Lacking Sound Fest. 失聲祭

LSF 57

2012-03-03T00:47:00.004+08:00

Lacking Sound Festival Listen 57

2012, March, 16(Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Limitation Of Entry 80 People

LSF Artist-in-Residence Program 1.2

Artist︱ CraftWeak Lite

Artist︱ Dawang Yingfan Huang

LSF Artist-in-Residence Program Performance Introduction︱Yoshimitsu Ichiraku

Artists│YEH, Ting –Hao × Dawang Yingfan Huang

“Every year when this time comes, I think of some awkward things of the past, involuntarily. For example, you may say. For example, just like making wrong of practice time, and the practice room was locked, and then waited outside for three hours, and finally knew I made wrong, everything was in vain. And then, you may ask. In fact, at that time, after all, no one wanted to invite me to the band. What’s about that! You may say. ”

失聲祭 Listen57

2012, March, 16(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

每場限定80位觀眾

駐祭計畫 1.2

演出者︱ CraftWeak Lite

駐祭藝術家︱黃大旺

枼廴晧×黃大旺駐祭表演簡介︱一樂儀光長得不像艾未未

「每年一到了這個時候，濕濕冷冷的我就會開始不自主想到一堆以前的彆扭事。你會問，譬如說呢？大概就是搞錯練團時間，練團室卻沒開，然後在練團室外面等了三個小時，後來才知道自己搞錯時間，白跑一趟。你又會問，那後來呢？其實那時候根本就不會有人想到找我去完團，你說，這什麼跟什麼啊！」

Curator︱YAO, Chung-Han

Graphic Design︱Nat NIU

Project Manager︱FENG, Hsin

指導單位︱臺北市政府文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立臺北教育大學南海藝廊

Supervised by︱Department of Cultural Affairs Taipei City Government

Organized by︱Lacking Sound Festival Team

In Cooperation with︱National Taipei University of Education Nan-Hai Gallery

CraftWeak Lite

2012-03-03T00:39:00.004+08:00

Artist︱ CraftWeak Lite

1981, the artist was born in Taipei, Taiwan, growing in ZhongLi, and recently work and live in Taipei.

His creations focus on mathematical theories, physical and chemical phenomena, and the relationship between sub-culture and media art. Through the Audio-Visual performances , he shows a different view into the mingling of science and culture.

He starts out from making computer graphics, endeavoring in live performance of real-time processing . Depending on the characteristic of sound and image materials, and through manipulating time and space, he tries to display surreal atmosphere within reality.

He doesn’t like to show his real name in performance, so he uses varieties of anonym, and till now has used over thirty different anonymous.

Performance Introduction︱Craftweak Lite

Le cerveau, c'est l'ecran

─ Gilles Deleuze

This is a performing device with a Customized screen helmet and sensors.

According to the groove of the body, visual on helmet and projection and sound will be manipulated.

演出者︱ CraftWeak Lite
1981出生於台灣台北，在中壢長大，目前生活工作與台北。
作品聚焦於數學理論、物理化學現象、次文化與媒介體藝術的關係，透過影音表演，呈現科學與文化交織的另一種觀點。
出身電腦動畫背景，致力於研究電腦即時運算的現場演出，並根據影音本身素材的特性，透過操弄時間與空間的手法，企圖在現成物的元素之內，呈現出超越現實的聲光氛圍。
由於本身的個性低調，不喜真名出現於演出當中，於是每次都會使用假名，目前以產生三十個以上的不同名稱。

表演簡介︱手藝孱弱 (輕便版)
「大腦即螢幕」 (Le cerveau, c'est l'ecran)
─ 吉勒.德勒茲 (Gilles Deleuze)
這是一個關於螢幕頭盔與身體動態感應的表演性裝置。
根據表演者身體的律動，臉上的顯示器、身後的投影以及環境的聲響會以此為根據做出變化。

LSF 56

2012-02-09T00:08:00.000+08:00

Lacking Sound Festival Listen 56

2012, February, 17(Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Limitation Of Entry 80 People

Cracks in the empty; Steps on the crevasse

Artist︱KER, Ing-Yu

Artist︱CHENG Wen

失聲祭 Listen56

2012, February, 17(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

每場限定80位觀眾

在空隙的空裡空著

在空隙的隙裡走著

演出者︱柯盈瑜

演出者︱成文

Curator︱YAO, Chung-Han
Graphic Design︱Nat NIU
Project Manager︱FENG, Hsin

指導單位︱臺北市政府文化局　
主辦單位︱失聲祭團隊
協辦單位︱國立臺北教育大學南海藝廊
Supervised by︱Department of Cultural Affairs Taipei City Government
Organized by︱Lacking Sound Festival Team
In Cooperation with︱National Taipei University of Education Nan-Hai Gallery

CHENG Wen ( 成文 )

2012-02-09T00:01:00.002+08:00

Artist︱CHENG Wen

A musician

Born in 1975 in Taipei, Taiwan

Used to be a bass player of the underground band 《Serious Harm》

Had been worked for Taiwanese music mainstream in the scope “Artists and Repertoire” of a record company.

2005 founded an independent music store brand 《BASTARD MUZIK》, same year released his debut album of electronic creation 《Going Through》in the name of UFA.

Oct. 2006 was forced to start a 5-year BAD TRIP

After the 5-year hibernation, floating and introspection

Jan. 2011 went back to the strange and familiar city Taipei

Performance Introduction︱ MUSIC FROM THE LIFE

The BAD TRIP spent 5 years included 3 years and 4 months repression.

During the return year of 2011~2012, how clear had been seen? What had been felt?

The connection between people and the changing of things are tremendous!

The beauty but ugly world and the human’s hearts, melted into one.

After passing through all the procedures, everything had been the “Foot prints” of mind.

CHENG Wen hadn’t involved in creating for so long, what can we hear today?

演出者︱成文

音樂工作者。1975年出生於台北。

過去曾為地下樂團《重傷害》的貝斯手，曾任國內主流唱片音樂製作A&R。

2005 與夥伴成立獨立音樂廠牌《雜唱片》

同年以UFA為名發行個人首張電子創作專輯《過程》

2006.10月被迫展開一段為期5年的BAD TRIP

經過5年的蟄伏沈潛自省之後

在2011.1月回到既熟悉又陌生的台北。

表演簡介︱音樂來自於生活

歷時5年的BAD TRIP涵蓋3年4個月的失去自由。

在2011~2012 這重返的一年間，又看清了什麼？感受到多少？

人與人的連結、事與物的變化，妙不可言！

這既美麗又醜陋的世界與人心，明晦一體。

當走過了這些過程，所有的一切都成為腦中的『足跡』。

成文如此長的時間未觸及創作這件事，這天，我們會聽到什麼？

KER, Ing-Yu ( 柯盈瑜 )

2012-02-08T23:55:00.001+08:00

Artist︱ KER, Ing-Yu

Born in 1988

studying in Shih-Chien University Department of Archietecture

was candidated in 2011 Digital Art Festival Taipei , sound art prize

currently devote herself by produce contingency sound

Performance Introduction︱ VOID

Void is an installation that captures the sound made as a result of releasing the hollow space in ice cubes. By changing the temperature, Void theatrically intensifies the sound of melting ice cubes. As the void is released, the “actual space” disappears. Voids release sounds and create a peculiar spatial experience of having a micro sound field. By listening to this micro sound field that we so habitually ignore, we may rethink the spatial yardstick that is carved by sound.

e-Mail｜ingyuko@gmail.com

Facebook｜www.facebook.com/yingyuko

演出者︱柯盈瑜
生於1988年
就讀實踐大學建築設計學系目前邁向第五個年頭
曾入圍 2011台北數位藝術獎聲音藝術類
現階段以嘗試捕捉不可確定性質的聲響為樂。

表演簡介︱VOID

捕捉
釋放存在於冰塊中的「空隙」所產生聲響

透過冷熱的溫差，
戲劇地強化冰塊融化的聲音。

屬於冰塊內部的虛空間被釋放 ; 實空間消逝，虛空間發出聲響，
思索聲音所暗示的空間尺度。

用被憶起卻已經消逝在水中的虛空。

LSF 55

2012-01-05T00:27:00.001+08:00

Lacking Sound Festival Listen 55

2012, January, 06(Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Limitation Of Entry 80 People

LSF Artist-in-Residence Program 1.1

Artist︱ WU, Ping Sheng

Artist︱ Dawang Yingfan Huang

失聲祭 Listen55

2012, January, 06(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

每場限定80位觀眾

駐祭計畫 1.1

演出者︱吳秉聖

駐祭藝術家︱黃大旺

Curator︱YAO, Chung-Han

Graphic Design︱Nat NIU

Project Manager︱FENG, Hsin

指導單位︱臺北市政府文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立臺北教育大學南海藝廊

Supervised by︱Department of Cultural Affairs Taipei City Government

Organized by︱Lacking Sound Festival Team

In Cooperation with︱National Taipei University of Education Nan-Hai Gallery

Dawang Yingfan Huang ( 黃大旺 )

2012-01-03T00:36:00.000+08:00

Artist︱ Dawang Yingfan Huang

Living in the oppressive and erupting 1990s, in which stock market plunges seriously, Dawang Yingfan Huang chooses to stay in the room, taking recording sound as his own way of self-healing. He acts like this for twenty years. After being called as “black wolf” as an abbreviation for “the wolf of dark campus folksongs”, he distributed hundreds of diversely stylistic songs, taking part in compiled albums from home to abroad, and gradually form three styles of improvisation, electronic noises and Nakasi. Being in Japan for over five years, returning home on 2010, Huang not only collaborated with harsh noise performer You-Sheng Chang for many times, developing improvisation in Taiwan, but he also, at the same year, started an original sound performance Minkoku Hyakunen with Chang, deconstructing, through the form of the theater of absurd and the method of materialism, the “interdisciplinary” idea which prevailing Taiwanese art performance field. ”Yingfan's Black Wolf Nagashi” conveys the powerlessness toward selves and the environment, by way of simple establishment, deriving different themes according to the different occasions. Noise and improvisation are immediate performance, which function very well at the interdisciplinary performance of modern dance and music improvisation “Sound Creating”. The Black Wolf’s life is best described as noise.

About LSF Artist-in-Residence Program

I begun to relate myself to LSF in the end of spring of 2010, when I met Chung-Han Yao as if we had have known each other for many years, It was then I watch some performances of LSF, in which I applied myself to participate, and went on stage to perform on mid-July. In 2011, I finally realized my position in the field of sound art, therefore, I viewed differently when I decided to embark Noise and Minkoku Hyakunen. Though there is no innovative idea within them, they are still enough to surprise the audience, and it is what I concern more. I hope, during the period of residing in LSF, that I can act as a listener, and when I issue some questions, I hope the audience can think for the sake of the other group of players.

LSF Artist-in-Residence Program Performance Introduction

Art is not always that great,

only when people dance with dawn.

I am a quiet coelacanth,

having lurked, since 12,000 years, in the deep part of your memory.

Sweet berries stand no hurt,

operating skills are in a prominent position,

to a sophisticated person, there’s nothing new under the sun.

There’s no need to realize how the next generation pushes the last behind.

The cells split up with geometric series,

only does the voice make us resounding,

till the infinity.

Tonight,

let all notes and noises melt.

e-Mail｜yingfantw@gmail.com

Website｜http://www.facebook.com/yingfan

駐祭藝術家︱黃大旺

在台灣後蔣經國時代壓抑爆發與股市狂跌的環境中，選擇以臥室錄音作為自我療傷的方式至今，不知不覺已超過20年。當發表作品的名義「黑暗校園民歌之狼」被簡稱為「黑狼」之後，便陸續在網路上發表數百首不同風格曲子，參加數張海內外合輯，並慢慢凝結出即興演奏、電子噪音與那卡西三種路線。赴日闖蕩五年半後於2010年返台，不僅與粗暴噪音演奏者張又升(ex. 貓耳朵、再見!奈央!等)多次合作演出，開拓台灣的自由即興場景，也於同年底與張展開原音演奏「民国百年」，透過荒謬劇形式與唯物的研究方法，徹底解構台灣表演藝術圈方興未艾的「跨界」概念，並以素人的身份受邀登台演出，成功爆破台北爵士迷對跨界融合的遐想。「黑狼那卡西」則以最簡單的編制(歌唱口白與mp3播放器)表達出對自己與周遭環境的無力感，並衍生出起雲、雲端、蹦蹦、萌男、烏秋派、有問題等因應不同場合的主題。噪音與即興則是與如開機程式般隨機出廠的預設功能，在2010年現代舞與音樂即興的跨界表演節目「造音」上，發揮了絕大的功用。人生即噪音，或許就是黑狼一生的最佳寫照。

關於駐祭計畫

我與失聲祭的緣份始於2010年春末，當時跟姚仲涵一見如故，也去看了幾場失聲祭表演，最後自告奮勇報名參加，並於七月中登場表演。2011年終於知道自己在聲音藝術領域中的位置，所以決定在弄噪音跟弄民国百年，都會有不一樣的切入點。固然沒有令人感到新穎的點子，卻能製造讓人眼睛(耳朵吧？)一亮的效果，這是我比較關心的部分。我希望在駐祭期間扮演一個聆聽者的角色，當我開口時提出的問題，我希望觀眾可以一起幫另一組樂手想一想。

駐祭演出簡介

藝術並非總是那麼偉大

只有人跟著晨光起舞

我像一隻沉靜的腔棘魚

從1萬2千年前就潛伏在你記憶的深處

就算甜莓也經不起重創

技術操作高高在上

曾經滄海難為水

無需釐清後浪怎麼推前浪

細胞以等比級數緩慢分裂

唯有聲音使我們高亢

直到永遠

今夜

就讓音符與所有的雜音全部融解

WU Ping Sheng ( 吳秉聖 )

2012-01-03T00:29:00.000+08:00

Artist︱ WU, Ping Sheng

He, under unceasing self-estimation, puts himself into the field of creation, which starts from his personal thoughts of daily life, taking sound as a medium to communicate. He expects not to be confined in the current existed condition, but to experiment new possibilities. Having no constant logic in creativity, he attempts to establish a conscious link between the self and other beings via space to structure the unique relationship between the works and the space.

Performance Introduction︱

The inside of sound, the outside of voice, there’s no video and no picture, but noise.

e-Mail｜sam155167@gmail.com

演出者︱吳秉聖

在不斷自我測量下，投入於創作中，樂於嘗試各種媒材。

以日常生活的個人思維觀點為出發，也認聲音為一種作品傳達的媒介。

期望在不滯留於既有形式的情況下，嘗試新的可能性。

創作的思考方式並沒有一定的邏輯，試圖將自身藉著空間與其他個體生成一種可以意識到的連結，結構出作品與空間當下特有的關係。

表演簡介︱

聲之內，音之外

不影不像，只響

2012 失聲祭演出表

2011-12-26T00:34:00.000+08:00

LSF55 01月06日（五）吳秉聖／黃大旺 (駐祭計畫)

LSF56 02月17日（五）柯盈瑜／成文

LSF57 03月16日（五）葉廷皓／黃大旺 (駐祭計畫)

LSF58 04月20日（五） Traffic Jam (林育德、紀子衡、劉哲瑋) ／王仲堃

LSF59 05月18日（五） Apple／黃大旺 (駐祭計畫)

LSF60 06月15日（五）黃聖傑／董昭民

LSF 54

2011-12-18T22:44:00.000+08:00

Lacking Sound Festival Listen 54

2011, December, 23(Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Limitation Of Entry 80 People

【The Poetics of Sound】

Artist︱Lee, Po-Tin

Artist︱Mr. Matrix (Aluan.Wang)

失聲祭 Listen54

2011, December, 23(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

每場限定80位觀眾

【詩聲】

演出者︱李柏廷

演出者︱矩陣先生

Curator︱YAO, Chung-Han

Graphic Design︱Shauba CHENG

Project Manager︱Liang CHEN / FENG, Hsin

指導單位︱台北市文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立臺北教育大學南海藝廊

Supervised by︱Department of Cultural Affairs Taipei City Government

Organized by︱Lacking Sound Festival Team

In Cooperation with︱National Taipei University of Education Nan-Hai Gallery

LSF 53

2011-11-09T22:07:00.003+08:00

Lacking Sound Festival Listen 53

2011, November, 18(Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Limitation Of Entry 80 People

【Sound Gathering and Gestating】

Artist︱ HSU, Yen-Ting

Artist︱ Traffic Jam

失聲祭 Listen53

2011, November, 18(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

每場限定80位觀眾

【汲音孕聲】

演出者︱許雁婷

演出者︱ Traffic Jam

Curator︱YAO, Chung-Han

Graphic Design︱Nat NIU

Project Manager︱Liang CHEN / FENG, Hsin

指導單位︱台北市文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立臺北教育大學南海藝廊

Supervised by︱ Department of Cultural Affairs Taipei City Government

Organized by︱Lacking Sound Festival Team

In Cooperation with︱National Taipei University of Education Nan-Hai Gallery

LSF 52

2011-10-08T11:21:00.005+08:00

Lacking Sound Festival Listen 52

2011, October, 14(Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Limitation Of Entry 80 People

【Double】

Artist︱Chen Pei Yuan & Wang Wen Yu

Artist︱Minkoku Hyakunen

失聲祭 Listen52

2011, October, 14(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

每場限定80位觀眾

【搭搏】

演出者︱陳沛元&王文瑜

演出者︱民囯百年

Curator︱YAO, Chung-Han

Graphic Design︱Nat NIU

Project Manager︱Liang CHEN / FENG, Hsin

指導單位︱台北市文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立臺北教育大學南海藝廊

特別感謝︱台北當代藝術中心

Supervised by︱ Department of Cultural Affairs Taipei City Government

Organized by︱Lacking Sound Festival Team

In Cooperation with︱National Taipei University of Education Nan-Hai Gallery

Special Thanks│Taipei Contemporary Art Center

LSF 51：Sitting Outside of Lucier’s Room

2011-10-03T18:55:00.000+08:00

Text: Fang, Yen-Hsaing
Translate: Yvonne Kennedy

“I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice and I am going to play it back into the room again and again until the resonant frequencies of the room reinforce themselves so that any semblance of my speech, with perhaps the exception of rhythm, is destroyed. What you will hear, then, are the natural resonant frequencies of the room articulated by speech. I regard this activity not so much as a demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.”
——Alvin Lucier, 《 I Am Sitting in the Room》

Samson Yang and Puta are sitting in a room, just like the one we are in. But if they attempt to strengthen the audio of the two sets of sound installations, then they must focus on the black-box like room on their bodies. They must focus their efforts on concentrating on a singular object.
___________________________________________________________

I'd only read about the brain-wave remote control helmet unveiled at the technology exhibition three days before the performance. I didn’t expect that I would be sitting here a few days later, observing two performers wearing a type of light weight sensory device. It could be coincidental, but the performer comes from Hong Kong and had produced a different performance format using EEG devices. No doubt this conveys a feeling of instantaneousness; and a medium with “immediacy”.

___________________________________________________________

Sharp-eyed members of the audience will have noticed that there is a discrepancy between the English language and Chinese language information provided in the publicity materials for LSF51 designed by Niu Chun-Chiang. In the Chinese version, Samson Yang’s work is described using a Zen verse while the English version more accurately attributes the title of the work to Alvin Lucier’s (1931~), a reference to the opening line of Lucier’s classic of the same title: “I Am Sitting in the Room”. “I am sitting in a room different from the one you are in now…” – this monologue is a key subtext in Samson’s performance piece, and Lucier himself was a pioneer in using EEG device in his creations in the 1960s.
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When Lucier’s made his first official recording of “I’m Sitting in the Room” in 1969, his confessional tone drew us into the prevalent humanistic philosophies in art that marked a turning point in the 1960s. In the process of repeatedly recording sound and broadcasting the phenomenon of feedback, “language” was eliminated and replaced with a coexistence of resonant waves of sound permeating the physical space. With this behavior, Lucier revealed the coexistence of an individual (self) within a space, countering the previous existentialist attitudes to re-explore how “self” might be defined. In this era, the individual was no longer positioned in the post-WWII relational dialectical of “individual/collective”, the struggle was to find a meaning for survival and existence within the concept of the self, a concept that is more inherent and historically contextualized. This began through a relationship of communication using the conduit media of “text” and “speech” – a sort of spatial shift and topographical relationship.
In practice, this sort of Linguistic Turn (ambiguity and expansion of meaning is requisite for this specialized terminology) is best explained using the words from a recent work by performance artists Vito Acconci: “the actor connects the self with a system outside the self.” In his works, such as Seedbed (1972), Undertone (1973), and Theme Song (1973), Acconi established the interconnected relationship between the “private/self” and the “publich/world:”, enabling the audience to enter the spatial extensions of the “self/body” through both material and immaterial media. Similarly, “I Am Sitting in the Room” uses the medium of sound rather than the body to include both the sound producer and listener become a part of the overall phenomenon of space.
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The sounding device comprises of a brainwave detector connected to a computer and Buddhist fish-shaped woodblock. When brainwaves reach a preset value, the sounding device is activated. The performaer attempts to control sound intensity or dispersion according to a pre-established arrangement. The so-called “control” is not easily achieved. At times the performer rolls his eyes around rapidly, in an attempt to disrupt focus with rapid visual stimuli so as to reduce the emission of sound; at other times, the performer “works hard” at maintaining a state of relaxation in order to maintain focus.
Unless an individual is psychologically predisposed to enter into a state of concentration, the performer would become, as described by Samson: always wanting to use the “hearing” sense to detect whether the sounding device has been activated, but to no avail; but instead, activating the device at the moment of surrendering to an uninterrupted state of concentration. Once sound is emitted, the performer is able to focus on that sound and continue the emission of sound; paradoxically, as more sounds are created, it is more difficult to maintain this focus that produced it, and the sounds begin to die down.
Similar to the “negative feedback” discussed in Mode Control Theory: the output creates a change that influence the original change in the opposite way. The resistance to change from within the system creates a equilibrium. This performance returns the technological art form (tech art) to its traditional proposition: information masters the world. Whether physical or aesthetic, this is a world composed of quantum units of information. The performe’rs sensory perceptions (sound, vision) and mental state (concentration) controls the audio feedback installation, and the instrument device completes the loop.

“Why have you chosen the so-called “post rock” for your performance format today?” Answering questions like these from the audience comes naturally to Puta. In reality, regardless of the effects of this definition on the listening experience, today’s preparation, orchestration, and performance by the duo have gradually immersed us in an atmosphere/space of emotional tension. If pressed to describe the characteristics of this type of music, it is a musical genre very suited to a small room. Whether in performance, listening, or broadcasting, these are rendered in a sort of liquid nature that is well suited to the contemporary urban space -- a small, private, flowing space.
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“The more you want your audience to hear it, the less your audience will hear,” Samson Yang said in the seminar. Contemplating the performance as a whole is to reverse the cause and effect equation of “performer/audience” = “produce/reception”into a negative concept of“non-production/reception”. So is the audience a necessary presence in the performance arena? Or is the audience a presence that must disappear?
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Samson and Puta are reading Alvin Lucier’s words: ““I am sitting in a room different from the one you are in now. I am recording the sound of my speaking voice…” To them, this is the core spiritual command of the entire performance, but this text is not visible to any of us in the audience. It is revealed only in the glowing of the screen.
Through this command, they are attempting to transport their spirit away into a different space away from the rest of us, to enable us to hear their inner world. Like what Lucier’s Room tells us about the potential that art uncovers: Only by differentiating the self from the other, can we reveal our co-existence.

LSF 51：坐在路希爾的房間之外

2011-10-02T18:53:00.000+08:00

文│方彥翔

我正坐在和你不同所在的房間内，
我正錄製著我所說出的聲音。
我將一再地把它們放回到空間裡，直到整個空間的共振頻率增強了它們自身，使每個我所發出的聲音的外貌，包括它那可被預期的節奏，都被催毀。
最後，你所聽到的，將是連結著我聲音整個空間的共振頻率。
我並不視這個行動為一種物理事實的示範，反而更像是去抹平我話語中的不規率。
——Alvin Lucier, 《 I Am Sitting in the Room》

楊嘉輝(Samson Yang)與Puta正坐在這個和我們同樣的房間裡，但如果他們試圖要去增強那兩組聲音裝置的聲響，那麼，他們必須更專注在自己身上那個如同暗箱的房間，努力集中專注力於一件事物。
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就在演出的三天前，筆者才在新聞網上看到科技展覽會中新發表的腦波遙控頭盔，沒有料想幾天後自己坐在這，看著兩位表演者頭戴某種輕巧的感應裝置。雖説是個巧合，演出者來自香港並且早在數年前就運用腦波檢測儀（EEG）製作了另一個形態的演出，但無疑地讓人感受到當代聲音創作的「即時性」特質，一種媒介的「當下性」。
拿起牛俊強所設計具有一貫勾引特質的LSF51失聲祭文宣，眼尖的觀眾應該有發現在中英文版的訊息有著些許不同：中文版裡楊嘉輝的創作論述是段極富「禪味」的詩句，英文版中則更清楚的介紹此作是向阿爾文．路希爾（Alvin Lucier，1931~）的致敬作品，表演的名稱即是引自路希爾的經典名作《 I Am Sitting in the Room》中第一段同名口白：「我正坐在一個和你不同所在的房間裡……」——這整段口白也在Samson表演的段落中成為一個關鍵性的隱藏文本。而路希爾也是在1960年代即開始運用EEG儀器創作的先驅人物。

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在路希爾1969年做第一次正式錄音的《 I Am Sitting in the Room》作品裡，我們被他那種自白式的對話口吻，引導進入了1960年代人文思想與藝術實踐上巨大轉向的哲思中；在聲音重複地錄製播放這個過程的「反饋」（feedback）現象中，「語言」被消除了，成為與整個物理空間共存的共振波。路希爾藉由這樣的行為揭示了一個個體（自我）在空間中的共存狀態，以一反前一個世代存在主義式的態度重新探問「自我」的定義。在這個時期，對個體的定義不再是處在兩次大戰所震撼出「個體／集體」辯證關係裡，極力尋求生存意義與存在感的「自我」概念，一種較為歷史性與內在性的概念。而開始是一種透過「口語」、「文字」等介質與外在世界發生的「溝通關係」，一種轉向空間性的、拓璞式的關係。
這樣「語言轉向」（the Linguistic Turn，這裡需要再製造這專有名辭的歧義與擴充）的實踐狀態，用相近時期的行為藝術家維托．阿孔契（Vito Acconci）的話語可以貼切的陳訴出來：「行為者將自我與一個既存在於自我外在的系統聯繫」，阿孔契曾經在《溫床》（Seedbed，1972）、《Undertone》(1973）、《Theme Song》(1973）等作品中建立出將「私密／自我」與「公眾／世界」聯繫的關係，讓觀眾透過各種物質或非物質的媒介進入「自我／身體」延伸的空間。同樣的，《I Am Sitting in the Room》透過的不是身體而是聲音這個媒介，讓發聲者與凝聽者都成為整體現象空間中的一員。
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整個腦波檢測儀連結著電腦與木魚和鼓組成的發聲裝置，當腦波儀檢測到的參數高於某個設定的數值，發聲裝置將被啓動。表演者依據一個事前擬定的段落安排試著去控制聲音的密集或疏散。然而，説「控制」卻不是那麼容易的，我們不時看到表演著時而快速的轉動他的眼球，另用視覺集中力上的破壞，去減弱聲響的發出；或者看著表演者「用力」的保持放鬆，以達到注意力集中。
除非個人的心理特質容易進入專注的狀態，否則表演者可能會像Samson所談的：一直想去用「聽」來感應聲響裝置有沒有啓動但徒勞無功，卻在放棄時進入了無干擾的專注狀態而啓動裝置。聽到聲響以後開始可以因為聲音而專注，讓裝置持續發出聲響，但因為專注產生更多聲音，致使集中力被聲音所擾亂，聲音開始停止。
就像「模控理論」裡的所談論的「負反饋」現象（negative feedback）：輸出的變動致使原來的變動有相反效果的影響，並且在系統中抗拒著變動，形成平衡的狀態。這個演出將技藝科學化的藝術形式（科技藝術）帶回它的傳統命題裡：訊息是這個世界的主宰，無論是物理上的或是美學上的，這是一個以訊息為單位的「量子化」世界。表演者的感官（聽覺、視覺）與精神（集中力）成為整個聲音反饋裝置的調控器和，樂器裝置構成了整個迴圈。

「為什麼要用俗稱的『後搖』（post-rock）來作為你今天的演出形式？」吳秉聖面對著觀眾的疑問，回答這對他而言是很自然的事情。事實上，姑且不論這個定義是否對聆聽的經驗起了什麼作用，今天這第二組人馬的配器編制與演奏，把我們緩緩帶到一個沈浸在情緒張力的氛圍／空間。如果說這類的音樂有什麼特點，那應該可以說是一種很適合「小房間」的音樂形態。無論是演奏、聆聽還是傳播，它們都以一種渲染的液態吻合著當代都會的空間特質——私密流動的小空間。
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「你越想讓觀眾聽到，觀眾就越聽不到」座談會時楊嘉輝這麼說道。整個演出的思考就如同去翻轉表演的方程式裡「表演者／觀眾」＝「給聽／接受」的主從關係，成為「不給聽／接受」的負性思考。於是觀眾究竟是一個需要在場共存的一個對象呢？還是一個需要消失的在場？
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Samson和Puta正看著Alvin Lucier口白：「我正坐在和你不同所在的房間内，我正錄製著我所說出的聲音。」對他們來說這是整場表演核心精神的指令。而這段文本，我們所有的觀眾都看不見，只顯現在它們的銀幕發光體之中。
通過這個指令，他們正努力將自己的精神遠離到另一個和我們不同的房間，用這個方式讓我們聽到他們的內在世界。就像路希爾房間告訴我們關於藝術所開啓的可能性：唯有透過自我與他者的區別，我們的共存才得以顯現。

LSF 51 video

2011-10-01T18:46:00.000+08:00

LSF 51

2011-09-12T00:13:00.003+08:00

Lacking Sound Festival Listen 51

2011, September, 23(Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Limitation Of Entry 80 People

【Sprawling】

Artist︱ WU Ping Sheng (Taiwan)
Artist︱ Samson Young (HongKong)

失聲祭 Listen51

2011, September, 23(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

每場限定80位觀眾

【漫延】

演出者︱吳秉聖 (臺灣)

演出者︱楊嘉輝 (香港)

Curator︱YAO, Chung-Han

Graphic Design︱Nat NIU

Project Manager︱Liang CHEN / FENG, Hsin

指導單位︱台北市文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立臺北教育大學南海藝廊

Supervised by︱ Department of Cultural Affairs Taipei City Government

Organized by︱Lacking Sound Festival Team

In Cooperation with︱National Taipei University of Education Nan-Hai Gallery

Strange but inexplicable swinging rhythm --- let the ears fall for Lacking Sound Festival’s new experience

2011-08-14T11:22:00.000+08:00

By Li Yiyi
Translate: Charmy LIN

Although listening to music everyday, being accompanied by music in every morning and afternoon of work days, still, I’m not familiar with “sound art” nor “sound performance”. On a Friday night on August, I encountered something very strange, doubtful but enchanting sound art performance. Looking at the crowded audience in front ( They are spectators as well, for both two performances are arranged with animation.), sitting still on the auditorium, altogether we were in the narrow room of the 2nd floor of Nan-Hai Gallery, while every pair of ears were receiving throbs of non-nature sounds, and we all closed our fatigued eyes transforming into the Alice in the Wonder land.

Sounds compose tones; sounds and tones compose musical note; musical note contains tune and rhythm. The first performance was by DomoNoise, with approximately 50min of time length. By combining sounds and animation, the subtle linkage between vision and hearing was thus connected. Buildings appeared on the scene. Irregular blue cells were leaping joyfully, and adventured in the fictitious construct. All the sounds we heard here has mostly been synthesized, composed, interlocked and transformed. Sounds like these to my ears are strange. The tones seemed like they were following some sub-rules, yet they also sounded impromptu in the meanwhile that made me difficult to judge whether I like it or not, and therefore these all began the motives of I granting for this writing . I know too little in this domain, and with expectation and curiosity, I opened the adventurous door of art for my ears.

In the field of contemporary art, sound art is situated in a very subtle and compressed little space throughout, became the very art type exclusively enchanted for small crowd only. Yet with the spreading of new media art, sound art and sound performance have aroused more and more attention. There are radical differences between sound performance and musical performance, but still there are some implicit commonness. Take this Lacking Sound Festival performance for example, in my point of view, is both a sound art and also a musical performance. DomoNoise’s performance was rich in rhythm in the after part, and our feet couldn’t help but following the DOON-DOON-DOON bass, that is, it awaked people’s most primitive reflex toward rhythm, just like we were watching an absorbing musical performance. However, we don’t hear any musical instruments’ sound nor voices, but flows of special electronic tunes and rhythm instead.

The second performer was LAI, Ho-Wan. The speaker sounds like the sound of typing Morse Code, Beep-Beep......Beep, Beep Beep. The images were as if entering the animation version of sea world, with special styles of flowers blossoming from the sea bed continuously. Flowers bloomed and blurred into the background, while new ones blossom again along with the new rising musical notes. Throughout the cycle of birth and vanishment are sounds like mechanical beep beep noise intermittently. Maybe some hidden secrets are within it and are not allowed to be spoken out loud, just like birds singing in the forest, that is some kind of language system which human beings cannot recognize. Now, sitting in a dark room, the unrecognizable sound system are very strange to us, make us wondering the reasons of why it attracts the performers so much? I think it is because of the mystery and controllability of the world of electronic notes!

Before touching sound art, I foolishly connect experimental music with noise, because these sounds are hard to be accepted by general people. However, under such system, artists are allowed to create a set of their own musical vocabulary, just like painters construct frames of paintings through oil color. And for those creators who are engrossed in sound art, it’s like the artist who opened the new age of abstract expressionism. No limits, get rid of traditions, and wondering freely. After experiencing Lacking Sound Festival, I’m more willing to walk further into this still strange but not distant anymore sound art domain. Sounds, as it turn out to exist such recondite and marvelous exploring.

感覺陌生卻想莫名搖擺的律動 ——雙耳掉入失聲祭新體驗

2011-08-13T11:17:00.000+08:00

撰文｜李依依（Li Yiyi）

雖然日日聽音樂，每天工作的早晨、午後總是音樂相隨，但對於「聲音藝術」、「聲音表演」則相當陌生。八月的一個週五夜晚，我遇見了另一種我所熟悉又極其陌生、疑惑卻又引人入勝的聲音藝術表演。看著前方黑壓壓的聽眾們（同時也是觀眾們，因為兩場演出都搭配了動畫影像）端坐在椅子上，共處南海藝廊二樓的狹小空間裡，每對耳朵接收著喇叭陣陣流出的非自然聲音，閉上疲憊的雙眼，化身夢遊在陌生國度的愛麗絲。

聲，構成了音；聲音，構成了音符；音符，又包含了音調與節奏。第一場的演出者是多摸噪音（DomoNoise），演出時間約50分鐘，聲音與動畫影像的結合，串起視覺與聽覺的微妙連結，畫面出現建築物，不規則的藍色細胞體在雀躍跳動，在虛擬建築間闖蕩冒險。在此所聆聽到的聲音藝術，大多透過了電腦的合成、揉合、交錯與轉換，對於這樣的聲音，我的雙耳是陌生的，音調似有潛規則，又好像即興隨性，令人難以捉摸，當下根本無法判斷自己究竟是喜歡還是不喜歡，這也是我一口氣答應為此次演出撰文的動機，對於這個領域了解得太少，抱著期待與好奇，為耳朵打開一道藝術探險之門。

在當代藝術範疇中，聲音藝術始終處在一個很微妙而頗被受擠壓的狹小位置裡，成為小眾中的小眾所趨之若鶩的藝術類別，而隨著新媒體藝術的日漸推廣，聲音藝術與聲音表演亦受到愈來愈多的關注。聲音表演與音樂演出之間，兩者可說是天壤之別但又存在著隱密的一些共通點，比如此次失聲祭的演出，對我而言，是聲音藝術表演，同時也是音樂演出。多摸噪音在後半段的演出律動感十足，雙腳不自覺地跟上咚咚咚的低音節奏，喚起人們對於節奏的最原始反射動作，就像觀看一場可以讓人投入其中的音樂演出，只不過，在此聽不到各種樂器聲或歌聲，而是陣陣特殊的電子音調與節奏。

第二場演出者是賴火旺，喇叭傳來彷彿摩斯密碼的打字發送聲音，嗶嗶⋯⋯嗶，嗶嗶，畫面則猶如進入動畫版的海底世界，不斷地從底部長出特殊造形的花朵，花朵綻放後失焦而模糊於畫面背景，接著，新的花朵再度隨著音符升起，誕生而幻滅的過程中，彷如機械的嗶嗶聲響斷斷續續，其中若有似無地或許藏著什麼不可明說的祕密吧，就像森林裡的鳥語，那是人類無法辨識的語言系統，如今，坐在關了燈的房裡，無法辨識的聲音系統令人感到極其陌生，究竟什麼吸引著這些演出者投入其中呢？我想應該是電子音符世界的神祕與可控性！

在接觸聲音藝術之前，愚昧地總把實驗音樂與噪音相互連結，因為這些聲音對一般大眾而言是較難以愉悅地被接受的，然而，在這套系統之中，藝術家們得以創造一套屬於自己的聲音語彙，正如畫家透過油彩而構築一幅幅圖象，而醉心於這些聲音藝術的創作者們，就好比當年打開抽象表現主義的畫家們，不受拘束，擺脫傳統，任意遊走，放肆任何可能的想像與這些想像帶來的無限可能性。經過失聲祭的新體驗後，我將更願意走向這個依然陌生卻不再遙遠的聲音藝術領域，聲音，原來存在著如此深奧又奇妙的探索。

LSF 50 video

2011-08-12T11:11:00.000+08:00

LSF 50

2011-08-11T16:35:00.003+08:00

Lacking Sound Festival Listen 50

2011, August, 19(Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50 Limitation Of Entry 80 People

Sending from my iBrain

Artist︱DomoNoise

Artist︱Lai Ho Wan

失聲祭 Listen50

2011, August, 19(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50 每場限定80位觀眾

正從我的iBrain傳出

演出者︱多摸噪音

演出者︱賴火旺

_______________________________________

Curator︱YAO, Chung-Han

Graphic Design︱Nat NIU

Project Manager︱Liang CHEN / FENG, Hsin

指導單位︱台北市文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立臺北教育大學南海藝廊

Supervised by︱ Department of Cultural Affairs Taipei City Government

Organized by︱Lacking Sound Festival Team

In Cooperation with︱National Taipei University of Education Nan-Hai Gallery

To be Continued: Four Years of Lacking Sound– New ideas and consistencies in Listen 49

2011-08-06T13:36:00.006+08:00

Text: Ko yu jia

Before participating in Listen 49, we first arrived at the construction site of a performance venue to lend a hand. While setting up the performance space, there were sounds of chatting voices, of hammers, drills and nail guns at work. When all these were silent, there was still the hum of the air conditioning. Sound implies the existence of objects; we often hear it, but remain unaware of it. When the annoying sound of drilling begins again, everyone grimaces at the same time. The sound saturated throughout the space out of control, and suddenly, we began feeling hot and over-crowded.

Afterward, we arrived at the Nanhai Gallery to participate in Lacking Sound Festival Listen 49. This regular event focusing on sound art has been active for four years now. Of all of the events over the four years, these two performances were expected to provide quite the spectacle. The list of performers included a local and a foreigner, perhaps providing an opportunity to contrast and compare the performance concepts of domestic artists with their foreign counterparts.

First up was Dino, who had been producing noise using analog feedback for some time now: “Emptied and Exhausted” as he privately refers to his own work – Dino did not bring any new creations. (There are some critics who believe he rarely comes up with anything new.) Dino continued his method of using analog tapes to pre-record sound and radio sources, with the addition of mixers and sound effects, he uses the feedback that people ordinarily find frustrating as a creative medium. Sticking with this method for over a decade might be a stubborn persistence, or it might be a tpe of habit, or a rebellion against digitized sound, or perhaps it is simply a way of toying with something others have too quickly dismissed and discarded. Where “Methods of feedback cancellation in large-scale network voices” might be the topic of a master’s thesis at some department of computer science at a university, Dino's performance insists on releasing the demons out of Pandora’s box in order to tame them.

Even though I’ve listened to a number of sound performances, I would be ill-equipped to tell you whether the sounds Dino plays are good to listen to. Or perhaps, I can’t say anything hypocritical: that is some nice noise. (Though some of the audience members that day did use the word “nice” to describe Dino’s work.) Dino’s sound (noise) imagination and creativity is undeniable, and even if I find that sound to be ultimately unpleasant, under the artist’s manipulation it is no longer the frustrating loss of control of sound looping between the microphone and the speakers at a KTV, but a carefully manipulated sound that is difficult to distinguish and which has layes. Or perhaps I should mince my words here and say, the artist has created an ambiguous state of sound that is simultaneously out of control (an uncontrolled echo effect created by feedback), and yet controlled (the artist has used equipment to produce the layering and control the volume).

Perhaps it is like the idea of a Matador. Those who have not lived among traditional Latin cultures may have a difficult time comprehending the motivation behind the matador’s intimate provocation of a raging bull, while hovering around the bull; but Dino manipulates reverb in the same way. The tenseness between control and loss of control is quite possibly one of the most exciting elements about it. Perhaps this is one of the reasons Dino has always been passionate about this creative method, and has not explored other concepts.

In the second performance, Jamie Allen also uses analog noise as a basis, using an analog oscillator accompanied by a bullhorn embedded with white LED lights in his performance, except, Jamie Allen’s makes a stronger effort to manipulate, and the human element is stronger; he goes as far as to put himself bodily into the arena. In a state of amalgamation between the flesh, sound, light and electrical current, he proceeds with what he calls “Discover & Design”. From the perspective of a performance, Jamie Allen’s work embodies more of an experimental quality and spirit of adventure.

To further the bovine analogy, if Dino is a bullfighter, Jamie Allen is the cowboy riding the bucking bronco.

During his performances, Jamie Allen does not exclude the human voice (Vocal). This alone is enough to move me for the rest of the evening. In Taiwan, discourse and narratives about sound (noise) art almost always exclude human voices. Is the hushed chatter or cheers and jeers of the crowd not noise too? Or is “voice” reduced to a talent for mimicking the sounds of birds or insects, and cannot be identified as sound art? Or, are creators afraid of confronting the issue, that once “vocals” are included, then there would be some entanglement with erroneous imaginings associated with music? Hence, when Jamie Allen layered sporadic human sounds of chewing, of breathing along side the analog audio stream (and synchronized flashing lights), I was moved as though I had experienced salvation.

Following that, he proceeded to explore and sense (the afore mentioned “Discover & Design”) the venue space like a snake, using his eyes (flashing lights) and his hissing (sound waves) from the interior to the exterior and then back to the exterior, to complete the performance. This cycle of “inside-out and outside-in” seems to echo Dino’s strategy of loop circulation in the earlier performance, except the process of circulation occurs between the eyes-ear (discovery) and the mouth-nose (design), and the other occurs between the speakers (PA system) and microphone (radio). They are materially different, but along the same lines.

In the artists’ panel afterward, Jamie Allen expressed that he was not motivated by in mimicking sounds of life, but please allow me to use the description of an animal’s exploration of the environment as a metaphor for this performance. After all, using “sound, light, frequency and waves” to explore and respond to space is quite similar to the survival instincts of many types of wildlife (for instance, bats and whales). Though the artist created the sound and lights using machines and electrical current, but the mode of performance still retains a rich biological quality (for instance, human sounds and flesh poised for discovery within the space.)

Two spectacular performances for Lacking Sound Festival Four – have made their mark – a mark like the very large comma on the publicity posters for this event, suggesting that that Taiwan’s sound art is to be continued. The reality is that there is infinitely more sound. Aural imagination is boundless, whether in discussions triggered by films such as “Sound of Noise” or agitation for Beatbox made with Goodgle Translate – these examples are reminders that sound is fun, and that there is still much to explore and develop.

失聲四年未完待續──兼談Listen 49中的堅持與新意

2011-08-05T13:33:00.003+08:00

文/Ko yu jia

在參加失聲祭Listen 49之前，我們先到一處正在施工中的展場幫忙。尚在佈置的展場空間中，有交談聲、敲牆聲、電鑽聲、釘槍聲，靜默時刻則有冷氣呼呼吹著，聲音如此暗示著物體的存在，我們卻常聽而不覺。惱人的電鑽聲又起，所有人同時皺眉，聲響失控地充盈整個空間，頓時我們覺得熱而擁擠。

隨後，我們抵達南海藝廊參加失聲祭Listen 49，這項關注聲音藝術的定期活動已做滿四周年，失聲四年的這兩場，據稱頗有看頭，演出名單一土一洋，或許能讓在地與國外藝術家對聲音的展演概念，有一對照的機會。

第一場的Dino，長期以類比反饋(Feedback)創作噪音，一如他私下對自己的形容──「山窮水盡」，Dino並沒有帶來新型態的創作(另也有評論認為他「少有新作」)。Dino仍利用錄音帶預錄的類比音源發聲與收音，加上混音器、效果器，將一般人困擾至極的回音當做創作素材。這手法一做十多年，也許是種偏執，也許是種習慣，也許是對數位電音的反叛，也或許，就只是一種將他人欲除之而後快的，玩弄於彈指之間──如同，某大學資訊科學系碩士論文題目談「大型網路語音會談中回音消除方法」，而Dino的演出，卻硬是要把潘朵拉盒子裡的妖魔鬼怪放出來，再收伏它們。

就算我欣賞了多場的聲音表演，我還是無法告訴你，Dino玩出的聲音好不好聽，或者，我也無法說出違心之論：那真是好聽的噪音。(雖然那天的一些觀眾，以「好聽」來形容Dino的作品)，但我卻無法否定Dino對於聲音(噪音)的想像與創造，就算我認為那聲音終究是不悅耳的，但在藝術家的操弄下，它已不再是KTV中，麥克風與喇叭之間，脫序且惱人的循環失控，而是一種被精心操弄、難以辨識卻仍有層次的聲響，或者，我應該詞窮地形容：藝術家創造了一種讓聲音失控(由反饋造出不可控制的回音效果)，卻又受控(藝術家運用器材進行音頻交疊與音量的控制)的曖昧狀態。

如同鬥牛士一般。我想若未身處拉丁傳統文化的人，總是很難理解鬥牛士何苦要貼身挑釁狂牛，並周旋於牛身；但一如Dino操弄回音，那種介於失控與受控間的緊繃感，恐怕就是它最精采之處，或許，這也是Dino始終熱愛這類創作形式，而不做他想的原因之一。

第二場的Jamie Allen，同樣以類比噪音為本，使用類比振盪器搭配嵌有白光LED的大聲公進行演出，只不過Jamie Allen的操縱欲更大，人味更重，他甚至讓自己的身體進入了場域，在肉身與聲、光、電流合而為一的狀態下，進行他所謂的"Discover & Design"，從展演形式來看，Jamie Allen的作品更具實驗性與冒險精神。

因此，如果Dino是個鬥牛士，則Jamie Allen就像個直接騎在狂牛上的牛仔。

演出中，Jamie Allen並不排斥人聲(Vocal)，光是這點就足以令我感動一整晚。因為在台灣，關於聲音(噪音)藝術的文本或論述，幾乎都對人聲不聞不問，難道群眾的喧囂或竊竊私語不成噪音？或者，口技只能是模擬蟲鳴鳥叫的特技，而無法被聲音藝術認可？還是，創作者害怕面對，一提到人聲就可能和「音樂」糾纏不清的錯誤想像？於是，當Jamie Allen時而咀嚼、時而呼氣，口技般的人聲與類比音流(同步閃光)交疊時，我像是得到救贖一般被感動了。

接著他如蛇一般，帶著它的眼(閃光)、它的蛇信(聲波)進行了他對該場域空間的探索與感應(同前述的”Discover & Design”)，由內而外再由外而內，完成整場演出。此一「由內而外再由外而內」的循環，似乎也呼應了第一場Dino所使用的循環迴路策略，只不過循環的歷程，一個在眼耳(探索)與嘴鼻(設計)之間，一個則在喇叭(擴音)與麥克風(收音)之間，異質但同趣。

雖然Jamie Allen在會後藝術家座談中表示，他並沒有仿生的動機，但請容許我以動物探索環境的方式描述這場演出，畢竟，以「聲、光、頻、波」來探索、回應空間，類似於許多野生動物生存的本能（例如蝙蝠、鯨魚…），藝術家縱使以機械與電流造出聲與光，但其藝術展演形式，仍帶有濃厚的生物性本質(例如人聲，身體在空間的探索姿態)。

失聲四年，兩場精采的演出，劃下了如同本次活動海報上，那一個大大的逗點，暗示著台灣聲音藝術未完待續。其實，聲音何其多？對聲音的想像更可以天馬行空，無論是電影【噪反城市】引發討論，或google翻譯被拿來惡搞成Beatbox造成風潮，這些例子在在提醒著我們：聲音很好玩，而且，還有很大的開發空間。

LSF49 video

2011-08-04T12:50:00.000+08:00

LSF Support " Taipei-Fukushima Connection: Feedback Machines (KRG Special Issue #01) "

2011-08-01T23:44:00.003+08:00

Taipei-Fukushima Connection: Feedback Machines

KRG Special Issue #01

2011.08.15 (Mon) 19:30

南海藝廊 Nanhai Gallery

台北市重慶南路二段19巷3號

樂捐入場 NTD250

一人十分鐘，聲音大接力：Dino／王福瑞／姚仲涵／張又升／張永達／黃大旺／謝仲其

這次活為響應日本福島縣「8.15全求同時發生福島音樂節FUKUSHIMA!」獲得主辦單位認可在台灣舉辦的非營利性聲音藝術表演。演出所得在扣除場地及設備費用後，將公佈帳目並全數捐至日本的賑災相關單位。本次活動也將在ustream上進行直播，與世界各地的朋友一起祈願日本走向光明未來。直播網址到時請連至這裡。

當天將有大友良英於今年四月底在東京藝術大學演講的〈論文化的責任：震災與福島的人禍之後〉全文中譯版小冊子發送，而廠牌販售的合輯也一併捐至日本相關賑災單位。

ustream：www.ustream.tv

Project Fukushima!：http://www.pj-fukushima.jp/index.html

現場直播網址 (尚未啟用)：http://www.ustream.tv/channel/fb-fksm20110815tpe

大友良英演講英文版：http://www.japanimprov.com/yotomo/fukushima/lecture.html

超感謝：南海藝廊提供場地，失聲祭協力贊助

Kandala Records：http://kandalarecords.tw/

LSF 49

2011-07-09T12:38:00.005+08:00

Lacking Sound Festival Listen 49

2011, July. 22(Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Limitation Of Entry 80 People

Lacking some until 4 years

Artist︱ DINO
Artist︱ Jamie Allen

失聲祭 Listen49

2011, July. 22(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

每場限定80位觀眾

失聲四年

演出者︱廖銘和 DINO

演出者︱傑米‧艾倫Jamie Allen

Curator︱YAO, Chung-Han

Graphic Design︱Nat NIU

Project Manager︱Liang CHEN / FENG, Hsin

指導單位︱台北市文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立臺北教育大學南海藝廊

Supervised by︱ Department of Cultural Affairs Taipei City Government

Organized by︱Lacking Sound Festival Team

In Cooperation with︱National Taipei University of Education Nan-Hai Gallery

Announcing a Rite of Losing Audio Virginity: Thoughts on Lacking Sound and Listen 48

2011-07-02T13:29:00.004+08:00

Text: Ko yu jia
Translate: Yvonne Kennedy

First, I must admit, using the written word to describe "voice", "sound", "resonance" or any audible collision or friction, is essentially absurdist behavior. As such, the following should be read with a conceptual preparedness in mind to dispel any ludicrousness or preconceived notions in order to preserve any intrinsic value in the writing.

In Lacking Sound Festival Listen 48, two teams perform works that are stylistically and conceptually divergent. HUANG, Chung-Ying presents a field survey that includes spoken interviews (recorded audio) and written records (printed booklets) to explore the concept of sound art. From this proposition, the author of sound art seems undetermined, undefined, and perhaps unsolicited (as the author points out, “Taiwan’s sound art is contextually a European or American derivative, without a domestic point of view”). Sound art is pulled back to its origins in this work, from the point of departure of defining what sound is, with the intent of reconstructing content for sound art. However, the contents of the questions and answers gradually unveil an awkward ambiguous status occupied by sound.

So, what is the "awkward ambiguous status occupied by sound”? The performance by the second group gives an apropos interpretation.

Monkey Sun appears with a setup that combines the role of the video jockey (VJ, in charge of visual mapping) with that of a disc jockey (DJ, in charge of music). If spotlights at the venue are replaced with fluorescent lights, and if the use of alcohol, cigarettes and recreational drugs are permitted, the atmosphere would resemble the sort of unwinding in the wee hours of the morning, chilling out after a night out. The origins of the DJ and VJ combination most probably arose from two scenarios. The first being the evolution of music videos; and the second is software and hardware advancements in digital technology. Ultimately, sensory wires are crossed, or more plainly, an extreme pursuit of “feel”. On the one hand, this pursuit is ideational, with works that emphasize human and sensory components; on the other hand it is technological, with works that require manipulating a quantity of complex digital software and hardware. Combined, the two aspects create a Marshall McLuhan-esque massage. Of course, I must point out that this massage is purely neutral, because in the process, whether this massage is pleasant is completely subjective. Judging by the standards of a beat party, I thoroughly enjoyed the experience, but for some of my peers it was overly tangy and failed to climax.

At the conclusion of the performance, the “awkward ambiguous status occupied by sound” reemerges. The status of sound is not merely awkward, it doesn’t even make it as a tertiary participant. Since the performers define themselves as VJ and DJ, it is not far-fetched to label this as an electronic music performance. I’ve always imagined a fighting stance for “Sound Art” in an independence movement in field of music to regain the right of interpretation; perhaps even more so to establish a major narrative where sound plays the central role. This sound will be the “sound” referred to in the title of the series “Lacking Sound Festival” (inadvertent noise will also suffice); but not voice, or music, and It would never enter into a discussion on electronic music, video art, or even digital art.

But the drama, of power staying in power and the weak staying weak, is replayed time and again. This is a digital age; an age of compounded sensory enjoyment. Electronica without a visual component is not cool, not hip, lacks feel. Sounds without electronic effects don’t seem avant-garde enough or thrilling enough. Cornered by music, visuals and digital technology, sound is surrounded by aggressors on all fronts. I think that the sound of sound art has no other possibility than to be content with its role as mistress, as a tertiary participant.
So, let's cut our losses and re-group:

Firstly, what is the sound?
Secondly, what constitutes a good / nice sound?
And thirdly, what is sound art?

(The above are the three questions asked in HUANG, Chung-Ying’s work.)

昭告聲音失身之祭典—淺談與Listen 48

2011-07-01T13:27:00.006+08:00

文 / Ko yu jia

首先，我必須要承認，以文字敘述「聲」、「音」、「響」等任何可被「聽見」的碰撞與摩擦，這樣的行為，在本質上是極其荒謬的。因此，你必須帶著一個「準備破除荒謬與成見」的概念閱讀，則此文方有存在價值。

失聲祭Listen 48這場，兩組人馬以截然不同的形式與概念展演作品。黃鐘瑩帶來了一份田野調查報告，以言說訪談（錄音）與文字記錄（印刷小冊），試圖話說從頭探討「聲音藝術」的概念。以此形式看來，「聲音藝術」之於作者是未定論、未定義的，甚至是來路不明的（如同作者所謂，台灣聲音藝術是「截取歐美脈絡，而沒有在地觀點」的說法）。「聲音藝術」在此作中被拉回原點，從「什麼是聲音」這樣最初始的提問出發，意圖重新鋪陳「聲音藝術」的內涵。然而，錄音檔、文件呈現的問答內容，卻也漸漸揭露了「聲音」妾身不明的尷尬。

那麼，何謂「聲音妾身不明的尷尬」？第二組的展演恰好給了適當的詮釋。

Monkey Sun以VJ（Visual Jockey，主視覺Mapping創作）搭配DJ（Disc jockey，主音樂創作）的組合出現，如果將場地的投射燈換成螢光燈管，現場開放菸酒與藥丸，相信這個場域氣氛就會是凌晨時分、解茫之後的Chill-out。DJ加上VJ這類組合模式的來由，大致不離兩個背景：一是音樂MV的再進化；二是數位科技軟硬體的再進化，總之就是一種視聽感官交錯，白話一點就是「感覺」（Fu）的極致追求，這些追求一方面是意念式的，即作品會強調人性而感官的部份；一方面又是科技式的，即創作過程需要大量而繁複的數位軟硬體操作，而這兩者綜合起來，就成為一種麥可魯漢（Marshall McLuhan）式的Massage（馬殺雞）。當然，我必須說，Massage一詞純然中性，因為過程中，被「馬」得舒不舒服可是因人而異，如以電音趴的標準評斷，我是聽得很過癮，但同行的友人卻是吃重鹹，總覺得沒有高潮。

表演結束，「聲音妾身不明的尷尬」再次浮現，「聲音」不僅妾身不明，根本是連小三都不如了，因為表演者以VJ與DJ自居，說它是電音（Electronic music）表演毫不為過。我一直以為，「聲音藝術」是一種戰鬥姿態，是一場意圖要在音樂領域（Music）中奪回詮釋權的獨立運動，更甚者，是要讓聲音成為主體的大敘事，而這種「聲音」，將會是如失聲祭所用英文字：Sound（不經意的Noise亦可），不會是Voice，不會是Muisc，更不會甘於被放進電子音樂（Electronic music）、錄像藝術（Video art）甚至是數位藝術（Digital art）中討論。

但是強者恆強、弱者恆弱的戲碼一再上演。因為這是個數位的年代，是一個追求複合式感官享受的年代，缺了視覺的電音好像就不那麼酷、不那麼爽、不那麼有fu；缺了數位電子音特效的聲響好像就不那麼前衛、不那麼精彩。在這樣「音樂」協同「視覺」、「數位科技」夾殺，而「聲音」背腹受敵、四面楚歌的環境下，聲音藝術的聲音（Sound）除了安於妾身、穩當小三外，我想不到有其他可能。

所以，讓我們砍掉重練：

一、什麼是聲音？
二、什麼是好的/好聽的聲音？
三、什麼是聲音藝術？
（以上為黃鐘瑩作品中的三個提問）

LSF 48 video

2011-06-29T23:26:00.005+08:00

LSF 48

2011-06-13T23:25:00.001+08:00

Lacking Sound Festival Listen 48

2011,June. 24(Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Limitation Of Entry 80 People

Mapping

Artist︱HUANG, Chung-Ying
Artist︱Monkey Sun

失聲祭 Listen 48

2011,June. 24(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

每場限定80位觀眾

媚拼

演出者︱黃鐘瑩
演出者︱Monkey Sun

Curator︱YAO, Chung-Han

Graphic Design︱Nat NIU

Project Manager︱Liang CHEN / FENG, Hsin

指導單位︱台北市文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立臺北教育大學南海藝廊

Supervised by︱ Department of Cultural Affairs Taipei City Government

Organized by︱Lacking Sound Festival Team

In Cooperation with︱National Taipei University of Education Nan-Hai Gallery

重返聽覺版圖的唯心與唯物（非二元）論 —失聲祭LSF 47聽後

2011-06-03T13:23:00.002+08:00

文｜吳牧青

失聲祭第47場演出後的Q&A時間末了，我順著倒數第二位對張永達提問的「可以談談你作品當中是感性居多還是理性？」而提出另一個問題「對於理性和感性之間或許因為是相對性的，而難以回答，我想換一個角度來問你，你在創作聲音的當下，是唯心（idealism）還是唯物（materialism）的？」張永達幾乎不假思索地回答︰「唯心。」

對於這樣的提問，我承認其實犯了一個對唯心／唯物之間辯證的老調牙刻板印象錯誤︰將唯心與唯物絕對的二元化；但這樣地二元論調卻也是長期存在、並能部份解釋「聽覺之於藝術主體的客體化」，或是「聲音藝術之於音樂的外部化」這種弔詭現象，一種可以將半世紀以來將具象、聲響、噪音、電子數位等主理聽覺創作化約為「聲音藝術」，並持續簡述聲音為一種前衛的，流變中的，未定型的，發展中的創作領域。這種論述小眾式的自處，無疑是種寬鬆又化外地開脫，因為藝術對於聲音範疇，內含著太多未被解釋並辯證的本體論和認識論。誠如我們在絕大多數聲音「演出」之後的Q&A時間，總是圍繞著技術面、方法論而談，那無可厚非，因為方法論在聲音作品上最容易被理解與討論。於是藉著前一位觀眾的「理性vs感性」之問（可說難得出現的討論面向），我順著問了「唯心vs唯物」，可謂一種將錯就錯的問法，即便這種典型地二元化哲學觀老梗早已被質疑兩者並無法被當作對立的兩種認識論，（更何況唯物主義同時兼為一元論的本體論）但作為一種聲音創作的對照關係，唯心或唯物卻不失為一種重返認識論的觀照。

讓我當下有些意外的是，張永達回答了「唯心」。首先，最顯而易見的由來，便是他長期以來的聲音創作，數位的、聲響粒子的音頻與銳度；LSF47 當天的演出，著眼於物理性的燈泡亮滅間之於（不同頻道）聲音的對照，加上今年4月於新苑藝術的「聲音生物」聯展，張永達以一件鐵及不繡鋼指向收音裝置，探測金屬材質在加熱器的溫度變化之間熱脹冷縮的聲音，即便作品名為《相對性 +/-》（Relativity +/-），它的感知來源也來自物理（溫度的）相對性，而非純粹的聽覺感知相對。唯二讓我較能解釋張永達的「唯心之論」，其一，應為LSF47的演出除了作為張永達演前宣稱的「在失聲祭最後一場演出」作品，它和《相對性 +/-》共同構成下半年他將在台北數位藝術中心「相對感度」個展，構成的兩道線索︰一種藉由感知測量物理元件，無論是聲音、光、冷熱、大小收斂至物質依賴精神與意識的感知模式；其二則不脫傳統藝術流派以康德為首的先驗式唯心主義美學，仍在後冷戰臣屬美國陣營的台灣藝術教育體系主宰著影響。

但如果回到張永達近來創作的關心重點—「相對性」，無論是主觀唯心主義或是客觀唯心主義，張永達的「相對性」要如何連結到黑格爾所歸詰出的「絕對精神」？我仍舊想不透。於是，在我寫下LSF47的同時，我試圖就這段看似再簡單不過的對答，提出我對「聽覺藝術」在當代藝壇為何總處在一種「恆常流變的姿態、無法定義的前衛」的看法。

必須表明的是，我不認同聲音藝術這樣的稱號，因為它暗示著一種聽覺感知化約為一種創作「媒材」的單一性，稱聲音藝術不如稱作「聽覺藝術」，即便「視覺藝術」已是一種弔詭的謬誤分類法，總比將之稱為「畫面藝術」要來得合理。若唯心主義為藝術的出發形式，以「感知」作為依歸，那麼藝術應該只有「六種媒材」（之於六感）︰聲音、畫面、味道、氣味、觸碰、第六感，上列亦應包含多重感知的「聯覺」。如此一來，進入錄音與多媒體時代的「音像」（視聽聯覺）便可囊括當前絕大多數的創作體系。

音樂無疑是唯心主義的遺物，首先它界定出了「噪音」和「樂音」的分野，音樂即是唯心主義美學所刻劃的一只「聽覺藝術」標準；再則是新物質時代的來臨，音樂面對前所未有的挑戰，20世紀流行文化的推演，讓音樂陸續有驚無險地包絡了爵士、鄉村、藍調、搖滾、電子、嘻哈；但近一世紀來，我們隱約地看見這些音樂的類門命名法則，已超出古典樂可定義的經驗，那種由三重奏到五重奏、夜曲到狂想曲、協奏曲到交響樂、或是諸多為宗教服務而生的儀式音樂，已經漸漸不敷使用，藍調仍是一種心象的、形而上的命名法則，但爵士、鄉村、搖滾、嘻哈均以擺脫純粹形而上的命名，直至電子音樂世代，則完全由錄音工程的集合，導入一種對唯物主義的不得不為。我想，大多數在劃為聲音藝術、聲響、噪音等主要作品，都不得不承認︰噪音之於對音樂的反動與拜物性、聲響或電子工業聲響的去敘事化之於傳統／前現代音樂的敘事、數位訊號之於類比訊號、錄音再現之於現場演奏……等等，這些聲浪都是「聽覺藝術」所應包納及重新審視的觀點。將噪音、聲響或聲音藝術自外於音樂，充其量只是一種消極形式，它理所當然會變成永恆的小眾，必然的前衛，紛紜的不可說和流變，以及導入最荒謬的—藝術的一種「媒材」。

然而，我也不認為走入絕對的唯物論可以解決「聽覺藝術」認識論，因為吾人無法解釋「聽覺」之於感知及其心象上的轉譯與唯心無關，康德式的唯心美學在感知體驗下的判準仍然可以適用在多數作品，「聲音藝術」命名的出發點反而是一種唯物形式—先有聲音後有聽覺感知。

古典音樂的形上美學至今最大不可破的一點便是「現場性」，或是更古典的一種說法「演奏」，這也是為何至今許多新音樂或聲音作品均不脫一種「表演」或是「現場」作為主要的表現手法。即使是電子音樂年代，聲響創作者或是DJ即使在錄音技術發展逾越一世紀以後，「現場」與（臨場）身體感仍是牢不可破。

另一組在LSF47的團體「關亭來了！戴紅瑁來了！張家鴻來了！魯芳來了！」在演出上，採取了現場製造的「具象聲響」和預錄的電子效果變奏，此種樣態無異於「新音樂」樂隊式的概念，強調現場器樂和錄音技巧的共振，但他們將器樂化為具象音樂，即把具象音樂的傳統概念逆反為新音樂器樂，在電子效果錄音上預設了其具象聲響同步的聯想空間，這種錯覺錯置了樂音／失語性的「偽部落」表演，不失為對「為什麼要現場表演看／聽失聲祭」的一種軟性的挑釁。

寫到最後，我不禁想起近年極為引人注目的德國二人電子音樂團體「Digitalism」（數位主義）一首暢銷曲＜Idealistic＞，從藝名到曲名，他們也是講著唯心與唯物的衝突與辯證︰

＂I have an idea that you are here,
I had the idea that you were near,
I have an idea that you are here,
I had the idea that you were… near

Could it be you’re here?
Here! Here!”

LSF 47 video

2011-06-02T18:00:00.005+08:00

SAINT

2011-06-01T17:49:00.000+08:00

臺灣即興
Sound Art/Improvisation/Noise from Taiwan (Beta)

想要登入你的活動？
發mail給我們
lsf.taiwan@gmail.com

Cooperation unit
Kandala Records(旃陀羅唱片)
Lacking Sound Festival(失聲祭)
increasing..

LSF Schedule

2011-05-01T11:57:00.000+08:00

2011
7月22日廖銘和 DINO，傑米‧艾倫
8月19日吳臨屏，賴火旺
9月23日吳秉聖，Samson YOUNG
10月14日陳沛元，民國百年
11月18日許雁婷，謝仲其
12月23日李伯廷，王新仁

2011
22 July DINO ; Jamie Allen
19 Aug WU, Lin-Ping ; LAI, Ho-Wan
23 Set. WU, Ping-Sheng ; Samson YOUNG
14 Oct. Chen Pei-Yuan ; Minkoku Hyakunen
18 Nov. HSU,Yen-Ting ; XIE, Zhong-Qi
23 Dec. LEE, Bo-Tin ; Aluan Wang

LSF 47

2011-04-27T14:53:00.005+08:00

Lacking Sound Festival Listen 47

2011, May. 20(Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Limitation Of Entry 80 People

Cosplay

Artist︱GUAN, Tin come! DAI, Hong-Mao come! JHANG, Jia-Hong come! LU, Farm come!

Artist︱CHANG, Yung-Ta

失聲祭 Listen47

2011, May. 20(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

每場限定80位觀眾

角色扮演

演出者︱關亭來了! 戴紅瑁來了! 張家鴻來了! 魯芳來了!

演出者︱張永達

special plug-in

＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿

Curator︱YAO, Chung-Han

Graphic Design︱Nat NIU

Project Manager︱Liang CHEN

指導單位︱台北市文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立臺北教育大學南海藝廊

Supervised by︱ Department of Cultural Affairs Taipei City Government

Organized by︱Lacking Sound Festival Team

In Cooperation with︱National Taipei University of Education Nan-Hai Gallery

Txt for LSF 46 - How should the capitalization of time resist becoming the violent trap of sound?

2011-04-11T10:01:00.001+08:00

Text: Fang, Yen-Hsaing
Translate: Yvonne Kennedy

In the year 2011, a connection to the network of (either a physical or abstract network community), bears witness to a (new) world in the midst of revolution. We feel the magnitude of contemporary times -- from the Jasmine Revolutions in the Arab world, to the white iPhones for sale in the corner store; from anti-imperialism to the worship of consumerism. We witness all, but rarely see the “real world” at present. In fact, our sense of revolution originates in the masses struggling and escaping a multitude of traps. These correspond to the frontiers of contemporary life. Since “the frontiers of imperialism are not external but internal”, traps exist in the sensory organs of daily living, and elements of flight-from-fright have been helpfully removed for you. Your greatest comfort is the elimination of the edict that “fear is not extrinsic but within”. Not only does this represent the contemporary fate of the vanguard, it is also the challenge we most need to confront today.

The sound that we are listening to at this particular moment speaks to a perspective of urban phenomenology: conveyed on the mass-transport of “progression” and “crossover”, the scene within the gaze is sworn to the name of “i” on high-definition screens and illuminating white arcs. On the surface, it is an image of a nomad, but within lies a comprehensive neoliberal democratic technical interface. If we add a zoom-out, it would begin from the minute programming language and pan out at high speed to a scene of the sound-saturated city. However, when we locate the sound within the realm of urban studies, this scene created by sound, voice and resonance becomes a part of the mythical urban cliché.
Today’s performance of two contrasting groups, presents two different versions of temporal theater against the same backdrop -- this is exactly the scene that is often projected by electronic sound.

While both using computer programming as their tool for creative interface, the performances differ in concept and style. In the opening act, Empty Space On A Chessboard, the “image-music” is an extremely “impressionistic” electronic sound. Using a repetitious central melody, fragmented electronic rhythms, digital sound and crystal moments of cityscapes, a game of channeling flow and alternating permutations along timeline begins. It attempts to interpret a temporal notation of a virtual city in an exercise of “sequencing time” through isometric segmentation. Fujui Wang's work is a sound of complete "anti-simulation”; by “seeing” the “substantive” and “tangibility” effects created by low-limit and low-frequency white noise (including the sampling of a spectrum of classical and modern music and radio reception), a “friction” and “vacuum” is created in the slip and slide of waveforms. The duration of time is injected into the material point of a type of bandwidth art.

With the proliferation of our operating system (digital media), and as the threashold is lowered for corresponding operating technologies within this system (a result of democratization) – the production mode of sound, music, and resonance has gradually become similar to another form of art – design. (Or, to paraphrase Jacques Rancière, “the surface of design”.) Only, the subject of initiation differs. Sound design emphasizes the redistribution in the continuity of “auditory sense” (in other words, stretching out the time.) With the same industrial art characteristics, the musical progression within the scope of computerized music, the systematized auditory sensory redistribution technology and interface is projected, reallocated, redistributed and planned in a capitalist mode. A “song that can’t be danced to” (or strictly speaking, doesn’t allow dance), “a low-bass beat that doesn’t give a high”, “a trip that doesn’t hop” indicates an escape path for sound (Empty Space On A Chessboard), or a severe amplitude of white noise that beats upon the “ear-mind” and body (Fujui Wang), are both possible strategies.

Today, it isn’t that our urban myth doesn’t exist, but that our collective imagination is waiting to make that leap. Perhaps we can go further, with a re-defined notion of "pop music" to conceptualize sound: not only to point to the easily acceptable musical arrangements and performance techniques to create the sort of popular music that is pleasing to the ear and easily remembered, but it also includes the sound art that utilizes the tools of new media to restrict our sense of time, even as they sound like a deconstruction of rhythm.

記失聲祭 L46 - 如何不讓資本化的時間成為聲音最暴力的陷阱？

2011-04-11T09:57:00.006+08:00

文｜方彥翔

連接上2011的網絡（實體的網路或抽象的社群），我們似乎都正在目睹著一個革命（新）中的世界，感受著時代感的壯闊——從阿拉伯世界的茉莉革命到街口轉角直營店的白色iPhone；從反帝國的到消費性崇高，我們目睹一切卻鮮少看到現身的「真實界」——事實上，我們的革命性來自於對眾多陷阱的跳脫與爭鬥，這恰好才是在當代生活中可堪稱為「邊界」的地帶，而且，正如「帝國的邊界並不在其外側而在其內部」，陷阱存在於日常生活的感官之中，並且已為您消除需要逃離的恐懼——最大的舒適是為您刪除「恐懼不在外部而在內部」的指令。這不但是所有「前進者」的當代宿命，也是今日最需要的挑戰。

此時此刻，我們坐在這裡所聆聽的聲音，正召喚著這個都會現象學的觀看：乘坐在「行進感」與「交錯感」的大眾運輸載具上，目光所及的場景由高解析度面板和白色弧形發光體宣誓著以「i」之名；表面是單子遊牧的形象，內裡是技術性媒介的全面新自由主義民主化。如果加上一個推軌鏡頭，那一定是從微小程式語言拉攀到大都會聲音漫佈場景的高速鏡頭。然而，當我們將聲音放在城市學的範圍裡，這個由聲響語調形成的場景，亦是屬於都會神話「陳調」（cliché ）的一部份。

這是今天兩組對比的演出，所上映之版本不同但背景相同的兩幕時間劇場——恰恰這也是在電子聲響裡經常上映的景象。

同樣使用電腦程式作為聲音創作之媒介工具，但觀念與形式上卻截然不同的演出。開場的棋盤上的方格，它們的「影像-音樂」是一種極其「印象式」的電子音樂。由幾個一再重複的主要旋律線、電子碎拍、數位聲響與城市畫面的吉光片羽開始，進行在一個時間軸上的竄流與交替的排列組合遊戲。在將「序列化時間」等距切分的運動中，試圖演繹一種城市擬像的時間註記。王福瑞的作品則是一種全然「反擬像」的聲音；透過「看」似低限的低頻與白噪音所展現的「物質感」、「具體感」（內容包括著古典或現代音樂的頻譜取樣和無線電波接收），在波的滑移中形成的「磨擦感」、「真空」感，將時間延展（duration）注入到一種波段藝術的物質點當中。

隨著我們操作媒介（數位媒體）的普及化，以及此體系下相應的操作技術低門檻化（民主化的結果），聲音、音樂、聲響創作的狀態慢慢的類似於另一個形態的藝術技藝——設計（借用賈克•洪席耶（Jacques Rancière）的說法是「圖表面藝術」，只是著手的對象不同，聲音創作致力在重新分配「聽感覺」的連續面上（也就是時間綿延）。同樣帶著工業藝術的性格，在程式音樂、電腦音樂的範圍裡，已經被系統化的聽感覺分配技術與媒介，投射著被配給、分配、規劃的資本模式。以「不能跳的舞曲」（或者嚴格說來「不給跳」）、「不給嗨的低拍節」、「不哈（hop）的trip」所意味的一種聲音的脫控路徑（棋盤上的方格），或者劇烈震幅與白噪音敲擊著「耳-腦」、身體（王福瑞），都是一種可能性的策略。

今天，並非我們的都會神話不存在，而是我們的想像尚待跳躍。或許我們可以走得更遠，用重新定義的「流行音樂」（Pop Music）概念的方式定義聲音：並非單單指著那些使用易於接受的編曲概念與演奏技術來創造順耳、易記的熱門音樂，同時也包含著使用著已經限制我們時間感受的新媒體技術工具的聲響作品，儘管它們聽起來是多麼地拆解音律。

LSF 46 video

2011-04-10T09:48:00.004+08:00

LSF 46

2011-04-07T02:54:00.001+08:00

Lacking Sound Festival Listen 46

2011, Apr. 15 (Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Limitation Of Entry 80 People

Sound Generation

Artist︱ Empty Space On A Chessboard ； Fujui Wang

失聲祭 Listen46

2011, Apr. 15 (Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

每場限定80位觀眾

艘

演出者︱棋盤上的空格；王福瑞

special plug-in

生機番茄汁與失聲 !!??

LSF 45 video

2011-04-06T23:56:00.003+08:00

essay for LSF 45

2011-04-06T23:33:00.001+08:00

Text: CHOU Chia-Hui
Translate｜Yvonne Kennedy

From the strictly technological standpoint, the elimination of the starting handle makes the mechanical operation of cars more complicated, because it subordinates it to the use of electrical power from a storage battery that is external to the system. This increased complication — and abstractness — is nevertheless presented as progress, as a sign of modernity.
- Jean Baudrillard, The System of Objects

Speed of “Sound” + Youth

En route to Nanhai Gallery, the music playing in the headset is by the Brazilian girl band CSS (Cansei de Ser Sexy). Their rhythms and fragmented beats combine the late-disco sounds of the 80s with a touch of New Wave. A whiff of a similarly sweet sound can be detected in the “Sounds Like O.range” performance. When the circular swirls of color are projected onto the sensor screen, performers behind the projected image begin a repeating oscillating motion that reveal the body’s capabilities and range of emotions. In time with these sonic rhythms, female performers initiate a performance of interactive gaming using the body-sensing media.

The performance technique of the Sounds like O.range group is dependent on technological images and its correspondence with an automated induction machine that then creates an interaction between the visceral experience and the visual media installation. It is a performance that is accompanied by electronic music that adds a youthful “sweetness” to the show. In the computerized sonic arrangement, the composer integrates digitized musical symbols with lights and shadows that are projected on the screen using computational algorithms. The progression and arrangement of the music also includes a creative technique on the part of female performers who interact with the sensory mechanism and gradually weave together a non-narrative text. Or, to push this line of discussion further, create elements of a cyborg perspective on visual technology.

More precisely, the performer’s (subjective) behaviors or actions affect the individual characteristics, gender and group attributes, and, more importantly, the intermediary media interface technology. Hence in this performance, the sound equipment and computer tools are obviously the dominant mode of spectacle, but what sets it apart from the usual electronic music/sound performance genre is the insertion of the narrative relationship with the female body. In terms of image and sound expression, visual technology has indeed created hundreds of guises here. But what about sound? It seems still in search of a sense of “belonging.”

No longer Akira, but the signal

"But do you think by turning a dog upside down it will become God?" Artist Reiruof (artists will often use a different name for their stage persona) once wrote thus in his performance notes. This quirky quip perhaps reflects the performer’s approach. In other words, the moniker Reiruof, when reversed, becomes the “Fournier Transform” concept as proposed by the artist. This refers to a digital signal processing analysis technology widely used in Internet media to analyze digital signal frequency characteristics. Through an analogous concept, the artist uses digital analysis in the media interface for the performance process. Noise is filtered and output through a sound effects device to create overwhelming and powerful sensory stimuli for the audience.

When the "body" is in the receiver position, the “sound” and “image” created with computer technology seems to be multiple signals transmitted through human organs -- the SimStim mode of stimuli as described by William Gibson in the essay "Neuromancer," where the audience is in a state of flux between the virtual and real. The temporary image left by the video, the noise and amplitude, brings the audience into the artist’s program module. To give a more visual description, it is similar to the film “2001: A Space Odyssey” where the visual image continuously moves through a physical space that resembles the universe, but ultimately what is revealed is the “signal,” and not “Akira.” (Akira being the Japanese anime character whose name denotes bright light, or the savior).

When asked, the artist explained that “sound” was established as a primary connector whose fluctuations are dictated by the irregular frequencies of the visual images. Using a computer system to produce sound was pioneered by Greek avant-garde electronic composer Iannis Xenakis who created his work Mycenae Alpha (1978), using a computerized musical composition tool (UPIC). The computer detects line drawings on the sketch board to produce specific corresponding pitch and duration, and listeners get a feel for the physicality of “noise” created by the media interface. The audio frequency and melody is represented visually by symbols made up of dots and lines on a plane, and the visual sense follows the oscillations of the visual graphic created by these lines. In a similar way, the oscillations of the physics of noise created by Reiruof ‘s signals, the unstable graphics presented on the linear plane, and the sound texture and sound quality, combine to create the effect of interactivity between the retro and modern along the pathway connecting the new and the old computer systems. The two levels of inter-sensory states create a displacement in the loop of the “noise system”, and become much more than an objet d’art.

記失聲祭 Listen 45

2011-04-06T01:32:00.002+08:00

文/周家輝

由純粹的科技觀點來看，汽車把過去的手柄啟動取消時，它的機械工作過程反而變得更複雜，因為這時它的啟動由一個外在於其體系的蓄電池的電能來控制─這個演變是技術化的複雜化和抽象化，但它卻被當作是進步和現代性的記號。
─尚‧布希亞(Jean Baudrillard )《物體系》

「音」速+青春

前往南海藝廊的路上，伴隨在耳機的音樂是來自巴西的CSS(Cansei de Ser Sexy)女子樂團，節奏與碎拍結合八零年代的disco，也帶有new wave的味道，聽起來有點甜甜的感覺，彷彿在Sounds like O.range(聽起來好橘)的表演上也嗅出一絲絲相同的氣味。當色彩繽紛的圓形所投射在感應幕上時，其中一位表演者隨著身體本能與情感，在投影影像背後不斷的來回擺動手勢，並對照在視覺色彩的方塊或圓形上。女性表演者配合著音律的聲音，如同行為藝術的儀式，進行身體與媒體感應器的互動遊戲(Interactive Gaming)。

Sounds like O.range聲音團體循序著科技影像的表演方式，配合感應機械的自動化(automation)，促成身體經驗與視覺媒體裝置的互動，呈現帶有電子音樂的行為藝術，讓整場表演多了青春的「甜味」。在聲音的電腦編曲上，編曲者透過電腦演算的自動化排序，將帶有電子型態的樂符融合在光影的畫面上，聲音的走向與編制，也包含了女性表演者在機械感應的創作方式，輾轉將身體與機器交織出一種非敘述的「文本」，或許更推進這一層論述，部分也帶有視覺化科技的賽柏格(cyborg)觀點。

更清楚來說，表演者(主體)的行為或行動，涉及主體性格、性別與群體等屬性，更重要來自媒體科技介面的中介關係。所以在這場表演中，聲音儀器與電腦工具固然是主導表演的型態，但有別於一般電子音樂/聲音演出的類型，挹注了女性身體的論述關係。影像與聲音的表達上，視覺的科技感確實造就了 100 種的面貌，但聲音呢?似乎還在尋找一種「歸屬感」。

不再是akira，而是signal

「但是你以為把狗倒過來就會變成神嗎？」，這一句是藝術家葉立傅(藝術家在以往表演內容中，時常替代不同名稱來使用)在表演簡介所寫下的，看似玩味的一句話，或許是表演者的一種思考態度。換言之，其實葉立傅倒過來的字義，逆反為藝術家所提出的傅立葉轉換(Fourier Transform)的概念，這是一種廣泛應用在網際媒體的數位訊號處理(Digital Signal Processing)分析技術，對於數位訊號的頻率特性的分析模式。演出過程中，藝術家透過類比的概念，運用媒體介面(interface)的數位分析，噪音透過效果器與音效內建的輸出，讓觀者產生巨大能量的感官刺激(sensory stimulus)。當「身體」處於接收者(receiver)的位置，電腦科技所製造的「聲音」和「影像」，對於筆者而言，像是多重訊號穿透在人體器官上，更像是威廉‧吉柏森(William Gibson)在《Neuromancer》文中所提的一種模式刺激(simstim)，讓觀者彷彿流動在虛擬與真實之間。而影像瞬間暫留的畫面，間接和噪音的波幅，將觀賞者一併帶入到藝術家的程式模組之中，若要形容的更影像化，就好比電影「2001太空漫遊」中，視覺影像不斷地穿梭在類似於宇宙的物理空間，但最終出現的將會是「signal」，而不是「akira」(akira一詞源自日本動畫「akira」，意指光明或救世主)。

在藝術家提問中，藝術家表明「聲音」是設定為首要的連結，伴隨著視覺影像的不規則頻率波動。然而電腦系統來製作聲音，在早期希臘前衛電子作曲家傑那凱斯(Iannis Xenakis)作品「mycenae alpha」中，研發一種電子作曲機系統(UPIC)，計算機(電腦)會將偵測到繪板上面的線條圖像，所產生音高和音符的長度，讓聽者感受媒體介面所引導的物質性「噪音」。音頻與曲調透過符號化，呈現點線面的圖狀，觀看的視覺上也隨著線條組合成的圖形上下游移。相對於葉立傅的訊號形構出的噪音物理振動，以及點線面的不穩定圖示，兩者所產生的音感或音質，在新與舊的電腦媒體途徑中，產生復古與摩登的交互作用。兩種交感狀態的層次，形同將主體錯置在「噪音系統」的迴圈中，而不再只是「藝術品的物件」。

LSF 45

2011-03-18T01:49:00.001+08:00

Lacking Sound Festival Listen 45

2011, Mar. 25(Fri)＠Nan-Hai Gallery

Entrance Time︱19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Limitation Of Entry 80 People

Sub-Attack but Sweet

artist : Sounds like O.range; Reiruof

失聲祭 Listen 45

2011, Mar. 25(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

每場限定80位觀眾

柔軟次攻擊

演出者 : Sounds like O.range（聽起來好橘）; 葉立傅

____________________________

Curator︱YAO, Chung-Han

Graphic Design︱Nat NIU

Project Manager︱Liang CHEN

指導單位︱台北市文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立臺北教育大學南海藝廊

肉身交託無路可退——失聲祭44

2011-03-16T15:23:00.014+08:00

文/郭昭蘭

究竟我們該從廢退的身體力往狂瀾，還是將肉身全副地交託於電訊時代的電光石火

爆裂的激光與閃現的電流，在藝術家的手上像魔法師一樣忽隱忽現。失聲祭44姚仲涵的【LLSP】 (Laser - Lamps - Sound Performance) 演出，藝術家時而像彈琴一樣撥弄雷射光束，時而以肉身抵光，藉此同步啓動巨響與日光燈。空間中流串著的，是由他肉身編輯下的雜訊，短促地在空間中射出、連發、撞擊。

作為觀眾的我，交出了耳膜與視網膜，視覺極限的瞬間光效與來不及伸縮的瞳孔，便將視覺暫留提供的幻影與電流雜訊，自動接收，規訓地成就一齣迷幻的聲光奇景。

身體的編碼

【LLSP】是一部由藝術家拼裝出的身體樂器，一個由日光燈管、雷射光束、距離感測器、手提電腦拼裝出的一部可供肉身「彈」、「奏」、「舞」的「樂器」裝置。這裡的肉身既不是丹田到喉頭的歌詠，也不是張惠笙那種從肉身自體運作的身體樂器。【LLSP 】，用來彈奏的是他自己被自己所組裝的雜訊樂器所編碼的身體。

沒錯，藝術家發明一個雜訊樂器聲光裝置，再把自己身體置入電傳系統，身體的行動就轉譯成啓動聲光的訊號。

【LLSP 】交出的漂亮成績單是，簡要地將日光燈管的電流雜訊轉換成可供即興演出的身體樂器。在如何將身體置入這個電訊樂器的過程，他的解決之道，是一個聰明簡潔的方法：雷射光。雷射光不僅提供身體與這部樂器的感應介面，在光效的震撼與奇幻感，使用雷射光的基本分已經是Ａ加（Ａ＋）了。

雷射光作為聲音感測界面的應用，【LLSP 】並非發明；但是再不像過去某些聲音藝術家安坐在手提電腦的後面，冷靜尷尬的調控他的數位面板，觀眾的目光只能一致地朝向背後的螢幕景觀。姚仲涵直接跳上了舞台，身控全場。就視覺、聽覺、身體感知的分立與整體性，他似乎較為流暢地統合了彼此。

也因為藝術家的身影成為演出的焦點，當藝術家精準熟練的操控全場時，忽明忽滅的身影，就像個帥氣的魔術師；難怪觀眾要問他：「請問你在表演的時候，會像個搖滾歌手一樣考慮你的帥氣感嗎？

為什麼是身體

不過，藝術家專注於如何將身體安插進入他的聲音演出裝置之中，這意味著什麼呢？這似乎是屬於西方科技藝術自1970年代以來所張開的問題意識，如今成了科技藝術建構的一部份。這個問題一半來自於發展之初正值裝置藝術關切著如何引入身體—身體現象學意味之下的身體—的時後，也是1960年代繪畫從封閉的平面畫面朝向多元感知的「劇場性」的呼聲; 如今互動的議題，隨著時日也逐漸朝向關切不同媒介之間的轉譯等各種面向。【LLSP 】在美學基礎上回應了這個美學路線所拋出的問題，以現象學的身體作為啓動樂器裝置的開關，彷彿是在數位時代面對身體廢退危機的想像救贖之道。只是藝術家的身體究竟在裝置之內還是裝置之外呢？

身體究竟在作品之內還是在作品之外？

作品之內的身體
藝術家的身體在表演之前想必經過一段學習的過程，好比鋼琴手在琴譜與雙手間基於精準的操控所進行的必要練習與制約。這也是【LLSP 】所犧牲的，表演者特定的移動總是必然啓動某種固定的效果，藝術家的身體也因此被這部樂器裝置給編碼；而那條橫越舞台的水平雷射光束，用來感應身體的訊號裝置，事實上則變成了舞台上牽制表演者身體的一賭牢不可破的牆，出了這道光束，身體便不存在。而投身裝置之中的藝術家的身體終究不免要回到他所屬的美學系統：屬於科技藝術的美學系統。

作品之外的身體
如此專著於電訊技術世界，處理著由科技藝術脈絡所延續下來的美學課題，難免讓人聯想到「這是誰的藝術史」的問題；媒體藝術論述，特別是由西方世界發展著的媒體藝術的書寫，如何左右著我們對媒體藝術的認識？我們會有一部屬於「我們」的媒體藝術史嗎？技術文化史之於我們與西方世界之間難道不存在著技術生產的前端與後端、研發與代工、所交叉出來的技術政治經濟學嗎？為什麼我們需要科技藝術？所幸，近日，如何書寫一部屬於「我們」的「聲音藝術」，正熱烈地被討論著。這個書寫行動將帶給創作者怎樣的影響，將是下一波值得關切與期待的現象。

That's No Way to Go: Giving Your Body Over to the Telecom Lacking Sound Festival 44

2011-03-16T15:17:00.018+08:00

Text: Jau-Lan Guo
Translate: Yvonne Kennedy

Shall we return the disused body or give our body over to the telecom?

Burst of laser and flashes of electrical current magically disappear and reappear in the hands of the artist. In Yao Chung-Han's work for Lacking Sound Festival Listen 44, entitled “Laser - Lamps - Sound Performance” (LLSP), the artist dances on laser beams as if pounding at piano keys, blocking beams of light with the body, and simultaneously sets off a clash of sound with a blast of fluorescent light. The interim space is strung together with chaotic noise edited by the body. Short bursts shoot forth. Rapid fire. Collision.

As a member of the audience, I relinquish my eardrums and retinas. The pupils have no time to react to these rapid lighting effects that push the limits of visual perception. Visual cues momentarily freeze on the supplied images and currents of noise. They are on auto-receive, and a psychedelic spectacle of sound and light is constructed.

A Codified Body

LLSP is a cybernetic musical instrument. It is an artistic assemblage consisting of fluorescent tubes, laser beams, distance sensors, and laptop computers; a “musical instrument” installation that can be “strummed,” “performed” and “danced” by the human body. The body is not used here to produce a voice that originates in the pudenda and rises to the throat, nor is it Alice Hui-Sheng Chang’s body-as-instrument, created from the body itself. What is performed in the LLSP is the body that is coded by the music/noise instrument that the artist has assembled himself.

To invent a noise instrument, then to subordinate the body to that system -- the dynamic of that body is thus translated into coded signals that initiate and edit electronic noises and lights.
The stellar performance report card that is the LLSP is, in short, a cybernetic musical instrument that can be immediately performed by converting the noise of electrical currents in fluorescent tubes. The solution to locating the body within this telecom-instrumental process was a simple and clever one: laser light. Lasers not only provide an interface between the body and the instrument, using lasers is an automatic “A-Plus” grade for its psychedelic and shock lighting effects.

Applications of laser sensor interfaces to sound are not an innovation of the LLSP, but here, the sound artist does not sit motionless behind his laptop, awkward but calm as he directs the digital control board – where the audience has no choice but to direct their eyes to images in the background. Instead, Yao Chung-Han jumps directly onto the stage and controls the entire scene with his body. Taken separately or as a whole, he appears to have smoothly integrated the visual, auditory and tactile elements.

Here, the artist’s physical silhouette has become the focal point of the performance. He is a debonair magician, disappearing and reappearing on the stage as he exercises precise control of the overall performance. Understandably, audience members are curious as to whether the artist contemplates his own stage persona and projected image the way a rock star might.

Why the body?

What does it mean when the artist focuses on how he inserts his body into the sound performance installation? This is a problematic concept that was first introduced in the 1970s by technological art in the West, and has become part of the construct of technological art. Half of the problem originates in the genesis of installation art, wherein concerns arose about how the body (as defined by phenomenology) should be included. It is a shout-out from the 1960s, when paintings emerged out of two-dimensional flatness to the theatricality of multi-dimensionality. Today, issues of interactivity have gradually shifted to addressing problems of translation between different media and dimensions. LLSP responds to this problem presented by aesthetics. An imagined solution to the prevailing crisis of the disused body in the digital age is created by using the fundamentals of aesthetic theory and by using the phenomenological body as a switching device within an instrumental installation.

Is the body located within the installation or outside of it?

The body within the work
The artist’s body necessarily endures a training process before a performance, much like a pianist requires practice to control and negotiate the necessary precise manipulations between the sheet music and the hands. A similar sacrifice occurs in the LLSP. Specific motion by the performer must always trigger an intended effect. The artist’s body is in fact codified by the instrumental installation. The leveled laser beam that crosses the stage is used as a body-sensing signal device, but acts as an ersatz impenetrable wall for the performer on the stage, too. When the performer moves out of the range of this beam of light, his body no longer exists. The body of the artist within the installation must eventually return to his own system of aesthetics: a system of aesthetics that belongs to technological art.

The body outside the work
The dedicated focus to the world of telecommunication technology, and the attempt to process issues of aesthetics that arise from the context of technological art unwittingly bring up the question: “Whose art history is this?” How do discourses of media arts, specifically writings on media arts developed in the Western world inform our understanding media art? Will we have a media art history that belongs to “us”? In techno-cultural history, does a techno-political economy exist between us and the Western world: between the front-end and back-end of technology production, between R&D and OEM? Why do we need technological art? Fortunately, there have been heated discussions on how to begin to write a text about “sound art” that belongs to “us.” How this act of writing will affect creators of sound art will soon become a phenomenon of concern and expectation.

LSF44 video

2011-03-12T00:11:00.002+08:00

LSF 44

2011-02-07T18:53:00.001+08:00

2011, Feb. 25(Fri)＠Nan-Hai Gallery

Entrance Time︱ 19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Sense of Hunger

HSU, Hsun-Hsiang ; YAO, Chung-Han

2011, 二月25日(五)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

飢餓感

許巽翔 ; 姚仲涵

＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿＿

Curator︱YAO, Chung-Han

Graphic Design︱Nat NIU

Project Manager︱Liang CHEN

指導單位︱台北市文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立臺北教育大學南海藝廊

LSF43 video

2011-02-06T01:45:00.002+08:00

essay for LSF 43

2011-01-31T21:27:00.005+08:00

Text｜XU, Jian-Yu
Translate｜Yvonne Kennedy

１
You might be familiar with this sensation, after experiencing a range of sound performances, your ears are no longer up to the task of categorizing and discerning between different types of sound. Our range of sonic expressions are so sparse that we have become accustomed to hearing a plethora of unnameable sounds in performances. And our attitudes have become lax. We know intrinsically that these sounds are ephemera. In any performance, they exist purely for their own sake and for our temporal experience. Where these sounds meet our experience is nothing more than a recording history.

２
When a stage is set with a sitar and a group of electronic equipment, it looks just like any other performance setting. The audience sees the instrument, and will form certain expectations about what happens next. This becomes a seeming paradox. Ever since “noise” became a political statement, noise has been emanating from every direction and every crevice to reveal the restrictions and esotericism of music. They make every effort to overthrow the elevated status of music. Subsequently, as “Sound Art” bred and multiplied, its progeny sought to overturn the established status that music occupies. “Sound” seeks to mark itself as an art form beyond the realm of music, and occupy the same space as art, what can we believe will happen in this stage set up? Will it only be a politically correct act in sound art? I am not sure what doubts others entertain, but I can be certain that this will be a performance, and this determination is obvious in every detail and ambiance within this space. This is the setting for a concert, without question, exactly like the ones we have experienced in the past.

３
This is certainly a tug on the imagination. We have seen too many performances at the Nanhai Gallery – or perhaps this has nothing to do with the Nanhai Gallery – and now our ears have established a specific rigidity and constructed a certain understanding for ourselves and toward these forms. And so, I stalled from the very start.

４
Unexpectedly, this combination of the sitar and electronica did not move us toward banality. They followed a common aesthetic theme and brought us again and again into the brink of trance. Even if this wasn’t the intended outcome, I believe the performance at least included this type of theme: to communicate with the human psyche, and to attempt to control that communion. This has been one of the ancient and timeless tasks of music. What the sitar expresses surpasses sound. This doesn’t surprise anyone. It encompasses ancient Indian cosmology, and points to what has been lost in Western music. Electronica spans a half-century. It has successfully changed the modes of centuries-old musical production. From the other side of the spectrum, it provides a response to the ancient themes without nostalgia. From a certain perspective, what they speak to, in the 30 minutes, is how music has never lost its function. Throughout time, music has been an essential aspect of ceremony, and we both need and trust in its ability to control the spiritual – this was also in the term repeated by Li Jun and Pei Yuan during the questions and answers segment: it is a spiritual cultivation.

５
Both of these performances reveal the methods by which music connects with the spirit. In actuality, this is also the way music connects with the body. This phenomenon is obvious. We can’t deny the fact that in this near-religious experience, the effects on the physical body – whether by obviating or awakening -- distills a consensus. In order to control the spiritual, there must first be a grasp of the body, and reflecting on the body also enables this theme to be realized.

６
I must admit that whenever I listen to Huang Dawang’s chaotic noise performances, there is always an effect of clarity. In today’s electronic music scene in Taipei, there is often an ambiance of trendiness and technology. This type of culture has developed too quickly, and industrial noise has been rapidly drowned out. Another scenario is that we have gradually incorporated different types of sounds under the theoretical concept of sound art, and implicitly there are now few sounds that continue to perplex us. We can assume immediately that these noises are to be considered “art.” We have to work hard to find motivation for renewed discussion. And when, in one of the soundscapes created by Huang Dawang, the question returns the primal dialectic between the body and sound, this gives us a perspective that makes us feel concrete. These jarring sounds prevent us from desiring music – the same way that the performance created anxiety in audiences a few decades ago, they still conjure a bodily unease, forcing you to purge from every pore, coercing you to stay awake. From the first sound to the very last, I feel an exclusion of thought. It solely transmits an aesthetic that questions the body, and at this moment you must be conscious of your decision to resist or to take pleasure.

７
In the Q & A session afterward, a few of the artists attributed a discussion on aesthetics to the act of “pure listening.” This proposition is easy and, at the same time, a bit serious when we consider the background implied by the label of "sound art": we exist in a society manufactured by countless sounds, and simultaneously in a society that manufactures countless sounds. This society has provided comprehensive cultural content for every type of sound, so by what path can we explore and discuss “pure listening”? In the past, we always chose the route that clearly dissected music. We accepted “purity” in the exalted introspection of sound history. It was reason for defending art; it bore sweet fruit. It existed both in our silence and in our discussion. But can we now begin to question “purity”? Or is it still apparent as a relic of the avant-garde?

８
We have long departed from the enlightened context pioneered by the Fluxus movement. In attempting to discuss the “essential” today, a difficulty we might encounter is that there are no longer sounds that compel resistance from the audience. If we continue to sit below the stage, any type of sound becomes another offering, and the audience will develop a new aesthetic theory. In this small space that conjures assurance, what we need may be a small, yet encompassing and reassuring, topic for discussion. Perhaps, concentration; Or, distraction.

記失聲祭LSF 43

2011-01-30T13:18:00.001+08:00

文｜徐建宇

１
有時候你有這樣的感覺，歷經各式各樣的聲音表演後，聲音的分門別類早已不是你的耳朵可以勝任的工作，我們擁有的聲音表述貧乏地驚人，以致於我們已經習慣了在表演中聽到更多無以名狀的聲音。我們的態度也越來越輕鬆，我們深知那些聲音一逝而過，在任何一場表演中。它們為自己誕生的時刻，以及我們每次的經歷而存在，它們與我們的交錯僅是涉及著一種錄音史。

２
設置在舞台上的西塔琴與一堆電子設備就像所有的演奏會現場，人們會看見樂器，並且對接下來發生的事有所期待。這似乎正好形成了一種矛盾。自「噪音」成為一種政治的宣稱以來，它們就從四面八方，每一個縫隙中解放出來，揭示了音樂的封閉與專擅，並且盡一切努力推翻音樂的尊榮。不久之後，「聲音藝術」越發的多子多孫，要反過來制定音樂的位階。既然「聲音」以藝術之名要將樂音外邊的世界標舉出來，一旦它們共處一室，我們還得相信什麼？難道這是一個聲音藝術上的政治正確的舉動？我不確定有多少人也蘊釀著其他的懷疑，我只能確定這終將是一個「合法」表演，每一個空間中的細節與氣氛都看得到這種決心，這是一個演奏會現場，亳無疑問，如我們過往所經歷的。

３
這確實只是對於想像力的遷就。在南海藝廊－－但這不全然關係到南海藝廊－－我們看了太多的表演，我們的耳朵已經為這些形式，也為我們自己平添了許多固執與體諒。在一開始，我便停滯不前。

４
很意外地，西塔琴與電子聲音的組合沒有往通俗裡帶去，它們循著美學上的共同主題，反覆地帶我們進入恍惚的邊界。即便這不是全部的企圖，我相信他們的表演至少也包含了這樣的主題：與人們的精神交通，並試著控掌它，這幾近是音樂的古老工作之一。西塔琴傳遞的事物超越了聲音，這並不使人意外，它始終帶著整個古印度的宇宙哲學，一度使西方音樂看見了自身的失落；而電子程式在跨越了大半個世紀，成功地改變了百年來的音樂生產模式後，從天平的另一端回應了這個古老的題目，也並沒有顯露出強說愁的態度。某個角度上講，在這三十分鐘內，他們在說的是：音樂從未關閉這樣的功能，在任何時間上，音樂都維持著成為一個儀式的所有要素，以及我們對精神控掌的需求與信任，那正涉及了李駿與沛元在問答時間反覆提及的字眼，修行。

５
兩場表演都顯示了它們與精神聯結的方式，事實上也是與身體聯結的方式，這個現象如此昭然若揭，我們都不能否認在這個近乎宗教的景像中，身體的變化是更容易凝聚共識的－－無論目的是將它去除或喚醒。控掌精神首先就是對身體的把握，反思身體也使得這個題目得以實現。

６
我必須承認聽到黃大旺這種瘋狂的類比噪訊，總有一股清流的感覺。今天台北的電音場景多多少少被一種時尚與科技的氣氛環繞，這種文化發展的太快，以致於工業性的噪音在短短的時間內就淹没在其中；而另一個情形則是，我們已經逐漸將不同型態的聲音表現劃入了聲音藝術這一概念的統御之下，那暗示著越來越少的聲音不再使我們困惑－－總之那都是「藝術」。我們要更努力才能找出重新討論它的慾望。而一旦身處在黃大旺製造出來的音場中，問題又回到了聲音與身體之間的原始辯証中。就某個角度而言，這讓我們感到踏實，那些尖銳的聲響，阻絕我們對音樂的任何想望－－如同它對幾十年前的聽眾所引起的躊躇，喚起我們身體的不安，迫使你對全身的毛細孔進行整肅，迫使你保持清醒。從第一個聲音開始到最後，我都感到一種對思想的排拒，它僅僅在傳遞一種對身體質問的美學，此時此刻，你需要意識到你對抗拒與愉悅的定奪。

７
事後的問答間，幾個藝術家把一些美學討論歸結到聲音的「純粹的聆聽」上。這個命題使人頗感輕鬆同時也嚴肅，一如「聲音藝術」這個宣稱所交待的背景：我們身處在無數聲音建構出來的社會，相對地也身處在建構了無數聲音的社會中，這個社會已經為每一種聲音提供了充份的文化內容，如此我們尚能循什麼路線來談「純粹的聆聽」？從前，我們總帶著一種對樂音的清算作為道路，我們領受「純粹」在聲音史上的崇高反省，它是捍衛藝術的理由，是甜美的果實，在我們的噤聲或者談話裡俯拾即是。而今天「純粹」會是一種更尖銳的提問？或仍然以前衛遺產之模樣現身？

８
我們早已經不在福拉瑟斯（Fluxus）所開拓的啟蒙情境裡，今天討論「純粹」所碰到的另一種困難可能是，再也沒有令人感到需要扺抗的聲音了。如果我們繼續坐在舞台下面，任何聲音都再次成為獻祭，而人們也會擁有更新的美學理論。在這個令人安心的小場地裡，我們需要的可能只是一個微小的，有包容力的，也同樣令人安心的題目來聊聊，比如說，專注，或者，分心。

LSF 43

2011-01-04T00:20:00.005+08:00

2011, Jan. 14(Fri) ＠ Nan-Hai Gallery

Entrance Time︱ 19:20 Starts Punctually At 19:30

Entrance Fee︱NT$.50

Foretelling Revolutions

Nirvāṇa + 0xA ; LUPONEGRO YINGFAN PSALMANAZAR aka HUANG Dawang

2011, Jan. 14(Fri)＠南海藝廊

入場時間︱19:20入場 19:30準時開始

入場費︱NT$.50

卜譜革命

Nirvāṇa + 0xA ; 黑狼姚映凡 a.k.a. 黃大旺

_____________________________________

Curator︱YAO, Chung-Han

Translate︱Brenda CHAN

Graphic Design︱Nat NIU

Project Manager︱Liang CHEN

指導單位︱台北市文化局　

主辦單位︱失聲祭團隊

協辦單位︱國立台北教育大學南海藝廊

2011-01-03T14:00:00.032+08:00

facebook / twitter / google+

youtube / flickr

email

Statement 2011

2011-01-02T20:05:00.005+08:00

An open letter from Lacking Sound Festival founder YAO, Chung-Han

Dear friends

Happy New Year !!

From 2007, 4 young artists started the local sound art event "Lacking Sound Festival" in Taipei by themselves. The reason why they held this festival was the dissatisfaction with the development and promotion of sound art in Taiwan. They tried to find out the sound art belonged to Taiwan through the festival which is held once a month through a whole year.

From 2008 to 2010, we started to apply the grants from Department of Cultural Affairs of Taipei City Government to raise money for the festival. The amount of grants was not so stable every year, however it related to the scale of the event. While more and more friends and audience participate the festival every month, it is a great encourage and becomes a drive to make the festival more professional and international.

In 2011, not only Lacking Sound Festival will goes on, we are also planning to publish "Lacking Sound Festival" documentary in the end of the year to show the achievements through 4 years and to witness the precious performances by so many brilliant local artists.

The funding pool of the government is always so small for so many artists. As a founder and an organizer of Lacking Sound Festival, I am thinking about the possibility to get more physical support from our audience to operate the festival. If Lacking Sound Festival always waits for the grants passively, it would be difficult to bring you better programs and to promote our local sound art to the world.

From this year, Lacking Sound Festival will charge NTD. 50 each entry.
A small coin from you will pour more energy into us.

Thank you so much for your great support.
See you soon in Lacking Sound Festival again.

Best,
Founder YAO,Chung-Han
2nd Jan. 2011
lsf-taiwan.blogspot.com

表述 2011

2011-01-01T13:54:00.000+08:00

失聲祭發起人姚仲涵的一封公開信

各位親愛的朋友，新年好

2007
失聲祭草創時期是由幾位年輕熱血的藝術家自費辦活動
勞心勞力更勞財
能夠呈現精采的演出是支持著我們繼續辦活動的動力

2008-2010
失聲祭正式申請補助
活動靠著臺北市文化局所補助的部分經費運轉著
而補助的多寡卻影響著活動的規模

2011
我想..文化局的補助代表著政府的支持
那麼，觀眾的支持在哪裡？
如果，觀眾的支持多一點，失聲祭能不能再往前衝一些？

2008至今，失聲祭依賴著臺北市文化局的補助運作著
而現今失聲祭已是臺灣聲音藝術發展的重要見證者
但來自政府的經費有限
若失聲祭一直是扮演被補助的角色
這樣的資源和成長的速度不夠讓臺灣的聲音藝術向全球發聲

2011年，失聲祭計畫於年底發行第一份影音文件紀錄
在全球的藝術文件中，紮實地留下臺灣聲音藝術的在地資產

現在，失聲祭需要您的支持！
失聲祭將從2011年開始酌收入場費
一人50元

您的一小步，可以讓台灣的聲音藝術再往國際走一步

期待大家的參與～
感謝

失聲祭發起人姚仲涵 1st Jan. 2011
lsf-taiwan.blogspot.com

2011 LSF Schedule

2010-12-29T07:05:00.005+08:00

1月14日陳沛元 + 李駿，黃大旺

2月25日許巽翔，姚仲涵

3月25日 Sounds like O.range，葉立傅

4月15日棋盤上的空格，王福瑞

5月20日蕭禹琦/程仁珮/羅紹徽/孫于甯，張永達

6月24日黃鐘瑩，孫阿猴

14th Jan.   CHEN, Pei-Yuan ＋ LEE, Chun ; HUANG, Dawang
25th Feb.   HSU, Piebee ; YAO, Chung-Han
25th Mar.   Sounds like O.range ; Reiruof
15th Apr.   Empty Space On A Chessboard ; WANG, Fujui
20th May HSIAO, Yu-Chi /CHENG, Jen-Pei /LUO, Shao-Hui/ SUN, Yu-Ning ; CHANG, Yung-Ta
24th Jun.   HUANG, Chung-Ying ; Monkey Sun

LSF42 video

2010-12-28T19:53:00.003+08:00

LSF 42

2010-12-14T13:29:00.006+08:00

17, December Friday

Nan-Hai Gallery Entrance Time 19:20 Starts Punctually At 19:30

Entrance Fee: Free (Please arrive early as seating is limited)

《Non-N.B.》

Chen, Jian-Bang ; Chang, Yung-Ta

12/17 星期五

南海藝廊Nan-Hai Gallery 19:20入場 19:30準時開始

免費入場 (座位空間有限請提早入場)

《非文話》

陳建榜，張永達

_______________

Translate: Brenda Chan

Graphic Design : Nat, Niu

指導單位：台北市文化局　主辦單位：音瀑奧譜聲音藝術實驗室　協辦單位：國立台北教育大學南海藝廊

LSF41 video

2010-11-18T02:40:00.006+08:00

LSF 41

2010-11-14T20:28:00.013+08:00

19, November Friday

Nan-Hai Gallery Entrance Time 19:20 Starts Punctually At 19:30

Entrance Fee: Free (Please arrive early as seating is limited)

《Incorrect purpose》

Fabrice ; Aki+Yuan-Yuan

11/19 星期五

南海藝廊Nan-Hai Gallery 19:20入場 19:30準時開始

免費入場 (座位空間有限請提早入場)

《竊聲徑》

Fabrice ; Aki+圓圓

_______________

Translate: Brenda Chan

Graphic Design : Nat, Niu

指導單位：台北市文化局　主辦單位：音瀑奧譜聲音藝術實驗室　協辦單位：國立台北教育大學南海藝廊

Mr. Matrix (矩陣先生)

2009-12-31T23:02:00.000+08:00

Artist︱ Mr. Matrix (Aluan.Wang)
Hsin-Jen is born in 1982 in Taichung, Taiwan. He earned his BFA degree from Visual Communication Design Department in 2006. His specialties are CIS design and motion graphic. He is now a current graduate student of Department of New Media Art. He is interested in exploring the possibilities of integrating sounds and visual images. In his performance, sounds are controlled by the visual images he creates. During his extracurricular time, he is also an active pd workshop instructor.

Experience
2011 PdCon 2011 Weimar
2010 Remix-and-Jam: Tracks into Treasures
2010 Lacking Sound Festival, Nan-Hai Gallery
2010 National Taiwan Museum of Fine Arts DREAM｜MERSION - Cyclorama Digital Art Creation Series from the Society for Arts and Technology, Canada
2010 Performance in Taipei Contemporary Art Center
2010 Sound Bits Huashan Creative Park Leacy Performance with tickets selling

Performance Introduction︱ Dynamized Cente
Because every universe is enclosed in curves, every universe is concentrated in a nucleus, a spore, a dynamized center. And this center is powerful, because it is an imagined center.

Gaston Bachelard, The poetics of space (1958)

Website｜http://www.dazegraffiti.com/

演出者︱矩陣先生
目前就讀於台北藝術大學新媒體研究所（前科技藝術研究所），
主要專長為多媒體動畫及平面設計。2010年後積極投入OpenLab Taipei的自由軟體推廣活動，在國立臺灣美術館、台北當代藝術館，DAC台北數位藝術中心都擔任過Puredata的推廣講師。
除了參與工作坊推廣教育外，也幫劇團、舞團設計互動影像，並參與失聲祭、Sound Bit等表演。

表演簡介︱動態中心
因為每個宇宙都在自身的環繞裡自成天地，每個宇宙都集中於一個核心、一個胚胎、一個動態平衡的中心；這個中心強而有力，正因為它是一個想像的核心。
Gaston Bachelard, The poetics of space (1958)

LEE, Po-Tin ( 李柏廷 )

2009-12-30T22:45:00.000+08:00

Artist︱Lee, Po-Tin

Born in 1986 in Taipei, with congenital severe thalassemia- which is almost impossible to cure serious diseases, become a major creative context of him.

College majoring in sculpture, mainly worked on Dynamic / Equipment, but also tried on Sound creation.

Now study in graduate school of Technology Arts Center, Taipei National University of the Arts, try to combine dynamic equipment, sound and other media in creations.

Awards:

"Kaohsiung Awards /Nominee"

"S-An Art Award"

"Taipei Digital Art Festival -sound art /Selected"

"Digital Art Performance Award /First prize (XOR)"

Exhibition:

"Extraordinary Sculpture"

"Sculpture Collection Exhibition"

"Haslla Art World International Art Symposium"

"，And Land Sculpture Exhibition of Six"

"TESTER4 Experimental Photography Exhibition"

Performance:

"2010 tranSonic"

"2011 Cloud Gate 2 -Spring Riot -Play Ground"

Performance Introduction︱ Revolver

Most of Sound production source are constantly moving in the space, but with the movement of the ears, the sound field is also in accordance with the relative position of conversion, this work is an experiments as regards mobile sound, it make sound production source and sound field continuously move, if you are in the range it covered, I hope you can close your eyes and to feel the moving space with the installation make for you.

e-Mail︱ leebotin@hotmail.com

演出者︱李柏廷

1986年出生於台北，患有先天性重度地中海型貧血，這幾乎無法根治的嚴重疾病成為創作的主要脈絡。

大學時期主修雕塑，以動力/裝置為主，也嘗試聲音的創作。

現就讀北藝大新媒體藝術研究所，嘗試將動力裝置、聲音以及其他媒材的創作結合。

獲奬：「高雄獎入選」、「世安美學獎」、「台北數位藝術節聲音藝術類入選」、「數位藝術表演獎首獎(XOR)」

展覽：「超常雕塑」、「雕塑集展」、「 Haslla Art World 國際藝術研討會」、「,And land 六人雕塑聯展」、「TESTER4實驗攝影展」

表演：「2010 超響 Transonic」、「2011 雲門舞集2 春鬥遊戲場」

表演簡介︱ Revolver

空間中大部份的發聲源是不斷移動的，然而隨著耳朵的移動，空間中的音場也依照相對位置轉換，此作品是對於移動聲響進行的實驗，使發聲源和音場不斷移動，如果在它涵蓋範圍內，希望你可以閉起眼睛感受它製造的空間移動。

Traffic Jam

2009-11-14T21:41:00.000+08:00

Artist︱ Traffic Jam

Tech-instruments, self-made software, program, electro-noise, concrete sound, and the sound goes on…

TrafficJam started in 2011 by the students of Master Program of Sound and Music Innovative Technologies in National Chiao Tung University. It is a long-term project to experiment the new possibilities of sound. We don't have fixed members, each member has different approach and style, jamming all together to create the new sound.

Current Members:

Xie Zhongqi

Sound artist, computer composition, recording, commentary, planning, translation.

e-Mail︱wolfenstein0_0@hotmail.com

Website｜http://www.chinesenewear.com/wolfenstein/

David Chi

Interests in the relationship between sound and user interface, constantly trying to design instruments with new interface.

e-Mail︱davidchi0623@gmail.com

L.Yude

Interested in welding, electronic equipment assembling, patching.

e-Mail︱ listen.yude@gmail.com

George Liu

Designing techno-instruments to keep every sound.

e-Mail︱drummerwei@gmail.com

Performance Introduction︱ Rush Hour

The four members perform with self-made music control interface: SPMC rotating-pressure percussion, original sound simulate instrument, self-made synthesizer and program, to construct a piece with various styles and characters in which different elements accompany each other and to form a unity altogether as a non-stop music journey.

演出者︱ Traffic Jam

科技樂器

自製硬體

電腦程式

電子噪音

具象原聲

聲聲不息

TrafficJam 於2011年由交通大學聲音與音樂創意科技碩士學位學程發起，是實驗音樂新可能性的長期計畫。成員不固定，每個成員的專長與風格均不同，一同來 jam 出新的聲響。

目前成員：

謝仲其

聲音藝術家、電腦作曲、錄音、評論、企劃、翻譯。

e-Mail︱wolfenstein0_0@hotmail.com

Website｜http://www.chinesenewear.com/wolfenstein/

紀子衡

對於聲音與使用者介面之間的關係感到興趣，不斷嘗試設計新介面的樂器。

e-Mail︱davidchi0623@gmail.com

林育德

業餘焊接、電子設備組裝、接線生。

e-Mail︱ listen.yude@gmail.com

劉哲瑋

設計科技樂器，留下所有聲音。

e-Mail︱drummerwei@gmail.com

表演簡介︱Rush Hour

四位成員將會使用自己研發的音樂控制介面：SPMC 轉壓式敲擊樂筒、原聲模擬樂器、自製合成器組與自製演奏程式，各自發展出一段風貌互異的樂曲，同時彼此之間也會相互伴奏，最後熔於一體，形成不間斷的音樂旅程。

HSU, Yen-Ting ( 許雁婷 )

2009-11-07T21:36:00.000+08:00

Artist︱ HSU, Yen-Ting Hsu

Her affinity to working with sound started from a field recording project – Chiayi Sound Project (a collaboration with French sound artist Yannick Dauby, 2008-2009), which opened up her interests and study toward sound art. She investigates the connection among sound, life, environment, and ethno-culture. Sound is an approach to realize different perspectives of today’s world. Adopting materials from field recordings to create audio documentaries and soundscapes, her works are often told with narrative. She went to England and France to carry out a study of “Web-radio as a platform of developing sound art” in 2010.

Performance Introduction︱

You are too much occupied by what you see when you are sober.

It is a listening session. There are no performers but soundscapes flow in from other spaces.

It’s an invitation: let’s listen, feel and imagine.

e-Mail︱ winter.ting@gmail.com

Website｜ chiayisound.blogspot.com

演出者︱許雁婷

與聲音工作的緣份始於一個田野錄音計畫—嘉義聲音計畫（2008-2009，與法國聲音藝術家Yannick Dauby合作），此後開展對聲音藝術的興趣和研究。喜歡探索聲音與生活、環境、族群文化的連結關係，聲音之於周遭世界另種角度的體認，並以田野錄音素材從事聲音紀錄片及音景創作，作品多富有敘事性。2010年赴英、法進行「網路電台作為發展聲音藝術平台」研究調查。

表演簡介︱

清醒的時刻，眼見的景象佔據太多空間。

這是一場聆聽坊，現場沒有表演者，但有其他地方的聲音風景進入。

一個邀請：一起聆聽、感覺、和想像。

Statement 表述 2009

2009-01-01T21:40:00.004+08:00

We have many kinds of performances in Taiwan such as Live Band, they usually perform once a week or monthly in the particular place. In Taiwan, there is no usual platform for experimental performances such as sound art. Lacking Sound Festival provides such a platform and has become a great activity now. Lacking Sound Festival not only provides sound artists a place to show their works but also promotes the sound art to more people, in order to let people understand and enjoy in things like this!

Person in Charge of LSF 2009: WANG, Lien-Cheng

在台灣各式各樣常態性的表演很多（例如：樂團表演），每周或每月在顧定的場地都有表演（例如：The Wall），但是類似聲音藝術這種實驗性比較強的演出，在台灣相對較缺乏常態性的展演平台，而現在有失聲祭，就是個不錯的活動。失聲祭提供這個平台，讓有從事聲音創作的人，有一個地方可以發表作品之外，另一方面也在推廣聲音藝術，吸引一些觀眾，讓他們知道有這樣的東西。

2009年失聲祭負責人 : 王連晟

http://lsf-tw08.blogspot.com/

口述:王連晟｜文字整理:詹明芳｜翻譯:張永達｜校稿：詹采妮

Dictation: WANG, Lien-Cheng｜Txt organized: CHAN, Ming-Fang ｜Translate: CHANG, Yung-TA ｜Proofreading: Brenda Chan

Statement 表述 2008

2008-01-16T16:44:00.002+08:00

失聲祭是一個平台，
可以從創作者、觀眾與環境去談。

《創作者》
失聲祭提供一個非常寬廣自由的平台，
讓很多年輕的創作者勇於實驗，
同時也讓演出作品檯面化，
這會刺激聲音的創作與想法
這個正面的力量也是我們所樂見的。

《觀眾》
觀眾的人數與反應，讓我們可以知道聲音與社會的距離，
一開始創作者與觀眾的數量都不多，
但是因為有失聲祭的存在，
企圖讓聲音演出成為社會文化常態的一部份，
於是我們慢慢的累積，因為我們知道這個累積的重要性。

《環境》
如果演出者與觀眾的人口都成長了，
我們是不是就會獲得一個較友善的環境？
我觀察到最近的聲音創作者比2007年那時候多了許多，
關心聲音藝術的群眾也變大了，
這些改變會支持我們繼續走下去。

如果《創作者》與《觀眾》這兩個族群可以成長，
《環境》也就跟著成熟了。

2008 失聲祭企劃執行:葉廷皓

口述於2011:葉廷皓｜文字整理:姚仲涵

Statement 表述 2007

2007-01-01T21:37:00.009+08:00

PART-1 (7th June, 2007 )

我們不理解是先有頓挫藝術家還是先有頓挫藝評家。
我們不理解為何這個世代的實踐需要回應上個世代的追求。
我們不理解為何噪音總要貼上政治經濟或憤怒的標籤。
是為什麼?
既得利益者的憂國憂民?

台灣近幾年雖有大型的聲音展演
但我們其實更關心台灣現階段聲音創作普遍的現況
臺藝、北藝、南藝…沒有藝…..。
我們好奇著這其中的差異。
當這社會總是使用現成語言在套作品時，
我們應該需要大面向的、粗糙的，對於現況的認識，
這必然存在許多實驗、不完整、摸索.. 的作品相貌
但是如果我們不正視這些現況….
我們有什麼有資格期待台灣自產的新鮮果實??

主辦單位 : 南海藝廊
策劃執行 : LSFunit

PART-2 (18th Nov., 2007)

「我們期待看到一件好作品，時代變遷，我們需要一直討論何謂『好』」

聲音藝術是一項富有多樣性的藝術型態。它包含環境錄音、數位音樂、聲響表演、聲音影像、聲音裝置….甚至是聲音雕塑。可以是單純聆聽的感受，也可以是震撼感官的創作體驗。拜台灣科技產業興隆與資訊發達之賜，我們正與世界同步。台灣已有一群年輕人致力投入這塊充滿前衛、實驗卻同時迷人的創作領域。創作群已經跨越校際、甚至是跨越學院。

聲音藝術的耕耘在台灣早期有「破爛生活節」與「台北國際後工業藝術祭」以及「靜電暴動」…等大型活動，活動本身反應當時的社會氣氛。2005至今，大型展演從「2005異響國巨聲音藝術獎」到「2006台北數位藝術節」。藝術家自行連結活動如「南海啥聲」、「交流電 – 實驗交流電所」、「聲交：兩岸聲音藝術交流大匯演」。創作者透過網路連結與展演的串聯，使前衛又富實驗性的創作得以相互交流討論。

然而這股向前的力量，卻因為技術與觀念的差距，使得創作者與大眾產生距離，甚至是台灣自己的創作者，可能都甚少機會交流。

於是失聲祭的籌畫，便是從這樣的脈落發展下，找到非做不可的理由。失聲祭計畫找尋各種以聲音創作主的年輕藝術家，以演出的方式進行交流，我們並未清楚的定位聲音藝術的界線，而是以一個平台的概念，連結各種創作形式、概念、技術…甚至是文化，以呈現差異為主，期待藉由差異所產生的空隙，可讓我們更寬廣的思考聲音、創作、藝術。

本次活動預計將以一年的時間，每月一次邀請兩位數位藝術創作者獨立進行創作演出我們特別加後續的資料整理，每場演出之後，都將各位創作者的演出內容、創作動機、技術介紹，公佈於blog上，期待能創造更多的對話，同時也得到一個聲音藝術的片段切面，以供美學理論研究一項素材。

策展人：姚仲涵
執行團隊：LSFunit(葉家銘、姚仲涵、王仲堃、葉廷皓、牛俊強)

http://lsf-tw.blogspot.com/

LSF plug-in

2006-04-06T02:16:00.014+08:00

retb.tumblr.com

失聲祭策展人姚仲涵與藝術家黃博志在一次聊天中

討論了黃博志近期執行的計畫 - 湯姆男孩的紅眼睛-生機番茄汁

或許聲音與番茄汁字面上難以看到關聯

但是背後隱約共同存在著一個使命

什麼使命？

聽過才明白

喝過才知道

2011 4/15 失聲祭揭曉＿＿＿

Minkoku Hyakunen ( 民囯百年 )

2001-10-08T11:11:00.000+08:00

Artist︱ Minkoku Hyakunen

Minkoku Hyakunen adopts materialism as their methodology: to produce sound from object is the goal rather than the tool to express any idea.

The methodology which can be categorized as a method of musique concrete is nevertheless originated from a certain idea.

However here we limit this idea to the form of the performance itself only; not to have the concept enter the content of the actual performance.

This is the method applied by hardcore noise artist Da-wang Huang and You-sheng Zhang to continue implement noise even after they put down the mixer and synthesizer.

And, this collaboration is limited to Year 100 only!

Performance Introduction︱

This time, we are taking this concept limited to the form of the performance to question and criticize the interrelationship between “sound” and “image”.

e-Mail︱ yingfantw@gmail.com, misrecognition@gmail.com

Website｜ http://minkokuhyakunen.blogspot.com

演出者︱民囯百年

民囯百年以唯物主義為方法論：物件發聲本身就是目的，而不是表現理念的工具。

這個可以被歸入具象音樂的做法當然也出於某種理念，只不過該理念並不進入演出內容，而只停留在演出形式。

這也是硬派噪音藝術家黃大旺和張又升放下手中的混音器與合成器之後，繼續貫徹噪音的方式。

對了，兩人這次的合作只限於民國百年喔！

表演簡介︱

這次，我們對「音─象」兩者的關係進行提問與批判。

Chen Pei Yuan (陳沛元) & Wang Wen Yu (王文瑜)

2001-10-08T10:30:00.000+08:00

Artist︱Chen Pei Yuan (陳沛元)

A winter trip to India in 2009 brought him to the Holy Land and Holy River, the fascinated ancient philosophy, music, art, which inspired him to start learning classical Indian music and sitar.

A rare affinity in summer 2010 brought him to meet Lee Jun, and opened the door to Pure-Data work.

2009年冬季的印度旅行，探訪了心中的聖地與聖河，心醉古國的哲學、音樂、藝術，開始學習印度古典音樂以及西塔琴。2010年夏天的奇妙緣份認識了李駿，

並開始嘗試以Pure-Data創作。

e-Mail｜ xoxoyyo@hotmail.com

Artist︱Wang Wen Yu (王文瑜)

When birds cry and insects call reaches its maximum, we plant the seed into soil.

All cries and calls have its significance. Trees, insects, and birds can bring us truthful messages; it’s like Mantra chanting continuously, bringing a frequency of harmony to the world.

So do we, as long as we return to the core of ourselves, to link with the origin, there will come sound of harmony, like pouring into the stream from ocean

在鳥鳴蟲叫聲達到最大時，我們將種子種進土壤。

一切的鳴叫有其意義，樹木小蟲小鳥都能帶給我們真實的訊息，同時像是不停唱誦的Mantra，為世界帶來和諧的頻率。

我們也是這樣。只要我們回歸到自己的中心，與源頭連結，就有和諧之音流瀉進來，像從大海流進溪流一樣。

Website｜ soundcloud.com/whitedwarf

Performance Introduction︱ Nada Brahma

In the beginning – void, endless – there’s sound.

表演簡介︱Nada Brahma 太初有聲

太初─虛空無盡─有聲。

Samson Young ( 楊嘉輝 )

2001-09-12T23:54:00.000+08:00

Artist︱ Samson Young

With formal training in music composition, an eye for visuals and a keen interest in emergent technologies, composer-sound artist Samson Young (b.1979) has been known to combine his diverse expertise into uniquely intermedia experiences. In 2007, Young became the first from Hong Kong to receive the Bloomberg Emerging Artist Award with his audio-visual project “the Happiest Hour.” In 2009, CNN’s global portal CNNgo named him one of the top “20 people to watch in Hong Kong.”

Young is a regular guest at festivals around the globe, including: Sydney Springs International NewMusic Festival (Australia 2001), the Canberra International Music Festival (Australia 2008), ISCM World Musid Days (Australia 2010), MONA FOMA Festival of Music and Art (2011); the Bowdoin International Music Festival (US 2004), Bang on a Can Music Summer Music Festival (US 2005), Perspectives International Festival of Media Art (US 2009); Internationales Musikinstitut Darmstadt(Germany 2006); Dark Music Days (Iceland 2008); Kuala Lumpur Contemporary Music Festival(Malaysia 2009); Microwave International New Media Arts Festival (HK 2004), October Contemporary (HK 2007 and 2009), Le French May (HK 2004 and 2009), and the Hong Kong Arts Festival (HK 2009 and 2010). Young is a Ph.D fellow at Princeton University, and an assistant professor at the School of Creative Media, City University of Hong Kong. His mentors include Chan

Hing-yan and electronic music pioneer Paul Lanksy (www.thismusicisfalse.com).

Performance Introduction︱ I am thinking in a room, different to the one you are hearing in now (Homage to Alvin Lucier)

I am thinking in a room... is a tribute to composer-sound artist Alvin Lucier, who was the first person to create music out of brainwave signals back in the 1960s. In this work, I used two sets of research-grade brainwave sensor to monitor the EEG brainwave signals emitted by the performers. Several solenoid motors are connected to the sensors, and they reflect the performers' concentration level. The more focused the performers are, the more activated the motors will become. While Lucier used EEG signals essentially as input signal randomizer, in my work concentration level is pre-determined and written into the musical notation. Maintaining a consistently high level of concentration proved to be difficult though - an aural awareness of my focused stated is distracting.

e-Mail｜skfyoung@cityu.edu.hk

Website｜www.thismusicisfalse.com

演出者︱ Samson Young

作曲家及聲音藝術家楊嘉輝於美國普林斯頓大學 (Princeton University) 攻讀作曲博士學位，師隨陳慶恩及著名電子音樂先驅Paul Lansky，現為香港城市大學創意媒體學院助理教授(www.thismusicisfalse.com)。2007年憑着以任天堂Gameboy為創作靈感的聲音藝裝置《快樂時光》獲選為第一位「Bloomberg新一代藝術家」。 2009年獲美國有線新聞網絡 CNN的環球網站選為「top 20 people in Hong Kong to watch」之一。楊嘉輝曾任香港小交響樂團2008 / 2009樂季駐團藝術家，駐團期間曾為樂團創作多首多媒體管弦樂作品。

楊嘉輝的音樂及聲音藝術裝置，常見於世界各地的藝術節，包括：悉尼之春國際現代音樂節（澳洲2001）、坎培拉國際音樂節（澳洲2008），ISCM World Music Days（澳洲2010）、MONA FOMA國際音樂藝術節（澳洲2011）；鮑登國際音樂節（美國2004）、麻省當代藝術博物館現代音樂節（美國2005）、Perspectives國際媒體藝術節（美國2009）；達姆施塔特國際音樂節（德國2006）；Dark Music Days現代音樂節（冰島2008）；吉隆波當代音樂節（馬來西亞2009）；微波國際新媒體藝術節（香港2004）、拾月當代（香港2007及2009）、法國五月、香港藝術節（香港2009及2010）等

表演簡介︱念起塵動，覺之即無 (Homage to Alvin Lucier)

修法精進腦袋電波傳感

淨念相繼

意根息馬達動

十方隨梆唱影

心空如洗流注生滅

唯意耳二根最難攝

耳聽聲而轉聲塵

念起念又覺

是為六根未淨

WU Ping Sheng ( 吳秉聖 )

2001-09-11T23:51:00.000+08:00

Artist︱ WU Ping Sheng

He, under unceasing self-estimation, puts himself into the field of creation. Willing to explore a variety of media without a specific preference, most of his creation originated from daily life and personal thought in a form tilts to installation, readymade, and sound.

He expects not to be confined in the current existed condition, but to experiment new possibilities, however he is at the same time willing to be indulgent to the already established system. There is no constant logic in creativity (I enclose the balloon in the black box and inflate it to explosion), attempt to establish a conscious link between the self and other beings via space (in a lonely way, human beings create themselves by his own action), to structure the unique relationship between the works and the space (which is temporary permanent).

Performance Introduction

[ Disqualified ecdysis system]

A tree fell in a forest without animals. Sound remains, listen then.

What about time, and Space?

e-Mail｜sam155167@gmail.com

演出者︱吳秉聖

他，在不斷自我測量下，投入於創作中。創作媒材不定，並樂於嘗試各種媒材。已有的創作大都是以日常生活的個人思想為出發點，目前的作品形式比較偏向於裝置、現成物、聲音為主。期望在不滯留於既有形式的情況下，嘗試新的可能性，也樂於沉浸在已有的體系之下。創作的思考方式並沒有一定的－我將氣球封在那個黑盒中並把它充暴－邏輯，試圖將自身－孤獨地，人以自己的行動來創造自己－藉著空間與其他個體生成一種可以意識到的連結，結構出作品與空間當下特有－但那也只是暫時的永恆－的關係。

表演簡介︱

[ 失格脫殼體系 ] ~~太學焦慮控制變異動向內爆炸無限延伸的毛媚俗擴張超越合毀滅~~

一

棵

樹

在

沒

有

動

物

的

森

林

裏

倒

下

。

聲

音

留

，

聽

也

就

。

那

時空

間間

呢

？

Lai Ho Wan ( 賴火旺 )

2001-08-04T21:52:00.008+08:00

Artist︱ Lai Ho Wan
People called this person Professor Ho Wan
Mechanical fast shredder, studying corpse preservation on this person’s spare time (by merely freezing meat into freezer in practice).

Performance Introduction︱ Kinetic Theory
The high attention paid to skin and pore by ancient doctor reminds us the theory of Qi once expressed the experience of time and space. Hence, the theory of Qi is a theory of time. Not a clear geometric description of time, not an infinite straight timeline, not a repeated circulated circle, but a real existence of which the tangible variation can be felt on skin, smelt, seen, and heard.

Website｜www.facebook.com/laihowan

演出者︱賴火旺
人稱火旺教授。
機械速彈手，並抽空學習屍體保存術（其實只是把肉放進冷凍庫）。

表演簡介︱Kinetic Theory
古代醫生對於皮膚與毛孔的高度注意，提醒了我們氣的論述一度表達了空間與時間上的經驗。因此，氣的的理論就是時間的理論。不是一種幾何學式的、清楚的刻畫時間，不是一條無限延伸的時間直線，也不是反覆循環的圓圈，而是一種真正的存在，能夠在皮膚上感覺到的、能夠聞到、看到、聽到的具體變化。

DomoNoise ( 多摸噪音 )

2001-08-04T21:38:00.002+08:00

Artist︱DomoNoise

Domo, omnivore, leader of the experimental creative unit “DomoNoise”.

Born in the southern beauty “Pingtung”.

Currently living in Taipei, a believer of sensational joyful life.

Performance Introduction︱ DomoNoise

Sensational Game, Experiment, Intellect, Spirit, Religion.

Flesh bound by time and space without compromise, live in the spirit then.

Transcending spirit, detached from these and that in reality, waver your sense organ, join us.

e-Mail｜domonoise@gmail.com

Website｜www.facebook.com/DomoNoiseoOfficial

演出者︱多摸噪音

雜食類的Domo，領導個人實驗創作 '' DomoNoise 多摸噪音 ''

生於南國之美 '' 屏東 ''。

目前旅居台北，感官歡愉一輩子。

表演簡介︱DomoNoise 多摸噪音

感官遊戲

實驗思維精神信仰

時間與空間綑綁了肉體，與時空不妥協，那就活在精神吧。

精神層面超脫，抽離現實這些那些，游移感官受器，一起來吧。

Jamie Allen ( 傑米‧艾倫 )

2001-07-09T12:19:00.003+08:00

Artist︱ Jamie Allen

Jamie Allen is a Canadian artist currently residing in the UK. With circuitMusic, he uses raw op amp components with minimal effects to experiment and revel in the sound of pure, electric signals. Allen's compositions are streamlined, yet remarkably varied with harsh walls of static, dense drones, and playful rhythms all vying for the listener's headspace.

Performance Introduction︱

Jamie Allen’s circuitMusic project started as an exercise in radical improvisation – analog oscillators were built from bare circuitry and a breadboard while performing. Since then the live show has turned into a noise-synthesis project where signals from the home-made performance rig are offered to the audience as both audible sound and stroboscopic white light.

Light and noise are shaped and into drones and pulses of raw static and electricity.

Website｜ www.heavyside.net

演出者︱傑米‧艾倫Jamie Allen

傑米．艾倫，一位現居於英國的加拿大藝術家。在以circuitMusic為名的計劃中，他應用擴大機的電子零組件，在不經多重特殊處理的狀況下來實驗、沉迷於純粹的電子信號聲響。

艾倫的作曲有流線的聲線，同時也明顯的保留了如靜電噪音、持續性的低鳴聲等多樣性的粗糙感，再加上輕快的節奏；各種元素競相爭奪駐進聽者的腦海中。

表演簡介︱

Jamie Allen 的電路音樂(circuitMusic)計劃之緣起，為激進即興演奏的實踐 –

在演出中僅使用裸線和電板組成的類比振盪器。此般的現場表演有如一件噪音合成工程，以自製的器材所發出的訊號提供觀眾可聞之聲響以及頻頻閃爍的白光。光與噪音被塑形為低鳴嗡嗡聲、靜電噪聲之脈動、和電流。

DINO ( 廖銘和 )

2001-07-09T12:17:00.002+08:00

Artist︱ DINO

Once a member of the well-known band “The Clippers”, Dino is a representative of the Taiwanese second noise wave in the 90s’. His works demonstrate the noise movement in Taipei from the second half of the 90s, technically a transition towards pure analog electronic sound, a milestone to establish an independent aesthetics.

Dino uses extremely simple analog equipment to create electronic sound, loop were generated from circuitry noise, static, or microphone feedback, a sort of “Recycle Music”.

In recent years, Dino participates in experimental films and live music production for theater. He was awarded Best Sound Effects in Taipei Film Festival. Dino is particularly fond of British punk subculture and traditional Chinese classics, of which the influence can be found from his works.

Performance Introduction︱

An electronic sound internship of tape, feedback, and effect~ for a limited time only.

e-Mail︱dinoisome@gmail.com

演出者︱廖銘和 DINO

臺灣90年代噪音第二波代表人物，曾為知名團體「夾子」樂隊成員。他的創作標識著九零年代後半期臺北噪音運動在技術上走向純類比電子，在內涵上建立獨立美學之里程碑。

DINO的電子音響來自於極其簡陋的模擬器材，利用線路雜音、靜電或麥克風回饋建立迴圈回路，在無音源的狀況下創造「買空賣空」的「再生音樂」（Recycle Music）。

近年來DINO參與實驗電影、小劇場現場配樂製作，曾獲臺北電影節最佳音效獎。DINO對於英倫龐克文化及中國古典文化研究著力甚深，這些影響當可見於其作品之中。

表演簡介︱

錄音帶、回饋與效果器的電子音樂實習～限量回饋。

HUANG, Chung-Ying ( 黃鐘瑩 )

2001-06-04T10:18:00.002+08:00

Artist︱HUANG, Chung-Ying

Currently engaged in sound and music production.Being curious about the various sounds around life, recently attempts to explore the possibilities of the dialogue between the sounds and the living spaces.

Performance Introduction︱

Irresponsible Audio Investigation Reporting ─ codename: Nan-Hai 001

This is not a regular show;There is no complete exposition,

Just a purely imaginative little action, which only exists in the brain.

e-Mail︱huang.chungying0503@gmail.com

Website｜chung-ying.blogspot.com

演出者︱黃鐘瑩

目前從事聲音與配樂製作。對於生活週遭的各類聲響感到好奇，近來試圖探求聲音與生活空間對話的可能性。

「如果創作能夠描繪出些什麼；我希望在過程中，試著讓自己及他人重新體驗腦海裡，那些可見與不可見的風景。」

表演簡介︱不負責之聲音調查報告 ─ 行動代號：南海001

這不是一個正規的表演；

也沒有完整的論述，

只是一種存在於顱內的、純粹想像式的小小行動。

Monkey Sun

2001-06-04T10:09:00.003+08:00

Artist︱Monkey Sun

Performance Introduction

[From nowhere but exists called nature/ Formed from nothing but finely exists called good fortune]

[Awaring of its white but staying in its black, then could make the model of the world, behaving decent but never change, then could be a part of humble nothing]

Website｜http://about.me/monkeysun

演出者︱Monkey Sun

表演簡介

[無自而然謂之自然/無造而化謂之造化]

[知其白守其黑為天下式常德不忒復歸於隱無]

GUAN, Tin come! DAI, Hong-Mao come! JHANG, Jia-Hong come! LU, Farm come! ( 關亭來了! 戴紅瑁來了! 張家鴻來了! 魯芳來了! )

2001-04-27T14:13:00.004+08:00

Artist︱GUAN, Tin come! DAI, Hong-Mao come! JHANG, Jia-Hong come! LU, Farm come!

We create another identity, different from then, to depart from the concept “split” and “duplicate”. Disguising in the false identity, to unfold the unknown concealed under the appearance. We are not a fixed organization, different combination may exist by each performance. Our approach is based on a core concept – to try everything that is hesitated or forbidden from the Self.

Evading the original logic, no confining of yourself with any rules, just enjoy and make the most of it.

Performance Introduction︱

Ultraman “The scrambled egg with tomatoes today tastes shit!!!”

Ninja Turtles “I love sewer!”

Sailor Moon “Yeah~That’s the light!”

Batman “That’s explosive, don’t you wanna watch it?”

Everybody come, jump and shout, together, all together. Come! Come! Come! Come!

e-Mail︱hi.hi.come.come@gmail.com

Website｜hihicomecome.tumblr.com

演出者︱關亭來了! 戴紅瑁來了! 張家鴻來了! 魯芳來了!

我們創造了另一個身分,別於以往,從[分裂]、[複製]這個概念出發,

用另一個偽造人的身分,展現隱藏在表面之下一些不為人知的狀態,

我們不是一個固定的團體,也許隨著每一次的表演可能會有不同的組合,

但秉持著一個主要的概念往下走,嘗試一個本尊有所顧忌的事情,

跳脫原本自身的脈絡,不給自己一個框架,盡情的享受。

表演簡介︱

鹹蛋超人:「今天的番茄炒蛋好難吃!!!」

忍者龜:「好喜歡下水道!」

月光仙子:「阿!就是那個光!」

蝙蝠狹:「好爆炸，不看嗎?」

大家一起來跳一下叫一下,一起一起,come!come!come!come!

CHANG, Yung-Ta ( 張永達 )

2001-04-27T14:01:00.010+08:00

Artist︱CHANG, Yung-Ta
Taipei based sound artist. His works take on a variety of forms such as Audio-Visual, experimental sound, installations and live performances. He composes time-based sculpture with field recording sources where the exquisite and violent coexist. He tries to combine minimal, ambient and complexities and find the possible. His visual work developed according to the audio’s original data and its micro unit. In recent years, he also collaborated with independent dancers and visual artists and has performed in many countries.

Performance Introduction︱s light
Which one you think is faster, sound or light?
Can you tell the subtle nuances?
Let us try.

e-Mail︱onedotzeroyt.c@gmail.com
Website｜changyungta.blogspot.com

演出者︱張永達
目前生活和工作於台北，其作品包含多種形式，像是聲音-影像，實驗聲響，裝置和現場演出。在聲音的創作中，以時間性雕塑的方式將環境錄音和數位調變的素材以細膩中帶點暴力的處理方式共存著，並試圖在極簡、環境和複雜之間找尋可能性與平衡。在視覺上，以根據聲音原始資料和其極微小的單位所構成的結構發展其自身的影像語言和質感。近年來開始與舞蹈和其他領域的藝術家合作並於台灣和多個國際藝術節演出。

表演簡介︱s light
你覺得聲音跟光哪個快？
細微的變化你能察覺嗎？
讓我們試試看。

Fujui Wang ( 王福瑞 )

2001-04-06T01:46:00.008+08:00

Artist︱Fujui Wang

Fujui Wang, Head of the Trans-Sonic Lab in center for art and techology of Taipei National University of the Arts, specializes in sound Art and Interactive Art. Fujui Wang is the pioneer of Sound Art in Taiwan, who established the first experimental sound zine/label NOISE/Taiwan in 1993.

In 2000 Wang joined ETAT and initiated BIAS Sound Art Exhibition and Sound Art Prize in the Digital Art Awards Taipei. His arts activities contribute to enhancing Sound Art as a new genre in Taiwan's art scene. He has curated The Digital Art Festival Taipei and "TranSonic" sound art festival. Fujui Wang is dedicated to making and promoting Sound Art and Digital Art creativity in more than a decade.

Performance Introduction︱Inaudible Sphere

e-Mail︱fujuiwang@gmail.com

Website｜www.soundwatch.net

演出者︱王福瑞

目前為台北藝術大學「藝術與科技中心 (Center of Art and Technology)」未來聲響實驗室主持人。主要專長為聲音藝術、互動藝術。1993年成立台灣第一個實驗音樂廠牌和刊物「Noise」，2000年加入「在地實驗」，是台灣媒體藝術發展中少數以團體實驗室方式進行數位藝術的實驗、實踐與探討，是早期少數以即時互動為主的創作實驗團體，並推動「異響 /Bias」聲音藝術展與「台北數位藝術獎」聲音藝術類別，將聲音藝術推展成國內數位藝術具有特色的領域。近年策展「台北數位藝術節」，2008年起策劃「超響」聲音藝術展演，帶動國內新一波數位藝術發展。近十多年來一直致力於聲音藝術、數位藝術的創作與推廣。

表演簡介︱Inaudible Sphere

Empty Space On A Chessboard ( 棋盤上的空格 )

2001-04-06T01:40:00.002+08:00

Artist︱ Empty Space On A Chessboard

Empty Space On A Chessboard is an audiovisual group initiated by if. and xarkray since 2010. E.S.O.A.C. focus on the live performance which presents by the combination of Electronic / IDM / Ambient music, sound and visual projection. Likewise, the group provides the audience with a sense - challenging experience.

Performance Introduction︱"Home" project

The materials were sourced from the sound and voice all over Taiwan, accompanying images captured from place to place in Taiwan.

The overall presentation of the work is to implement sound-design technology accompanying electronica music and the concept of soundtrack from movie/TV, with post production of digital visual art.

e-Mail︱esoacband@gmail.com

Website｜indievox.com/esoacband

演出者︱棋盤上的空格

棋盤上的空格是一個電子音樂/影像團體，成立於2010年，由 xarkray 和 if. 共同組成，現場表演以大型影像投影/播放並結合音樂演出為主。E.S.O.A.C.音樂曲風為Electronic / IDM /Ambient 並配合視覺藝術與短片穿插進行，帶給觀眾不同的視覺與聽覺感受。

表演簡介︱"Home" project

素材來自蒐集台灣各地的聲音及聲響並搭配拍攝台灣各地的影像片段。

作品整體表現，利用聲音設計技術搭配電子音樂類型曲風以及電影電視配樂編曲觀念，並搭配上數位視覺藝術概念所後製呈現。

Reiruof ( 葉立傅 )

2001-03-03T18:08:00.003+08:00

Artist︱ Reiruof

Fourier transform is a mathematical operation that transforms one complex-valued function of a real variable into another. It is largely applied to physics, acoustics, optics, structural mechanics, number theory, combinatorics, probability theory, statistics, signal processing, cryptography, oceanography, communication…etc. For example, on signal processing the Fourier transform decomposes signal into amplitude and frequency.

Well, you think dog in reverse makes it God?

Performance Introduction︱

∞

f(x) = ∫　 (A(u)*cos(ux) + B(u)*sin(ux)) du

-∞

演出者︱葉立傅

傅立葉轉換是一種線性的積分轉換。在物理學、聲學、光學、結構動力學、數論、組合數學、機率論、統計學、訊號處理、密碼學、海洋學、通訊等領域都有著廣泛的應用。例如在訊號處理中，傅立葉轉換的典型用途是將訊號分解成幅值分量和頻率分量。

但是你以為把狗倒過來就會變神嗎？

表演簡介︱

∞

f(x) = ∫　 (A(u)*cos(ux) + B(u)*sin(ux)) du

-∞

Sounds like O.range ( 聽起來好橘 )

2001-03-03T17:55:00.010+08:00

Artist︱ Sounds like O.range
It looks pungent
Tastes deep as bass
Touches more than saturated
Smells pain

It sounds orange, creating a thread between sight and hearing.

Performance Introduction︱ Effect
Many tend to acquire belongingness by being all alike, forgetting the necessity of being different. To feel secure, 100 people have become a single unity, disguised in the same appearance, making the same decision.

100 people should have 100 faces, conflict and discord shall exist.

e-Mail︱o.range.sounds.2O11@gmail.com
Website｜soundslikeOrange.com

演出者︱ Sounds like O.range（聽起來好橘）
看起來很刺鼻
吃起來很低沈
摸起來很過飽和
聞起來很痛

聽起來好橘，創造視覺和聽覺的連串

表演簡介︱影響
人們會因為"一樣"而有歸屬感，漸漸遺忘"不一樣"的必要，為了安全，多數決將100個人變成1個人，用同一種面貌，做了同一個決定。
但100個人就該有100種樣子，就該存在一些不和諧的畫面與聲音。

Mr. Matrix ( 矩陣先生 )

2001-01-15T19:20:00.003+08:00

Artist︱Mr. Matrix

Both of them study in Graduate lnstitute of New Media Art, Taipei National University of the Arts. They are active in trying every possibility to combine sound and image.

Experience

2010 National Taiwan Museum of Fine Arts DREAM｜MERSION - Cyclorama Digital Art Creation Series from the Society for Arts and Technology, Canada

2010 Performance in Taipei Contemporary Art Center

2010 Sound Bits Huashan Creative Park Leacy Performance with tickets selling

Performance Introduction︱Maybe Pythagoras figured this way

It’s not like what we did before which we used [noise~] to make unharmonious sound. We try to give each acoustical generator the possibility to be completed by others this time. So we set some rules as responds to Pythagorean theory, every sound can be reasonably matched.

Besides, in our performance, we break the rule that the images were controlled by the sounds. We control the images and make group behavior in a hypothesized world bring some relative consonance in the real world.

Performance Introduction

mixer + tape + contact mic+ pedals = no-input

Website︱kickowang.blogspot.com

Website︱jzzxh.piano-forever.com/bo-blog/

演出者︱矩陣先生

兩人目前皆在北藝大新媒體研究所就讀中，積極嘗試聲音與影像結合的各種可能。

過去經歷

2010 國立台灣美術館沉浸之境加拿大SAT中心360度環景數位影像表演 2010 當代藝術中心演出

2010 Sound Bits 華山創意園區Leacy 售票演出

表演簡介︱也許畢德哥拉斯如此解

有別於以往用[noise~]來製造不合和諧的噪音

這次我們試圖在每一個獨立的發聲物件上，都賦予單一被眾多完整的可能

所以我們訂定了些許規則來回應老畢的和諧理論，讓每個聲音都能夠被合理配對。

並且在表演中脫離以往聲音主控影像的慣例。我們操控影像，

讓虛擬世界的群體行為，都能夠在真實空間中產生相對共鳴。

ZHANG, Yo-Sheng ( 張又升 )

2001-01-15T18:14:00.006+08:00

Artist︱Zhang, Yo-Sheng

Zhang is the host of Kandala Records, a modern noise brand in Taipei, also the planner of “NOISE80000V” in the brand festival (it will be held in Aug, 21th and 22th this year). He is a noise musician and the impromptu guitar player in Jump Off Overpass, and performed several times in Nanhai Gallery. His works include Taiwan Free Sound disc 2, published by KR, and an upcoming personal noise album “Spry”.

Performance Introduction

mixer + tape + contact mic+ pedals = no-input

e-Mail︱misrecognition@gmail.com

Website︱kandalarecords.tw

演出者︱張又升

台北前衛噪音廠牌旃陀羅唱片 (Kandala Records: http://kandalarecords.tw) 主持人，廠牌音樂祭 "噪音八萬伏特" (NOISE80000V) 策劃人 (今年 8/21、8/22 舉行)。噪音樂手，跳天橋 (Jump Off Overpass) 即興吉他手，曾多次在南海藝廊演出，作品可見於 KR 發行的 Taiwan Free Sound 雙 CD 合輯 (disc 2)，以及即將發行的首張個人噪音專輯 "活潑" (Spry)。

表演簡介

mixer + tape + contact mic+ pedals = no-input

HSU, Hsun-Hsiang ( 許巽翔 )

2001-01-07T23:50:00.016+08:00

Artist︱HSU, Hsun-Hsiang

Born in 1990, he is now studying architecture in Shih Chien University and cautiously

exposing his life to the world, in Taipei. He drowned himself into self- repression and

disintegration with too much doubt.

This is his debut.

Performance Introduction︱No Sense

Anyone could be like this when falling into a circumstance of searching infinitely and boundlessly. You watched it as a bystander with a stone-cold gaze, to summon the instinct out of a creature, to have yourself drawn out of the self.

Your pupil softened, became a square and deformed. Your cochlear nuclei disappeared. Now, can you hear it more?

e-Mail︱bapehsiang@hotmail.com

Blog︱piebee.blogspot.com

演出者︱許巽翔

1990年生，正小心涉世於台北市

目前就讀於實踐大學建築設計學系

過多的質疑加上些許的淹沒

仍在自我壓抑和崩壞中

初次公開演出

e-Mail︱bapehsiang@hotmail.com

Blog︱piebee.blogspot.com

表演簡介︱No Sense

當無止盡追求時誰也是這樣

冷眼看著事不關己

勾出那種生物本能中的本質

拉出來後的好像有點出竅

瞳孔變方變畸形變軟了

耳蝸神經都不見了

聽的會比較多嗎？

YAO, Chung-Han ( 姚仲涵 )

2001-01-07T17:01:00.011+08:00

Artist︱YAO, Chung-Han

Born 1981 in Taipei, Taiwan. YAO devoted himself to sound, installations and live performances. His works showed the dialogue between lights and sounds, trying to evoke the sense of the bodies of audiences. Fluorescent tubes and laser were constantly used in YAO’s works as the form of lights.

As an active emerging sound artist, YAO founded “i/O Lab.” to organize sound performance events including “Nan-Hai Sound”, “Lacking Sound Festival” and “U*SOUND” since 2005. These events gave young sound artists a stage, also brought more audiences into this field in Taiwan.

In 2008, YAO was awarded Sound Art Prize at Digital Art Festival Taipei (Taiwan). He also gained international praises, constantly performed and exhibited in several Asian cities and Europe. He was invited by "The 4th Fukuoka Asian Art Triennale" (2009, Japan), "NTT ICC - Emergincies!014" in Tokyo (2010, Japan), "STEIM - Massive Light Boner" in Amsterdam (2010, Netherlands).

YAO was graduated from Graduate Institute of Arts and Technology, Taipei National University of the Arts. Now He lectures at Architecture Department, Shih Chien University as an Adjunct Instructor where he earned a bachelor’s degree.

Performance Introduction︱LLSP (Laser-Lamps Sound Performance)

Anxiety is a physical condition.

Symptoms appear in your body, disorderly.

You call it out of control, or a release from the restraint…

How to write a code to command your body ?

e-Mail︱yao@yaolouk.com

Website︱www.yaolouk.com

演出者︱姚仲涵

1981年生於台北，國立臺北藝術大學科技藝術研究所藝術碩士畢業，擅長聲音及空間裝置藝術。2005年發起聲音組織「i/O Lab.」，策劃臺灣年輕創作者的演出計畫如「南海啥聲」、「失聲祭」、「聯音計畫」，致力推廣臺灣聲音藝術文化的向下紮根，為臺灣十分活耀之聲音藝術家。2008年曾獲台北數位藝術節聲音藝術首獎，並受邀參與2009年日本「福岡亞洲藝術三年展」、2010年日本「NTT ICC - Emergencies!014」、2010荷蘭「STEIM - Massive Light Boner」，近年創作多次發表於亞洲各城市與歐洲。

作品及表演透過日光燈與聲音之間的對比，觸發觀者對自身身體感的想像。

目前為專職藝術創作者與實踐大學建築設計學系兼任講師。

表演簡介︱LLSP (Laser-Lamp Sound Performance)

焦慮是一個非常身體的狀態

身體出現一些無法控制的細節

不知道是身體失控了,還是身體自由了....

控制身體的語法該怎麼撰寫？

Nirvāṇa + 0xA ( 陳沛元+李駿 )

2000-12-24T10:55:00.090+08:00

Artist︱Nirvāṇa（Chen Pei-Yuan 陳沛元）

Department of Communications Design, Shih Chien University. The winter trip to India in 2009, he visited the holy land and holy river in his mind. He was carried away by its philosophy, music, and art, so he has been studied Indian classical music and sitar. In these days, he also tried some electronic sound works to find a new body and appearance for ancient soul.

e-Mail︱xoxoyyo@hotmail.com

Artist︱0xA( LEE, Chun )

LEE, Chun is a sound artist based in UK and Taiwan. With a background in classical music, he became increasingly drawn into contemporary music and electronic arts. This fascination with modern technologies brought him to study Sonic Arts at Middlesex University, where he gained his doctorate degree.

His current interests including developing sustainable pratices through free software, creating custommade electronic sound instruments and the studying of geometric patterns in various traditional cultures. He is also an active member of GOTO10 and Openlab, two international collectives devoted to free software and art.

Website︱sonicvariable.goto10.org

e-Mail︱chun@goto10.org

Performance Introduction︱ Nan-Hai . Appreciate sound

Both fascinated by traditional Indian culture, Pei and Chun started their art experimentations soon after they met in a circuit bending-workshop in 2010. The first of these results is a musical duet between them, mixing Indian Ragas and Pd Patches, sitar and noise circuits, sympathetic strings and pulse wave modulations.

演出者︱陳沛元

實踐大學媒體傳達設計系。2009年冬季的印度旅行，探訪了心中的聖地與聖河，心醉古國的哲學、音樂、藝術，開始學習印度古典音樂以及西塔琴。近些日子也開始嘗試電子聲響的創作，嘗試為古老靈魂找到新的身體與面貌。

演出者︱李駿

李駿是一位數位藝術工作者。自從 2004 年起，他將創作完全投入於對於自由軟體在數位藝術上的研發及推廣。他是法國非營利新媒體藝術組織 GOTO10 的一員以及倫敦 OpenLab 創始者之一。他在許多相關藝術節演出以及自由軟體技術的教授，同時也在 2008 年於英國取得electronic/sonic arts 博士學位。

表演簡介︱南海.觀音

工作坊中相識，沛元與李駿因為共同於印度文化的學習而產生了這次演出的發想。西塔琴與電子聲響的實驗。將電子聲響包函在印度古典音樂Raga的旋律結構當中，也為西塔琴的音色融入脈衝調變的可能性。試著將兩者合一，並與大家於南海一同觀音。

LUPONEGRO YINGFAN PSALMANAZAR aka HUANG Dawang ( 黑狼姚映凡 a.k.a. 黃大旺 )

2000-12-24T10:49:00.024+08:00

Artist︱LUPONEGRO YINGFAN PSALMANAZAR aka HUANG Dawang

Begins bedroom recordings since 1991, under influences of The Velvet Underground, Einstuerzende Neubauten, and Geinou-Yamashirogumi(i.e. OST"AKIRA"). Recordings broadcasted at Taipei's classic radio station in 1997. Live performance since 2002, he plays various instruments, electronics, laptop and junks in Taipei, Taichung and Kaoshiung.

During his abroad study years(2004~10), Yingfan get connected with Osaka's underground/noise scene, and performed with various artists and musicians in various fields. Yingfan's works appear on several compilations such as“LOBO 2”, “B!AS sound arts”, “C.U.E. COMPILATION 2”, “TAIWAN FREE SOUND”, etc.

Performance Introduction︱LUPONEGRO YINGFAN PSALMANAZAR solo

When I was not on stage before, I had got so much wishful thinking, and there was no any result. Afterwards, I got on stage, and there was once my musical instruments were too many to be carried, so I thought of gathering topics and centralizing the table of organization. In the recent years, I don’t even think about presenting specific concept, instead, I think immediately how to continue after the first sound appears. Someone asked me if I am oppressive, I can only respond with a forced smile.

Website︱http://www.facebook.com/yingfan

演出者︱黑狼姚映凡 a.k.a. 黃大旺

受到日本動畫長片「AKIRA」配樂（演奏：藝能山城組）、Velvet Underground與Einstuerzende Neubauten影響，高中時代開始在臥室錄製噪音，1997年首度於「台北愛樂電台」發表噪音作品。2002年起以各種名義與編制，於台北、台中、高雄現場演奏，內容包括懷念老歌、淨化歌曲、歪歌、脫口秀、電子音響拼貼、冷笑話、民謠大爆炸等。

2004～10 年旅日留學期間，開始與日本地下音樂與噪音圈密切往來，並於大阪、神戶等地不定期演奏。

宅錄作品收錄於「蘿蔔二代」、「異響 bias 2003聲音藝術展」、「C.U.E. COMPILATION 2」、「An Anthology of Chinese Experimental Music 1992-2008」、「TAIWAN FREE SOUND」等合輯中。另有自主製作音源近一百款，流傳於網路與噪音愛好者間。

表演簡介︱黑狼solo

以前還沒實際上台表演的時候，心存太多妄想，沒有任何結果。後來不但上得了台，一度演奏的樂器還多到搬不動，才想到集中主題跟集約編制。最近幾年甚至不再想表現什麼特別的觀念，上台發出第一聲後，才在想要怎麼接下去。有人問我是不是平常就很壓抑，我只能苦笑。

CHEN, Jian-Bang ( 陳建榜 )

2000-12-14T14:28:00.002+08:00

He was born in 1985, graduated in National Taipei University of Education, was major in trumpet. He is now studying Multimedia and Music Art in Institute of Music, National Chiao Tung University. Currently he focuses on three prospects of creation: multimedia interactive music theatre works, electronic sound arts, and film and drama music study.

Performance Introduction

Existence and Vanishment

Time keeps flowing, whether we have noticed it or not, we always experience the process of changing, it may be cells’ metabolism between seconds and minutes, somehow in the long-term, it becomes the alternation of generation. By using the sound of piano, pendulum, and breath as basic source material, also, using prepared sound, microphone, and webcam by max/msp interactively to discuss the core concept – existence and vanishment.

conquerorsben@hotmail.com

生於1985年。畢業於國立台北教育大學音樂系主修小號，現就讀交大音樂所多媒體音樂創作組。目前在專注在三個面上之上創作：多媒體互動音樂劇場作品、電子聲音藝術、電影與戲劇音樂研究創作。

表演簡介

存在與消逝

時間不停的流動,不論是否察覺,我們總是不斷經歷消長的過程，分秒之間可能是細胞的代謝,拉長之後卻是世代的更迭。以鋼琴的聲響和鐘擺、呼吸聲為基本素材，並以預置聲響及麥克風和視訊在max/msp平台下以互動的方式探討核心概念－存在與消逝。

CHANG, Yung-Ta ( 張永達 )

2000-12-14T14:11:00.002+08:00

He currently lives and works in Taipei, whose works contain various types, such as sound-image, experimental sound, device and on-site performances. In his sound works, by the way of timeliness sculpture, he records the sounds from environment and digital varied sources and let the exquisite and violent elements co-exist. He tries to find the balance and possibility between simple, environment and complex. Visually, by sound-based original data and extremely tiny unit structure, it develops the visual language and quality itself. In recent years, he has started to cooperate with dancers and artists from other fields and performed in many art festivals in Taiwan and other nations.

Performance Introduction

[in/ scope]

Beside hearing and visual perception, what else are there?

Have you ever noticed tiny changes,

Seems have known, but not really.

Sensation doesn’t need words to describ,

Sound doesn’t need words to explain.

The pleasant sensation after enlarging, as prosthesis of perception,

Enjoy the feeling of being dominated,

Try to make up for the desire after the degeneracy.

changyungta.blogspot.com

onedotzeroYT.C@gmail.com

目前生活和工作於台北，其作品包含多種形式，像是聲音-影像，實驗聲響，裝置和現場演出。在聲音的創作中，以時間性雕塑的方式將環境錄音和數位調變的素材以細膩中帶點暴力的處理方式共存著，並試圖在極簡、環境和複雜之間找尋可能性與平衡。在視覺上，以根據聲音原始資料和其極微小的單位所構成的結構發展其自身的影像語言和質感。近年來開始與舞蹈和其他領域的藝術家合作並於台灣和多個國際藝術節演出。

表演簡介

[in / scope]

在聽覺和視覺感知範圍內外，還有什麼？

可曾注意到細微的改變，

似曾相識，卻不盡然。

感官不需要言語敘述，

聲音不需要文字解釋。

放大後的快感，作為一種感官的義肢，

享受被主宰的感覺，

試圖彌補退化後的渴望。

Lacking Sound Fest. 失聲祭

LSF 57

CraftWeak Lite

LSF 56

CHENG Wen ( 成文 )

KER, Ing-Yu ( 柯盈瑜 )

LSF 55

Dawang Yingfan Huang ( 黃大旺 )

WU Ping Sheng ( 吳秉聖 )

2012 失聲祭演出表

LSF 54

LSF 53

LSF 52

LSF 51：Sitting Outside of Lucier’s Room

LSF 51：坐在路希爾的房間之外

LSF 51 video

LSF 51

Strange but inexplicable swinging rhythm --- let the ears fall for Lacking Sound Festival’s new experience

感覺陌生卻想莫名搖擺的律動 ——雙耳掉入失聲祭新體驗

LSF 50 video

LSF 50

To be Continued: Four Years of Lacking Sound– New ideas and consistencies in Listen 49

失聲四年 未完待續──兼談Listen 49中的堅持與新意

LSF49 video

LSF Support " Taipei-Fukushima Connection: Feedback Machines (KRG Special Issue #01) "

LSF 49

Announcing a Rite of Losing Audio Virginity: Thoughts on Lacking Sound and Listen 48

昭告聲音失身之祭典—淺談與Listen 48

LSF 48 video

LSF 48

重返聽覺版圖的唯心與唯物（非二元）論 —失聲祭LSF 47聽後

LSF 47 video

SAINT

LSF Schedule

LSF 47

Txt for LSF 46 - How should the capitalization of time resist becoming the violent trap of sound?

記 失聲祭 L46 - 如何不讓資本化的時間成為聲音最暴力的陷阱？

LSF 46 video

LSF 46

LSF 45 video

essay for LSF 45

記失聲祭 Listen 45

LSF 45

肉身交託 無路可退——失聲祭44

That's No Way to Go: Giving Your Body Over to the Telecom Lacking Sound Festival 44

LSF44 video

LSF 44

LSF43 video

essay for LSF 43

記失聲祭LSF 43

LSF 43

Statement 2011

表述 2011

2011 LSF Schedule

LSF42 video

LSF 42

LSF41 video

LSF 41

Mr. Matrix (矩陣先生)

LEE, Po-Tin ( 李柏廷 )

Traffic Jam

HSU, Yen-Ting ( 許雁婷 )

Statement 表述 2009

Statement 表述 2008

Statement 表述 2007

LSF plug-in

Minkoku Hyakunen ( 民囯百年 )

Chen Pei Yuan (陳沛元) & Wang Wen Yu (王文瑜)

Samson Young ( 楊嘉輝 )

WU Ping Sheng ( 吳秉聖 )

Lai Ho Wan ( 賴火旺 )

DomoNoise ( 多摸噪音 )

Jamie Allen ( 傑米‧艾倫 )

DINO ( 廖銘和 )

HUANG, Chung-Ying ( 黃鐘瑩 )

Monkey Sun

GUAN, Tin come! DAI, Hong-Mao come! JHANG, Jia-Hong come! LU, Farm come! ( 關亭來了! 戴紅瑁來了! 張家鴻來了! 魯芳來了! )

CHANG, Yung-Ta ( 張永達 )

Fujui Wang ( 王福瑞 )

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