cloud collecting #34: Modular Music of Taiwan
4 Taiwanese modular artists on the warmth of community and the magic that appears when we give ourselves over to the present moment
I am happy to share a group interview featuring Taiwanese artists from the newly released Pulses on the Horizon: Modular Music of Taiwan compilation via Japanese label ato.archives. I’ve known the comp’s curator Ryan Raffa, for several years and admire their dedication to the community and appreciate their creative approach to sound. This compilation offers a meaningful glimpse into Taiwan’s modular music community and I was moved by the thoughtful responses shared from the four featured artists.
Since 2020, Chang Yungwei has transitioned from visual art to sound art under the alias "weiii." Through personal works and event curation, she continues to explore ideas and concepts. She focuses on hybrid modular synthesizer systems and often incorporates field recordings to reveal the process of sound generation. Her sound performances have taken place in Taiwan and Japan, blending diverse media into her shows. Influenced by the philosophies of Jacques Lacan and Cybernetics, she enjoys setting up feedback circuits both within and beyond systems. Through improvisation, she engages in dynamic dialogues with the environment or collaborators. This approach forms the basis of the inspiring content she shares on social media.
廖海廷 (n0153m) is a percussionist, sound artist, educator, and founder of PrintedNoise Lab — a collaborative platform for artists across disciplines, styles, and forms — they are guided by the conviction that emotion arises from clarity and structure. Their practice encompasses theater sound design, live performance, album production, and interdisciplinary collaborations, continually seeking new ways to create and to listen.
Wu Tsan (album cover artist) is an artist from Taiwan who primarily works with photography as their creative medium. She began exploring photography during her student years - starting from simply enjoying taking photos, doing it frequently, and gradually evolving into a professional photographer. Whether photographing people or objects, she always enjoys capturing that seemingly unintentional moment that somehow feels perfectly arranged. She has grown used to quietly waiting for “that moment to appear” - it’s her way of having a conversation with the world.
Gray Fover is a sound artist from Taiwan, specializing in ambient, electronic and film music. Her inspiration comes from everyday life, human interactions, and fleeting moments, which she transforms into subtle yet emotionally resonant sonic landscapes. Her works often forge deep emotional connections with listeners, capturing and expressing the delicate intensity of ordinary experiences. She is also the curator of Silence Touch, a creative platform for sound and synths. Through curatorial projects and community-driven initiatives, she is dedicated to fostering a local scene for synthesizer-based music and sound art.
1. This compilation feels like more than just a collection of works — it’s a snapshot of a moment, a community, and a shared energy. What does this project represent to each of you personally, and what do you hope listeners take away from experiencing it?
Wu Tsan: A compilation is the condensation of time and energy - the trace of a journey. To me, the most captivating part has never been the result, but the process of gathering and coming together - the sparks that fly and merge when creators from different backgrounds collide and intertwine.
I hope listeners can enter this work with an open mind, stepping into an uncharted walk without guidance, using their ears and hearts to feel and wander through our imagination and gaze upon Taiwan.
廖海廷 (n0153m): While producing this piece, I tried to step outside my usual habits. Normally, I’d assign specific oscillators to different roles - lead, pad, drums... etc. each with its own CV source. But this time, I limited myself to just one main line driven by a single CV source. I then twisted and reshaped that line to create the second, third, and so on. The idea was to explore variation within a minimal framework. This approach probably reflects something personal too, a shift from reaching outward to taking time to observe what’s already inside.
I don’t have any specific expectations for listeners. If the music sparks something in their minds or evokes a feeling in their bodies, even in a small way, that would be more than enough.
weiii: Being part of this compilation is such a meaningful experience. I’ve participated in a few electronic music label compilations in Taiwan over the past two years, but this is the first one focused entirely on modular synth artists. I think that makes it especially important — not just for us as artists, but also for helping more people discover the diversity of modular synthesis. I hope it can inspire curiosity and creativity for those who listen.
Gray Fover: When Ryan first approached me about this project, they mentioned it was meant to represent the essence of Taiwan's synthesizer community. I didn’t overthink it — I simply began creating a piece titled Sound of Taiwan. But that led me to reflect deeply: what really represents the sound of Taiwan? I came to realize — it’s us.
I went to different places to gather sounds: the voices of the people (at the time, there were protests in front of the Legislative Yuan), my own inner voice, memories, longing, and a sense of helplessness. These emotions were essential to me and being able to express them through a single piece of music has been my greatest honor.
I hope that after listening to this track, people will understand: even the brightest sun has its moments behind the clouds. Life is an infinite game; just keep ourselves in the game.
2. What was your introduction to being part of the arts community in Taiwan? Was there a particular moment, space, or person that made you feel like you belonged or sparked your desire to contribute more deeply?
Wu Tsan: I’ve never truly been part of any particular "art community." To me, art is not about a position or a label - it's a way of life. Before we become artists, we are first and foremost human. This belief has freed me from feeling the need to belong to a specific group, allowing me to get closer to the essence of creation with greater ease.
During my student years, I really admired the contemporary Taiwanese photographer Chang Chao-Tang. He once said something that has deeply influenced me: “In life, people are searching for a path. In images, people are searching for a path. In notes, people are searching for a path. Everyone is searching. Getting lost while walking, and finding something along the way.
That’s how it is for everyone - we lose our way and discover things as we search. The destination isn’t what matters most; what’s important is the journey itself - the insights and growth we gain along the way. That is what truly belongs to us.
廖海廷 (n0153m): I’m an educator, sound designer, and music composer, mainly working in theater. I enjoy creating sound in all kinds of contexts, and I really value the freedom and openness of the environments I work in. In every project, I bring everything I have to offer — with a playful mindset. I try to enjoy every moment, even when things go wrong or unexpected challenges arise.
weiii: At the end of 2020, I was browsing YouTube for music and stumbled across a video recommended by the algorithm — it showed a mysterious machine, full of cables, making sound on its own with no one touching it. That was my first encounter with modular synths, and I had no idea what it was called. But I just knew: this is it.
A few months later, I downloaded VCV Rack. My old laptop and the earlier version of the software made it tough, and I felt a lot of frustration. In early 2022, Mad(Madzine) helped guide me into modular's world. VCV Rack had also improved by then. I started finding more and more self-learning resources online and slowly began collecting hardware modules while continuing to explore patch ideas in VCV.
To give back to the community that helped me so much — and also to create more opportunities to perform — I began organizing events. In May 2023, I co-founded "3 Modular Project" with KX, the first event series I curated that focuses solely on modular synths. Out of all the projects I’ve curated, this one means the most to me.
As someone who often works alone, modular gave me a real sense of community for the first time. I know my artistic path won’t stop here, but modular synths and the people who gather around them truly feel like home.
Gray Fover: Since 2022, I’ve been curating ambient music and live modular set events. Through these events, I’ve met so many kind-hearted people and incredibly talented artists. The warmth of the community really moved me — we ask each other questions, share solutions, and genuinely support one another.
If I had to name one defining moment, it would be after a show, seeing everyone in the group chat expressing gratitude, moved by each other’s efforts.
Synthesizers are still a niche in Taiwan — and for women in this field, it's even more of a minority within a minority. But we’re actively building our community and striving to share the beauty of modular and electronic sound. If you ever come to Taiwan, please find us.
3. How do you cloud collect (connect to childlike wonder) in your creativity?
Wu Tsan: Focus on living in the present moment, treating each day as if it were the last, and every encounter becomes a unique and precious moment worth cherishing.
There is still so much unknown in this world waiting to be explored, and the body will sense it, the soul will listen - no need to rush to define anything, only to preserve that sense of wonder still willing to be amazed.
廖海廷 (n0153m): This question reminds me of something I read about John Cage - he once said that if someone tells you not to do something, you should ask, “Why not?” In the world of creativity, I believe boundaries don’t really exist, there’s no strict right or wrong. I’m just experimenting, thinking of something that could be experimented with. It’s not about the outcome; it just makes me happy.
weiii: In 2023, I went to Japan with a few other modular artists from Taiwan. Besides performing, we saw many inspiring shows from experienced artists. That trip changed a lot for me — I began doing more experimental work and even started making noise pieces. I still love minimalism, but since then, I’ve shifted my focus from music to sound.
Maybe that’s how I reconnect with childlike wonder — by exploring sound as a raw, open universe, instead of something shaped by cultural expectations. If music is a product of civilization, sound is the wilderness. I build sound systems that feel like playgrounds, and I never get bored — it’s pure play, every single day.
Gray Fover:
Close your eyes.
Be there. Step outside.
Feel the sun strike your skin.
Hear the voices of the people shouting.
Listen to the longing in your heart.
We return to a primal state — where we begin to understand our own feelings, explore them with sincerity, and in that exact moment...
we become
ourselves.
really interesting article thanks!
🫶💕