About
Sound

DYOLO? (2026)
      For Interactive Installation   

Even As I Am Silent, and Am Not Wont To Speak (2026)
      For Vocal Sextet and Electronics   

The Fallen Leave Falls (2025)
      For flute, bassoon, piano, live electronics and video   

Yesterday Yet To Come 2 (2025)
      For installation, cassette tapes, and live electronics   

When Clouds Are One Cloud Till The Horizon (2025)
      For Mixed String Ensemble   

They Have Only Existence (2025)
      For Solo Percussion, Live Electronics, and Generative Video Score   

The Poetics of Waiting… (2025)
      Installation for Interactive Animations and Spatialized Sound   

Shards of The Untraced (2025)
      For String Quartet and Spatialized Fixed Media   

Events And Results (2024)
      Video Game   

Unsupervised (2024)
      For Electric Guitar Quartet and Light   

Place Each Body Part on the Box And... (2023)
      For Wood, Resin, Print, Force Sensors and 6-channel Fixed Media   

inhere nowhere (2023)
      For Mixed Ensemble, Live-electronics, and Spatialization  

The Forgotten Ones (2020)
      For String Quartet and Fixed Media   

Clouds (2019)
      For Flute and Live Electronics   

Visual

Warp (2025)
      For 4-channel Fixed Media and Audio-reactive Video   

Photography

Cloud of Sound, Sound of Cloud  

B&W

Color

They Have Only Existence (2025)  
For solo percussion, live electronics, and generative video score

 10 - 25 minutes flexible in one movement
Dedicated to and premiered by Laszlo Hudacsek, July 12, 2025, at Académie internationale de création musicale avec nouveaux medias, Dijon, France

The concept of the work centers on the cycle of performative experience. The performance is seen as a form of collective action: the performer reads the graphics, interprets them, creates sound, and that sound ultimately loops back into the visual presentation. The graphics themselves are generated by a computer program, not through aesthetic composition but through pure data randomization — in size, color, and position. Yet, through the act of observing them as artworks, we assign them meaning; they become beautiful because we perceive them as such. I believe this transformation involves a great deal of intuition and sensation — the same qualities that lie at the heart of live performance and improvisation. Accordingly, the instructions call for sounds that avoid rigid adherence to traditional notation, fixed tempo, or rhythm, and instead embrace the fluidity of the human mind.





US Premiere by Josh Perry on June 17, 2026 at MISE-EN Festival 2026, MISE-EN Place, New York
Photo By Michael Yu


YANQI CHEN

last updated July 2026