聆聽的機器 Listening Machine| 03.22-04.23|台北國際藝術村

展期 Exhibition Period/3.22(Fri.)-4.23(Tue.)
開放時間 Open Time/11:00-18:00 (週一休館 Closed on Monday)
開幕茶會 Opening/3.22(Fri.) 19:00
地點 Venue/台北國際藝術村,百里廳 Taipei Artist Village, Barry Room
藝術家 Artists/紀柏豪 CHI Po-Hao、王仲堃 WANG Chung-Kun


紀柏豪

藝術家自述/
「我知道有許多音樂融入生活的方式正在改變。其中一個巨大變化,在於音樂逐漸成為人們可以參與的一種『過程』,而非每次聆聽都一成不變、由一堆固定、有限片段所組成的『曲子』。」-Laurie Spiegel,1987。

隨著科技發展,創造音樂的途徑-或者說「作曲」,不再只是構思音樂本身,也包含設計能產生音樂的「系統」。軟體自身即可成為曲目,不必然要以既有樂器邏輯被解讀與再現。「系統」可被定義為一組做為機制或網絡某部分而共同運作的元素。

通過「設計系統」,你放棄了一些控制權,留下一些未完成的美學抉擇讓機器去完成。另一方面,創作者仍有著全然的控制能力,像是系統設計者,打造出一個生成空間讓觀眾去探索。換句話說,你將能觀察和分析從系統收集而來的數據模式,這些模式會表明因果關係—或是行動與產出間的關係;我們可以使用這些模式來預測未來。

《聆聽的機器》展覽中,為了使系統跟外部世界連結,藝術家紀柏豪透過網路抓取資訊,讓觀眾開啟「網頁」來與作品建立某種關係。他將展出作品視為一首首生成式曲目,並納入了程度不一的互動機制。互動過程中所做的選擇,使個體成為節點,於既有框架中與系統共築內容。在此前提下,他希望碰觸「無所不在的網路」的準則與邊界,進而討論寬頻、無線網路與行動通訊的普及,能如何被應用於生成式創作中,反映行為與狀態的分佈,讓抽象資訊轉譯顯得詩意,藉以回應布萊恩・伊諾之觀點:藝術家所為即是不斷地發展隱喻。

資訊設計:黃尹 Infographic Design: Haung Yin
網頁設計:吳哲宇 Web Design: Wu Che-Yu

王仲堃

藝術家自述/
王仲堃自2006年開始進行機械聲音樂器的創作,開啟了往後創作發展的方向。逐一發展了許多系列作品,如《聲・瓶》、《另一種音景》、《空・器》、《開箱作業》等不同聲響的探索與發聲,也試圖從現場演出、互動裝置或是跨界合作等不同領域來詮釋聲音作品的可能。

他的聲音作品具有一種音樂性,刻意把「聲音」的抽象性解放出來,轉化為較為具象的音樂。對作者而言,聲音作為一種概念的傳達,必須從對其意義及內涵理解;而音樂的情感表達能融入一種真實情境讓我們從中感受。用心理層次來看,透過聲音與音樂之間的流轉,聽者得以以理性、邏輯的方式去掌握聲音,同時以感性與體驗的方式去感受音樂,作品就是存在一種體驗式的感知,但這無非意味著聲音不能用語言翻譯,它只能成為它本來的東西。

藝術家近期不斷在思考關於聲音機械裝置的隨機與偶發的特性,試圖以「風」這難以預期的流動狀態來作為聲音隨機變動的元素。此次展出的兩件作品「風聽」與「畫沙」皆以人在空間中經過時所影響的氣流來玩聲音與時間的細微變化。有別以往習慣使用數位程序的控制,將偶發的機遇交由更趨自然類比的機制。回到機械本身的機巧,來回應相較於數位相對關係的絕對狀態。

CHI Po-Hao

Artist Statement/
“I know that a lot of the ways that music is integrated to our lives is changing. One of the big changes is that music is becoming a process that people can participate in – rather than a bunch of fixed, finite entities called pieces that you can listen to that are the same every time.” -Laurie Spiegel, 1987.

With the development of technology, the way to create music, or “composing,” is no longer limited to writing the whole piece. Instead, it can be implemented by “designing the system that makes music.” The software can be a specific composition which is unnecessary to be interpreted and represented with the logic of existing instruments. The definition of “system” is “a set of things working together as parts of a mechanism or an interconnecting network.”

By designing systems, on the one hand, you give up some controls by leaving artistic decisions unmade. On the other hand, the creator still has ultimate authority, as a system designer who designs the generative space that the audience can explore. In other words, you can observe and analyze the data collected from the system for patterns, which indicates the relationship between causes and effects, or actions and outcomes. We can use these patterns to make predictions.

“Listening Machine” exhibition address the connection between systems and the external world. I retrieve information via the internet that allows the audience to establish relationships with works by simply opening a webpage. I regard these works as generative pieces which integrated interactive features with various levels. The choices that happen during the interaction process make individuals become nodes in a given framework as co-creators with the system. Under the premise, I hope to tremble the boundaries and guidelines of “Ubiquitous Network.” Furthermore, to discuss the spread of broadband, wireless networks and mobile communications can be applied to generative approaches, reflecting the distribution of behaviors and states, and make the abstract data transformation poetic, in response to Brian Eno’s point of view: what artists do is evolving metaphors.

WANG Chung-Kun

Artist Statement/
Wang Chung-Kun has always been particularly interested in the laws and rhythms of sounds. Laws can be observed among all living things or made through human intervention and creation. In the states of occasional randomness, among all the permutations and combinations, a particular law could be observed, while it might just probably be the rhythm of your heart.

The sound art of Wang Chung-Kun possesses a musicality, consciously liberating the abstract nature of sound and converting it into a more concrete form of music. For the artist, sound serves as a means to convey concepts; one must start by comprehending its meaning and implications. And the emotive expression of music is able to incorporate real scenarios, which we are able to feel. Viewed at a psychological level, through the interflow between sound and music, the listener grasps the sound rationally and logically yet also feels the music viscerally and experientially. Thus, an experiential perception exists within the work. Yet this is nothing other than the implication that sound cannot be translated into language but can only become the thing it intrinsically is. The work causes visitors to sense the presence of shapeless sounds within a space, and sounds express the materiality of the space, which has a shape. When visitors move around in the vicinity of the work, they can feel with their own bodies an aural space, which in fact comprises a dynamic sound image.

Recently, he is thinking about the characteristic of the voice mechanical device’s randomness and occasional occurrence, he tries to use “wind” as a variable element of voice, because of its unexpected flow condition. When people walk by these two pieces of work” Sound of Wind” and” Sand Drawing”, the airflow will be influenced, and lead to the slight change of voice. Differ from past, he used to control the occasional occurrence with a digital procedure, this time he put this circumstance to a more natural system. Back to the mechanical device itself, compared to digital control’s relative relationship, its sensitivity gives a response to an absolute status.


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