REAL, but not TRUE explored the similarities of instability and fluidity among sound, I Ching, and the instability between sound and visual sense. The sound is real, but everyone hears it differently. The work uses the content of I Ching to make an event score. On the one hand, it reflects the unique kind of change and instability.
On the other hand, through the event score, it allows audiences to participate in, and to record, their own score. All of this 'random' participation is unstable and flowing. Meanwhile, the five sensesare will be made full use of (including hearing, sight, smell, touch, taste). The work's aim is that audience members become performers, and experience the instability of sound at the same time, using a contemporary preparation of an historical instrument to think about post-digital identity and to interpret "change".