Wanderlost
Sound installation, site specific work, dimension variables, 2017
迷途流浪
現地製作聲音裝置， 2017
Sound installation, site specific work, dimension variables, 2017
迷途流浪
現地製作聲音裝置， 2017
route/scene/journey
field recording...
vernacularity...
past and present...
background
In the late 1960s, Canadian composer R. Murray Schafer founded 'The World Soundscape Project; W.S.P.' and developed the concept of 'Soundscape'. The noises, nature sounds, cultural sounds are called 'The Music of the Environment'. If sound is a real-time, aggressive, irreplaceable material, in this visually dominant world, can sound describe vernacular and can it aural the city?
研究背景
聲音地景(Soundscape)的概念在 1960 年代末期由加拿大作曲家 R. Murray Schafer創立的「世界音景計畫（The World Soundscape Project; W.S.P.）團體」開始發展，城市的噪音、自然音、文化聲音被稱之為「環境的音樂( The Music of the Environment) ( Schafer,1973 ; 1977a )。如果聲音是ㄧ即時、主動、具備特別音色的材料，在視覺為主流的美感文化世界下，聽覺是不是也可以描述地方特色，成為ㄧ資訊化城市的方法？
concept
This sound piece is made for Tate Exchange in 2017, consisting of three sound installations spreading around the space. All of them sitting alongside the window and representing the sound journey recorded by the artist. In the soundtrack, you will hear the sound of everything happened in the city──people talking, music, humming sounds from cars, busking, many unrecognizable sounds and maybe so much more than a human can't hear.
Each soundtrack stands for a route and corresponds to the scenery seeing from inside of the space respectively. The narrative of these three sound journeys are different──depiction, flashback and collage. When the audience listen to the piece, they are facing the scenery and seeing the real-time play by the city. I appreciate the interesting dimension I present to the public, hoping to make a bond to this experience.
概念
此作品為泰德美術館tate exchange計畫現地製作聲音裝置作品，在展場中共有三個位在觀景窗戶旁的聲音檔案裝置，每個裝置各播放不同錄音檔案，聲音來自於窗外景觀中間點能看到的最遠地到達泰德美術館之路線的事先現場錄音(on-site recording)。各個錄音檔案有不同的聲音敘述方式：順敘、倒敘、以及聲音拼貼(Collage)。希望藉由觀看現實窗外風景景觀同時聆聽過去錄音，讓觀者營造一個有視覺及聽覺同時產生的時間性及故事性的回溯、做一在不同象度裡的城市漫遊。
