Rhythm Analysis Series

“Rhythm Analysis” is a series of practices that regards ‘rhythm’ as a form of structure, and investigate how it exists in daily life. It is a reaction evoked by power relations and impacts of a more massive structure on individuals. If discerning the rhythms in space, one would realize that it’s not only a way to construct the human perception of time but also the clue to connect ‘the identical’ with ‘the different.’ Henri Lefebvre’s discourse indicated that rhythm is actually about repetition, about linking together the hints of similarity and dissimilarity. I further realized that rhythm is also one of the conditions of regularity and how sounds turned into music, and a continuous repetition can provide the foundation to highlight the sudden variations.

‘Rhythm’ is a form of structure. According to Anthony Giddens, the term ‘structure’ generally referred to “rules and resources,” and more specifically to “the structuring properties allowing the ‘binding’ of time-space in social systems.” A structure is a limitation as well as the direction of narratives, creation and perception. Thus, rhythm functions repeating cycles in time and the unity in diversity, perceived by a human being, originate from desire and influenced by external variable. 


“1296-4107” Group show

2014, Interactive sound installation, BPB, London, UK

 

This project shows the sound structure on a typical day at Ben Pimlott Building. I made a 24 hours recording in a public space and then adjusted the playback speed to about 100 times than the original one. In order to observe the rhythm of urban space and the repetitions of soundscape in a certain place, investigating the interactions between the listeners and the environment in micro and macro time scales. When dealing with soundscape compositions, we cannot avoid the question of representation. How do people construct their memory of sounds in one place? How do we consider the soundscape if we are not at the scene? People usually shape their memory of sounds in a particular space based on the information they received when they were in that place, but neglect that soundscape is actually constantly under construction and always undergoing change (Thompson, E. 2004:1-2).

If we recall the image of a place where we regularly enter or pass by in daily life, the impression of that place might be a continuous, comprehensive imagination instead of a moment or one-time experience. The condense of recording might cause some changes in cognition and destroy the identifiability of sound. For the installation in the exhibition, there was a projected clock image to present the timing of the sound in fast forward mode. When the viewer move to a fixed point in front of the projected clock, the plackspeed will gradually slowdown into normal speed. After the viewer leaving the fixed point the sound and image will accelerate to original speed. All of the interaction will be operated in real-time with Max/MSP patch.