From American Internet Celebrity to God Among Men

217: Chapter 217 Whispers in the SalonThe salon was held in the spacious studio of a sculptor friend, with only a dozen or so attendees, mostly familiar musicians, visual artists, and one science fiction writer. The setting was casual; everyone sat scattered across sofas, carpets, and old wooden crates, with only a few warm yellow floor lamps lighting the room.

Taylor didn’t offer much explanation of the concept, simply saying, ”This is a sound exercise about ’rhythm’ and ’gaps’.”

The music began.

At first, it was that low, constant ”background field” with a mathematical, cold aesthetic. The subtle chatter in the salon gradually quieted down. Then, without warning, all sound vanished. Three seconds of absolute silence felt exceptionally long in the expectant space—one could almost hear their own heartbeat. Just as the silence was about to make people uneasy, the ”background field” returned with the slightest of changes. In that moment of return, a wisp of cold, ice-crystal-like, transformed flute timbre (simulating the ”gift”) flashed by, then instantly vanished.

This cycled, but each time, the texture of the ”background field,” the length of the ”silence,” and the timbre and presentation of the ”gift” were slightly different. Sometimes the ”gift” was a broken piano chord; sometimes it was a processed, unknown insect chirp; and sometimes it was just an extremely faint lingering sound, like a metallic vibration.

The audience was initially a bit confused, but they were soon captivated by this unique ”sense of breathing.” Some closed their eyes, immersed, while others subconsciously tapped their fingers on their knees in time with the opening and closing of the ”window.” The science fiction writer later described it: ”It’s like listening to the dream of a massive, civilized mechanical life in the deep sea. It regularly sleeps, wakes, and occasionally dreams of a wisp of starlight from the land—but that starlight has been twisted by the seawater into an unrecognizable yet incomparably beautiful form.”

The performance ended, and after a brief silence, there was warm applause and discussion. A musician friend said excitedly, ”Taylor, you’ve found a whole new way of ’leaving blank space’! This silence isn’t empty; it’s a tension-filled expectation, a ’negative space’ of sound. It makes the little bit of sound that follows feel incomparably precious!”

Taylor was excited, not because of the praise, but because she confirmed from the audience’s reaction that this extremely restrained, structure-first sound narrative could indeed convey the ”distant, polite, and suggestion-filled” texture she wanted. This gave her immense confidence to complete the wind on the mountain peak.

Almost at the same time the salon ended (considering the time difference), Team K’s first round of ”window period reinforcement monitoring” data analysis was completed, and a briefing marked ”Anomaly Pending Evaluation” was sent to Alex’s encrypted terminal.

The briefing stated: ”During the most recent SPO-α predicted ’window period,’ the array located in Chile captured a very low-frequency disturbance lasting only 0.8 seconds that could not be immediately classified as a known natural phenomenon or human activity. The disturbance’s energy was extremely weak, at the edge of the detection threshold, and was only captured by a single array at the optimal pointing angle (other arrays did not record it simultaneously due to brief technical interference or angle issues). Its characteristics were completely different from the SPO-α signal itself, and also different from common solar wind or geological activity interference.”

”Possibility 1: Random instrument noise or unmodeled minor environmental interference (probability approx. 70%). Possibility 2: Extremely weak background radiation fluctuation from the direction of SPO-α, but not from it itself (probability approx. 25%). Possibility 3: A previously unnoticed secondary phenomenon related to the ’window period,’ originating from SPO-α or its surrounding environment (probability approx. 5%).”

”This is the first observation; one piece of evidence is insufficient to establish a fact. We have adjusted the monitoring parameters for the subsequent ’window period’ to attempt to reproduce or exclude it with higher sensitivity. This finding is not assigned any substantive meaning for now and is only recorded as a reminder that ’unknown variables may exist.’”

Alex read this description repeatedly. 0.8 seconds, threshold edge, single piece of evidence. In science, this is almost nothing. But after all he had experienced, this subtle disturbance—this ”almost nothing”—was like a small grain of sand thrown into the lake of his heart, stirring up ripples far exceeding its volume.

It appeared in the ”window period.” It was ”unable to be immediately classified.” It was ”possibly related.”

Reason told him this was likely noise. But intuition—or rather, his perception, which had been repeatedly honed by Information Texture Discrimination—made it impossible for him to easily ignore this faint ”sigh” from the abyss of data. This sigh, together with the carefully arranged ”silence” and ”gifts” in Taylor’s music, formed some kind of indescribable, cross-dimensional, distant echo.

He did not reach any conclusions, simply encrypting and archiving the briefing, marking it as ”pending observation.” Science requires patience, and what he had now was exactly that.

The ”Los Angeles Soundscape Memory Archive” project team encountered unexpected emotional waves while recording in an old immigrant neighborhood.

They planned to record the oral history of Grandma Lupe, a Mexican-American grandmother who had lived in the community for sixty years, and asked her to lead them in recording some street sounds that held special meaning for her. At first, it went smoothly. Grandma Lupe enthusiastically described the fragrance of the corner bakery, the noise of neighbors chatting on the porch in the evenings, and the music of holiday parades.

But when she brought the team to an old commercial street that was about to be demolished and converted into high-end apartments, her emotions suddenly grew agitated. She pointed to the closed rolling shutters and ”for sale” signs, her voice trembling: ”There used to be a shoe repair shop here. Old José could always save any shoe; he hummed while he worked... Over there was Liliana’s grocery store; the children would all go to her to buy a lollipop after school... Now it’s all gone; only these iron doors and dust remain. What’s the use of you recording these sounds of closed doors? They’re just saying, ’It’s over; forget about us’!”

The project team’s young sound engineer tried to appease her, saying that recording these sounds could at least preserve memories. Grandma Lupe was even sadder: ”Preserve them for whom to see? For those who move in and don’t know us at all? Let them drink coffee while listening to the sounds of us disappearing?”

The atmosphere on-site grew a bit stiff. The community coordinator in charge didn’t force them to continue, but paused the recording and invited Grandma Lupe to sit on a nearby park bench and have some water.

The coordinator didn’t preach, simply listening quietly as Grandma Lupe talked about her sense of loss regarding the community’s changes, her longing for old neighbors, and her fear of an unfamiliar future. After her emotions calmed down a bit, the coordinator said softly: ”Grandma Lupe, perhaps we are recording these sounds not just to ’preserve’ them. It’s more to ’prove’—to prove that so many people once lived here, laughed, quarreled, and helped each other. To prove that this street isn’t just a line on a map; it’s home to many people. Future people who hear these sounds will at least know that the story here didn’t start with these fancy apartment buildings. Your memories and these sounds are the bricks resisting oblivion.”

Grandma Lupe was silent for a long time, looking at the children playing in the park, and finally nodded gently. ”Then... can you also record what I’m saying now? Tell the people in the future that there was an old lady named Lupe here, and she really missed Old José’s singing and Liliana’s lollipops. And... this street, it used to be very alive.”

The project team not only recorded her words but also invited her to ”say goodbye” in her own way in front of the ruins of the old commercial street. Grandma Lupe didn’t cry; she straightened her back and said a blessing in Spanish, slowly and clearly, blessing this land and the people who would live here in the future. Then, she softly hummed an ancient ballad about home and migration.

This recording, along with the previously vibrant community sounds and the later silent ruins, was compiled into the archive, with Grandma Lupe’s story attached. It was no longer a cold ”soundscape sample,” but a ”sound narrative” full of emotional dimensions.

When Alex listened to the project report, he especially appreciated the coordinator’s approach. ”What you did is exactly the core of the Theia Project,” he said. ”It’s not about forcefully recording information, but understanding the emotion and meaning behind the information, and helping it find the most appropriate ’translation’ and ’expression.’ Grandma Lupe’s singing and her blessing for the ruins are, in themselves, the most powerful ’sound archives.’ This is more precious than any technical recording.”

At night, Alex and Taylor reviewed this complicated day at home. Taylor shared the excitement of the salon, while Alex cautiously mentioned the ”0.8-second sigh” from Team K and Grandma Lupe’s story.

”It seems like everything is saying,” Taylor said, leaning on the sofa, ”that what’s important isn’t how loud the sound is or how clear the information is. It’s what’s contained in those faint, marginal, hard-to-classify things—even in silence and disappearance themselves. The silence in my music, the vague disturbances you monitored, the grandmother’s memories and blessings in the face of ruins... they are all in the ’background noise’ of the mainstream narrative, but perhaps what really moves people, what is really worth listening to, are precisely these ’noises’.”

Alex held her hand, feeling a deep resonance. As a weaver, his job was precisely to pay attention to these ”background sounds” that are easily ignored, try to understand their unique rhythm and color, and weave them into a broader picture on the loom of art, science, and humanity.

Outside the window, the city was still noisy. But in some corners, on some frequencies, some faint whispers, vague sighs, and affectionate farewells were being listened to, recorded, given form, and quietly changing the world shared by the listener and the storyteller.