Category: writingzzz

current updates

for the past month, actually i’m trying to consolidate the stuffz for the final outcome

here are some sketches that i have in hand right now:


these are the clips that i dig out from my old iBook back in the 2007-2010; they serve as the building blocks for me




i decided to compose altogether 6 tracks for my final work

the tracklist are here:
a1 1984
a2 pier
a3 1394
b1 dismembered
b2 dialogue
b3 anshin

hopefully at least half of them will be ready when we meet up next time.
stay tuned.


bits & pieces

sometimes i guess point form can help

  1. the project should brings me a full stop for my MFA journey
  2. i start living with my partner last year
  3. the “change of state” by my living experiences is kinda new experience to me
  4. in a good way, i start that so called “independent” life
  5. at the same time, there are always uncertainty happenings around me
  6. at first i treat that as my “fear” towards such “independent”
  7. i don’t want to simply put it into a cliche way to name it as ‘grow’
  8. by any means i would like to take it as a way to explore new possibilities
  9.  just like what i did in my own art, no matter it is sound, visual or any other fields
  10. the topic is named ‘[re:]capture’ since i like to bring up the idea of active / aggressive
  11. to capture something we need to take action by force; whereas recapture something we sometimes need to recover / recreate / re-experience
  12. i find it is the radical factor towards my way on how to do art
  13. in recent years i start dig back certain instruments / techniques on making sound
  14. different gesture / instrument establish its own operation
  15. to me, i always treat creating audio related output as similar as cooking
  16. in my own way, i would like to blend my ingredients altogether
  17. the mixture outcome recalls me of smoothie
  18. or, refer to the youtube channel, “will it blend?”
  19. if iphone will eventually blend into a mix of smoke & dust; what about different sound source?
  20. thus, that “blend” is my gesture / instrument
  21. and what i interested to do is to revisit the works i made in my MFA era; and look for a way to recapture them and reform one new amalgamation.
  22. right now i just build upon one set of effect unit so as to let any kind of raw materials go through it.
  23. collection of “smoothies” are going to be made

more on the 1987 tape

as i recall, this is what my family had in the 80s & this is the machine that record the 1987 tape. other than my dad’s voice i recognized at the start of the tape, i can tell it is recorded at my parent’s room in our big family house. we lived in the 2/f of an apartment which got 14 floors in total. i remember when i open the window i can hear the people below shouting on the streets. in 1987 there was not yet MacDonald in tai kwok tsui, what we had there are just a couple of small scale convenient store & some small restaurants. also i can hear the cars passing by and horns while i was singing a song about the road safety. for the mosquito song i can tell i was moving along while singing since the recording shows my childhood voice varies.

i asked my mom about what the recorder is in the middle of the recording, so i guess i had no idea what a cassette recorder is before? i also mentioned something about TV game which i suppose should be the Vectrex my family had at that time. 


i kept asking my mom about the cassette tape recorder and somehow i was looking for a microphone to hold on, that is why i touched the machine and generated some noises. in the last part of the recording my mom kept asking me about my grandmother so she repeats ‘popo’ for a few times.




it is somehow interesting as we had the discussion about the tape weeks before. after recorded the tape, my mom seldom take it back to have a listen. it’s like as if the recording activity is more important than the playback procedure. my mom tried to do so only to provide me a snap record of myself in 1987; but seems not much more to be done after the tape is made. the act of recording since serves like a parent-child activity, just like some parents will bring the cildren to go to the park. i can tell my mom is not that serious about the recording since some years later she make use of the tape leftover to make another recording for her language learning practices. i felt a bit unhappy with it since the tape somehow takes me back to the 1987. anyway now i digitize the recording and thus my key to 1987 is always there on the internet.

there’s no turning back. but nostalgia is not that harm.

abt the 2 sides of the cassette

cassette title:

cartridge memories    カートリッジのメモリー


the final outcome of my cassette tape is now renamed as “cartridge memories”; it was originally named ‘codenamehk: cartridge” but later i decided to make the cassette project a new series of artwork. i hope this is just another beginning of a new series of sonic artwork of mine.

the title is a homage to a song from the TV series Amachan (あまちゃん) which called 潮騒のメモリー (Shiosai No Memory). while the song brings us to our 17 years old time, my tape was intended to bring us the memories of the 1980s in its essence way.

the tape was made with the current available cassette tape i can get from the market. i remove all the labels on the tape to hopefully keep it in the most simplistic outlook. it is a 60min tape so each side is 30min.



side A

title: no input symphony (ノー・インプット・交響曲)


side A was a 25min one take experiment that i made with my 4track recording machine. i use the recorder as a 8input mixer & try to do a no-input exercise with it. 2 of the channels go into a feedback loop, 2 go to nothing & i try to touch the tip of the cable with my bare hand to create a static noise, 2 of them simply do nothing there but i try do the audio gain in maximum way, and last 2 are really nothing left there. i also make use of a portable guitar effect unit to serve as a effect send/return unit; while i amend the setting on the effect it dramatically change the sound of the output. i output the audio signal without inserting a tape into the unit but make use of the monitor out.

for 25mins i try to explore what kinda sound i can get from the 4track machine. from time to time i start slowly on how to control the sound that i desired. such a recorder is no longer a recorder in this way of practice but it’s a sound generator. in this way i try to question whether the relation between produce/record is still valid in a give/take practice.



side B

title: hymn of CRT TV (ブラウン管テレビ讃歌)


side B of the tape is another 25min of sonic journey. this time i try to play with a 80s CRT TV setand try to connect some guitar effect pedals into it to create a simple video synth. it was originally a project called ‘codenamehk: monolith’ which is a audio/visual composition. for the cassette i only include the audio part of the work. to complete the feedback loop i try to connect a telephone pickup microphone to the TV screen as an input to the efx chain. the outcome is a flow of noise swash, mainly like a sea of white noise, which we sometimes encounter on the malfunction CRT TV screen.

the CRT TV is another memorable technological artifact in the 1980s and i find out that only such kind of TV can offer such possibilities to experiment on the input. nowadays more advanced TV offer digital input whereas we cannot meet the white noise screen anymore. the more resolution, more finite of a picture/pixel we can get; the less possible ways for experiment on the formation of the image. the nature of how we perceive such projection of images on a CRT (Cathode Ray Tube) seems like more simple, or direct, when compare with the latest LCD technology which requires a couple of filters before the images come to our naked eyes.

the title is another homage to the single of jpop group Momoiro Clover Z (ももいろクローバーZ ), 労働讃歌.

something about the 1987 tape…

there’s no turning back.

As told by my mom at the very beginning of the tape, it was recorded in the year 1987. I was supposed to be 3 years old but since I answered my mom on the tape that I was 2 years old, I guess it is recorded between Jan – Feb 1987. I discovered the tape when I was 10 and since then I never stop crying when listening to it. The tape was made due to my family found out I kept silent all the time and wonder if I was having any problem during my development. They were afraid so since my cousin are autism.

The content of the tape was basically my mom keeps asking me various questions, about my family, about my living place since then, about my dad’s interest on camera. I can hear from the starting of the tape that my dad was supposedly to be helping my mom to do the recording. However I wonder if my dad still remembers doing so at that time. It is supposed to be recorded in my old home in tai kwok tsui. I got a big family since then and altogether there are nearly 15 people in the house. The old house is later sold and I was moved to taipo then. However I still keep recalling the good old days in the house.

I got emotional towards listening to the tape because I find it is so strange to listen to my own voice in the child days. It feels like as if the same person within different timeline meets face to face. Sounds like a time travel, huh? Especially when I listen to the tape, I just cannot deny the fact that I was no longer that child in the tape; after years I was shaped the current ‘me’ and there is no time machine in the real world that can bring me back to the old days. I cannot change the history and there is no turning back.

I do not know if the feeling/perception of the recording will be changed if the medium was changed to picture or a video. Nevertheless I do not think my family can offer such a video camera at the period of time. The cassette tape keeps me focus on my voice in the old days, that childish murmuring gives me an impression that how innocent I was at that time. My memory on such a cassette tape, or as such recording that was made on this medium, path me a linkage between different ages of me. Every time I try listening to this it feels like that current me was trying to make contact with me at the 2 years old. I am sort of like trying so hard to tell the old me that never regret on anything I do, and no matter what do not afraid of grown up.

It is a mixed feeling since I wish time can be freeze in my childhood days but yet I know time moves on.

short review on sonic anchor #19

Sonic Anchor #19
Looping Taiwan Looping
November 1, 2014
8 PM-9 PM
McAulay Studio, Hong Kong Arts Centre


Dino (Taiwan)
Zhang You-Sheng (Taiwan)


This issue of Sonic Anchor brings you two of the most intriguing of Taiwanese noise scene – Dino and Zhang You-sheng. Dino is a central figure of the so-called “second noise wave” movement, a group of sound artists in Taipei who ushered in a new era of analog noise experiments. Zhang You-sheng is one-half of the legendary Kandala label – one of the most influential independent noise labels in Taiwan. You-sheng’s collaborative project Minkoku Hyakunen was recently awarded an honorary mention at the digital music and sound art category of Prix Ars Electronica. In this edition of Sonic Anchor, the two will play a double set that explores the many intricacies of “no-input improvisation” – a technique that exploits extremely minimal analog setups to creative ends, generating a rich array of circuitry sounds by frantically looping mixer noises and microphone feedbacks.

the duo performs with no-input mixer

as i know from the Q&A part, they decided to do so and thus carry not much gears to hong kong for the show

and then they were first trying to do the 2 performances sharing the same setup; but later chage their mind since the organiser offer them another mixer. by then ZYS gotta plays with no delay pedal

as normal sound performances do, the audience are not much familiar with the form and keeps asking simple question like ‘how to make the listening experience more pleasurable’ or ‘where should i focus on? should i do it like only listening? but i cannot help watching your hands tweaking the knobs on the mixer’

for dino, he said the only concern is that the venue in hong kong prohibits drinking & smoking; and he added that he focus only on himself when performing

for ZYS, since he developed his work from minimum to maximum, the beginning part is a bit silent; and while at the same time there’s a performance upstairs in the venue, there were once an strange listening experience with the mix of the 2 shows.

in the Q&A part i asked them how is it different between hong kong & taiwan for such an performance, both answer me as ‘there’s not that differences in fact.’

revision of my recent performances & some thinkings after David Toop’s visit to HK

codenamehk: man of a crowd

it is a tough decision on whether or not to carry on the show

the feeling is mixed on the number of audience; i do hope they can join the protest after the show

anyway it’s a work about field recordings, vinyl scratching and mixer-as-instrument

the starting point comes from Edgar Allan Poe’s story “the man of the crowd”

the final part in which i did a collaboration with VV is still something nice i guess

codenamehk: Oceania

it should be s simple setup peformance

i still get confused when doing a small scale show, what kinda loudspeaker should i carry with?

a bit messy in the end

and the language really stands as a border… in the work i have English monologue from movie ‘the cable guy’, a radio programme by our C.E. CY Leung, and a Taiwanese army song sung in mandarin; from the audiences feedback it seems like there’s really difficulties for people to get to understand the context behind

maybe the problem(?) (or what kind of word i should use) is due to the complexity of Hong Kong

david toop

i attend both the talk & performance and ehers’ some brief review

for the talk, my most memorable experience is the time when david mentioned about why he choose the job as a writer

because, he luvs music & he can earns money by writing on music

and, holy it’s the FACE !! also, i sometimes read his stuffz @ wire

i guess, hving a ‘healthy’ scene for the minority to share the thinkings within others is the key to success

for the performance, actually for david’s part i mostly enjoy the computer part

while it’s interesting to watch the other 2 performers at the same time

aki onda: umm, actually i was hoping to watch him playing with a bunch of cassette players but finally he only use few & what the sound he creates are mostly base on the line6 delay pedal

akio suzuki: really stunning to watch, i’m really impressed when he makes use of the U-shaped metal to creates a bunch of effects and reverbs, simple & smart.

and the performance suggests me to get a nice microphone if i want to do some percussion-alike stuffz

G-A-S again


asked jasper that the microphone they use for pick up is rode nt5

official archive of the performance of codenamehk: man of a crowd

Virtuosic Electronica
By Samson Young

How does one listen to one’s native language as shapes – that is to say, to consciously mask the meaning of language, so as to hear utterances not as words that convey meaning but as discrete sonic objects? Artistic experiments in the last several decades – including musique concrete works that sought to reconfigure recordings of speech, decades of exploration in sound poems, and extended vocal compositions including Berio’s epic Sequenza for voice – have demonstrated that acousmatic listening is indeed entirely probable. That acknowledged, whenever speech is used in a sound work there are often moments of slippage when I find myself succumbing to the desire to ascribe meanings, even if I’d been signaled not to, and even if it is in a language that I am not familiar with. So the more interesting question for me is always this: what are the sets of conditions that make acousmatic listening easier?

Bjorn Ho began his set at the last edition of Sonic Anchor with a field recording of the Shum Shui Po area. The soundscape, the conversations and the cacophony of irregular rhythm were soon overwhelmed by a rather more regular and melodious groove, consisted mostly of metallic sounds that for me occupied an entirely different sonic space. I found myself first growing impatient with the distance that these materials consistently maintained. As my mind wandered, I occupied myself with eavesdropping on the conversations. But then out of nowhere, a violin track that functioned like a musical quotation is thrown into the mix. For a brief magical moment, the awkward disjointedness was rationalized, aestheticized, and given form. From that point on I found myself listening cinematically, as if to the sound track of a wonderfully non-sensical movie. A minimal electro-dance groove closed out his set, conjuring the image of a chase scene at the Apliu Street that ended abruptly. I didn’t feel like I was always in good hand – but it was most certainly a fun ride.

codenamehk: heteroglossia

On 8 May 2014, the piece codenamehk: heteroglossia finally performs in front of audiences

it is held @ 6/f study area, CMC, School of Creative Media, City University of Hong Kong.

it is part of the project codenamehk, which features a series of artwork made by HO Him Shun, Bjorn.

The objective of the series is to make use of  art practices as a form of metanoia, so as to turn the negative energy of my everyday life towards a driving force for me to carry on in the city Hong Kong.

For codenamehk: heteroglossia, my focus is on the public transport we tackle everyday. for most hk people, the transportation system is something we cannot escape from everyday life. while each of the vehicles are filled with TV screen for brain wash advertisement, announcement in different languages or news repeatedly every 15minutes. i would like to look for a special sonic experience within the vehicle, maybe, to focus listening on the motor sound. i try to acquire a set of electromagnetic microphones so as to make some experiment on the listening exercise. by spending a couple of months doing the recording practice in different vehicles, finally i take the double-decked bus as my sole subject matter in this work. i try to make some field recordings on the bus and then i try to do a composition on the materials i got. the final outcome is later revealed as a live performance, while much more possibilities are welcomed.

when i do the composition of the piece, i try narrow down the number of sound clips i have in the beginning. i had only 8 tracks of sample for my to play with, and i try to apply a couple of filtering to the sound. i mainly use eq, reverb, delay and resonance filter. for the live, i start by bring up all the clips at the beginning, and then try to do the filtering, shaping the sounds, bringing them in & out & so on.

the results at that day is satisfactory and i would like to look for any chances for doing this performance more. also, more feedback will be welcomed.


just tried a couple of filterings with the sound i got in these weekends…

not much impressed with the the outcome

when i’m dealing with a couple of drone-like sound texture; i always want to make use of the resonance filter on them.

i tried to push the eq to certain freq, adding delay on them or even putting a guitar pedal on the clips…

and for this week recording i try to chop the 8 clips into shorter in length, around 30 sec each

and it results like a plain sound texture with not much interesting action


will try do more recording tonite

i need to add sth NEW inside?? or i need to re-think abt the construction of them