“Stone”
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.  

一次在巴尔的摩的罗兰湖岸边走边录音,一阵突然的风在树枝和湖面吹过,这些声音被录音机放大在我的耳机里,也在我的脑中震动。在很多传统作品中,像是风景画,都展现了自然之美。随着城市化的加剧,科技的发展,自然却越来越远。这是一种不可逆的趋势,所以我在想在人造的环境中重现自然的声音是一种什么样的情形。







创造一种乐器,那这个乐器就要跟使用它的人产生交互。这种乐器是用一种非自然的方式创造一种自然的声音,这是第一个冲突。我分别把石头,细沙和水装进长方容器里,容器的外边装上超声波传感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。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,源于对自然的陌生构想。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。









最后被选中参展的石头盒子。当人们靠近里面的石头就会翻腾起来,石头清脆的碰撞着,被里面的舵机生硬地搅动,回荡在安静的展厅中。我想到:这个声音应该出现在这里吗?或者这个声音出现在什么地方?什么时间?这种有着和谐又不和谐冲突感的声音让我想起一次在内港用水下收音麦克风录音的经历,船舶的引擎声和工厂的作业声在水中无限放大,然而在水面之上的我们却毫无察觉,那这些声音应该出现在哪呢?但是它们确确实实的又在水中。