REAL, but not TRUE
Interactive Sound Installation
2018
For Dyson, sound forms a critical vocabulary by which to confront the complexity of today's crises; from ecological to economic, social to political challenges, Dyson emphasizes the possibilities afforded by way of a sonic criticality to "move toward a shared sensibility" from which to build "sense, the common, and common sense simultaneously"
[Brandon LaBelle - Sonic Agency Sound and Emergent Forms of Resistance, 2018]
“A sonic sensibility reveals the invisible mobility below the surface of a visual world and challenges its certain position, not to show a better place but to reveal what this world is made of, to question its singular actuality and to hear other possibilities that are probable too, but which, for reasons of ideology, power and coincidence do not take equal part in the production of knowledge, reality, value, and truth.”
[Salome Voegelin - Sonic Possible Worlds, 2014]
REAL, but not TRUE explored the similarities of instability and fluidity among sound, I Ching, and the instability between sound and visual sense.
The sound is real, but everyone hears it differently.
The work uses the content of I Ching to make an event score. On the one hand, it reflects the unique kind of change and instability.On the other hand, through the event score, it allows audiences to participate in, and to record, their own score. All of this ‘random’ participation is unstable and flowing. Meanwhile, the five sensesare will be made full use of (including hearing, sight, smell, touch, taste).
The work’s aim is that audience members become performers, and experience the instability of sound at the same time, using a contemporary ‘preparation of an historical instrument to think about post-digital identity and to interpret “change”.