Shock Derailment

Length 26m12s, 2011

Artist：Jun-Liang Lin

The world is filled with noise. The world may be deeply disturbed by it but is used to it to the point of occasionally enjoying it. Such is what is known as the age of “digital texture”. Visual perception is fragmented and follows a digital pattern. Line-by-line arrangement seems to be the way for data transmission. Hearing is subject to repeated sound effects, which gradually change the pace of living. People have found the new tempo; exchanges create new combinations. Such is modern life.
Shock Derailment is edited on a “soundtrack” basis. It forms the main axis and also a variable for the creation of images. Soundtracks are edited full-manually and inserted through an “encoding” process to create fluctuations. Images are kept in a passive position, destructed and deconstructed. They show that visual perception has an audio and rhythmic nature. Music styles derive from a wide array of digital sound effects, which present sounds fluctuating like waves and help create digital technology ambiences. In the production stage, soundtracks are edited purely by listening and with a sense of rhythm; images are switched off, with auditory senses taking control. The artwork calls on artists to rethink the cutting angle in image creation and retry, strengthen our auditory senses and make visual perception only a reference basis or a backdrop. With hearing and sight building on each other, new aesthetic experiences can be generated.