Oct 2017 

Once I was wandering along the pathway of Lake Roland Park in Baltimore. I was field recording while walking, immersed in the gentle rhythm of nature. The sudden wind seemed to move restlessly in the calm, and the branches and the lake were also made impatient by the wind. These sounds were amplified by the recorder, and my earphone as well rumbled in my mind. As the conductor, the wind played a wonderful concert to me by the musicians of nature. I want to put these natural and primitive sounds in an artificial environment so that they can echo with each other.

To create an instrument, it has to interact with the person who is playing it, not just make some noises unilaterally like a phonograph with its own record. This instrument is playing a natural sound in an unnatural way, and that's the first conflict. I put the rock, sand and water into three plastic rectangular containers. Then I added ultrasonic sensors on the outside and a rotating steering gear inside. When someone approaches these containers, the motor inside the containers agitates the stone, sand and water and makes some unfamiliar sounds. For example, the container with the rocks turning over and over sounds like a squirrel looking for food. This scenario is not common, but it stems from a conception of nature. In urban life, few people have time to capture the oddities of nature, and to embody this conception of nature is another kind of romance.

The final piece to be chosen was the container with rocks. When people come close to  the transparent container on the pedestal, the stones inside will be stirred up. And they will collide with each other crisply, which will be stirred by the steering gear inside and echo in the quiet exhibition room. Should this sound be here, or where, or when? This strange but harmonic voice reminds me of the hydrophone recording experiences under water at the Inner Harbor. Ship engine and factory sounds are largely amplified in the sea. However, people who are in the harbor do not notice the sounds under the sea, but the sounds are truly in the water.  

一次漫步在巴尔的摩一个公园的湖边,那个湖叫做Lake Roland。边走边录音,沉浸在自然的平缓韵律中。突如其来的风在平静中显得有些躁动,树枝和湖面也被风吹得有些不耐了,这些声音被录音机放大在我的耳机里,在我的脑中轰鸣,风作为指挥家用过大自然这些乐手向我演奏了一场美妙的盛会。便想把这些自然的原始的声音放在一个人造的环境中让他们彼此回响。

既然要创造一种乐器,那这个乐器就要跟使用它的人产生交互,而不是单方面的制造声音,那就跟自带唱片的留声机没有区别了。这种乐器是用一种非自然的方式演奏一种自然的声音,这是第一个冲突。我分别把石头,细沙和水装进三个塑料的长方容器里,在外面装上超声波感应器和在里面装上了一个可旋转的舵机,当有人靠近这些盒子的时候,里面的石头,细沙,水就会被搅动起来发出一些并不熟悉的声音。装着翻来覆去石头的盒子里像有只松鼠在里面寻找食物。这种情景并不是常见的,这一却源于对自然的构想。在城市生活,很少人会有时间捕捉到自然中的怪事, 而将这种对自然的构想具体化也是另一种浪漫。