Note: (This interview was originally published in LEAP no.16 and conducted on 2012, 9th Nov.) Dino is the stage name of Liao Ming-He, born in Taipei in 1976. He was active in the rock and roll scene by the time he was in middle school, and played bass for the band The Clippers in his later youth. He is also considered a pioneer in his use of primal analog electronics in noise music. Beyond this, he is an enthusiast of pu’er tea, gaoliang liquor, seal engraving, and freehand painting and calligraphy. His work is difficult to situate with the frameworks of modern or traditional art, although it is often classified as industrial noise (a counter-culture movement originating at the end of the 1970s)— but the artistry of his work is completely out of such a label’s reach. In an era when all art is either self-regulated or self-institutionalized, Dino seems to follow his own path, beyond the perimeters of modern art. First taking a look at the materials used in his life and work, and then at his approach to the objects that surround him, this interview seeks out Dino’s philosophy of sound art.