released June 25, 2017

Neo-Tokyo.
An elaborate terrorist plot is staged, stringing together an infovirus, architectural vibration, and inaudible frequencies to catalyze a revolt of machine slaves and bring down the towers of the Babylon Project. The sinister plot was to hack into and infect the operating system of the8 000,-strong, Transformer-like, robotic police force (the patrol labors, or Patlabors for short). When two cops were sent out to investigate an unexplained wave of rogue Patlabors rampaging across the city, they uncover the sinister revenge plot to infect the city’s population of labors with the BABEL virus. This computer virus in the Hyper-Operating System could be triggered only by a very specific frequency of sound. This tone, a high-pitch whistle, is emitted only by the sympathetic vibrations generated by the resonating skyscrapers of the Babylon Project as it channels, like a huge tuning fork, the winds of a massive tropical typhoon. The whistle is inaudible to humans but not to the cybernetic audio sensors of the Patlabors, which are much more sensitive. If unleashed, the virus threatens to spread across the robots, forcing them to defect, mutating them into terrorists, and causing the population to descend into panic-stricken chaos.

I remember in 2016 to see the Chinese contemporary artists, curators Zhang Ding, planning site "Enter the Dragon 2", on the ground floor, the gallery filled with column-type speakers, respectively, three groups of musicians and a group of lighting control visual artist, huge clamor waves, all possible resonance is pack,compress and obligatoriamente tuck in the
white box, The lights flash continuously, audio-visual perception suffered a strong shock, electronically generated low frequency and unknown infrasound, inaudible, but enough to float to the surface trace of waves. The gallery is a huge resonance cavity, I have a physiological and psychological reaction, a slight malaise, absentminded of the high frequency and swamp of the sprawl of low frequency, you will slowly be dragged into the quagmire meanwhile deal you a head-on blow. The one bursts of epilepsy, fell to the ground twitching, and finally was carried out by the staff. This 40 minutes of energy is very large, the body can feel the strong propulsive force from the external surroundings, like a vortex cycle, where you have nowhere to escape. Low frequency can not only be heard but also can be perceived, and Infrasound is inaudible and undetectable. But it is transformed into the atmosphere of space, modulation of its emotional tone, Infinitely close to the object's resonant frequency, rendering a virtual vibration of material ambiguous perception. On this condition, the emotional infinite tends to saturation. And such immersive vibration for the artist, musician, listener; provides the environment of beneficial physical behavior and thought action, and constructed in bass materialist concepts.

(Sphere in Its Recordings with an Instrumentarium) and (Vibrational Anarchitecture) will have a low frequency and mega bass in the threshold, and when I upload these tracks, the description of this so-called bass materialist will be Limited by the terminal's listening device, and in the enclosed listening environment will make people feel discomfort, in theory context. Is the need to give it more concern, because it is equal to the buzz, whether it is from the brain or external, imply a clear idea, indicate enemies against who are clearly listening and perceiving. This set is part of the various field practice recording track, with the characteristic of the live performance and improvisation. In the recording, you may hear sounds of audience chat noisy, wine glasses collision and physical contact, they didn't seem to have noticed the existence of music on stage. And in the repeated listening to Live recordings, a wonderful soundscape is always ambiguously peeling the listener. John Cage <4'33">, still silent on the stage, audience in turmoil and whisper, the sound of rain hit roof, all that happens on the scene and video of Left to 21st generations, the thinking about listening is generated in this fault, it is in recognition of the sound of equality and any kind of acoustic can be used as material for composing meanwhile it ignoring a problem: the ‘silence’ on the stage is a manifesto, and the audience will be pornographic admirer of revolution, hullabaloo, grumble and query what happened on the stage, But did not realize that their own behavior is becoming the part of absence, for Cage 4'33". Descendants just to focus on the silence of stage, that is, the absence of 'music', the challenge of 'sound', Cage's authentic silence lies in the action of the listener, whether it can achieve such a commitment: “so...we absolutely do not hurt the audience", the concert organizers warn the audience. Standing behind my recording, the hullabaloo of the audience became a blank, is silent, the whole field destined pulled to the horizontal line with hullabaloo, my phatic communion-(abstract conception)
on the stage, really be persuasive?

[Euphonia], there will be no more enclosed space for amazing acoustic conditions and obsessed reverberations, in an extensive meaning to go outdoors, I carry an instrumentarium, it's my stage, I take it to a land of openness, it is more than the previous release of energy, this energy is not the illusory of echoing, all my dreams are inside, when the sound began, my kingdom was there, my physical strength and stamina are there, how long it will take? I do not know, No insisting, but rather to achieve one extent, it kept feedback to me, I am worthy of the name, the listener, the only way I can continue my aggression and coverage, this is my "utopia ", who will hear my sound? I do not know, perhaps the sounds couple a lot of emotional individuals, perhaps, frogs gurgle, insects chirps, pierced the sky, it became a part of nature, I do not know how much space to fill with own sound, let it as a kind of political intervention method, the discrete result, after I press the stop button.