In my research on the Kizil Grottoes in Xinjiang, I noticed that the broken fragments of the Buddha statue were echoed by sunken handprints evenly spaced on the walls only about a meter apart. When I learned that these handprints were left by people who came and went from the cave when conservation measures were not in place, I was able to see that the two handprints had been made at the same time. At this moment, when it was understood that two objects that witnessed the traces of history, appeared in the same place and were given different attitudes, the absurdity was loosening the meaning of the value of the cultural relics that were fixed between the museum and the auction house. While the material can be left behind, it triggers the thought that the intangible culture is not captured in the history.

The exploration of the ways in which information is transmitted around intangible cultural heritage, and the development of a preconceived practical research methodology in this way. In turn, the visitation of intangible information is delineated in the communication of sound information, and a set of practical methods and discussions are developed that record and capture simultaneously.

The two characteristics of sound are the expression of the compression of space and the way of conduction, respectively. The traditional Chinese poem "Spring River and Moonlight Night", which is not easily perceptible in its sound form, is again created and presented in two ways: the squeezed state and the transmitted state, by means of material information complementary to the recording. The work invites interaction with the people who come and go, and in the interaction, the thinking and reflecting on the loss of cultural relics afterwards.

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