This accessible page is a derivative of https://www.researchcatalogue.net/view/1900487/3080220 which it is meant to support and not replace. The background presents details of the rhythmic record of the sound work 锦瑟 The Sad Zither. 'Paint the Rhythm II' (2022), brushwork on rice paper.
Audio description: An audio clip of the sound work 易水歌 in the previous project 韵 echoed (2020). 韵 echoed is a multimedia installation work made in 2020, it can be seemed as the previous step to Hearing Rhythm, Seeing Rhythm. Click on https://www.researchcatalogue.net/view/1900487/3080220#tool-3080523 to listen to the audio clip.
Chinese poem with English translation: Pinyin version, textual content, rhythmic rules (on the left side) and English translation (on the right side) of the poem 锦瑟 The Sad Zither. Click on https://www.researchcatalogue.net/view/1900487/3080220#tool-3080525 to see the poem and its translation.
Audio description: An audio clip of audio recording of 锦瑟 The Sad Zither. It is recorded with the artist’s own voice. Click on https://www.researchcatalogue.net/view/1900487/3080220#tool-3080537 to listen to the recording.
Images descriptions: The sound design sketches and the sound editing window of 锦瑟 The Sad Zither.
Top Left: The sketch illustrates the initial design of the end-rhyme repetition for 锦瑟 The Sad Zither. Number one is the repetition of the entire poem, the longer lines stand for the poem itself, the vertical lines separate each stanza of the poem, thus, number one can be understood as the basic pattern of the poetry. The repetition of the end-rhymes starts from the number two playback and adds up in each playback incrementally. Each short line means one repetition, for instance, six short lines in number seven means in the seventh playback, the end-rhymes are repeated for six times.
Top Right: A depiction of the module of the sound track, which is based on the design shown on the left. This is a visual representation of the sonic repetition itself and it also shows how the repetition of the end-rhymes would break the sound of the end characters down. It is a slow reduplication of the end-rhymes in a visible soundtrack.
Bottom: An image of the editing window of 锦瑟 The Sad Zither. It can be understood as the computer representation of what is shown above right, which demonstrates a much more intense visual representation of the end-rhyme repetition.
Click on https://www.researchcatalogue.net/view/1900487/3080220#tool-3080529 to view the images.
Audio description: An audio clip of the sound work 锦瑟 The Sad Zither. This is a short clip exploring the repetition of the rhythmic rules that happened in the sound work. Click on https://www.researchcatalogue.net/view/1900487/3080220#tool-3080527 to listen to the audio.
Images descriptions: Documentation images of the immersive sound space in Hearing Rhythm, Seeing Rhythm at the BCA Gallery, Ireland. The images present two different views of the dark and isolated sound space with dim blue lights.
Audio description: A clip of the sound work 虞美人 Yumeiren: Spring Flower and Autumn Moon.
Click on https://www.researchcatalogue.net/view/1900487/3080220#tool-3085237 to view the images and listen to the sound work.
Image description: A documentation image of the visual wall of Hearing Rhythm, Seeing Rhythm a the BCA Gallery, Ireland. The video monitor on the left with the headphones attached to it is presenting the process of painting the rhythm (Paint the Rhythm I), while a column of paintings (Paint the Rhythm II) are presented on the right side from the ceiling to the floor. Click on https://www.researchcatalogue.net/view/1900487/3080220#tool-3085257 to view the image.
Image description: An image of Paint the Rhythm II (2022), brushwork on rice paper, presenting details of the rhythmic record of the sound work in Hearing Rhythm, Seeing Rhythm. Click on https://www.researchcatalogue.net/view/1900487/3080220#tool-3080626 to view the image.
Images descriptions:
Top: An image of the final installation design for the visual wall in the gallery for the exhibition Hearing Rhythm, Seeing Rhythm at the BCA Gallery, Ireland. (sketches on paper)
Middle: An image of the final installation design for the sound space in the gallery for the exhibition Hearing Rhythm, Seeing Rhythm at the BCA Gallery, Ireland. (sketches on paper)
Bottom: An image of the initial installation design for both the sound space and the visual wall in the gallery for the exhibition Hearing Rhythm, Seeing Rhythm at BCA Gallery, Ireland. (sketches on paper)
Click on https://www.researchcatalogue.net/view/1900487/3080220#tool-3080613 to view the images.
Images descriptions:
Top: An image oft he overall installation view of the exhibition 听·见·韵 [Hearing Rhythm, Seeing Rhythm] at the abcdefg Gallery, China. The video work Paint the Rhythm I is projected on the back wall of the space. Two columns of the paintings from Paint the Rhythm II are presented on the two sides of the gallery space, hung from the ceiling to the floor.
Middle: A detailed installation view of the paintings from Paint the Rhythm II at the abcdefg Gallery, China. The image shows how the light rice paper used for the paintings can move gently off the wall, while the viewers are walking by.
Bottom: An image of the open-back headphones in the exhibition 听·见·韵 [Hearing Rhythm, Seeing Rhythm] at the abcdefg Gallery, China. The image shows how one of the viewers left the headphones on the floor with the paintings from Paint the Rhythm II in the gallery space.
Click on https://www.researchcatalogue.net/view/1900487/3080220#tool-3085275 to view the images.
Images description:
Top: An image of the overall space design for the exhibition 听·见·韵 [Hearing Rhythm, Seeing Rhythm] at the abcdefg Gallery, China. (sketches on paper)
Bottom: An image of the detailed space design for the exhibition 听·见·韵 [Hearing Rhythm, Seeing Rhythm] at the abcdefg Gallery, China. (with sketches on the paper)
Click on https://www.researchcatalogue.net/view/1900487/3080220#tool-3080621 to view the images.
[1] The Sad Zither, 2021, Sound Installation, 11min 30sec. It is based on the poem by Li Shangyin (李商隐, Tang Dynasty, a.d.813-858). It is worth noting that as in most of my sound works, I used my own voice in the two sound performance pieces and I only did very basic/minimum post editing on the voice itself.↩︎
[2] It is worth noting that in all of the sound pieces in this project, I use very limited post-production ‘effects’other than layering sound tracks. I do not change the frequencies or timing of any sound recordings or add post-effects to the sound tracks. I simplylayer the sounds to experiment with the rhythmic flows. In the case of the two sound experiments in Hearing Rhythm, Seeing Rhythm, I repeat and break the rhymes down to experiment with the ideas mentioned in both sections, and the working processes are presented with illustrativesketches as well. The ‘music-like’ rhythmic flows of the audio tracks do not come from post-production; they come from the rhythmic rules and patterns inside the Chinese language, which, in turn, further supports the thesis of this particular research.↩︎
[3] Cursive script (草书), a style of calligraphy.↩︎