On the Interview of Interval of Silence

Zhu Gang/Dai Guangyu

The Interview Editor Preface: As an artist’s spontaneous exhibition independent of the system, “Interval of Silence” had been originally arranged to appear in the form of the peripheral exhibition during the period of the three-year exhibition of Guangzhou in 2002. Because the concept of “interval of silence” brought forward by the curator Dai Guangyu was difficult to be on the beat with the galloping thought at that time, Dai Guangyu relinquished the program and quit the exhibition under the guarding circumstance with the evident standpoint. In 2007, Dai Guangyu pushed forward the “Interval of Silence” program again, which chimed in easily with the artists who really wanted to cooperate. Then, the “Interval of Silence” Exhibition was held in Beijing six years later and thus, this interview came into being.

The following is the theme part of the exhibition scheming document at that time which was attached before the interview.

The interval indicates a temporary pause. In music, there must be a pause when it’s needed. The musicians’ gift tells us the pause is wonderful and the next note will be soul-stirring because of the pause, which is important for the essence of music! The interval----is for making the subsequent continuation significant.

Certainly, for the artistic and cultural activity, to excessively devour our thoughts and actions and blindly follow the tide’s pace will necessarily restrict the independence of dignity and take away the effectiveness from the only enterprising spirit in human spiritual life for which people may praise themselves. Nowadays, almost every artistic organizational system and event worked out and implemented according to the international standard gains the utmost profit from the operation and control through a kind of “good” and “normal” order. For example, the surging double-year exhibition and the excessive layout idea artistic exhibition digs out everything from the artists’ brains, and what is left for the world is the superfluous gusto, indiscriminate concept, empty form and the pallid thought, etc., which simply reaches the extreme extent. In fact, many artists with normal mind know the inside story, but all of them fear that their frustration phobia of unsuccessfulness will exactly be controlled by the manipulator. Failure means to be out, so everybody has to respect and follow the success law established by the hegemony order. Nowadays, art has been placed under house arrest for a long time and the artists have been hijacked as well. The brainwashed artists are just like the dope-takers who have entered the illusion state and a kind of Shamanistic impulse makes people can’t help twitching. Now, the collective excrement after qualm is piled up like a mountain.

How to cope with the “good” and “normal” artistic and cultural activity implemented under the manipulation by the mighty system? If our mind is still sound and independent, the rest can give us a chance to think anew.

The “Interval of Silence” Artistic Exhibition is such an attempt. The presentation of interval of silence actually foretells that many unknown new things may come into being, and we think the temporary pause is a fantastic idea. The pause itself is of a progressive tense because the pause is ready for starting afresh.

Based on such a starting point, the artists invited to participate in the exhibition don’t need to consider any organizational system, mode or subject, the work submitted by everybody is just his topic. The “Interval of Silence” Exhibition is like the Round Table Conference in which they meet, communicate, converse and gather together. It’s a sort of really open, dynamic, self-refreshing and independent artistic activity as well as the demonstrating work to restore the artists’ imagination and creativity.

Since “Interval of Silence” has been presented as a question, it foretells the spiritual viewpoint of the artists participating in the exhibition and the commonness of the academic position, which can be reflected and displayed by the daily attitude. Through their artistic practice, it has been noticed sternly: Learning is a matter of a whole life. Their artistic texts have a kind of broad historicist sight and calm realist attitude. They are writing the history with their mind. Their participation is meticulous and precise like their artistic creation attitude.

As the “interval” indicates a temporary pause, it’s of the instant tense and the progressive tense. The related discussion inevitably drives at the future, so it’s introspective, capacity-storing and advanced. For this reason, the critical visual field and theoretic depth are apparently related to the note lack after the “interval of silence”.

So, this will be the example for the artists and critics to complot the future.

Whereas the above-mentioned topics’ practical significance, academic position and spiritual intention behoove to be in the “new-historicism” research methodology frame and the criticism-realism attitude, and only by this can its artistic academic theory and contextual relationship form and construct the future force of Chinese new arts with the impelling of the spiritually-independent humane concern background. The critic, Mr. Wang Lin had begun to be concerned about the “scar fine arts” and research the “85 Fine Arts New Tide” in the eighties of last century. Since he intervened with the contemporary art in the nineties of last century till now, he has created a large number of academic thoughts and works. For a long term, Mr. Wang Lin has been adhering to the academic attitude of criticism-realism and standing at the front of art criticism without compromising with the power and bowing to the system. His art criticism won’t be seduced by dignitary or yield to tempting interests. His style of study is fair and impartial and his reputation is eminent and glorious. Inviting Mr. Wang Lin to act as the academic host of the “Interval of Silence” Artistic Exhibition is for the future consideration.

-- written by Dai Guangyu

Zhu: After reading the paper, I knew the “Interval of Silence” Exhibition was first schemed in 2002. Why was the exhibition still pushed forward six years later with the theme and name unchanged?

Dai: The “Interval of Silence” was schemed for my friend’s invitation, it had been originally arranged to appear in the form of the peripheral exhibition during the period of the first session of the three-year exhibition of Guangzhou, which ran aground for the objective reason. For the past six years, China has been changing with each passing day in each aspect. In the art field, the present cannot compare with the past, especially the prosperity of the art market and the unprecedented booming of the artwork exchange have created lots of myths which have broken the historical record. The myths were orally retailed by the media and played exaggeratedly as a “gold panning” story of getting rich in one night, which makes people yearn and hanker. The gambler temperament trained from the atmosphere has almost become the universal attitude of Chinese art field. It’s the necessary result brought by the capital’s immerging into arts, which uses the most direct accrual means to stimulate people’s new understanding of power upholding. Consequently, the power distribution and the re-combination of interest groups are caused. It’s like the operation mode of politicians and sinister gangs, the monopoly shape and structure comes into being between the artistic intercourse and the work exchange. The circumstance that science was entirely different from business in the past has been disintegrated since then. Then, a new pattern that conducting according to the rich people’s meaningful glances with the art judging standard was built. Thus, under the situation that money dominates, the inferior tendency of art quality and that the artists shamelessly stare at money and calculate how much they can earn each workday can well be imagined. From 2002 to 2008, although six years had passed by, that situation became more triumphant and unchangeable, so the rubbish hasn’t decreased but increased rapidly. On the other hand, the immoral aesthetic standard and pragmatic attitude of the midwifery era give an edge to the rapid collapse of the holy palace of culture of which we may have been proud. Before people had time to think why, those who revive in a new guise suddenly appeared one by one, confusing right and wrong, blindly worshiping the oracles and slandering the living with the dead people’s mouths, which really disorders the world and destroys the orders and virtues. The fallacy spreaders and deceivers can also use power manipulation to brush the evil anew and describe extravagantly, which the common people can’t see through. However, the real view which is right in front of people’s eyes is what everybody can touch easily, such as the city construction in which we are. For the past decades, we have no idea how many cultural relics have been ruined during the construction process. Isn’t it a sin to let these cultural heritages easily disappear?

Zhu: This is doubtless that history will judge it and make a final account settlement.

Dai: Who will judge? And judge whom? The key is that the evidence for the judgment is the historical fragments which have vanished completely and can’t recur but only survive in the memory. The later generations will definitely say that we’re ignorant black sheep. What’s more, they will surely not understand: Why isn’t there anybody to stop it?! Because it have been an open and democratic society by then. This is a heart-rending place, so the meaning that we put forward the topic of the “interval of silence” now goes without saying.

Zhu: If we understand the “interval of silence” like this, it should not only be involved in the art problem, but also be related to a broader field.

Dai: Exactly. But art will go first, which is a chance to test the art conscience and quality. We have no reason to spurt desperately for building up family fortunes but be totally indifferent to social morality and justice. I even think artists are responsible for the national social rise and decline in the aspect of morality and justice, after all, art is related to humans. According to the exciting and unprecedented prosperity of the art market at present, the artists seem to have been living in the Shangri-La. However, in accordance with the historical experience, it’s hard to say that the so-called “works” produced in batch by the idle rich artists won’t be defined as garbage in the future. In a word, the good art has soul and the more beautiful the thing is, the deeper it is. The shallow thing doesn’t have the position in the narration structure of historical research. It’s a pity that, in such a crazy era of the enormously changing society, our value judgment is chaotic, the culture scale is unbalanced and what is congested in front of our eyes is probably trash. There has never been any spiteful matter in history that culture is hoaxed and fooled like that, the present culture soil is too fit and satisfactory for the hoaxers to play their tricks. The poor works of the hoaxers can only covet for glory in the frivolous, swift and transient chaotic process. Because it’s too late to think, it’s not allowed to think…

Zhu: There’s no chance to think.

Dai: So, the concept of the “interval of silence” must be brought forward, at least, the maniac and abnormal rhythm shall be slowed down. Otherwise, the result of the production without deep consideration or careful pondering will necessarily be garbage.

Talking back to the realistic problem, I’d like to emphasize that I feel very heart-aching and sad about the irresponsible attitude that the cultural accumulations and sediments of several thousand years are entirely changed in only several decades. I went to some countries in Europe, such as Italy where I found they respected the traditional culture so much and the cultural historic sites were protected so naturally. Then, I thought of my country…, which even made me cry! Can we still find the structures of the Western Han and Eastern Han periods? While they have the structures in the same period. can we still find the architectures since Ming and Qing Dynasties? Oh, we have some in Huangchenggen and some other tumbledown ones that are under the reinforced concrete construction and paint face-lifting (which are made so obsequious and meretricious). But they have more, even a whole city is in the original looks. Furthermore, take Britain for example, none of the constructions during the period of Industrial Revolution can be moved, and even the buildings after World War II can’t be changed easily, which is very strict. Being there, we may feel the thickness and richness of their culture instead of just saying: We have ever what what… We always say our own culture is so ancient and so centuries-old, but we’ve never really respected it. Even though when we compare with other cultures how many traditional belongings we have, we may lose if we are not confident enough and we can’t help being afraid. However, once we are involved in the so-called inter-country contest problems about the national development and the requirement of modernization, we’ll have evident attitude and short sight. If the relics of the dead block our way, they will all be removed. Since 1949, from “catching up with Britain and surpassing America” to “peaceful rise”, we have been told to realize modernization is an overwhelming decision-making and task. It’s thought to be the macroscopic and farsighted strategic sight. The key is that it has been related to the nationalist thought of the national rise and decline. Much more, seeing from the microscopic and partial individual interest, all the material connotation activated by “construction” can be realized by dint of the power carrier. The finiteness of life and the only one time of power make the requirement of changing particularly exigent. Neither the business of the ancients nor the business in the future is related to themselves. As long as the power is in their hands, they’ll do it without considering the “historical judgment”.

The city with which everybody’s familiar in the past, our homestead, is just leaving us far away. In the future, what we can only see dimly in the dream might be the image back-flash of the damaged fragments of relics. There’s a popular folk story in Chengdu bookshops: In the past, a criminal finished serving the sentence of three years and went back to his hometown, but he couldn’t find his way home and got lost. Nowadays, a suspect is detained for interrogation for just three months and gets released innocent, but he can’t find his way home, either. How fast the city is changing! In the meantime, I think of another story which exactly verifies the different Chinese and western attitudes to the traditional culture. The story tells the soul of a deceased person in the ancient Rome period went back to the present RomeCity and easily found his way home in a walk. Putting the two comparisons together is just the modern metaphor of the culture destruction and rebirth. We don’t know what final result will respond in the future.

Zhu: At least, what can be confirmed is that present Europe is very modernized and its tradition and modern culture come down in one continuous line. The modernization China is seeking for is nondescript and the traditional culture is vanishing thoroughly! And so is the art field. The contemporary art standard obeyed internationally comes from the occident and the most modern template comes from the occident, too. But, it’s the westerners who do better in the discussion related to the traditional culture, including the shape and structure of museums and the establishment and abidance of the cultural relics protection rules of law. Looking back at China, people want to prove themselves in the requirement of modernization, but they forget their own origins and lose their features of themselves, what’s more, their modernity is of no taste.

Just now, we talked about lots of social problems in the requirement of modernization, especially the negative influence caused by the city construction. Now, let’s come back to the topic of the “interval of silence”. Concretely speaking, do you think it’s the proper time to present the “interval of silence” now?

Dai: Today, we’ve talked about some topics beyond art but related to the concept of the “interval of silence”, such as the city construction, which exactly supplements the lack of the scheming document of the “Interval of Silence” Exhibition. Actually, the concept of the “interval of silence” behooves to include those, art and they influence each other. The “Interval of silence” Art Exhibition just wants to pass the thinking of the minor people of us to the society by the art carrier. As for the time, it’s always proper because, as a proposition related to the transmutation of history, the formulation of the “interval of silence” is very proper for such a current crazy era which can’t brake.

Zhu: I think a person with social conscience will more or less feel something about what you’ve talked about. Looking at today’s real scene again six years later, the realistic discussion topic to be discussed by the “interval of silence” doesn’t change, and the problems it’s concerned about and doubts become further intensified and even more obvious. The trouble is not decreasing but increasing and there’s no evidence of braking! Frivolousness and greed have been hanging over people’s daily life all the time. The culture proposition of the “interval of silence” you’ve brought forward not only accords with 2002, but also is more proper for today. Therefore, it’s exactly the right time to push forward this exhibition.

The “Interval of Silence” Exhibition was originally planned to be held at the end of last year, but why was it postponed until this year? The exhibition was first presented in 2002, the discussion topic was pretty good but it hadn’t been realized. It was delayed again six years later. There seems to be a kind of imago of foreordination which is related to the naming of the “interval of silence”, hoping it won’t be put off again?!

Dai: In fact, this exhibition would be proper to be held as well two years later. We can see that people are determined not to slow down in such a crazy era, everyone is competing and what people take delight in talking about is the competition! The competition needs speed that people can’t afford to consider too much and nobody is willing to stop and survey what’s improper in such a state. The continuous temptations are coming and people have too much business to deal with that no lagging behind is permitted, which is people’s credendum. Deliberation and pondering equal placing themselves in a competition circumstance which is disadvantageous for grabbing off. The meaning of the “interval of silence” is to knock on this insane era----please have a cool head! It’s the note to allay a fever. The imago of “foreordination” you mentioned is created by the era, which may be related to the discussion topic of the “Interval of Silence” Exhibition. If so, I really don’t know where art will run along with the bewitching of the crazy competition?

Zhu: It’s not hard to feel the intense anxiety consciousness inside your heart from the relevant expatiation of the exhibition theme in the exhibition scheming document of the “Interval of Silence” Exhibition. You mercilessly hit the nail on the head, apparently and clearly question the “Chinese contemporary art”, which makes people sigh deeply with emotion. But at present, would it be a little solitary that few people would agree, or, would it be off time if it’s weighed according to the standard of the state of affairs of the current tide? Of course, this is the art attitude which a precise artist should uphold, which is very scarce.

Dai: In a certain sense, following the tide is just abandoning the ego, introspection and responsibility. The tide is a beautiful trap that once you fall into it, what you can do is to kick up a row or drift with the tide. During the period of the 85 Fine Arts New Tide, He Duoling said something classic: “The tide is beautiful and exciting, while art and artists are lonely.” Why are artists “lonely”? It’s because they are willing to be isolated from the mass voice of the sea of people in their independent thinking and self-upholding, they survey the transient tide with the doubtful and critical eyesight and take their own course to do the things which people are not conscious of. Seeing from this aspect, “being solitary and having few to agree” is just the hero nature and the true state of pioneering and establishing a business, while common people can only see the back-view of the hero. Beyond the site of the seemingly busy tide, are there any artists with true talent, thought, responsibility and position in such a big China? The fame and interest of those who spread themselves, who repeatedly copy and imitate small tricks and who are eager for quick success and instant benefit are just false as transient as a fleeting cloud. History will again generalize and orientate the so-called “contemporary art history”. I believe the writing of the artists’ testimony for this era is just in progress, which needs no rebuttal. Art shouldn’t swank or swash, it doesn’t need the uncivilized ones to respond. The transmutation of the art history has its own law which isn’t obtained in the operation mode like casting dice.

Zhu: Speak of the art history and the history writing of artists, Liu Xiaochun once said, “The art history is just the history that art confirms itself and disassembles itself.” Can that be used to support your judgment? We’ve noticed there’s a popular vogue of writing books in recent years. When the artists are still in their studios, meditating for their creations or copying themselves and others for money, the writer of the “fine arts history” has already positioned and orientated them. Obviously, there’re lots of feint and untrue ingredients in the “fine arts history” copied out for the works promotion or power manipulation. The “presence” or “absence” of the artists is totally decided by the random operation. On the other hand, the interceder who determines the scale of “presence” is probably the person who has ever been or is engaged in the contemporary art criticism. When the person is intimately close to the artist, it’s hard to say how many mysterious principles are hidden behind the writing of the “fine arts history”. In reality, people have already heard of the inside story of many deals, then, will those be the academic problem which the “interval of silence” should be related to? Can those be compiled into the history by the writer of the “fine arts history” in the future?

Dai: The situation of history writing is generally divided into two kinds, the first one is the history record form, i.e., the living people collect and generalize the important (relatively, often partial) events experienced by the living people of the same generation in the angle of literary history records (including the criticism text record) and image records, which provides true and detailed literature materials (such as county annals) for the future researchers in the sense of textology. In this aspect, those that have happened, that are happening and that will happen, either they’re formally published and recorded or not recorded yet, as long as they’ve had important influence, the left literature is of historical data value. Certainly, art criticism itself composes and becomes the main historical text at the same time. The writing background of the “contemporary art history” has to be related to the happening thing, in the meantime when it’s choosing, it’s confronted with the final result of being chosen by history. The art history itself is a history of being constantly chosen. And this is the second situation of the two situations interlaced with each other of the history writing. For this reason, the writing of art history is a precise and eyesight-challenging job. For instance, if a “contemporary art history” doesn’t comprehend the art of Huang Rui and Ai Weiwei, or it’s just talking in generalities if the art is comprehended, the authority of the history work can well be imagined. Of course, the history writer can say he just selected what he thinks is important, which is his right. What is to be reviewed by history is not just one or two chrestomathies, much more, what’s in the artist’s hands is the first-hand research materials. Many current work writers deeply believe in their own assessment and judgment rights, I say artists should believe in their own energies to rewrite history. If they do well in art, everything can be turned over, which can validate the judgment ability in another angle.

Zhu: If a history writer can only see those who’re good at operating and doing advertisement propagations, those who flatter and toady or those who’re near around, what he’s done is just a waste of paper, pen, ink and even the time of copying. Such fine arts history works are incomprehensive and sometimes, they don’t accord with the “history fact”. No matter how many kinds are published, what value will there be?

Dai: The writing of the contemporary art history is indeed a thorny thing, it’s really uneasy to make right judgments for the living people in the same era, just the personal prejudice and close-distance localizations will take some considerations to surpass, let alone the favor and face are hard to stride over. The ancients understood this reason, for example, the Recorded Paintings of Qing Dynasty written by a Qing writer wrote about the painters and paintings of the same period, it said “requisition” modestly when the situation was hard to grasp and it said “heard” when the situation was not really seen. Guo Ruoxu in Song Dynasty, the writer of the comprehensive Seeing and Hearing Records of Paintings, was afraid of omissions, he called it “seeing and hearing”. Therefore, it’s proved that the personal seeing and hearing may be not complete or objective. Another example, nowadays, some critics directly name the theme as “Art Nearby”. Besides, Yin Jinan opened out the sparks rubbed out in close-distance observation in his Knocking at the Door Alone.

In the past, there would be another work aiming at the history record with omissions, which was called “addendum”. It can be regarded as “addendum” that we, in a sense, weigh the artistic job which everyone of us earnestly faces.

Zhu: The concept of “addendum” is quite interesting, maybe it will make the history writer face learning more prudently. As you say, no outstanding artist should fear the status of “addendum”.

Dai: It actually doesn’t matter. People’s cognitions are always localized and the personal likes and dislikes are always partial. Publishing ten thousand art history works without giving an accurate (authoritative) answer is no better than not writing. If it’s written, it’s the material compilation at most. Therefore, don’t easily have a finger in the “art history” if the opportunity is not ripe or it’s not ready yet.

Zhu: If we’re good at analyzing problems by removing the confusing phenomena aroused from the worldly dregs, we’ll be able to see a kind of criticism attitude of true feelings and even reliable history text contents in the writing of the scholarly critics like Wang Lin, Gao Minglu and Liu Xiaochun, even though there’re “omissions” in it. No wonder Dai canonizes them to the utmost. As for the other circumstance, it’s sure that every artist or art group think they’re the most important in the real situations we’ve seen and every history writer describes what he can explain is the best. As for what they don’t understand, they just talk in generalities, directly copy them from others or just pretend not to see. To top it all, it’s said some collectors or painting merchants reach consensus with the painter and focus on pushing forward a certain painter in order to increase the value of the collected works so as to get a good price when changing hands, and the behind-the-screen trade can be easily imagined.

If it goes like that, the problems of Chinese contemporary art are too many and too complicated, indeed! No wonder there will be the “collective excrements piled up like mountains”. It’s time to give a sharp warning and say stop!

Dai: A few days ago, Lei Zhen told me she downloaded some English broadcasting programs which talked about Chinese contemporary art, and some western scholars began to criticize the present situation of Chinese contemporary art. I think some of them are quite right, for example, it’s mentioned some artists directly sent their works to the auction, which doesn’t accord with the propriety in the west. It’s said the artists pretended to auction their works and raised the price extremely high, and then they paid the commission and took back their works, regarding that as the advertisement. They say Chinese artists are too cunning and they do things too excessively, which breaks the game rules. They’re even worried that the capital and the art market of China with broken rules will erode the originally clean western art field where the rules are obeyed at least. In fact, they’ve mentioned and testified some wicked examples influenced by Chinese phenomena more or less have appeared in the western art market and they opened out it was the matter people despised. Besides, they mentioned many other things, for instance, some artists hired workers to produce “art works” in batch just like the factory owner, and so on. There’re too many to be enumerated. There was another interview for a collector and they began to turn over to think about these. A collector said he would never collect those inferior and low-grade stuffs, which is an incipient tendency. Talking too much about this may damage the market of Chinese contemporary art and cause negative effect as well as discomforting some Chinese artists, but this is a fact, after all!

Zhu: That’s not a bad thing, it gave us a warning at least. Just to play a joke, the western criticism circle begins to criticize Chinese art after they had been praising it for over ten years, isn’t this coming for cooperating the discussion of the “interval of silence”? It’s indeed the time to self-examine the problems which appeared in our art market. As the saying goes, “As long as the confused person knows to return, the true path won’t be far away”. Otherwise, we’ll have no chance to rescue it when it’s rotten deep to the root.

Dai: I lost the confidence in Chinese people’s introspection ability long time ago. We’ve experienced too many disasters, but it seems that we’ve experienced nothing. We’ve got too many things that are worth self-examining and denying, but we just pretend not to see because of selfishness and avarice, even if the thing is closely bound up to ourselves, we still want to find a proper reason to reduce it or even forget it because people only need a simple reason of “happiness’. The present people are really numb!

A forgetful nation is a soulless and hopeless nation. No matter how developed the economy is or how many the overnight millionaires are, there’s still no hope. The fact proves that the more the overnight millionaires there are, the worse the situation is. Avarice and ignorance are just destroying our country.

Zhu: Isn’t love greater than hate?!

Dai: What else to love?! Is there any hate?

Zhu: At least, we’re still loving art. As long as it’s not completely rotten yet, we can still discuss it when it’s corrected. I think this may be the reason why Dai brought forward the concept of the “interval of silence’.

Dai: In a sense, the meaning of the “interval of silence” is to bring forward our thinking to make a “recorded file”, putting it there just to provide a case for the future people to research today, that is to say: Not everyone of this era is a blind follower and not everyone is callously numb.

Zhu: As a historical recorded file, do you think the artists invited to the “Interval of Silence” Exhibition are representative?

Dai: This is beyond doubt. What I mean is that the work itself of many creative people who like to think is saying the “interval of silence”!

Zhu: I believe it. And as time goes by, the voice will be clearer and clearer, and there will be more and more people who will join in.

Dai: Accurately speaking, the voice had sounded clearly and accurately long time ago and it has never stopped. It’s just because this country doesn’t need unpleasant voice and doesn’t hope there will be wise people, thus the voice was covered by the pandemonium of riffraff made by the evil spirits of all kinds dancing in a riotous revelry.

Zhu: The ancients said, “The more what one tries to hide, the more it exposed!”. Isn’t this the fact which has been verified? We’ve seen too many circumstances like that, such as the “Stars Painting Society” in the 70s of last century, the more it was suppressed, the more people wanted to know it. Finally, the spark set the prairie ablaze.

Dai: Nowadays, commerce and politics plot together and mount on the stage together, which makes the situations much more complicated. The famous schools such as the postmodern research and deconstruction analysis related to the cultural field, etc all the same become the “valuable book” embezzled and used for reference by the political field. Today’s world becomes chaotic because of the multi-open consensus of pandemonium in the meantime when it becomes better because of the multi-open consensus of pandemonium, too. Maybe, the allowable voice is often suppressed in the speech expressing respect and understanding. This is the appropriate excuse to remove dissidents in case that the power is manipulated under the shelter of the national autocratic machine, which is just becoming a part of the political conspiracy.

Zhu: Then, does it seem to be one's own wishful thinking that the concept of the “interval of silence” wants to astonishingly remind people in the noise of pandemonium and make it heard clearly?

Dai: Perhaps. That’s why I said it’s just for a “recorded file’, which may be very valuable for the future. Here, I’d like to emphasize again that our future society will be an open and democratic society, which is very important. The fact is that although an evil thing has always been manipulating seeing and hearing in the noise of pandemonium, the voice of justice has never stopped. This is the real note which composes and represents an era.

Zhu: This is the good luck of history. Of all ages, those who compose the era’s strongest note have always been the few people. Truth lies in the few people, which is witnessed by history.