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一座遠離海洋的島

澎葉生

第一階段:是在2020年夏天進行的田野工作,去探索島上的一些軍事建築空間,聽見它們獨特的聲音空間。聆聽行為傳遞出我們和某個場所的關係,紀錄則提供了分享介面,以及將該聆聽經驗細緻化的可能。接著回到工作室內:在音源場域情境外聆聽,擇選出其中片段。剪接意味著創造意涵。

以下影音是這個過程的成果:

An Island Far From The Sea 一座遠離海洋的島”

https://vimeo.com/446176346


後續階段:現地聆聽與聆聽經驗異地重建。

現地聆聽可能涉及與聲響空間的直接互動:觸發共震和回響。專注於聲音空間的物理性以及它對我們心理和身體狀態的影響。

而聲音的異地重建,可能是在中性的物理空間(例如視聽室或展出空間),但也可能是本身已具備特殊聲音質地的空間。“將建築的聲音收納在建築中”,有點像是俄羅斯娃娃。另外,有時一點攝影或文字元素的加入,能豐富聆聽情境,或提高吸引力、延續專注力。

Untitled project, Matsu 2020-2021
Yannick Dauby

First step : Field work, Summer 2020. Exploring abandoned military construction to hear their acoustic properties. Listening informs us about our own relation to place, recording allows sharing and re(de)fining the experience of listening.

Back to homestudio : listening ex-situ, selecting fragments. Montage implies creating significations.
The following video is a report and a statement :
An Island Far From The Sea 一座遠離海洋的島https://vimeo.com/446176346


Future processes : in-site listening & off-site reconstruction of listening experiences.

In-site listening might involve direct interaction with acoustical space : triggering resonances and echoes. Focusing on the physicality of sound spaces and its effect on our mental and physical state.

Off-site reconstruction of listening might involve installation in physical space intended to be neutral, such as gallery or auditorium, but also in spaces which have already special acoustic properties. Inclusion of sound of architecture in architecture not unlike Matryoshka dolls.

Sparse photography and words might help providing a context for listening, attracting and maintaining the attention.

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