https://zhaojiajing.com 2026-03-21T12:14:35+00:00 always 0.5 https://freight.cargo.site/t/original/i/F1993694046217115124341335947635/DSCF5497.JPG https://freight.cargo.site/t/original/i/X2247170785735153941779012155763/Zhao-Jiajing_Cr.Eivind-Sorgenfryd-BW.jpg https://zhaojiajing.com/compositions 2026-02-17T22:17:46+00:00 always 0.5 https://zhaojiajing.com/fomo 2026-03-04T03:11:00+00:00 always 0.5 https://freight.cargo.site/t/original/i/C1609680047125476008513506811571/horizontal_dark.svg Symptoms of FOMO include constantly checking emails, messages, and social media to stay updated. Experiencing this was one of the main reasons I began composing this piece. For a period, I became obsessed with checking emails and social media for opportunities I might miss. As a result, I felt overwhelmed by the ocean of information—an overwhelm that gradually turned into a constant, low-level anxiety. https://freight.cargo.site/t/original/i/X2308771795579001069380482660723/DSC00878.JPG Symptoms of FOMO include constantly checking emails, messages, and social media to stay updated. Experiencing this was one of the main reasons I began composing this piece. For a period, I became obsessed with checking emails and social media for opportunities I might miss. As a result, I felt overwhelmed by the ocean of information—an overwhelm that gradually turned into a constant, low-level anxiety. https://freight.cargo.site/t/original/i/I2308779654094890654460276144499/Screenshot-2025-04-14-at-10.38.59.png ChatGPT Generated Poem featured in FOMO. https://freight.cargo.site/t/original/i/Y2308780331791374434401783413107/5a2a6d6188792cfbf1a5657a2636f80c.JPG Schizophrenia is a RAVE (Realtime Audio Variational AutoEncoder) model co-developed by Bryan Yueshen Wu and myself. The model is trained on a corpus of audio extracted from a continuous screen recording of YouTube Shorts—specifically, an unbiased stream from a newly registered account—to provide an objective sonic representation of the internetsphere. https://freight.cargo.site/t/original/i/V2309160548885991546932967274867/DSC00881-2.jpg FOMO → constant checking → “doomscrolling” → increased anxiety → more FOMO https://freight.cargo.site/t/original/i/A2669069773440895386065296718195/IMG_9958.jpg Live performance at Sound/Image Festival 2025 https://zhaojiajing.com/naiad 2026-01-19T21:51:58+00:00 always 0.5 https://freight.cargo.site/t/original/i/C1609680047125476008513506811571/horizontal_dark.svg The composition begins with raw sound recorded using hydrophones attached to reeds. As the spring breeze moves through them, the reeds produce subtle, organic sonic gestures that form the foundation of the piece. https://freight.cargo.site/t/original/i/U2344012874770355336279506844019/IMG_7766.jpeg My favourite spot for hydrophone recording – I spotted a rich underwater symphony here, which is featured towards the conclusion of the composition. https://freight.cargo.site/t/original/i/F2344012874788802080353216395635/IMG_7768.jpeg The composition begins with raw sound recorded using hydrophones attached to reeds. As the spring breeze moves through them, the reeds produce subtle, organic sonic gestures that form the foundation of the piece. https://freight.cargo.site/t/original/i/T2344012874604334639616120879475/IMG_7755.jpeg The water system in the wetlands is mostly silent, requiring experimentation with different locations to capture usable recordings. https://freight.cargo.site/t/original/i/C2344012874807248824426925947251/IMG_7770.jpeg Recording the water infrastracture. https://freight.cargo.site/t/original/i/S2344012874751908592205797292403/IMG_7763.jpeg Recording the sound of photosynthesis is extremely quiet and requires significant amplification. I can only hope it was a sunny day. https://freight.cargo.site/t/original/i/J2344013988437188554272557005171/IMG_7773.jpg The percussive sound that appears midway through the composition was first discovered here. It was my very first recording of the field trip, so I initially assumed it might be an electrical spark caused by my equipment. I checked my technical setup—no issues found. Later, after encountering the same sound again and again throughout the wetland park, I became convinced it must be produced by underwater creatures. https://zhaojiajing.com/drifting-voices 2026-02-01T22:32:52+00:00 always 0.5 https://freight.cargo.site/t/original/i/C1609680047125476008513506811571/horizontal_dark.svg I buried hydrophones and a geophone beneath the sands of Rhossili Bay, Wales, to capture low-frequency vibrations and subsurface acoustics. The combination picked up the distant hum of the tides, the subtle shifts of underwater currents, and the deep resonance of the wind as it pressed against the shoreline. https://freight.cargo.site/t/original/i/R2309163133883578828073563879795/DSC00836.jpg Conceptual visual https://freight.cargo.site/t/original/i/A2324423903987063575979409045875/.png The vocal was captured using a hybrid setup: a hydrophone combined with a condenser microphone. The hydrophone-recorded voice bypasses the modulation of the mouth, resulting in a hum that feels more bodily and internal. When blended with the condenser-mic material, it creates a unique spectral texture—as if the voice is being heard from within the body. https://freight.cargo.site/t/original/i/O2324802570577501061001650927987/STGcrashStatic-4.jpg The original poem was written in English, but I intend to break it down into fragments, so abstract that they no longer carry linguistic meaning, serving instead as a symbolic trace of the body. https://freight.cargo.site/t/original/i/J2325878842152686085975066573171/IMG_6031.jpeg Along the southeast coast of England, I captured the subtle interactions between ocean water and rocks using a pair of hydrophones. These recordings were later processed into granular gestures that weave through the composition. I like to follow nature’s own pace—it feels more honest to let its rhythms and textures guide the music, rather than imposing my own. https://freight.cargo.site/t/original/i/A2325879448884545414355928775027/IMG_6489.jpeg I buried hydrophones and a geophone beneath the sands of Rhossili Bay, Wales, to capture low-frequency vibrations and subsurface acoustics. The combination picked up the distant hum of the tides, the subtle shifts of underwater currents, and the deep resonance of the wind as it pressed against the shoreline. https://freight.cargo.site/t/original/i/G2499703723842378226896947673459/DCF66B26-00C9-4745-8157-A0C5D56595BA.JPG Exhibition at Morley Gallery https://zhaojiajing.com/durée 2026-01-19T21:51:57+00:00 always 0.5 https://freight.cargo.site/t/original/i/C1609680047125476008513506811571/horizontal_dark.svg The fountain area at Southbank Centre. I made many recordings here for Durée. Watching the kids at the fountain, I noticed how present they were—fully absorbed, unhurried by the passing minutes. https://freight.cargo.site/t/original/i/H2307113105395898670502924286323/IMG_6230.jpg The fountain area at Southbank Centre. I made many recordings here for Durée. Watching the kids at the fountain, I noticed how present they were—fully absorbed, unhurried by the passing minutes. https://freight.cargo.site/t/original/i/R2307113105432792158650343389555/IMG_4868.jpeg A broken clock that inspired me at Funkhaus Berlin. I began experiment with Durée during my residency at Spæs Lab Berlin, located within Funkhaus — ex-state radio station of East Germany, now a space for a vibrant creative community. The correlation between time and the production of capital value seems to unravel here, allowing time to be not punctuated, but experienced. https://freight.cargo.site/t/original/i/W2307113105451238902724052941171/IMG_0181.jpeg Hopi space and time: subjective and objective realms. Photo taken of Yi-Fu Tuan’s book “Space and Place : The Perspective of Experience” The objective realm is the horizontal space within the cardinal grid, but at the distant edges it merges with the subjective realm as represented by the vertical axis. https://freight.cargo.site/t/original/i/N2324509226210489794758656424307/Screenshot_2025-04-25_at_11.54.40_2-1.png Conceptual illustration https://freight.cargo.site/t/original/i/J2334723797939867201073149671795/IMG_4812.jpg Hiroshi Sugimoto’s photography series Theaters, exhibited at the Hayward Gallery, was a major inspiration. As a sonic equivalent to long-exposure photography, I experimented with a variety of spectral freeze audio effects. https://zhaojiajing.com/glitchopolis 2026-01-19T21:51:57+00:00 always 0.5 https://freight.cargo.site/t/original/i/C1609680047125476008513506811571/horizontal_dark.svg conceptual illustration https://freight.cargo.site/t/original/i/S2309981875002649836129418246515/DSCF5497.JPG Beginning of the journey... A large part of Glitchopolis was composed at Spæs Lab, Berlin. https://freight.cargo.site/t/original/i/J2319455326634326328682567203187/IMG_1014-2.JPG For a year, I lived around the northern part of London’s Victoria Line—one of the loudest (if not THE loudest) tube lines in the city. The noise regularly reached over 100 dB. My brain would constantly crash under such intensity, and Glitchopolis is largely inspired by that experience. It was mayhem! Thankfully, I’ve now moved away. https://freight.cargo.site/t/original/i/B2319958365932568734518868474227/Screenshot-2025-04-22-at-14-glitched-2025-4-22-14-34-08.png conceptual illustration https://zhaojiajing.com/back-to-the-ocean 2026-01-19T21:51:57+00:00 always 0.5 https://freight.cargo.site/t/original/i/C1609680047125476008513506811571/horizontal_dark.svg https://freight.cargo.site/t/original/i/S2309262502601640901875403880819/IMG_1976.JPG https://freight.cargo.site/t/original/i/A2309262788157239162899262896499/DSCF5105.JPG Coral Beach on the Isle of Skye, Scotland — a key recording location for both Back to the Ocean and Drifting Voices. Its surface produces a relatively crisp sound when waves crash, compared to sandy beaches. A similar sound was also found and recorded on the cobble beach near Nice, France. https://freight.cargo.site/t/original/i/Y2309266547216299759357981653363/Barbican.jpg Back to the Ocean - performed live at Barbican Centre, December 2024 https://zhaojiajing.com/quantumscape 2025-07-11T15:28:42+00:00 always 0.5 https://freight.cargo.site/t/original/i/C1609680047125476008513506811571/horizontal_dark.svg Visual cr. Bryan Yueshen Wu https://freight.cargo.site/t/original/i/M1993530616070508985703963588979/Still5.JPG Visual cr. 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