From American Internet Celebrity to God Among Men

197: Chapter 197 The Sound of the Rust Belt, Prelude to the PremiereThe ”Echo” platform’s ”Industrial Heritage Sonic Fossils” project gained broader social attention and resource allocation due to the success of the Boyle Heights case. A non-profit foundation specializing in the study of modern American industrial history reached out, hoping to collaborate on a more in-depth series titled ”Rust Belt Elegy: Sonic Memory and Community Resilience in the Process of Deindustrialization.”

The project’s first stop was a massive, old automobile assembly plant near Detroit, Michigan, which had been closed for nearly twenty years. This time, Alex decided to participate in the preliminary field research personally. He needed to set the tone for the series, while also harboring a faint inner expectation—in a place that condensed massive human industrial activity and traces of violent social change, could his Information Texture Discrimination capture an ”imprint” belonging to an era’s collective emotion, distinct from natural ruins or cold signals?

The factory ruins were like a rusted steel beast, crouching on land overgrown with wild grass. The massive workshop skeleton was exposed, broken glass windows looked like blind eyes, and conveyor belts and mechanical arms were frozen in their final poses, covered in dust and rust.

Accompanying them were the Echo content team, historians from the foundation, and several elderly workers who had worked at the plant until its closure. They were white-haired and walked with faltering steps, but as soon as they entered the workshop, their eyes lit up again. Pointing to a corner, they recounted with trembling voices: ”This used to be a production line; five hundred car chassis passed through here every day... Over there was the quality inspection station. Old Joe had the sharpest ears; he was a master at hearing abnormal engine noises...”

Alex was in no hurry to turn on the recording equipment. He let the team follow the old workers to collect oral histories while he walked slowly and alone through the vast, empty main workshop.

Light slanted down from the damaged roof and high windows, forming pillars of dim yellow light where dust motes danced. The air held a complex scent of rust, aged engine oil, damp concrete, and decaying wood. Silence was the most overwhelming sound here. But this silence was not a vacuum; it was heavy, dense, and filled with a massive ”Echo vacuum” left behind after the past clamor was abruptly sucked away.

He closed his eyes, relaxing the boundaries of his perception.

At first, there were faint remnants of physical sounds: the whimpering of distant wind passing through gaps, the slight ”clack” of rusted metal due to temperature changes, and the fluttering wings of a bird on a crossbeam.

Then, deeper layers began to emerge.

He ”felt” deep within the concrete floor beneath his feet, seemingly remaining ”vibration memories” of thousands of pairs of feet walking day after day and the regular vibrations transmitted by machines, nearly smoothed away by time. This was an extremely faint, almost hallucinatory ”tactile Echo.”

Beside those massive, stationary stamping machines, he captured a strange textural remnant where instantaneous violence and absolute stillness intertwined—a ”sonic fossil” of an imagined ten thousand tons of pressure bursting forth and then stopping abruptly. Its ”emotional color” was not fear, but a disciplined, efficient, and repetitive sense of immense power, now leaving only an empty shell.

In a corner that had once been a workers’ break area, now with only a few overturned broken chairs, his perception fed back a completely different ”information texture”: fatigue, the smell of transiently relaxed tobacco (imagined), warm fragments of banter between colleagues, and a sliver of resigned complaint about long, repetitive labor... These emotional fragments belonging to ”people,” though weak, clung tenaciously to the environment, forming a sharp contrast with the cold texture of the machines.

What touched him most was the wide open space at the factory’s original main gate. The old workers said this was once the liveliest place during shift changes, with thousands of people surging in and out like a tide. Standing here, Alex’s Information Texture Discrimination captured a ”tidal sense” of a massive flow of human energy gathering and then dissipating, mixed with the mundane expectations of working on time to support a family, the brief relief after work, and a simple sense of belonging and pride inherent in collective labor. Now, the tide had receded forever, leaving only desolation.

This wasn’t supernatural; it was the extremely thin precipitation of historical emotion within a physical space. Only a perception like his, honed in a specific way, could barely separate these nearly ”ghostly” textures, imperceptible to ordinary people, from the background noise of time.

A following historian noticed his long silence and the subtle changes in his expression, walking over to ask softly, ”Mr. Su, did you discover any special... feelings?”

Alex opened his eyes, thought for a moment, and described it in a more easily understood way: ”I was thinking that sound archives record ’the noises of the time,’ but this factory itself is a larger ’silent monument.’ Its silence tells a story that might be more complex than any recording—about power, order, the collective, change, and finally... vanishing. Our project perhaps shouldn’t just rescue ’sounds,’ but also attempt to interpret this ’silent narrative.’”

The historian’s eyes lit up, and he nodded repeatedly. ”Brilliant! That’s exactly what we want to do—go beyond nostalgia and conduct deep-level industrial archaeology and social memory excavation. Your perspective provides an excellent narrative framework for us!”

On the plane back after the field research, Alex organized his perception notes. He realized the scope of his ability’s application had expanded once again. From detecting ”unnatural anomalies” to interpreting ”artistic creative intent,” and now to perceiving the ”precipitation of historical collective emotion,” Information Texture Discrimination was becoming a master key for him to understand the multi-layered ”information truth” of the world. Each application made the grooves of this key more refined.

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Back in Los Angeles, good news from Vienna arrived simultaneously.

The adaptation based on the workshop results, officially titled ”pressure gradient (Version for String Quartet and Electronic Soundscape),” had been included by the chamber orchestra under the Vienna Philharmonic in their ”21st Century Soundscapes” concert series for the next season, as one of the heavyweight pieces for its world premiere. The performance was set for four months later. The orchestra not only invited Taylor and Alex (as a sound concept design consultant) to attend the premiere but also proposed making a high-quality live recording of the performance and exploring the possibility of deeper future collaborations with the orchestra led by Taylor.

”They even asked if I’d be interested in creating a brand-new, full-length symphonic work for the orchestra as a guest composer.” Taylor’s voice on the phone still carried an unbelievable excitement. ”Of course, that’s a long-term vision... but just the fact that they raised the possibility is already...”

”You’ve already earned their respect and expectations with your work,” Alex affirmed. ”The premiere needs full preparation. Do you need me to head over early to participate in the final rehearsal synthesis?”

”Absolutely! Your ’ears’ are the ultimate weapon for the final check,” Taylor said without hesitation. ”And... based on the experience of this adaptation, I have new fragments in my head about ’the distortion and delay of light in a medium’... it might be another troublesome piece. I’ll need your help for a ’diagnosis.’”

The snowball of artistic exploration was accelerating down a steep slope, bringing a dizzying sense of achievement and a steady stream of new challenges. Alex enjoyed this state, as did Taylor.

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Two days later, a new collaboration request from Team K arrived as expected, based on the ”Historical Beacon Network” hypothesis.

The request was no longer a simple signal texture analysis, but a more systematic proposal for ”Assisted Analysis of Historical Node Behavioral Profiling.”

The proposal explained that based on cross-referencing literature and geological data, they had preliminarily screened twelve other ruins or natural sites worldwide as ”suspected historical beacons/high-activity contact points.” These sites spanned a vast range of time, from prehistoric to modern, with vastly different cultural backgrounds.

Team K would provide detailed background information, geological reports, and faint physical anomaly data they had obtained through remote sensing or early field investigations (if any), such as elevated background values of geomagnetic disturbances at specific frequencies or abnormal decay of radioactive isotopes.

They hoped Alex could use this ”dry” data, without conducting field visits, to rely solely on text, data, and limited images, applying the associative and intuitive extension capabilities of Information Texture Discrimination to try and construct a preliminary ”behavioral profile hypothesis” for each ”suspected node”:

· Core functional tendency: Is it more oriented toward ”environmental monitoring and recording,” ”periodic energy release,” ”potential information dissemination,” or something else?

· ”Emotion”/Intentional color tendency: Compared to SPO-α’s ”procedural coldness,” is it closer to that, or might it carry (even if extremely faint) other colors, such as ”marking,” ”ritualistic,” or even ”warning”?

· Potential correlation with SPO-α: Based on your intuition, what is the similarity of this node to SPO-α’s ”texture family”?

”This is not a rigorous scientific conclusion, but valuable ’intuitive reconnaissance,’” the proposal stated. ”Your hypotheses will provide critical directional references for us to prioritize the allocation of field exploration resources and design targeted detection plans. This is an attempt to upgrade your perceptual ability from ’real-time reaction’ to ’historical intelligence analysis.’”

Alex carefully read the proposal and the attached data for the first ”suspected node”—a massive, regular metallic anomaly zone in the northern Siberian tundra. Local indigenous legends mentioned an ”Iron Mountain of Sleeplessness,” and in the last century, several records of brief, unexplained strong auroras and geomagnetic storms coincided highly with the coordinates of this location.

The challenge was immense, almost like painting a portrait of someone never seen with eyes closed. However, the intellectual interest and the allure of exploring the unknown within it were things he could not refuse.

This was no longer passively listening to the broadcasts of ”active beacons,” but actively attempting to sketch portraits for those ”historical beacons” that might have long fallen silent, trying to understand the roles they once played in the long passage of time.

”I accept this collaboration,” he replied. ”I will provide intuitive profiling based on the available data. However, it must be clear that this is only a hypothesis generation tool and does not replace field scientific verification.”

After confirming the reply, he leaned back in his chair, his gaze sweeping over the community project reports piled in his study, the preparation schedule for the Vienna premiere, and the blurry satellite image of the Siberian ”Iron Mountain” on the screen.

Community, art, hidden history... the three paths of exploration extended in completely different ways, yet all pointed to the same core: a deeper, richer understanding of this world and all the traces left within it by humans and non-humans alike.

And he stood at the intersection of these paths, holding a unique tool and moving forward steadily with undiminished curiosity.