind. Our ears achieved this work. The significance of electronic audio signals wouldn’t exist if our auditory system was not available.

No matter how digital technology is designed, it is targeted at human beings themselves, and it is the praise to the ontology of life.

This work and her creative track have been immersed in a concept titled Buddhism symbiosis. No matter that the symbiosis with the collaborator, audio system or even the symbiosis of the artist and sound technology is realized, it is harmonious ensemble in any case. Yin-Yang Eight Trigrams is a generated movement, the delay and transcoding of an audio signal is a generated movement track, and the life itself has been a duration movement in balanced symbiosis with the environment since ancient times.

We will have another game for symbiosis with this new world called digital.