02.
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What does red signify?
In what ways do they engage with the notion of time?
Can data instantiate the real?
How does their music invite a temporal and intimate mode of listening?
2021
Soundtrack
Duration: 1 sec.
2nd track of
Data Composition
11 tracks. 32 minutes.
2016
Audio-visual
Exhibition(16), Live-Performance(17), Screening(18)
We regard human audiovisual perception as a matter of vibration. Just as we hear through the trembling of air, we see through the vibration and reflection of light. "Let there be light"—perhaps the very first vibration to reach the human retina was red, the low-frequency end of the spectrum. (국문)
2021
Penceil Drawing
42x59.4cm
from the solo exhibition
Data Composition
One second, two seconds... just as the clock hands move, time seems to flow sequentially. In music composition, the process of arranging sounds within the space of time is the act of structuring music through the sequential arrangement of notes. We remind ourselves that there is an illusion in this structure. Time, we believe, exists simultaneously, and what we perceive and distinguish is merely the boundary of that perception. Thus, we create a score for music, score I for a cycle. (국문)
2019
Data-driven
sound synthesis for
e^ix, it’s necessary
for AV performance
Duration: ca. 10min.
If we were to translate everything we perceive as real into data, could we then model the real through that data? Grounded in this philosophical question—one that resonates deeply with our contemporary moment—we seek to create sound and develop artistic concepts. In digital space, we construct a virtual sphere named THR Resonator, with a radius of one millimeter. Within this imagined environment, we collect data from the resonant sounds that occur. Through this process, we gather the informational components of the real and use them to generate a modeled manifestation of reality. (국문)
2018
Audio-visual in fixed media
Duration: 8min. 3sec.
The range of sound typically perceived within the audible frequency spectrum is limited—we refer to this range as the “audible-visible” spectrum. Our works expand beyond this, employing both sub-bass and high-frequency sounds that lie at the edge of or beyond perception. Through these, we create rich sonic experiences grounded in unfamiliar textures. Rather than relying on rhetorical devices, our music engages as a physical phenomenon that resonates with space and invites responsive listening. In +3x10^8m/s, beyond the light velocity, we were noted for achieving an extreme level of expressive power through precisely crafted sound. (국문)