Notes
iw nsw m pr.f mi ra m pt was improvised and recorded on March 17, 2024. It is sung in Middle Egyptian, and the phrase translates to “The King in his palace, like the god Ra in the sky.” Since the language is unfamiliar to most listeners, the voice is experienced not as text but as breath and vibration. The meaning enters through sensation rather than cognition, living in the body before the mind and opening a space where resonance replaces comprehension. This piece presents my “Voice Beyond Semantics” philosophy.
This work marks a turning point in my practice. Here, I stopped pursuing beauty in voice and music and began honoring emotional truth. While recording, I entered a trance-like state where sound moved through me rather than from me. My throat continued singing without conscious intention, as if the voice had its own current. In that moment, I recognized the power within my voice and finally chose to face it, trust it, and stand with it.
This piece is also an observational experiment. I invite listeners to engage with full presence, then share the imagery, emotion, or sensation that arises. The responses are radically different. Some listeners feel fear and can only continue halfway, while others enter deep meditation or see something very different. Each reaction becomes part of the work, revealing its infinite possibilities and the multiplicity of embodied listening. This piece itself is infinity, continually formed through those who meet it. I sincerely invite each listener to set everything aside and focus fully on the sound. If you allow yourself to be present, you will be carried to a place only you can know. I welcome you to share with me what you heard, saw, and felt.
In contemporary culture, harmony and positive energy are often over-emphasized, creating pressure to avoid discomfort or shadow. Yet this work embraces dissonance and asks: how do you face the parts of yourself that do not sound beautiful? To embrace dissonance is as essential as embracing light. Wholeness requires both.
The work was later performed in London in September 2025 as part of Ritual in Progress, curated by Every Archive in collaboration with London Design Festival. The live ritual featured my vocal improvisation with dancer Peiyi Zhong and singing-bowl artist Bei, exploring how voice and movement shape presence together. Without shared language, the voice became a channel for ancient energy moving through contemporary bodies.
In this show, the piece became “embodiment” itself. The dancer formed an instinctive connection with the emotional current of the voice, and her movement responded in real time. Sound and body moved as one until the performance settled into a quiet field of shared stillness.
作品介绍：
本作《iw nsw m pr.f mi ra m pt》于 2024 年 3 月 17 日即兴唱作并录音完成。演唱使用古埃及语，歌词的字面含义为“王在宫寝，如太阳神在天空”。但因为大多数听众并不熟悉这门语言，因此人声在这里不以“文本意义”抵达和左右听众，而作为“人”的存在，建立共振与连接，以呼吸与振动传递最直接的情绪与精神。此作亦是我“Voice Beyond Semantics（超越语义的人声）”理念的呈现。
这部作品是我创作中的一个重要转折点。我不再追逐“好听”，而是尊重情感的真实。在录制时，我进入到了一个奇妙的近似恍惚的状态，声音穿过我的身体，而非从我而来，喉咙在非意识的驱动下持续歌唱，仿佛声音自有流向。在那一刻，我意识到自己声音所蕴含的力量，也终于选择直面与信任它，让它成为我的画笔，并与之同在。
这首曲子同时也是一项观察实验。我邀请听众以完整的专注力去聆听，并分享听时感受到的图像和情绪。我收到了很多截然不同的反馈，有人感到恐惧而中途停止，也有人进入深度冥想。这首作品本身即是“无限”，在每一次相遇中持续生成。我诚挚邀请每一位听众，放下手中所有事，聚焦听这首曲子，你会被带到一个只有你知道的地方。欢迎告诉我你听到，看到，感受到了什么。
现在社会太过度强调和谐与正能量，人们因此急于回避不适与阴影；但这首曲子中有大量不和谐。你要如何面对这样的自己呢？拥抱不和谐，和拥抱光明同等重要。
2025 年 9 月，本作在伦敦于 Every Archive 策划、并与 London Design Festival 合作的Ritual in Progress展览中呈现。现场仪式包含这首曲子，与当代舞者 Peiyi Zhong 的即兴舞蹈和颂钵演奏者 Bei 的共同演出，探讨声音与身体如何共同生成“这一刻”的在场。在没有共享语言的前提下，人声成为能量的通道，使古老的力量通过当代身体被具身地显现。这场演出中，本作品转化为“具身性”本身。表演逐渐将空间转化为一个共同聆听与觉察的场域，舞者与人声的情绪流动建立起本能而即时的精神链接，身体实时回应，移动与声息合而为一。演出以颂钵冥想收束，让余振沉淀为群体性的静谧与共鸣。
