I witnessedby the Japanese sculptor Tomio Miki during my recent trip. I couldn’t really understand the sculpture, but one sentence in the artist’s profileimpressed me -- ‘The Ear Choose Me’. His whole artistic life is about creating sculptures related to ears. The reason dates back to the day when he was on the train, he suddenly felt hundreds of ears flew by him. This sentencereminds me of a day before I encountered No-Input Music and Electro-acousticImpro Music. After I plugged my CD player into a broken television so that I could listen to the albumby Toshimaru Nakamura and Sachiko M, the snow which appeared on the screen due to high-frequency interference presented me with rich details and continuous metamorphosis. This finally assisted me to go through the album which I just couldn’t persuade myself to do so before. Later, it seemed that I started to possess keener ears: occasionally, I can hear electric current of street lamps, the internal intricate sound of laptops, the sound of insects crawling beneath my floor… these sounds are like some secret signals to my ears, I stop every time in order to listen to them closelyand I am enchanted. This has become the beginning of my no-input mixer soloperformance project.
For an electro-acoustic impro music performance, where is the standard of good or bad? What could be count as a satisfying impro performance for me? This seems to be a relatively personal question. This time, with some questions, I have finally decided to perform this piece which I do not have the courage to perform in years, in order to find out people’s answers. The performance is a dialectic process, an exploration, whether it is good or bad will be determined by audience’s ears.
