23024925's blog

War speeches, as a powerful form of political rhetoric, go far beyond their immediate function of mobilization. They play a long-term role in shaping national memory, historical narratives, and the emotional construction of the public. In this sound-based artistic project, the reconstruction of wartime speeches through audio not only involves a reinterpretation of textual meaning,…

After reading the references in the lecture, I want to talk about Abbott, Paul. 2024. ‘Soot. We Grow Music!’ FORUM+. Amsterdam University Press. It is a provocative and poetic exploration of music as an emergent, relational process rather than a static object or product. Abbott, both a musician and writer, presents a deeply embodied and socially…

After listening to the lecture on May 1st, I found interest in Mariam Rezaei’s SKEEN (2020), which is not merely an album—it is a radical act of sonic resistance, an interrogation of language, identity, and the sociopolitical conditions of contemporary Britain. The work pushes the boundaries of turntablism beyond its musical origins into the realm of political…

My work quotes the original audio of speeches by three famous leaders, Winston Churchill – We Will Fight on the Beaches (June 1940), Douglas MacArthur – The Old Soldier Never Dies (1951), Abraham Lincoln – Gettysburg Address (1863). Here are the lyrics below: Winston Churchill – We Will Fight on the Beaches (June 1940) We…

The theme of this work is related to my research topic of EL1, ‘Trauma, Resistance, and Empathy: Sound Art in the Humanistic Predicament and Memory Reconstruction of Wars‘, which tries to record the war as well as recreate the feelings through sound. The original speeches of some important political figures serve as important referential elements…

I export the brief score from logic below, which includes piano, strings, horns and organs. The composition of the soundtrack is based on ‘The Ascension of Isaiah’. I write the piano concerto on Messiaen’s style of composition, hoping to create a religious atmosphere through melody, rhythm and harmony, as well as the ups and downs…

My first idea was to experiment with interactive devices within the surround sound field in the gallery. For example, a jacket could be made with small microphones attached that correspond to the orientation of the individual speakers and could transmit content to the speakers instantly (but with low sensitivity to avoid creating loops that create…

For the arrangement of ‘Sun Dog’, I chose to make it into long lines, chanting, pilgrimage-like effect. It is deliberately choreographed very haphazardly in some parts, as the protagonist in the story is enduring extreme cold and torture, and his consciousness has tended to blur, but subconsciously follows God’s guidance with the conviction that he…

Smalley argues that the core of reverberant music lies in the spatialisation of the experience of sound, rather than the focus on elements such as melody and rhythm in traditional music. Space is not only a context for sound in phantom pace is not only a context for sound in phantom music but also an…

In the audio paper, the voices of two different characters are interspersed in two narrative threads, one resembling a modern researcher giving insights into the development of modern religious music, and the other resembling an ancient priest telling the congregation the story of ‘The Ascension of Isaiah’. Although they are from different times, they both share…