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。
Official introduction from Taipei Fine Art Museum
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.