Truth is never complete. History may rhyme, but it never repeats itself. In this digital age, facts can be destroyed, amplified, or manipulated by viewpoints and perspectives. Reality can be depicted through fragmented facts, while truth can be reduced to individual cases. As we begin to feel numb towards the distortion of reality, can the fragmented present shape an alternative mode of completeness? While the number ’10’ represents completeness in Chinese culture, ‘9’ may sound incomplete because it is ‘1’ short to be considered whole. However, the deficiency of ‘9’ creates possibilities. Avoiding preset ceilings encourages us not to take things for granted. Complex images could be seen on a monitor without a light source; a robotic dog on a leash might still be able to go wherever it could; ‘Ode to Joy’ with no tones might evoke another kind of delight. In this work, a percussion performance is fragmented, visually and aurally. Close-ups of body parts are displayed on synchronised screens, while pairing speakers fill the space with gritty sound. The full spectrums of visual and audio are filled with rhythms and melodies built by re-integrated moving images and sound. The aural gradually transits from percussion music to sounds of the city. While the moving images on the screens remain unchanged, the sound gradually dislocates, transporting you beyond the walls of the exhibition space to the city soundscape.

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事實從來都不完整，歷史也從來不千篇一律。尤其在這數碼年代，觀點與角度能置之死地，也能起死回生。零碎的事實可以是全部，完整的片段也可以是個別例子。當我們都習慣了這種腐朽為神奇的日常，零碎的當下又是否能塑造另一種圓滿？ 「九」好像是一種不圓滿，加了「一」才算十全十美，但「九」充滿可能性，缺陷造就了新的感觀；原本理所當然的雖然不再，但沒有前設的過程反而更發人深省。沒有光源的螢光幕也可看得更複雜的影像，不太自由的機械狗或者可行得更遠，好像沒有音調的「快樂頌」可能有另一種快樂。 這個作品在屏幕上顯示著零碎的肢體，喇叭播著充滿雜質的聲音充塞整個空間。分解的身體變成了節奏，摻雜的聲音變成了旋律。資訊被分解後又被拼湊，圓滿整個頻譜，就這樣把不圓滿片段變成了完整的樂章。聲與影同步，由打擊樂慢慢轉化為城巿的聲音，雖然眼睛看到的影像不變，但漸漸脫離影像的聲音會帶你衝破展覽空間，到逹城巿的另外想像。