9-1號放映室(Cinema 9-1)
#看到我請撕掉我
#Cinema9-1
歡迎來到「9-1號放映室(Cinema 9-1)」,我們將出租一段旅程。
喜歡畫畫。喜歡坐火車。喜歡旅行。喜歡紀錄。喜歡拍影像。喜歡舞動的身體。喜歡移動的感覺。
如果你也喜歡,那請你找找看台北市文山區或大安區的咖啡店、小吃店、社區中心是否有我們出租的痕跡,請你撕掉它的一小角,以它尋找用聲音換取旅行門票的方法。(或者經由我們下方的網站也可以喔!)
「9-1號放映室(Cinema 9-1)」由日常旅行出發,經由不同的紀錄手法將旅程轉譯為一段段故事與作品,呈現關於聆聽的方式、觀看的行為以及場景的變形。這個放映室相較自我又具有隱私性,由個人開始說故事。如果你認識馮紀涵、馮紀倫、蔣美喬、張庭甄、杜家駿,那你對這個放映室或許有點了解,也或許已經是放映帶的一部分,如果你不認識我們,那歡迎你來「9-1號放映室(Cinema 9-1)」一起旅行,當我們的旅伴,成為放映帶的一部分。
本趟旅程是全然的感知,聲音是一個悄然的背景,它被縮小,如同是旅程中火車緩緩運作的聲音。除了展覽外,這趟從德國、加拿大回到台灣的「The Moving Scenes」旅程邀請到表演者游雅竹、張芸爾、林祐暄開啟另一段故事。
本系列展演將於9/22-9/24於萬芳社區的一戶公寓展出。本展包含:馮紀涵的「移動窗景(The Moving Scenes)」系列作品、「聲音的狀態(The State of Sounds)」、杜家駿的「Bridging Our Times」創作紀錄片、張庭甄的作品「時間(Time)」,以及蔣美喬的「Cassette Tape」空間作品。
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Cinema 9-1:https://cinema-9-1.netlify.app/
(網頁建構中,將陸續更新作品資料及藝術家介紹)
#Cinema9-1
歡迎來到「9-1號放映室(Cinema 9-1)」,我們將出租一段旅程。
喜歡畫畫。喜歡坐火車。喜歡旅行。喜歡紀錄。喜歡拍影像。喜歡舞動的身體。喜歡移動的感覺。
如果你也喜歡,那請你找找看台北市文山區或大安區的咖啡店、小吃店、社區中心是否有我們出租的痕跡,請你撕掉它的一小角,以它尋找用聲音換取旅行門票的方法。(或者經由我們下方的網站也可以喔!)
「9-1號放映室(Cinema 9-1)」由日常旅行出發,經由不同的紀錄手法將旅程轉譯為一段段故事與作品,呈現關於聆聽的方式、觀看的行為以及場景的變形。這個放映室相較自我又具有隱私性,由個人開始說故事。如果你認識馮紀涵、馮紀倫、蔣美喬、張庭甄、杜家駿,那你對這個放映室或許有點了解,也或許已經是放映帶的一部分,如果你不認識我們,那歡迎你來「9-1號放映室(Cinema 9-1)」一起旅行,當我們的旅伴,成為放映帶的一部分。
本趟旅程是全然的感知,聲音是一個悄然的背景,它被縮小,如同是旅程中火車緩緩運作的聲音。除了展覽外,這趟從德國、加拿大回到台灣的「The Moving Scenes」旅程邀請到表演者游雅竹、張芸爾、林祐暄開啟另一段故事。
本系列展演將於9/22-9/24於萬芳社區的一戶公寓展出。本展包含:馮紀涵的「移動窗景(The Moving Scenes)」系列作品、「聲音的狀態(The State of Sounds)」、杜家駿的「Bridging Our Times」創作紀錄片、張庭甄的作品「時間(Time)」,以及蔣美喬的「Cassette Tape」空間作品。
*
Cinema 9-1:https://cinema-9-1.netlify.app/
(網頁建構中,將陸續更新作品資料及藝術家介紹)
The Moving Scenes
德國 -杜賽道夫(Düsseldorf)、法蘭克福(Frankfurt)、紐倫堡(Nürnberg)、海德堡(Heidelberg)
加拿大-蒙特婁(Montreal)
加拿大-蒙特婁(Montreal)
本趟旅程是全然的感知,聲音是一個悄然的背景,它被縮小,如同是旅程中火車緩緩運作的聲音。旅客不知道旅程的時長、旅程的方向、旅程的方式,及其目的地,直到最後一刻,舞者在旅程中不斷交錯、相遇、又分離之後,他們躺在各自的座位上,確認了火車的方向。「The Moving Scenes」系列展演以一系列的圖像、影像、聲音把變形的旅程展現於參與者前,配合杜家駿(Jia-Jun Toh)導演的紀錄片「Bridging Our Times」和一系列的文字與圖像作品(如德國海德堡場之合作藝術家、詩人蔡宛璇的有聲詩集「我想欲踮海內面醒過來」(2017)部分作品之中、德文版本),重新演繹日常的離去和歸來,被速度和時間變形後的樣貌。
「The Moving Scenes」體現了一個由紀倫(創作者之弟弟)獨特視角出發的感知旅行。這是一個日常於臺灣乘坐火車旅行的記憶,時間以及場景在火車行進時被速度變形,而這些變形使日常生活變得陌生化(Defamiliarization),帶來不同的觀點和感知,重新詮釋了我們在"扭曲的"日常生活中所看到和聽到的事物。
「The Moving Scenes」在台灣、德國、加拿大與來自不同領域、背景與文化的人合作,使用3D掃描(水平圖像轉錄)、Chronophotography 、身體語言、動作、舞蹈、音樂、電影和詩歌進行創作及展演。
「The Moving Scenes」體現了一個由紀倫(創作者之弟弟)獨特視角出發的感知旅行。這是一個日常於臺灣乘坐火車旅行的記憶,時間以及場景在火車行進時被速度變形,而這些變形使日常生活變得陌生化(Defamiliarization),帶來不同的觀點和感知,重新詮釋了我們在"扭曲的"日常生活中所看到和聽到的事物。
「The Moving Scenes」在台灣、德國、加拿大與來自不同領域、背景與文化的人合作,使用3D掃描(水平圖像轉錄)、Chronophotography 、身體語言、動作、舞蹈、音樂、電影和詩歌進行創作及展演。
Chi-Han Feng
Jia-Jun Toh Mikyo Sho Joanna Gruberska Eri Funahashi Geen Ewelina Zielonka Juan Miceli Santiago Lopez Tzu-Ning Liao Wan-Shuen Tsai Yi-Chen Shih |
Project coordinator, Sound and visual artist
Film artist Curator, Graphic designer Performer Performer Performer Performer Performer Erhuist, Composer Poet and Artist Stage designer |
Düsseldorf, Frankfurt, Nürnberg, Heidelberg, Germany Düsseldorf, Frankfurt, Nürnberg, Germany Heidelberg, Germany Montreal, Canada Montreal, Canada Heidelberg, Germany Heidelberg, Germany Düsseldorf, Frankfurt, Nürnberg, Germany |
The Moving Scenes with Side Story
Santiago: Juan.
Juan: Sí? Santiago: Hay trenes en Argentina? Juan: Sí, hay trenes en Argentina. 一場未知的旅程,未經排練、未經討論的一場真實旅程
既是乘客、亦是自己 似於舞台劇的故事敘述,從未知的旅途通往回家的道路 |
旁白(Side Story),敘述了由德國的展演一路到加拿大的演出,Joanna是德國四趟無止盡的旅程,如同主角重複又重複的乘著火車,無論是虛擬的旅程又或者是真實的。它在一塊布及其背景上一遍又一遍的重複著,剛搭乘列車的乘客用臉及他的雙手觸摸、推壓過去的時間,身體慢慢傾斜。時間會延遲也會變換,速度也在跟著改變。
場景的設置由兩個向度、六條軸線設置,將台灣、德國和加拿大的場景交織。 Juan和Santiago是兩個陌生的旅者,從南美洲的不同國家到來,在加拿大蒙特婁以兩條平行線相處,再突然的相遇,並在這一趟旅程一起回到家鄉。他們在旅程中來回的相遇與分離,並在過程中將身體的重量交予彼此,在知道對方身體的重量及溫度後,再將重量放回自己身上。 |
Special thanks to Alexandra Cheimanoff, Aileen Treusch, Anna Butter, Barbara Mittler, Chi-Lun Feng, Chih-Kai Wang, Chu-Yueh Kao, Hanno Lecher, Huai-Chien Kuo, I-Fang Kao, Martin Gieselmann, Mathis Hauter, Mijail Alexei, Meng Sun, Ngai-Chiu Fung, Petra Thiel, Rami Ismail, Sebastian Vogt, Shu-Ping Lee, Tom Soltysek, Wen-Huei Cheng, Ya-Zhu You, Meng-Fu Kuo, Samuel Gustinvil and all the coordinators from Uncommon Senses IV
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Reality of Deformation
變形的真實:孤絕下的感知差異
請按上方連結轉至專案頁面^
“特殊身份”的概念越來越受到關注,每個人都被視為⼀個特殊的個體,但我們經常侷限於社會框架,成為被社會摒棄的孤絕者。
「變形的真實:孤絕下的感知差異」由六個場景之旅程開始-由台南至高雄的 377 次 EMU3000 型自強號及新左營至保安和保安至台南的區間車,期間共拍攝餘兩千張相片、錄製約20部影片,並區分為六個場景(六幕劇): 1. The Leaving Train 2. Seated Reflection 3. The Moving Scene 4. The Station with Passing Trains 5. The Moving scene 6. The Train Coming Back。身體語言轉譯創作由台灣舞蹈藝術家游雅竹、新加坡駐德影像藝術家杜家駿協同創作。
「變形的真實:孤絕下的感知差異」由六個場景之旅程開始-由台南至高雄的 377 次 EMU3000 型自強號及新左營至保安和保安至台南的區間車,期間共拍攝餘兩千張相片、錄製約20部影片,並區分為六個場景(六幕劇): 1. The Leaving Train 2. Seated Reflection 3. The Moving Scene 4. The Station with Passing Trains 5. The Moving scene 6. The Train Coming Back。身體語言轉譯創作由台灣舞蹈藝術家游雅竹、新加坡駐德影像藝術家杜家駿協同創作。
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Sensory Overload of Sounds
Oct. 2019-Nov. 2020
Frankfurt, Germany
AIV Prize (Architekten - und Ingenieur - Verein) / Master Thesis Project
Architecture / Experiment / installation / Autism Spectrum Disorder / Art
Thesis Advisor : Prof. Ulrika Karlsson
Tutor : Anna Arlyapova, Yeon Joo Oh
Special thanks : Prof. Johan Bettum, Stefan Wieland, Engineer. I-Ming Hsu
Frankfurt, Germany
AIV Prize (Architekten - und Ingenieur - Verein) / Master Thesis Project
Architecture / Experiment / installation / Autism Spectrum Disorder / Art
Thesis Advisor : Prof. Ulrika Karlsson
Tutor : Anna Arlyapova, Yeon Joo Oh
Special thanks : Prof. Johan Bettum, Stefan Wieland, Engineer. I-Ming Hsu
「Sensory Overload of Sounds(聲音的感官超載)」用一系列研究、實驗及裝置探討人在自我意識下和環境相互干預後的感知,其所產生的認知差距、真實與虛幻空間中產生的聲音感知。
「聲音的感官超載」探索了建築的聽覺維度,通過對特定建築內部元素和物件進行實驗性探索,並藉由多次展覽邀請參與者與之互動,參與建築空間因聲音變形後幾乎無形的邊界漫遊。 從與我被診斷為自閉症之兄弟相處及在特殊教育學校當志工的經驗及研究中,我發現他們有著獨特的方式來解讀聲音和行走,他們時常沿著牆壁或物件行走,這或許是他們塑造空間和應對世界的方式。它雖是由個人的經驗產生的作品,非常地個人化卻也引起同理現象,改變了我們對建築和自我的日常理解。
甚麼是聲音感官?
在1950年代,John Cage 曾在參觀完一個無響室(Anechoic Chamber)後說道:「Therefore, even if I remain silent, I was, under certain circumstances, musical」;而Iannis Xenakis在 1958年布魯塞爾世博的Philips Pavilion將炭火燃燒的聲音切片、變形重新將聲音移動「lines of sound moving in complex paths from point to point in space, like needles darting from everywhere」;Alvin Lucier的「I am sitting in a room」將聲音疊家、反覆的錄製,其所產生的聲音展現出的空間樣貌,空間本身的共鳴和音調;又或者在2007年所出版的The Reason I Jump: One Boy's Voice from the Silence of Autism,由自閉症日本作家東田直樹(Naoki Higashida)在13歲時所書寫,他曾提到「While they see an object, they look the details first; while they listen to the others, they are looking at the voice with all of their sense organs. Further, their memory is not linear. It is more like a pool of dots. They always have to pick up the dots」。聲音有著多種樣態,從建築或空間的角度,在設計上往往是將聲音降低並隔絕,而在「聲音的感官超載」中,人們重新有機會"觸摸"聲音,從上個世代德國家庭常用的壁紙以及有著門、窗、木板的日常家居房間,設置系列實驗與裝置,讓聲音的感官超載喚起參與者對於聲音的記憶和感知。
「聲音的感官超載」探索了建築的聽覺維度,通過對特定建築內部元素和物件進行實驗性探索,並藉由多次展覽邀請參與者與之互動,參與建築空間因聲音變形後幾乎無形的邊界漫遊。 從與我被診斷為自閉症之兄弟相處及在特殊教育學校當志工的經驗及研究中,我發現他們有著獨特的方式來解讀聲音和行走,他們時常沿著牆壁或物件行走,這或許是他們塑造空間和應對世界的方式。它雖是由個人的經驗產生的作品,非常地個人化卻也引起同理現象,改變了我們對建築和自我的日常理解。
甚麼是聲音感官?
在1950年代,John Cage 曾在參觀完一個無響室(Anechoic Chamber)後說道:「Therefore, even if I remain silent, I was, under certain circumstances, musical」;而Iannis Xenakis在 1958年布魯塞爾世博的Philips Pavilion將炭火燃燒的聲音切片、變形重新將聲音移動「lines of sound moving in complex paths from point to point in space, like needles darting from everywhere」;Alvin Lucier的「I am sitting in a room」將聲音疊家、反覆的錄製,其所產生的聲音展現出的空間樣貌,空間本身的共鳴和音調;又或者在2007年所出版的The Reason I Jump: One Boy's Voice from the Silence of Autism,由自閉症日本作家東田直樹(Naoki Higashida)在13歲時所書寫,他曾提到「While they see an object, they look the details first; while they listen to the others, they are looking at the voice with all of their sense organs. Further, their memory is not linear. It is more like a pool of dots. They always have to pick up the dots」。聲音有著多種樣態,從建築或空間的角度,在設計上往往是將聲音降低並隔絕,而在「聲音的感官超載」中,人們重新有機會"觸摸"聲音,從上個世代德國家庭常用的壁紙以及有著門、窗、木板的日常家居房間,設置系列實驗與裝置,讓聲音的感官超載喚起參與者對於聲音的記憶和感知。
在一個空的房間中,你可以聽到建築材料與配件的聲音,它們在被建造時就已經存在於空間中,而這些物件從物理上、視覺上和聽覺上劃分了空間。
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三個組成房間的類別:
過濾器(filter):門、窗,用於過濾進入或排出聲音的過濾器
連接器(connector):插座、門鈴對講機、暖氣等
隔離器(separator):牆壁、地板和天花板,用於將房間劃分成一個獨立的空間
物件的聲音重新界定了建築的邊界
過濾器(filter):門、窗,用於過濾進入或排出聲音的過濾器
連接器(connector):插座、門鈴對講機、暖氣等
隔離器(separator):牆壁、地板和天花板,用於將房間劃分成一個獨立的空間
物件的聲音重新界定了建築的邊界
Architectural Boundary Models
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Sound Models
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Feel free to enter the sound models' website! Use your mouse and headphone to compose a new room with sound models!
Left-click: Add the models / 3D rotation
(Left window: max: 1 model; right window: max: 2 models)
Right-click: Clear
Middle: zoom in / out
*Can only used by laptop / desktop browser
*Engineer: I-Ming Hsu
Left-click: Add the models / 3D rotation
(Left window: max: 1 model; right window: max: 2 models)
Right-click: Clear
Middle: zoom in / out
*Can only used by laptop / desktop browser
*Engineer: I-Ming Hsu
Installation / Rundgang
14th-16th, February 2020
14th-16th, February 2020
Installation / Final Installation
A process of recognizing sound and space
2nd-13rd, November 2020
A process of recognizing sound and space
2nd-13rd, November 2020
Each room is a sonic time machine. It keep deforming by human behaviors. “We have been so concerned with language that we have forgotten how the sound flows through space and occupies it.” Alvin Lucier said. All of us have our sensory limits in memory, not just people with autism. When the past stretched to a certain extent, the dots of the sound and memory persist in the room. It drift between the past and the future. Sound moves at various speeds in the space. They rise and fall, resonate back and forth, and the subtle sounds constantly deform the space.
Sensory Overload of Sounds - Behavior Imitation and Sound Experiment
Mar. 2019-Jun. 2019
Frankfurt, Germany
before Master Thesis Project / Research and Experiment
Art / installation / Architecture / Experiment / Autism Spectrum Disorder
Thesis Advisor : Prof. Theodore Spyropoulos
Tutor : Ivan Tavarez Blanco, Christos Voutichtis
Special thanks : Prof. Johan Bettum, Jennifer Yu, Prapatsorn Sukkaset, Shivani Tawde
Frankfurt, Germany
before Master Thesis Project / Research and Experiment
Art / installation / Architecture / Experiment / Autism Spectrum Disorder
Thesis Advisor : Prof. Theodore Spyropoulos
Tutor : Ivan Tavarez Blanco, Christos Voutichtis
Special thanks : Prof. Johan Bettum, Jennifer Yu, Prapatsorn Sukkaset, Shivani Tawde
The sounds of the space in Licht Halle.
It surrounding by 40 speakers. It plays original recording file and the file which transfer to the midi file. Midi files represents the information of the characters. Every event becomes a beat or a note. People can walk through it and use different ways to listen. We stand in the same space and listen to the sounds were pass through. Time, events and space overlapping. The subtle sounds are loading from then till now, and keep loading.
MIDI: Musical Instrument Digital Interface
It surrounding by 40 speakers. It plays original recording file and the file which transfer to the midi file. Midi files represents the information of the characters. Every event becomes a beat or a note. People can walk through it and use different ways to listen. We stand in the same space and listen to the sounds were pass through. Time, events and space overlapping. The subtle sounds are loading from then till now, and keep loading.
MIDI: Musical Instrument Digital Interface
Sensory Overload of Sounds - Sound Experiment from Experience
Mar. 2019-Jun. 2019
Frankfurt, Germany
before Master Thesis Project / Research and Experiment
Art / installation / Architecture / Experiment / Autism Spectrum Disorder
Thesis Advisor : Prof. Theodore Spyropoulos
Tutor : Ivan Tavarez Blanco, Christos Voutichtis
Special thanks : Prof. Johan Bettum
Frankfurt, Germany
before Master Thesis Project / Research and Experiment
Art / installation / Architecture / Experiment / Autism Spectrum Disorder
Thesis Advisor : Prof. Theodore Spyropoulos
Tutor : Ivan Tavarez Blanco, Christos Voutichtis
Special thanks : Prof. Johan Bettum
Click here to edit.
Before Sunset
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Birds Singing
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Silence
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Night
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Wake Up
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Turn Off
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Turn On
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There was a time when my brother sat on the bed while the streetlights were on.
He stared at the streetlights outside the window until sun rose and the streetlights were off. The dawn was the time he lay down to sleep. |
Gradually changing light (without sound)
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I had experienced a series of events, which reconstructed my perception and spatial organization. This series of events is a way of understanding him and a process of mutual healing.
─There was a time when he sat on the bed while the streetlights were on. He stared at the streetlights outside the window until the sun rose and the streetlights were off. The dawn was the time he lay down to sleep.
─There were three groups of Autistic children and teenagers. They have a special way to walk. Walk along with objects such as walls, handrails and so on.
─He can hear something that we can’t hear.
─His time can be changed. He can adjust his clock easily. But sometimes, his schedule can’t be change even the time pass in our real time zone. Time based on his mind. Based on the event he faces.
─There was a time when he saw the shadow of trees at the night time. He ran away and became frightened.
─He turn the stereo up to maximum volume, put the machine close to his ear. Start to jump up and down. And shaking the body left and right.
─He squinted at the moving vehicle/metro/train from the window with his smile.
─There was a time when he sat on the bed while the streetlights were on. He stared at the streetlights outside the window until the sun rose and the streetlights were off. The dawn was the time he lay down to sleep.
─There were three groups of Autistic children and teenagers. They have a special way to walk. Walk along with objects such as walls, handrails and so on.
─He can hear something that we can’t hear.
─His time can be changed. He can adjust his clock easily. But sometimes, his schedule can’t be change even the time pass in our real time zone. Time based on his mind. Based on the event he faces.
─There was a time when he saw the shadow of trees at the night time. He ran away and became frightened.
─He turn the stereo up to maximum volume, put the machine close to his ear. Start to jump up and down. And shaking the body left and right.
─He squinted at the moving vehicle/metro/train from the window with his smile.