Time Concentrated 時間濃縮

"1296-4107”聯展作品

年份:2014
媒材:多聲道錄音、互動聲音裝置
發表地點:BPB, London


本件作品為BPB大樓的壓縮後的音景,呈現開放空間一日中的聲響結構。發展上主要受荷蘭藝術家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。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。於本作品中的實踐中,我將其視為某種程度上的「縮時錄音(Time-lapse Phonography)」,對應攝影中常見的縮時錄影技巧。於製作過程中將持續於定點錄製環境音,在完成一週之中每日的錄音後,透過音訊處理技術,將播放速度提升100倍同時維持頻率不變。於展出期間前2-3週將持續錄製環境音並求出較具代表性的每日音景,作品展出時,將於原始錄音地點擺設一與錄音播放速度連動的時鐘,顯示目前壓縮噪音對應的時間點,每當觀眾站到時鐘正前方時,錄音播放與時鐘行走的速度即會還原至正常倍速,當觀眾離開定點時便又加速為壓縮噪音。

我們對一空間的音景印象,往往是以自身在場時的聆聽經驗做為投射。例如上下課時的教室走廊、繁忙的十字路口...,都給人一種嘈雜的印象;然而,當我們不在場時,聲音的流動並未曾停止。即使在同一個開放空間,對不同作息的人來說,或許就呈現了完全不同的聲音樣態。Lefebvre於其提出的Rhythmanalysis中,關注從頻率角度切入討論的音樂結構,一如傳統記譜上的小節。「節奏」可被視為某一動作的重複,但又不僅僅是如此。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。在聆聽都會空間中的節奏時,我們會傾向將這些聲響指涉到空間中既有的人物或事件,將其與早已存在於我們記憶中的聲音做連結。

將24小時的環境錄音壓縮後,原本的錄音內容成為抽象聲響,進而影響聽者的認知,並破壞聲音事件的可辨識性。然而在此壓縮噪音裡,隨著頻率與音量起落,卻能因此觀察到一天中不同時段的聲音事件對空間中節奏有何影響。Lefebvre曾以塊狀電視節目來解釋「網狀節奏」:單一節目進行中會因廣告、轉場而有間斷、起伏,而一整天不同類型節目亦會彼此替換與循環,此即形成不同規模的節奏。根據其學說,日常生活與節奏的關係並非恆不變,我們其實是透過自我內在的定位來解讀外在事件的節奏。在播放速度的往返之中,觀眾便可透過巨觀及微觀的角度,從音景的結構進而延伸對此一場域的想像與理解。

This project shows the sound structure on a typical day at Ben Pimlott Building. I made a 24 hours recording in a public space and then adjusted the playback speed to about 100 times than the original one. In order to observe the rhythm of urban space and the repetitions of soundscape in a certain place, investigating the interactions between the listeners and the environment in micro and macro time scales. When dealing with soundscape compositions, we cannot avoid the question of representation. How do people construct their memory of sounds in one place? How do we consider the soundscape if we are not at the scene? People usually shape their memory of sounds in a particular space based on the information they received when they were in that place, but neglect that soundscape is actually constantly under construction and always undergoing change (Thompson, E. 2004:1-2).          

If we recall the image of a place where we regularly enter or pass by in daily life, the impression of that place might be a continuous, comprehensive imagination instead of a moment or one-time experience. The condense of recording might cause some changes in cognition and destroy the identifiability of sound. For the installation in the exhibition, there was a projected clock image to present the timing of the sound in fast forward mode. When the viewer move to a fixed point in front of the projected clock, the plackspeed will gradually slowdown into normal speed. After the viewer leaving the fixed point the sound and image will accelerate to original speed. All of the interaction will be operated in real-time with Max/MSP patch.





soundscape, composition, sound, arts, sonic arts, electroacoustic, Taiwan, UK, London