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