Between the 1990s and 2000s, artists across the Taiwan Strait began to experiment with recorded sound in its capacity to document shifting social relations. In the aftermath of the Cold War, both China and Taiwan were coping with the global surge of neoliberal capitalism; rising political tensions in these two societies were soon embodied in their increasingly “noisy” acoustic environments—from everyday urban soundscapes to labor protests and missile tests. Well-known artists such as Lin Chi-Wei, Yao Dajuin, Yan Jun, and Hsia Yü incorporated these sonic fragments into their intermedial experiments in music, video, installation, performance, and poetry, as they turn these timely acoustic motifs into discursive social commentaries on labor movements, spatial justice, and civil liberty. “The Noise Decade” examines this crucial but often overlooked encounter across the Taiwan Strait, where an aesthetic and political discourse on “noise” intersected with the convergence of media. It argues that the embalming of sound creates a resource for the material remains of time, memory, and histories to echo through a violent temporal rupture that radically restructures communal experience.