The first time the composer stood in New York Times Square, the digital screens and giant billboards closed like a cage around her. In rapidly changing images, both time and space were compressed. Surrounded by people and traffic, even if she stood still, it was like being on the road. However, whether walking or waiting, she could hardly connect herself with the surroundings, as if she was cut off from the world of speed. This six-minute piece, The World of the Spectacles, is the composer’s electroacoustic-visual travelogue and reflections on Guy Debord’s 1967 work of philosophy, La Société du Spectacle. From the time she took the train to New York, she was like a package being transmitted: the flood of reality gradually became chaos, and the experience and memory she had gained in the duration of time quickly dried up. Whether it is a busy traffic network, dazzling advertisements, or dramatic political events, everything in modern society is constantly influencing, eroding, and depriving people’s senses. Just like being enclosed by the screens in Times Square, people are imperceptibly isolated by society’s spectacles from the real world.