LSF67 身體作為一種通往域外經驗的媒介

文／張品杰

關於聲音作為一種人類視覺文化的一種重要補述，或許我們可以從光作為人類文明開展起始的隱喻開始，有了光之後，知識的載體─文字與圖像才得以開展於眼前，但在我們的身體內部全是黑暗的，任何光線幾乎都不能穿透我們的皮膚照到身體內部空間，包含我們生命賴以維繫的心臟，以及我們所有人共同長成之處─子宮，生命初始，記憶之前，我們便早已用身體觸覺與存在於這個世界的空間展開首次接觸。如果你閉上眼睛、手掌貼於胸前微微發聲，胸腔共鳴震動便說明，是「聲音」抵達了那個黝黑潮濕溫熱，視覺光線無法抵達的身體內腔。作為2013年首場失聲祭，便從這種相對於理性文明難以言說、無可名狀的身體域外經驗開展。

LSF67

  

Lacking Sound Festival Listen 67
2013, January, 26 (Sat) ＠noiseKitchen
Entrance Time︱18:30 Starts Punctually At 19:00
Entrance Fee︱NT$.150(with drink)

Opening Artist︱Warrick TSAI

Artist︱Chimerik
with Guest Dancers︱LEE, Chieh-Hsin ＆ SU, Ping-Wen

Artist︱g•£•ø•m•€•†•€•r 

Warrick TSAI ( 蔡嘟 )

Opening Artist︱Warrick TSAI
The artist worked as software and hardware engineer, and participated ACM  International Collegiate Programming Contest, CGW computer graphics workshop.He would like to be a programmer originally, but he found his life turning point in digital art field by enlightments of two teachers.The artist now studies at new media institution of TNUA, and specializes in interacted installation, sound art performance, furthermore, he has been trying merge analog and digitalization in versatile ways.

Chimerik ( 似不像 )

Artist︱Chimerik
Chimerik is an interdisciplinary collective that’s named after the mythical creature “Chimera”. While inherent in their name, the collective seek to explore the permeable boundaries between various art forms and disciplines in order to constitute a new entity. Its team members come from various disciplines including film and sound art, graphic and web design, computer science and engineering.  Chimerik in a larger sense, is a vision, philosophy and imaginative environment that values creative technology and new media practices as important vehicles capable of bridging various art forms to construct new kinds of artistic engagement and language that’s transnational and transcultural.
Website｜www.chimerik.com
              http://www.facebook.com/chimerik

Performance Introduction︱Testone 2.2
Testone 2.1 is a live audiovisual piece that was rigorously created to envelop live music and physical elements like dance/movement so as to compose a larger whole. Testone—a new media performance application that we’ve programmed using the real-time video processing software—was originally created as an audiovisual instrument that seeks to generate fully synchronized images and sound with both manual controls and software algorithm. Therefore, the computer constantly generates values that are mathematically calculated creating simple forms of permutation and quantization in layers of sound and image. The performer, then, can freely manipulate the macro scale of control such as layering, intensity and speed. The marriage of the image and sound will always vary depending on the dialogue between the person and the computer.

g•£•ø•m•€•†•€•r (Kyle Kaplan)

  

Artist︱g•£•ø•m•€•†•€•r

g•£•ø•m•€•†•€•r is Kyle Kaplan. He is originally from Los Angeles, and has been living in Taipei since October of 2012. His work blends disparate emotional and textural elements, weaving soft ambiences with thick distortion, complex layers of percussion with delicate synths, nostalgic samples with abstract sound design. He has given multimedia performances under various monikers in Montreal, New York, Boston, Los Angeles, and Taipei.

Performance Introduction︱

g•£•ø•m•€•†•€•r’s performance originally consisted of custom software developed for complete integration between audio and video. In order to streamline the process of creating music, as well as create a level of transparency for the audience, g•£•ø•m•€•†•€•r’s present performance consists solely of hardware. The loop based sequencers being used allow for arranging, rearranging, manipulation and resampling in realtime, giving the performer a large degree of control over the presentation of his work.

The visual component is software custom built by the artist in Max/MSP/Jitter. The program stacks layers of simple 3D geometric shapes, with the colors being determined by processed video being mapped to the outside of the shapes. A number of audio parameters are arranged modularly to connect to various visual functions. Audio from the mixer is then sent directly to the program, analyzed and then used to control the available visual parameters. Random interpolation between presets created within this program allow the program to perpetually generate a new visual experience, leaving the performer free to focus on the audio.