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Two Phases:

The regular development process of IDCM
can be divided into two major phases.

Phase one:
The design of models such as a set of rules,or a program.
then the program is tested and verified by the test team in a series of rehearsals.
Each of the test team participants will receive a model operation manual, which provides the principles of how the team members interact with each other, the team members are encouraged to free improvise and developpe diversely under the rules.The job of the team is to find bugs in the operational rules during these rehearsals. so the directors can revise and optimize the program for the next rehearsal such as the process of software testing.

Phrase two:
The optimized models can be performed in diverse applications such as:
1.Theatrical/Sound performance (as an open score performance)
2.Body/sound workshops (as an educational tool)
The optimization process can keep on working to meet the needs of specific sites/groups.

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Prototypes 2017:

■ Phonetic Machine beta1.0

This is a prototype of a phonetic machine for Chinese syllables. It can pronounce five different pitched mandarin and taiwanese tones. With sufficiant participants, it can pronounce all Mandarin phonetic sounds. Each person in the vocal group represents a consonant, and everyone in the Mouvement group represents a vowel. When a vowel walks into the track of a consonant, the corresponding “consonant” has to sound it out by combining the consonant and the vowel.The physical distance between “consonant” and “vowel” and the body position of “vowel” respectively control the volume and the pitch variations.Not only can this machine speak, it can also be used as a drum machine or a musical instrument.

One of the first “Sound Models” Linchiwei developped since 2004, it was reduced to 1D in 2016 and proved to performe with more efficiency and reliability. The beta1D setting is : 10 up to 36 performers were seated in a circle, each one with one or more pitch-fixed instrument on hand (the choice of specific instruments and exact pitch depends on the composition which meets current/site specific needs) .The performers will react to the others according to the law of Cellular Automata :

One of the first “Sound Models” Linchiwei developped since 2004, it was reduced to 1D in 2016 and proved to performe with more efficiency and reliability. The beta1D setting is : 10 up to 36 performers were seated in a circle, each one with one or more pitch-fixed instrument on hand (the choice of specific instruments and exact pitch depends on the composition which meets current/site specific needs) .The performers will react to the others according to the law of Cellular Automata :

Born in Taipei ,1971 ,Lin Chi-Wei is an intermedia artist who has received academic training in french literature, cultural anthropology as well as specializing in new media art (Fujen Catholic University,French Litterature dep. / TNUA,Graduate Institute of Traditional Art / Le Fresnoy,Studio National des Arts Comtemporains) He is a founding member of “Zero & Sound Liberation Organization”–the pioneering group of noise music in Taiwan, and the one who responsible for the 90s taipei alternative art venues “Sickly Sweet Cafe” and festivals ( Industrial Arts festival /Taiwan International Electronic Music Phenomena). In 2012 he published his first book’Beyond Sound Art: The Avant Garde, Sound Machine and the Modernity of Hearing’, in which he analyzes the aesthetic condition of sound and art in a post-colonial eastern asia context.Lin is current researcher fellow in CAA Hangzhou,School of Intermedia Art.

Lin’s art work has been showed in Taipei Fine Arts Museum,Shanghai Biennale,New York Electronic Art Festival,Shenzheng Architecture Biennale and Han Art TZ gallery. And his performance art pieces were shown in Tate Modern Museum, Venice Biennale and La Nuit Blanche. While his “Coordination Sound Models” were played in primary schools,private residences,local communities ,factories,temples,churchs,folk music groups ,bars and live houses.

Since the early 1990s, Lin has been exploring the realms of folk culture , his experiences in the field research on the subject of taiwanese shamanist and taoist rituals encourged him to developpe a critical point of view toward comtemporary cultures, Notably he doubts the representive models and the total absence of nature in art contexts. He pursued this subject along the years and started to developpe the “Coordinated Sound Models” since 2004 (Tape Music,Cellular Automata,Meta-Cyber Music,Balloon Music,etc) ,within the folk ceremony in mind, Lin image a new kind of culture model that can be apply to different context beyond the culture industry constraints.

Singing CHEN is a film director whose works cover multiple disciplines, such as feature films, documentaries, experimental films and film scores, through which she expresses her long-term observation of contemporary society and portrays her profound depiction of people, characters and their living situations. She is also an expert in adopting the magic realism approach to highlight the absurdity of reality and society in order to highlight bigger societal issues. For her, there are no boundaries between the disciplines of drama and documentary, or reality and fiction, as they are not antonyms. They are merely aspects of media for her to explore the
essence of life.

Her 2014 documentary The Walkers, took ten years to record one of the most significant Taiwanese dancing institutions, Legend Lin Dance Theatre. The film has received mush critical acclaim and was nominated for the Golden Horse Award and the Taiwan International Documentary Festival. Her 2007 film, God, Man, Dog, was selected for The Forum at the Berlin Film Festival, and subsequently awarded the Tagesspiegel Readers’ Prize for Best Film. It was nominated in three categories and screened at more than thirty film festivals including at Pusan and Fribourg.  In 2000, her 16mm feature film, Bundled, won the Best Drama and Best New Director awards at the Taipei Film Festival, the Best Original Film Song at the Golden Horse Awards, the Ecumenical Jury Award and the Prix du Jury de la presse politique at the Festival International de Films de Fribourg while being screened at dozens of film festivals.

Singing CHEN is now the director and proprietor of the Walkers Film Studio. Recently, she has filmed and recorded the artworks of the sound artist LIN Chiwei (culminating in the documentary Ears Swiched Off and On which was subsidized by the National Culture and Arts Foundation in 2014.) In his sound modulation artworks, Lin adopts an avant-garde approach to let the audience become the subject of his performance, which the Walkers team found really fascinating. Consequently, since collaborating with Legend Lin Dance Theatre to shoot a film on dance, the Walkers Film Studio has now widened its horizons by inviting artists from various disciplines, such as sound art and dance art, to collaborate on presenting innovative multimedia projects.

Snow HUANG is an artist active in both the theatre and music. He has been a scriptwriter,director, curator, sound composer, video artist, live musician and sound designer for various theatre groups and art festivals. He has been an art critic in residence for the Taipei and Macau City Fringe Festivals and an author for Pots Weekly magazine and the MJKC online drama website. He founded Against-Again Troupe when he was twenty years old and has been running it ever since. In 2007, he announced the “Micro Theatre” declaration,and organized the first Against-Again Apartment Showcase. The same year, he wrote and directed the Rock and Roll music drama The Silent Left Hand. The play originated from incidents concerning Thai workers on the Kaohsiung MRT system and Muslim immigrants fighting against violence in France in order to reflect on the situation of Southeast Asian immigrants in Taiwan. His plays and music performances lie in the fields of site-specific theatre, music theatre and performance poetry. He has also had several multi-disciplinary performance pieces implementing objects, sound and multimedia. His plays have traversed many world cities from Taipei to Tokyo, Macau, Berlin, Istanbul, and have been performed in Denmark.

In 2009, he took part in M. O. V. E. Theater’s Fable to Be, or Not to Be, and wrote and directed the dystopia play Oblivion, in which he combined live music and video installation.
In 2010, he joined the Asia-Baroque Butoh Group and worked with Hata Kanoko. He then directed American Dream Factory in Taipei, which explored the contemporary situation of young labors under the influence of the cultural homogenization of globalization. It was selected for the Emerging Artists Program at Festival/Tokyo 2012. That same year, he curated a performance-exhibition project “All that’s left to happen is some deaths (my own included)” for the Against-Again Troupe. This project was selected for "Four at WSD" at the World Stage Design 2013 in Cardiff. In 2014, he participated in the AAT’s collective play Götterdämmerung.

In both 2008 and 2013, he released original theatrical sound albums in Taiwan and Macau.He is an expert at using music to create the sense of space and the visual. During theatre performances, he often combines different layers of string music to produce a vast an eccentric sound experience. From time to time he will do impromptu performances with dancers and musicians as an Erhu fiddle player. This year in Wanhua, Taipei and at the A-ma Temple in Macau, he developed a project “The Meanderer Theatre”, in which the audience can put on headphones and explore the city to their heart’s desire.