Rhythm of Space 空間的節奏

Medium: Surface transducers, Multichannel interface, Screen, Webcam
2014, 台北市立美術館 Taipei Fine Art Museum 


This work is an interactive sound installation in “Time Concentrated” project. It shows the sound structure in a typical day at the exhibition area of Taipei Fine Arts Museum through the approach of “Site-specific Art". The purposes of this project is to observe the rhythm of urban space and the repetitions of soundscape, investigating the interactions between the listeners and the environment in micro and macro time scales. The playback speed of 24 hours field-recording is accelerated a hundred times but maintained the original pitch. The projected image of clock synchronized with the playback speed, which indicates the timeframe of the sound. When the viewer stands in front of the clock, the playback speed slows down to normal speed, and accelerate again when he/she leaves.

Sounds could bring breaths and motions to spaces. Therefore, the relations between everyday life and the rhythms are in a dynamic state. In order to observe rhythms outside of the body, the viewer must use her or his own rhythms as a reference to unify the rhythms under analysis. Rhythm, could be consider as repetition in a movement, but not just any repetition. Through observing the repetitions in a space, rhythm is integrated into one's constructions and perceptions of time. Consequently, the concept of repetition not only points out the dialectic of the Same and the Other, but also is itself a footnote of the philosophical problematic.

People typically shaped their memories of the sounds in a particular space based on the information they received while they were at the place. When analyzing the rhythms of urban spaces and the effects of those rhythms on the inhabitants of those spaces, we intend to recognize the sound sources and link those sounds with objects that already exists in our mind. However, the soundscapes are actually constantly under construction, in other words, always undergoing changes. By condensing a day long field-recording into a 10 minutes audio, the sound is altered and therefore made the sound unable to be identified by our cognition system. We could only barely recognize the content of the conversations or the activities of the drastically compressed recording, yet we were able to perceive the way of how the sound events has happened in the circulation of a day and how it has affected the rhythm of the space. Through the modulation of the playback speed, we could furthermore examine the structure of soundscape, as well as the organic relationships between space, time, and the sensory systems.

本作品為「時間濃縮」計劃中的聲音互動裝置,將以「現地製作」的方式,呈現北美館展場裡一日聲響結構的變化。受荷蘭藝術家Felix Hess的「Air Pressure Fluctuations」錄音啟發,但於技術與呈現的切入點上,則結合近代聲音藝術與科技的發展,使其更能與現代人的聆聽經驗結合。計劃目的為透過觀察都會空間的節奏及音景中的重複,由巨觀及微觀的時間維度,去探究聽者與環境間的互動。24小時的環境錄音在快轉百倍後,於原地回放同時維持音高固定。與播放速度連動的投影時鐘,會顯示目前聲音所對應的時間點,並受觀眾影響而在快轉與正常速度間切換。

聲音,能夠替空間增添動態與呼吸。日常生活與節奏的關係並非恆定不變,我們其實是透過自我內在的定位來解讀外在事件的節奏。「節奏」可被視為某一動作的重複,卻又不僅是如此。在觀察一空間中各種重複的事件時,節奏便隨之進入普遍情境下人們建構時間認知的過程,「重複」成為連結「相同」與「不同」事件之間的線索。

人們往往是以自身在場時的聆聽經驗做為投射,形塑對特定場域的聲音記憶,並傾向將聲響指涉空間中既有的人事物,將其與記憶中的聲音事件做連結。然而,聲音的流動其實未曾停止。一般來說,「留聲(Phonography)」被認為是一種用來保存或捕捉自然界聲響的技術。將一整天的環境錄音壓縮後,原本的錄音內容成為抽象聲響,破壞了聲音事件的可辨識性,進而影響聽者的認知。但隨著壓縮噪音的頻率與音量起落,聽者卻能從中觀察到一天之中各種人為活動對空間中節奏的影響。在播放速度的往返之中,進而延伸與探究音景結構中,空間、時間與感知的關係。



Official introduction from Taipei Fine Art Museum  
台北市立美術館官方介紹 

Chi Po-Hao's sound works attempt to reflect on concepts about soundscape(audio perception regarding certain sites) and explore relations generated from mutual effects between the viewer and his/her environment. The Rhythm of the Space, his work in the competition, was an interactive sound installation originally for Time Concentrated project in “1296-4107”group show in London. Whereas the original site of sound-collecting was in a particular building in London, it would be transferred to the venue at B2 of the Taipei Fine Arts Museum. The content of sound will consist of sound variations at the venue in the lapse of one day. The clock device of the work not only indicates the moment of the generation of sound but also serves as a censor for the visitor. Upon the visitor's intervention, the concentrated noise that was fast-forwarded into abstract sound is turned into normal speed, at the mean time the viewer adapted his consciousness from “absolute listening” into realistic environment. The interactivity of the clock device further corresponds to the core idea of this work: an event that takes place repeatedly at a site can be regarded as an important factor to construct the rhythm. Yet one tends to define the impression of the surrounding soundscape on the basis of his/her own subjective comprehension and experience. Based on the observation, the artist attempts to provide a different perspective for the visitor through this interactive piece, and to re-imagine or comprehend soundscape structure generated at a certain site.

紀柏豪的聲音創作著重思考音景(針對特定場域的聽覺感知)相關概念;探究聲音之於觀者,及其所處環境相互作用所產生的關係。本次參賽作品〈空間的節奏〉延伸自倫敦「1296-4107聯展」中的聲音設計部份,聲音採集地點由倫敦特定建築空間轉至北美館地下二樓展場,收音內容為一整日展間的聲音場景。作品的時鐘裝置不僅顯示聲音產出的時間點,也是感應觀者的媒介;當觀者介入作品時,聲音會由快轉的壓縮噪音,逐漸放慢為正常播放速度。此特點也呼應作品的核心概念:在一個場域中,重複出現的事件可視為建構聲音節奏的重要元素,而往往人會使用自身主觀的感知經驗,定義周遭環境的音景印象。基於此,紀柏豪試圖藉由這件聲音裝置,提供觀者另一個視角,重新想像或理解特定場域產出的音景結構。

Soundscape, field recording, rhythm, space, sound art, new media