Introduction to 迴,
ᏗᎷᏰᎥᎥᏋᏁᏖ Music,
and Sound Technology
Research on the mysterious entity known as "Hui" (迴) has lurked behind the soundscape studies proposed by scholars since the 1960s and later by musicians in their approach to environmental music. Although we have continued to study the subject without the public's knowledge, the complex ecology and technological limitations of "Hui" have prevented us from unraveling the many mysteries surrounding the entities, and have left us foggy in our research. Over the past year, we have been collecting and organizing old research materials and thanks to today's advanced digital technology and environment, we have been able to conduct new research. We plan to archive all kinds of data, including research materials, history, and field recordings, on this site.
Acoustic spectrum of a recently observed hui, © the research center of hui, 2020
The "迴" is an acoustic-based creature that manifests itself between the realms of reality and the digital domain. Devoid of any physical form, the "迴" is a being that assimilates sound debris from physical space and captures "sound objects" floating in cyberspace to construct its own ethereal body structure. Due to its existence in a distinct realm and possessing a unique form, humans cannot perceive or recognize the "迴" on their own. Nevertheless, a text describing the study of "迴" at the dawn of the 20th century mentioned that a scant number of individuals with clairaudience displayed an ability to perceive the presence of "迴 partially." These early "clairaudience" researchers likely formed part of a select group.
Before the advent of the electric age and the proliferation of digital technology, systematic research on clairaudience was challenging to establish. Consequently, clairaudience was primarily regarded as a psychic ability, a phenomenon of the supernatural, or even interpreted as the divine voice of God.
Ancient Relics, Unknown Author, collection from the Research Center of Hui, c.1326
The footprints of the "迴" can be traced back more than a thousand years, but the methods for recording them were limited during that period. Before the advent of sound recording technology, the primary sources of information were ancient murals, carvings, and oral folk legends, with the visual aspects often supplemented by imagination. These artifacts are referred to as "relics."
ᏗᎷᏰᎥᎥᏋᏁᏖ music, notations
The "ᏗᎷᏰᎥᎥᏋᏁᏖ music" serves as an exciter for the emerging of the "迴," performed or broadcast on-site. The term "ᏗᎷᏰᎥᎥᏋᏁᏖ music" draws inspiration from Brian Eno's concept of "ambient music," denoting music tailored for the environment in which "迴" exists. Primarily in modern times, ᏗᎷᏰᎥᎥᏋᏁᏖ music is intentionally crafted to elicit the presence of "迴" and facilitate communication during the sessions ("Emergings"). However, only a few recordings and notations from these encounters have survived to the present day.
We collected ᏗᎷᏰᎥᎥᏋᏁᏖ music data and meticulously analyzed its notations. Using this information, we created several demos, culminating in the development of a new ᏗᎷᏰᎥᎥᏋᏁᏖ music-generating system called "prototype⁰¹." Over the course of two weeks, I persistently experimented with an improvised setup using my two old computers and hardware, but my attempts at summoning the elusive entities only yielded a few micro-waves. Subsequently, I discovered that the digital environment, geographical location, and atmospheric conditions profoundly influence the appearance and behavior of these entities. Also, as their role as exciters in specific environments, ᏗᎷᏰᎥᎥᏋᏁᏖ music composition is intricately linked to various factors, including the emotions and breathing of the player during the performance. It is a highly responsive form of music, susceptible to fluctuations based on the composition, the musician's emotional state, and other dynamic elements. Given the ongoing evolution and pervasiveness of the digital environment, the structure of "迴" remains infinitely complex and inherently challenging to stabilize.
Notation of a lost piece of ᏗᎷᏰᎥᎥᏋᏁᏖ music, Untitled, Unknown Author, c.1970
A medieval painting of musicians playing ᏗᎷᏰᎥᎥᏋᏁᏖ music, Unknown Author,
from © the Research Center of Hui collections, c.1389