Repercussions 返響系列

「返響」意思是當下事件或行為的反饋,並常是不受歡迎的那種。此系列作品應用震動式喇叭與現成物,將不同材質轉化為「揚聲物件」。在不同主題與方法下,「返響」曾以包括現場演出、聲音裝置與作曲計畫的形式被呈現。

“Repercussions” means an unintended consequence of an event or action, especially an unwelcome one. This series of work applied surface transducer and found objects, turned different materials into “Speaker objects” through vibrating the surface. With various topics and methods, “Repercussions” have been presented in several forms include live performance, sound installation and compositional project.



 

作曲家大衛·都鐸(David Tudor)在其「雨林(Rainforest)」系列作品中提出了「混合共振集合」的概念,去探究共振的「揚聲物件(Speaker objects)」,重新思考樂器、觸摸跟演出這幾件事。他將震動傳感器與接觸式麥克風同時被貼在特定物件上,使其自體產生共鳴,空間因而被轉化為混音的場所。再運用多聲道技術,觀眾在場內可自由選擇聆聽角度,材質的共鳴在空間與物件中流竄、鏡射、開展,形成一指向模糊的環繞音場。 

David Tudor has explored resonant ‘speaker objects’ in his “Rainforest” series. I try to extend his practices with new technology in this project. Found and abandoned objects play the role of a sound mirror and speaker. Each object attached with surface transducers and vibrating sensors, filters and highlights the resonance of the material, amplifies and redirects it back into the objects. The evolving drone sound comes from the vibrations of these found objects, blended into the resonances of the material itself through multi-channel configuration. 


 

返響:蟾蜍山計畫 Repercussions: Chanchu Shan Project 
2016.07/10-08/31 妙有藝術 MOUArt, Beijing, China 


 

關於蟾蜍山

蟾蜍山一帶為「公館」地名的起源,隘口地形為清朝時進出台北盆地的交通要道。緊鄰蟾蜍山的「煥民新村」為台北現存最完整、年代最久遠的空軍眷村,沿等高線而建,是台灣少有的「山城眷村」。「眷村」係指1949年至1960年代,中華民國國軍及其眷屬撤退來台後,政府機關為其興建或配置的村落。許多未分配到眷舍的外省籍軍人也在周邊自力造屋,形成列管眷村與自立營造眷村共存的特殊現象。此地曾是台海空防的核心,緊鄰空軍作戰指揮部,因軍事管制而顯少人為干擾。在長期低強度的使用下,相對於周遭不斷湧現的現代化建設與繁華市容,此處像被凍結般、數十年如一日地被保存下來。坐落新店溪畔,阻隔城市的喧囂,環河快速道路橫切過天際線;比鄰熱鬧的台大生活圈,卻少有學子來此。它是都會邊緣不合時宜的殊異風景、是被遺落的時間碎片。2013年,蟾蜍山同時面臨閒置「煥民新村」將被拆除與居民遭提告迫遷的雙重危機。老眷村在時代巨輪滾動下該何去何從,至今仍是台北都市更新進程中懸而未解的課題。

About Chunchu Shan

Chunchu Shan (Toad Mountain) is the name given to a hill near Gongguan, whose saddle used to be the thoroughfares for people entering Taipei during the Tsing Dynasty. Adjunct to the mountain, there is a  dated military installation, called Huan Min New Village, which is the longest remaining cultural site in Taipei. Built along the contour line, it is the Mountain Military Kindred Village that is rare in Taiwan. By Military Kindred Village, it refers to the villages distributed or constructed by the government for soldiers and their families of the Republic of China during 1949 to 1960. Many of those soldiers who didn't collect the government provided houses instead formed their self-sustaining military installations nearby. The combined military installations, which were the core of the Taiwan Strait air defense, are adjunct to Air Force Warfare Command Department so that they remain solitary due to the military control. Compared to the prosperity and modern construction of the city, the place appears to be frozen in time, under the low frequency of use. Located on the bank of Xindian, the villages are apart from the city clamor. Even though it is attached to the NTU shopping district, few students go there. It is an inappropriate juxtaposition between an exotic scene near the edge of the urban area. It is also a forgotten fragment of time. Since 2013, Toad Mountain has been facing a dual crisis. The government of Taiwan wants to demolish the historical site due to urban renewal plan. On the other hand, the residents of Huan Min New Village are taking legal action against the Taiwanese government to preserve their hometown. The Military Kindred Village issue is still unresolved currently, under the Taipei urban renewal process.




創作自述

「聲音」是時間性的產物、是終將消逝於空氣的能量形式,「聆聽」則是以空間為載體、全然現場且難以再現的經驗,並受環境變化與外在擾動的影響。「返響」意指對當下事件或行為的反饋,透過聲響流動回應周遭的狀態變化。

在「蟾蜍山計畫」中,回收而來的棄置或現成物,扮演了喇叭膜片的角色,經由震動傳感器成為「揚聲物件」,延伸空間與材質本身的共鳴,與所處的聲學環境交互影響。一小段弦樂長音在此系統中被放慢播放,逐漸融入於蟾蜍山周遭錄製的自然與人為環境聲響,在空間與物件中流竄、鏡射、開展,逐漸失去連動性。物件的斑駁與缺損,會影響原有的聲音純度,形成一指向性模糊的環繞音場。觀眾可在空間中選擇自身的聆聽角度與方式,當共鳴被錯置,聽覺上的不協調感將帶給聽者微妙的聆聽經驗。

夾雜於聲響與物件所區隔出的沉浸式音場中,就如同在城市中偶遇一條神秘巷弄,散落著被棄置與遺忘的難解敘事,層層交織成一場群體記憶的聚合。對外人來說,那只是日常風景;但對村落的居民們來說,一磚一瓦都乘載著生命的記憶。

「我想要用一首曲子去平復記憶和現實的矛盾,它們不應該是二元對立的拉扯,一如我們無法用今天去把昨天抹滅,也無法用昨天去把今天淹沒。時間軸上的排列並不是感知當下的唯一規則,因為所有的回憶都凝結為現在。」

與其說本計劃是為平凡的日常物件創造新的聲音,不如說是透過這樣的介面,引導我們發現那些一直存在於生活周遭,卻被人們於匆忙與庸碌中所忽視的景致。我試著去撿拾這些真實存在的故事與生命碎片,讓物件與觀者對話,去溫柔地擁抱那些不知所謂的拉扯,揭示在遺忘之外的另一種可能。

About Project

“Sound” is the creature of time, a form of energy that will eventually vanish into thin air. “Listening” is the irreproducible experience based on space and this particular moment in time, influenced by fluctuations and variations in the environment. “Repercussions” means an unintended consequence of an event or action, reflect the changes in the environment through the flow of sounds.

In this project, these found and abandoned objects play the role of a sound mirror and speaker. The object then filters and highlights the resonance of the material, amplifies and redirects it back into the objects through the surface transducer. The evolving drone sound comes from the vibrations of these found objects, each attached with surface transducers, blended into the resonances of the material itself through multi-channel configuration. Through the constant amplification and resonant feedback of subtle vibrations, the individual resonant frequency of the each object is "mirrored" and unfolded within the material itself. The audience chooses their way to listen, when the resonance has been misplaced, the dissonant and incongruous audio will provide the listener a delicate listening experience.

In this immersive soundstage of sounds and objects, the assemblage of layers of memories occurs, just like those mysterious alleys in the city where all the abandoned and forgotten stories happen. For an outsider, these alleys are just natural scenery, but for the inhabitants, every brick and wall carries a life story.

"I want to use a song to erase the paradox between memory and reality. They shouldn’t be in the binary opposition, because we can’t use today to erase yesterday, neither can we use the memory of yesterday to replace today. The juxtaposed timeline is not the only way of feeling the present since every memory from the past has condensed and become the present."

Rather than saying this project creates new sounds for objects in daily life, it is more like using the audio interface to lead us to find out those everyday scenes that are ignored. I try to pick up those pieces of real life stories and make the objects talk with the audiences. To embrace those unknown and figure out the other way rather than forgetting.



Limited Edition- Vibration Player
 


Documentary materials

3-Channel Composition 
  


返響: 無題 Repercussions: Untitled  
2016.04/30-05/22 水谷藝術Waley Art, Taipei, Taiwan 

 

撿拾、回收而來的物件,佔據空間、透過震動,空間乘載並傳遞聲音。透過麥克風即時收音、回放,融入材質自身的共鳴與空間環境聲響,音訊的回授(feedback)放大了現場環境中的變化與擾動,在既有的機制中仿若有了模糊的生命。


 


曼徹斯特亞洲藝術三年展演出計劃 "Repercussions" Live Performance 
2014, Asia Triennial "Harmonious Society"  MOSI, Manchester, UK

發表地點:MOSI 曼城科學與工業博物館
主辦單位:CFCCA 華人當代藝術中心
贊助:台灣文化部


本作品為今年九月於曼城亞洲藝術三年展(Asia Triennial Manchester)演出節目之一。受德國音樂家與物理學家Ernst Chladni(1756-1827)啓發,企圖探討材質、空間與感知的交互作用與關係。「返響(Repercussions)」意指對當下事件或行為的反饋,利用場地的現場環境音與聲學空間,透過既有物體同時收音與回放製造聲響反饋效果。技術上,透過固定於金屬平面背後的contact mic與surface transducer,使其具有麥克風與擴音器的功能。空間中的聲響與變動直接或間接地使金屬薄板震動,不同方向的平面將抓取其指向上的環境變化,一面擴音一面利用contact mic使音訊回竄。反饋後觀眾所接收的聲響軌跡將包裹上材質所特有的共鳴與泛音,而其諧振頻率(resonant frequencies)成為鏡像(mirrored)並透過材質本身展開;每一面金屬薄板彼此互相影響,卻又非完全相同,觀眾在移動過程中也創造了獨特的聆聽經驗。

Industrialization makes people neglect the material’s existence besides its functionality. This work tries to create the awareness of the environment and the experience of sensing the fluctuations in surrounding space. With contact microphones and surface transducers, different objects play the roles as the sound mirror and speaker. The microphone picks up the resonance from within the material, amplifies and redirects it back into the objects through the surface transducer. Through this constant amplification and resonant feedback of subtle vibrations, the individual resonant frequencies of the each object are "mirrored" and unfolded within the material itself. During the performance, viewers are allowed to interact with the piece by producing the sound in the space and play back through the surface with contact mic around them in real-time.