19.5.2012 (Saturday) | 3:00 – 5:00pm
@ Tokwawan, Kowloon, Hong Kong
@ 香港九龍土瓜灣

“Fishes nearing the shore, trees touched by the wind, elders playing chess in the park, intimate conversations spilling out into the street, children playing, travelers taking shelter in industrial buildings, mah jong being juggled around, the mechanic in his garage, the shoppers’ calls, even construction sites, and suddenly, a sports car passing… We walk from the shore to the old district of Tokwawan on an excursion for your ears.”

Together with Wong Chun Hoi, currently a student of Creative Media at the City University of Hong Kong, artist Tsang Sin Yu had designed and developed Bring you own ears as an ART HK programme. They did not bring any recordings but suggested physical exercises for the ear that visitors could do during the outings. They will take the visitors around an ethnically diverse district caught in the limelight of Hong Kong’s urban development in recent years – an old Chinese building collapsed two years ago, a 70-storey private estate or “screen block” was close-by, and a subway line will be built. Tokwawan is also soundpocket’s home.

「海邊的魚、樹下的涼風、公園裡下棋的老人、各式店舖內的交談、小朋友的嬉戲、工廈裡的旅客、麻雀耍樂聲、車房修車聲、小販叫賣聲、還有地盤打樁聲……然後一輛跑車突然掠過。從海邊走向舊區，帶你耳朵去旅行，探尋土瓜灣。」

年青藝術家曾倩瑜將伙拍香港城市大學創意媒體學院學生王鎮海，在香港國際藝術展2012期間設計聲音漫步旅程《耳朵想旅行》，帶領參加團友沿著他們倆預先設定的路程遊走土瓜灣－眼看耳聽這個新舊事物及多元文化交融、又盛載著很多故事的社區－兩年前發生的唐樓倒塌事件、即將動工的沙中線、樓高七十多層的新建住宅。土瓜灣同時亦是聲音掏腰包的家。

“Soundwalk” is really a way of walking with sound. It is also known as “soundwalking”. While it can be designed in many different ways, it always allows us to practice focused and active listening. Through doing a series of listening exercises, or by listening to sounds specially made for the journey, we explore sounds in the environment with a heightened sense of time (flowing past) and space (giving shape to sound). While the soundwalk increasingly interests artists in Hong Kong in recent years, it began to be practiced in the 1970s in Canada.

Canadian composer and scholar Barry Truax, who visited Hong Kong in 1996 on the occasion of the International Computer Music Association Conference, says that “Soundwalk is a form of active participation in the soundscape. Though the variations are many, the essential purpose of the soundwalk is to encourage the participant to listen discriminatively, and moreover, to make critical judgments about the sounds heard and their contribution to the balance or imbalance of the sonic environment…” from The Handbook for Acoustic Ecology (1978)

聲音漫步顧名思義就是在聲音中步行，它雖然可以各種型式進行，但都是為了訓練參加者專注及積極聆聽而設計的。透過進行一連串的聆聽練習或聆聽特別為該旅程而創作的聲音，參加者可從時間及空間的感知裡探索環境的聲音。聲音漫步早於1970年代在加拿大被採用，至近期越發引起香港本地藝術家的興趣。

曾經來港參於國際電腦音樂研討會的加拿大作曲家及學者 Barry Truax 在其著作《聽覺生態學手冊》(1978) 中提出：「聲音漫步旨在讓參加者積極參與在聲景當中，透過各種不同的進行形式，鼓勵參加者作主觀性的聆聽，並要求參加者對所聽到的聲音以及自身對整體聲音環境的影響加以評判……」

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Limited admission quota. Participants are requested to present their ART HK 12 VIP Card upon admission.
費用全免；名額有限；活動將以廣東話及英語進行

Assemble: soundpocket, 10C, Gee Chang Industrial Building, 108 Lok Shan Road, Kowloon
集合地點： 聲音掏腰包 (九龍土瓜灣落山道108號志昌工業大廈10樓C)

RSVP & Enquiry: Alice Wong at (852) 2356 2226 | listen@soundpocket.org.hk
留座及查詢：黃小姐 (852) 2356 2226 | listen@soundpocket.org.hk

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藝術家簡歷 Artists Biography

Tsang Sin-yu, graduated from the School of Creative Media, City University of Hong Kong, where she received her Bachelor Degree in Creative Media, Critical Intermedia Art. Working across a wide range of media from sculpture to installation to video, Tsang’s works display her experience through making art and her passion towards working with sound. She participated in the PANORAMA Asia Pacific Animation Challenge and Animation Camp 2009 with her team members, showcasing their animation work. She was the sound designer in the team and the team was awarded the Champion. Tsang obtained an internship at soundpocket in 2010. She is invited by soundpocket for its Artist Support Scheme 2011-2012. Personal website >>>

曾倩瑜畢業於香港城市大學，並取得創意媒體學院創意媒體榮譽文學士，主修批判性跨媒體實驗室。曾氏的創作跨越雕塑、裝置藝術以至錄像等媒體，擅長在其藝術創作中展示她的個人經驗及對運用聲音進行創作的熱誠。曾氏跟隊友在PANORAMA Asia Pacific Animation Challenge and Animation Camp 2009 中發表了她參與聲音設計的動畫作品並獲得冠軍。曾氏於2010年在聲音掏腰包作實習生。個人網頁 >>>


Wong Chun-hoi is currently student of Creative Media at the City University of Hong Kong. He is also researcher for soundpocket working on a long-term series of qualitative interviews with artists working with sound in Hong Kong.

王鎮海現就讀於香港城市大學創意媒體學院，並為聲音掏腰包的研究員，協助機構跟常以聲音進行創作的本地藝術家作深度訪談。

Cedric Maridet’s le son de l’art (or the sound of art) is the result of wanderings in places for art. It demands first an act of refusal by visitors putting on headphones that block out the sounds of the Fair in situ. But this first act is but a preparation for the next entry: into places for art, sounding out within and without the confines of art. The sound of art series reveals the interest in the process of transformation of the work of art by the usually resonant architectural context; steps, soundtracks, voices, are collected during the drifts among the artworks. The interest also lies in the particular situation of the gallery and museum as a conditioning element for the behavior of the audience, through particular ways to move, to walk, to talk.

As the artist says, ‘”The soundwalk creates an ambiguous and complex sense of space; it is an out-of-sync experience of audio-vision where the acoustical space of the recording is transposed onto the actual one the listener is I”.

藝術家Cedric Maridet 在遊歷多個藝術空間後創作了聲音漫步 le son de l’art (或 the sound of art) 。參加者需戴上一副能阻隔環境聲境的耳機進行活動，他們隨即被帶領步步走向藝術展的展覽空間，讓他們在藝術的境界內外摸索試探。le son de l’art 系列收集了一切在藝術品之間流轉的腳步聲、配樂、人聲，揭示一般諧振建築環境在藝術品的演化及呈現的重要性，同時亦展示畫廊和博物館的獨特境況：觀眾的行為取決於這些空間內特定的移動、走路及說話方式 。

藝術家表示：「是次聲音漫步所建構的是一種含糊而複雜的空間感，這是一次非同步的視聽經驗，錄音中的聽覺空間被轉化為個人的聆聽感受。」

“Soundwalk” is really a way of walking with sound. It is also known as “soundwalking”. While it can be designed in many different ways, it always allows us to practice focused and active listening. Through doing a series of listening exercises, or by listening to sounds specially made for the journey, we explore sounds in the environment with a heightened sense of time (flowing past) and space (giving shape to sound). While the soundwalk increasingly interests artists in Hong Kong in recent years, it began to be practiced in the 1970s in Canada.

Canadian composer and scholar Barry Truax, who visited Hong Kong in 1996 on the occasion of the International Computer Music Association Conference, says that “Soundwalk is a form of active participation in the soundscape. Though the variations are many, the essential purpose of the soundwalk is to encourage the participant to listen discriminatively, and moreover, to make critical judgments about the sounds heard and their contribution to the balance or imbalance of the sonic environment…” from The Handbook for Acoustic Ecology (1978)

聲音漫步顧名思義就是在聲音中步行，它雖然可以各種型式進行，但都是為了訓練參加者專注及積極聆聽而設計的。透過進行一連串的聆聽練習或聆聽特別為該旅程而創作的聲音，參加者可從時間及空間的感知裡探索環境的聲音。聲音漫步早於1970年代在加拿大被採用，至近期越發引起香港本地藝術家的興趣。

曾經來港參於國際電腦音樂研討會的加拿大作曲家及學者 Barry Truax 在其著作《聽覺生態學手冊》(1978) 中提出：「聲音漫步旨在讓參加者積極參與在聲景當中，透過各種不同的進行形式，鼓勵參加者作主觀性的聆聽，並要求參加者對所聽到的聲音以及自身對整體聲音環境的影響加以評判……」

————-

Limited admission quota. Participants are requested to present their ART HK 12 VIP Card upon admission.
名額有限；參加者須出示香港國際藝術展貴賓卡

RSVP & Enquiry: Alice Wong at (852) 2356 2226 | listen@soundpocket.org.hk
留座及查詢：黃小姐 (852) 2356 2226 | listen@soundpocket.org.hk

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藝術家簡歷 Artists Biography

Cédric Maridet is an artist, theorist and researcher. He completed his Doctorate degree in Media Art in 2009 at the School of Creative Media, City University of Hong Kong. His solo and collaborative works have been presented internationally including New York (Art in General and Ramiken Crucible), Paris (Théatre de la Villette), Vienna (IG Bildende Kunst), Cambridge (Kettle’s Yard), London (Turbine Hall, Tate Modern), Hong Kong (Para/Site, Osage Gallery, Hong Kong Museum of Art), and he was awarded Prize of Excellence in the Hong Kong Art Biennial 2005.

Maridet has participated in several residencies and symposiums on field recording, listening theories and the aesthetics of sound, such as the Pierre Schaeffer symposium 2010 co-organised by GRM and in the EMF-EMS 2011 conference in New York University. His writings have been published in two books: Around (soundpocket, 2010), and Who Cares? 16 essays on curating in Asia, (Para/Site, 2010). Since 2007, Maridet has been contributing to the French-based research lab in audio art Locus Sonus, and is currently a member of NMSAT Scientific Committee. He is also advisor for soundpocket, a non-profit organisation promoting sound art and culture. His works have been published as CD and book releases on monème, a platform founded by Maridet.

Cedric Maridet 為一位藝術家，於香港城市大學創意媒體學院取得媒體藝術博士學位，並曾於香港、澳門、紐約、巴黎、倫敦、馬德里及柏林作表演及展出作品，其錄像作品「黃浦」更獲得「香港藝術雙年展2005」優秀獎 。

Maridet曾多次獲邀參與藝能術家留駐計劃及有關實地收音、聆聽音景及理論之研討會。他的文章亦見於本地書刊，包括《聽在》(聲音掏腰包，2010)及 Who Cares? 16 essays on curating in Asia, (Para/Site, 2010). 自2007起，Maridet一直為駐法國聲音藝術研究組職Locus Sonus撰稿，現為 NMSAT Scientific Committee 會員，並同時身兼聲音掏腰包顧問。Maridet的聲音作品亦被收錄成書及光碟。 個人網頁 >>>

le son de l’art @ ART HK 12 is supported by  

Opening Reception: 20.4.2012 (Friday) ｜ 6:30 - 8:30pm
Exhibition Period: 21.4 – 27.5.2012 (Every Wednesday to Sunday) | 1:00 – 8:00pm
Venue: soundpocket

開幕: 20.4.2012 (星期五) ｜ 晚上 6:30 - 8:30
展覽開放時間: 21.4 – 27.5.2012 (逢星期三至日) | 下午1:00 – 晚上8:00
地點: 聲音掏腰包

TWO years ago, Yip Kai-chun’s mother was diagnosed with terminal lung cancer. Knowing that he would lose his mother soon, Yip decided to record their conversation, during which Mrs Yip’s voice underwent gradual changes, to be eventually taken over by mumbling.

Mrs Yip passed away last year. When listening and organizing these recordings, Yip looked into his relation with his mother. To Yip, these recordings did not only record the precious and peaceful moment they spent nearing the end of his mother’s life, they are also the reminiscence of his mother.

“I am not sure if it is for distraction, for nostalgia, for fun, or for making a record of her impaired speech caused by the cancer in brain, every moment I was with my mother, no matter having dinner, watching television, going to the hospital, or simply being together, I set a recorder aside and record every instant of this limited time…the recordings are my mother’s reminiscence more genuine than all other legacies. They occup an entire room which becomes a container of the period through which the complex of mother, caner, death, family, myself and others is revealed. It is also in itself a process of putting my memories of my mother and this period in order,” Yip says.

Incomplete Finale is Yip’s debut exhibition. It is supported by the Hong Kong Arts Development Council and soundpocket.

兩年前，葉啟俊的母親被診斷患上末期肺癌，面對母親快將離他而去，葉氏決定將自己和母親的對話以錄音方式記錄下來，而就在這段時期，葉媽媽的說話亦漸漸變得含糊不清。

葉媽媽去年病逝。葉啟俊將所有錄音逐一細聽，在組織這些錄音的同時，葉氏重新審視自己與母親的關係；對他而言，這些錄音不僅記錄了他與母親共處的最後時刻，它們亦是藝術家對母親的一種緬懷。

正如藝術家所言：「也忘了是想分心、懷念、貪玩，抑或記錄她因腦內癌細胞而不清的口齒，每次我跟母親吃飯、看電視、覆診、相聚，我都把錄音機擱在一旁，等錄音機靜聽這段有限時間的一分一秒 …… 錄音是母親的遺物，而且比其他遺物都實在。它們佔據了一間房間，使之成為這段時間的載體，重組已離世的母親、癌症、死亡、家人和我等的種種關係。這也是我整理母親的回憶和這段時間的過程…… 」

《南山未了》為葉氏首個個人展覽，並由香港藝術發展局及聲音掏腰包資助舉辦。

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Enquiry: Alice Wong at (852) 2356 2226 | listen@soundpocket.org.hk
查詢：黃小姐 (852) 2356 2226 | listen@soundpocket.org.hk

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Artist Biography 藝術家簡歷

Yip Kai Chun’s mother is from Zhongshan and his father is Hakka.

He loves pondering over and over, and he finally, though slowly, realises the problem of not putting thoughts in action.

To avoid being labeled as a nerd, he seldom mentions he is happy with studying history in high school. These years, he comprehends the importance of history, be it individual or societal. He likes to document it with words, photos, sound clips as well as videos and occasionally yields unexpected discoveries. Yip now works freelance. Personal website >>>

葉啟俊母親是中山人，父親是客家人。

常思前想後再思前，但總算慢慢為意只想不做的壞處。
不願被標籤為「死讀書」，故鮮有在人前為自己學習高中歷史課慶幸。近年明白歷史對個人和社會的重要性，是以愛用文字照片聲音錄像等記錄，也偶有意外收獲。現為自由業。 個人網頁>>>

Installation Acusmograma by PirarucuDuo at FILE 2011, Sao Paulo
© pirarucuduo.tumblr.com

Brazil based artist Fernando Visockis visited soundpocket during his stay in Hong Kong with his father and brother and conducted a sharing session with us. The informal sharing session was held on 13 Sep at soundpocket. It was well attended by audience with a mix of artists, arts students and friends who share an interest in sound. By showing video and image documentation of his works and the projects he worked on, Fernando gave the audience insight into his creative process and practice. He also presented one of his recent audio-visual works with an interface developed in Pure Data. The presentation was followed by festive Mooncake sharing, which allowed all attending the chance to network and discuss issues of common interest.

DIALOGUE is organized to encourage and provide opportunity for the public to get to know overseas artists working with sound; and to hear artists speak about their own work, which helps the audience gain a better understanding of the artists’ background, artistic practice and intentions in creating the art. It also allows visiting artists to learn about the arts in Hong Kong from local artists and art lovers.

有偈傾 – 藝術家 Fernando Visockis

駐巴西藝術家 Fernando Visockis 於九月十三日，適逢來港旅遊期間到聲音掏腰包同大家「偈傾」，除了介紹過往的作品及示範以Pure Data為介面的最新創作外，亦認識了香港的藝術家或喜歡聲音藝術的朋友；參加的朋友們亦就Fernando的創作及巴西的藝術文化作出提問。最後，我們還一同品嚐了中秋節節日食品 – 月餅。

「有偈傾」邀請海外藝術家跟觀眾面對面偈傾，鼓勵大家用最直接親切的溝通方式互相了解、分享、交流。 參與藝術家除了親身介紹其作品，分享他們如何踏上創作路以及為甚麼愛上發聲創作外，還可以透過接觸本地藝術家及藝術愛好者從而認識香港的藝術。

Artist Biography 藝術家簡歷

Fernando Visockis (FVM), aka mochka, is an artist with vast interests in contemporary electronic music composition, installation, digital media and sound art, based in São Paulo, Brazil. Fernando has been searching for ways to create an unsteady intersection between music and visuals, co-relating them to build immersive, elective, awkward and glitchy environments. He has been working as a sound artist taking the name mochka, and is also the founder of the groups PirarucuDuo and Basavizi.

Fernando Visockis (FVM)又名 mochka，作品涉獵不同的媒介及藝術形式，包括：當代電子音樂創作、裝置藝術、數位藝術及聲音藝術，現駐巴西進行創作。 Fernando 試圖於音樂及視覺藝術之間建設一個多變無常的交點，把兩者連繫以建立各種深刻而不尋常的環境。除以個人名義 mochka 發表聲音藝術作品外，Fernando 亦是藝術團體 PirarucuDuo 及 Basavizi 的創團成員。

~ Free and for anyone who wants to be attentive to our environment ~

Besides listening to your favourite music tracks, friends’ voices, television or radio, what else? On July 17th, soundpocket organizes a trip with a series of exercises that discern different ways of listening. The itinerary covers several districts, including a picnic at HSBC Headquarters and a ferry trip from Central to Tsim Sha Tsui. Join us and find out how your ears would react to the sound of fountains, jars, parks, market, tunnel, wave & wind…etc. Exercises led by active listeners Tsang Sin Yu & Susie Law.

WAYS TO GET INVOLVED:
- join us in Sounds we might have missed
- put our earphones aside for one minute, one hour, one day
- listen again to what we habitually do; notice the texture of the sound
- stop making sound for a while and eavesdrop on those made by others
- treat our ears as if they are our greatest treasure
- listen to stories from the others: everyone has a right to be listened to
- make a list of favorite sounds (or least favorite ones)
- allow ourselves 5 minutes to do nothing but listening

About 718 World Listening Day:
World Listening Day is the birthday of Canadian composer and environmentalist R. Murray Schafer (1933-). It pays tribute to him for founding the Acoustic Ecology movement and the World Soundscape Project. Schafer has been identifying the hazard of noise since the early 1970s. However, rather than championing noise abatement, he takes the positive approach: encouraging people to “clean their ears” and discover the joy of listening again. His work and call have since inspired acoustic ecology movements and artistic endeavors throughout the world. Schafer is the author of several books, including The Soundscape – Our Sonic Environment and The Tuning of the World (1977) & The Music of the Environment (1973).

On July 18, worldwide activities on listening take place to raise public awareness on our listening environment and to celebrate the creative exploration of field recording. >>>

718 世界聆聽日：
《有冇聽漏咗？》﹣聽覺練習

費用全免 歡迎任何關注聆聽人士參與

除了聽音樂、電話、電視、收音機及親友說話等，我們還聽甚麼？ 為嚮應世界聆聽日，聲音掏腰包舉辦《有冇聽漏咗？》，與大家一同發掘聽力的可能性。行程由上環新紀元廣場的水池開始，走過舊街市，於滙豐總行野餐，再穿越隧道乘船過海、靜聽星期天黃昏的九龍公園…途中一系列聽覺練習由曾倩瑜及羅偉珊帶領。

嚮應718世界聆聽日，我們可以：
﹣來參與《有冇聽漏咗？》認識一群熱衷於聆聽的人
﹣放下耳機一會，一小時，一天，聆聽身邊的聲音
﹣嘗試仔細留意聲音的質感
﹣少說話，多聆聽
﹣好好善待耳朵，待她如瑰寶
﹣傾聽長者的故事
﹣列出最喜愛（或討厭）的聲音
﹣花五分鐘，除了聆聽之外甚麼也不做

世界聆聽日（七月十八日）旨於提升大眾對環境聲音的關注及使用地境錄音(field-recording)的創意，同時鼓勵推行聲境教育及實踐。世界聆聽日為加拿大作曲家、教育家、作者及環境保護者 Murray Schafer的出生日。早在四十年前這位聲境研究的先鋒已經提出噪音對人的危害。 他並不是提倡控制噪音，反而採取正面態度， 鼓勵大家打開耳朵，發掘再次聆聽的樂趣。他於七十年代發表書本 The Soundscape – Our Sonic Environment and The Tuning of the World (1977)，分享他對聲態學研究作出的種種判斷。他亦為World Soundscape Project 的創辦人，啟發世界各地很多聲態學活動 。

*想知世界各地人士於如何參與世界聆聽日？>>>

“When we go to sleep, our perception of sound is the last door to close
and it is also the first to open when we awaken.”

“Water never dies and the wise man rejoices in it.
No two raindrops sound alike, as the attentive ear will detect.”

“The wind is an element that grasps the ears forcefully.
The sensation is tactile as well as aural.”

“Every natural soundscape has its own unique tones
and often these are so original as to constitute soundmarks.”

“In antiquity, life was nothing but silence.
Noise was really not born before the 19th century, with the advent of machinery.
Today noise reigns supreme over human sensibility . . .”

- Murray Schafer
The Soundscape – Our Sonic Environment and The Tuning of the World (1977)

Press Release | 新聞稿

Review what we did for 718 World Listening Day in 2010
回顧去年世界聆聽日>>>

ONE LONG DAY: La Monte Young’s The Well-Tuned Piano

“La Monte Young’s The Well-Tuned Piano is an enthralling marathon a non-stop performance at once wacko and visionary…Hear it simply for what it is: hypnotic, mysterious sound glistening with its own disembodied beauty. Its five hours seem remarkably short.”- Alan Rich, Newsweek

This could be the longest exercise for our ears – listening to The Well-Tuned Piano by La Monte Young, who has pioneered the concept of extended time durations in contemporary music for over 50 years. Sound engineer & theatre sound designer Anthony Yeung sets up a surround sound system for The Well-Tuned Piano at soundpocket, and composer Kawai Shiu and piano technician Cheng Kwok Kuen guided us through appreciating the work’s sound quality, musical history and technical skills.

一天悠長：La Monte Young - The Well-Tuned Piano

「La Monte Young 的The Well-Tuned Piano為引人入勝的馬拉松式表演作品，古怪卻同時夢幻…聽它只因它神祕而催眠的閃動聲音，帶有一種脫離現實的美。那五小時就如變得史無前例的短。」﹣Alan Rich, 新聞週刊

這是一次長達五小時的耳朵練習。樂曲 The Well-Tuned Piano 來自當代音樂先鋒 La Monte Young，五十多年來他不斷以創作敲問音樂的本質及定義，被稱為簡約音樂之父。作品以獨有的鋼琴調音技考作為創作方法。聲音工程師及舞台音響設計師楊我華於 soundpocket 設置環繞聲播放系統模擬鋼琴聲境，同時請來作曲家蕭家偉及鋼琴維修技師鄭國權為 The Well-Tuned Piano 作聲音、音樂歷史及鋼琴調音技考的多方面導賞。

Speakers Biography 講者簡歷

Kawai Shiuis an internationally recognized artist whose interests and achievements explore the essence of the arts embodied as sound, composition, performance, and thought. His work in various fields calls attention to the arts as a portal to personal myth. As a versatile artist, Kawai has received numerous awards in recognition of his contributions. kawaishiu.com.

Cheng Kwok Kuen received Certificates in Piano Technology from the Hong Kong Academy for Performing Arts in 1988 and New England Conservatory in 2000. He joins the Hong Kong Academy for Performing Arts as a Piano Technologist and instructor from 2000.

Anthony Yeung Ngor-wah is a sound engineer specializing in classical music recording and CD mastering. He has also been active in theatre sound design for almost 20 years. He co-founded the label A Asterisk Music, which offers sound engineering support to independent musicians in Hong Kong. He currently teaches in the School of Theatre and Entertainment Arts, Hong Kong Academy for Performing Arts.

蕭家偉的作品屢獲國際獎項與表演認可。他主要以樂器創作音樂，他用希臘雙面神雅努斯向内看來比喻聲音/音樂的關係。他喜歡燒菜和思考人生的種種，現於流放中。www.kawaishiu.com

鄭國權1988年畢業於香港演藝學院，2000年畢業於波士頓新英倫音樂學院，分別師隨許君賢老師和Frank Hanson老師學習鋼琴調音及維修。鄭氏現任香港演藝學院鋼琴維修技師及教員。

楊我華1991年於香港演藝學院畢業，主修舞台音響及音樂錄音。近年曾參與多項製作及錄音工作。現為全職母帶後期處理工程師，並於香港演藝學院科藝學院任教。www.aymastering.com

Listen to Singaporean buskers, street vendors, school cheerleaders sing hymns to themselves and to their communities in 《SINGAPORE GAGA》, a documentary film by Tan Pin Pin. The multi-layered voices show the citizens’ complex relationship with the city. Voice clips - www.tanpinpin.com/sgg/story.html

soundpocket 3 years old b-day party afterwards!
Without you being around…we would not have been possible.

聽聽新加坡的街頭賣藝及賣物的人、校園啦啦隊、以及演奏家等於紀錄片《新加坡風》中的聲音演繹。《新加坡風》導演陳彬彬透過搜集多元聲音表現市民與城市的複雜關係。內容包括：玩具琴女皇﹣Margaret Leng Tan、新加坡米奇老鼠﹣木偶Charlee、公共廣播幕後女聲﹣Juanita…等等。 試聽請往 www.tanpinpin.com/sgg/story.html

soundpocket又大一歲喇！沒有你們的支持，soundpocket 又怎能健康成長？

Around sound art festival and retreat 2010 – an occasion for slow and deep listening

Around sound art festival 2009 was blessed by the goodwill and commitment of many artists as much as the generosity and trust of many co-organizers and sponsors. This is where Around sound art festival and retreat 2010 must begin.

Around is a festival of listening. It is worth repeating that the participating artists are invited not because they are sound artists, nor because there is such a bounded object as “sound art” that can be taken for granted. Rather, it is because these artists’ works and concerns compel us to return to listening.

…continue reading festival booklet

《聽在》聲音藝術節及聆聽體驗營

二零零九年《聽在》聲音藝術節得以完成，有賴太多人緣、地緣、以至不同界別的組織慷慨支持，這些都必須是二零一零年《聽在》聲音藝術節及聆聽體驗營的起點。

《聽在》是關於聆聽的。要重申，我們請來多位參展藝術家不是因爲他們是所謂「聲音藝術家」，而是因為他們參與這次活動的作品使我們不得不回到聆聽及聆聽逼令我們要具備的敏銳。

…閱讀全文請往小冊子

Artists & Speakers 藝術家與講者：
Akio Suzuki 鈴木昭男 (Japan), Dajuin Yao 姚大鈞 (Taiwan/PRC), Felix Hess (Netherlands), Jaffa Lam Laam 林嵐 (HK), Joe Chan Kiu Hong 陳翹康 (HK), Miki Yui (Germany/Japan), Rolf Julius (Germany), William Lane(Australia/Hong Kong), Billy Wong Hon Kei (Hong Kong), Cédric Maridet (France/Hong Kong)

Curated by Yeung Yang and Susie Law Wai Shan
楊陽及羅偉珊策展

Artists’ works 作品與活動：

Rolf Julius
DURATIONAL PERFORMANCE 現場演出
Small Music 微小音樂
Sin Sin atelier + annex

INSTALLATION 展覽
Window Piece (water)
2010
Sin Sin atelier + annex

Review by Rahma Khazam here
Article by Carlo Fossati here
more info at e/static

Miki Yui
DURATIONAL PERFORMANCE 現場演出
Small Sound 微小聲音
Sin Sin atelier + annex

INSTALLATION 展覽
MAMAGOTO Hong Kong
August 2010
stereo sounds, speaker, piezos, cooking pot, teapot, BB gun bullets from Mt. Davis, clay, stone plate and leaves
Sin Sin atelier + annex

Rolf Julius, Miki Yui & Yeung Yang
PERFORMATIVE TALK 現場對話
Rolf Julius in conversation with Miki Yui
Part-of Studio Shop

Jaffa Lam 林嵐
INSTALLATION 展覽
Sound Tree 聲音之樹
Bronze 銅
8m (H) 高八米
2009 - 2010
Hong Kong Architecture Centre 香港建築中心

Cédric Maridet & Jaffa Lam Cédric Maridet 與林嵐
PERFORMANCE 現場演出
Around the Sound Tree 在聲音之樹下
Hong Kong Architecture Centre 香港建築中心

Felix Hess
INSTALLATION 展覽
It’s in the Air
Academy of Visual Arts Gallery 視覺藝術院畫廊

TALK 講座
My teachers of listening – frogs & the Atlantic Ocean 我的聆聽導師青蛙與大西洋
Part-of Studio Shop

Joe Chan 陳翹康
INSTALLATION 展覽
Jing Ting 靜聽
Porcelain and steel 白瓷、鋼
9ft(L) x 5ft(W) x 9ft(H) 高九呎 闊五呎 長九呎
2009
Foo Tak Building rooftop 富德樓天台

William Lane
INSTALLATION & PERFORMANCE 展覽及現場演出
Untitled 無題
Leaves, rocks, fire, glass, speaker　樹葉、石塊、火、玻璃、揚聲器
2010
Doublehappiness Studio 雙喜藝匣

Dajuin Yao 姚大鈞
PERFORMANCE 演出
Dream Concert 夢聆聽
Part-of Studio Shop

Akio Suzuki 鈴木昭男
STUDY 研習
Otodate 點音
Central, Sheung Wan, Wan Chai, Tokwawan, Choi Hung, Mt. Davis, Lamma Island
中環、上環、灣仔、土瓜灣、彩虹、摩星嶺及南丫島

PERFORMANCE & SHARING 演出及分享
Listening as Self-Study 聆聽作為靈感的修煉
Part-of Studio Shop

STUDY TOUR 研習遊
Visiting Otodate with Akio Suzuki
Central & Sheung Wan areas 中環及上環

SILENCE DOCENT (led by soundpocket) 無聲導賞
Otodate by Akio Suzuki: from Tokwawan to Mount Davis 鈴木昭男 ﹣《點音》：從土瓜灣到摩星嶺
Tokwawan, Choi Hung, Wan Chai & Mt. Davis 土瓜灣、彩虹、灣仔及摩星嶺

Dajuin Yao & Billy Wong Hon Kei 姚大鈞及黃漢基
SOUNDWALKS & WORKSHOP 導聽導賞及工作坊
Retreat 聆聽體驗營
Central and Jockey Club Mt. Davis Youth Hostel 中環及賽馬會摩星嶺青年旅舍

Book launch of Around sound art festival 2009 《聽在》聲音藝術節二零零九新書發佈會
Sin Sin atelier + annex
Pocket:1 Around 聽在

Special thanks to artists’ assistants – Sindy, Yanyan, Hoi, Zoe, Neville, Swing, Jaycee, Kit, Yu, Becky who extended the greatest possible care to all artists and audiences; Kenny, Fiona of the documentation team for their attentiveness to the artists’ works. Around 2010 would not have taken place without generous support from the Japan Foundation, Sin Sin atelier + annex, Hong Kong Architecture Centre, Hong Kong Youth Hostels Association, Part-of Studio Shop, Double Happiness Studio, Dawei Charitable Foundation Limited, and Academy of Visual Arts (Hong Kong Baptist University) as Strategic Partner. Apart from the production team and collaborators, Steve Yuen, Sindy Lau, Sin Sin, Anthony Yeung, Billy Wong and Edwin Lo made Around heartier by their generosity and hospitality.

Last but the least, a big, warm thank you to all the artists and audience for joining us….

Currently, soundpocket is working on publications regarding Around 2010.

Download 下載
Around 2010 聽在　Booklet小冊子 |   Poster海報 |  Programme-at-a-glance節目一覽 |  EXTRA額外節目

*Around 2009 聽在

Saturday, September 4th
3 – 5pm
gather at G/F, Sheung Wan Post Office
Hong Kong Telecom CSL Tower, 322-324 Des Voeux Road Central (opposite Western Market 西港城)

Akio Suzuki leads a trip to visit Otodate in Sheung Wan. Otodate is an ear+foot print
in white made on the ground. It invites you to stand still and focus to listen.

‘I had done self study event that call “Throwing” and “Following” since I was young.
This is the core to looking for good places for listening and self-training how to catch
the inspiration of the sense of the hearing before hearing. This training transcends the
concept. I continue to do place-marking with “Oto-date”, which I have begun ten years
ago. This concept has the same meaning as the self-study event.’ – Akio Suzuki.

- Pocket book series on Around sound art festival and retreat 2010 based on audio and visual documentation (present to 2012)
- Research on Hong Kong artists’ works of sound (preliminary report by summer 2011)
- Hong Kong Sound Mapping: a social and cultural project and a sound collecting exercise (currently in exploration and ideas generation stage; preliminary report by fall 2011)
- Transcription of talks and interviews for ongoing online project people working with sound (upcoming soon)

If you think u r wrong, u r almost right!! ─ Unorthodox Remaking of Sound
led by Sin:Ned (Wong Chung-fai)

Creativity is of ultimate importance to our existence. Even the commercial world is investing more and more on training their employees to think “out of the box”. However, we are still facing a creativity crisis — in our everyday life and in our work. What is hindering our ability to think out of the box?

Through examining the history and practice of unorthodox sound making, you will see that the lack of creativity is closely related to the one-sided development of our rational culture, and our learned mentality of seeing errors, chaos, randomness and disorder as undesirable results. With hands-on experiment on unorthodox sound making, you will develop an appreciative eye for the beauty of errors and randomness, which in turn, will free us from our tunnel vision of pure rationality, and enable us to see beyond the box.

如果你以為自己錯，那就差不多對了！﹣反轉傳統聲音再創造
黃仲輝

創意對我們極重要！就連商界也投資越來越多在創意培訓上，鼓勵員工“跳出框框”。但在日常生活中、工作中，缺乏創意仍是惱人的問題。是甚麽阻礙我們“跳出框框”？

透過研究反傳統聲音製造的歷史和實驗，你會發現限制著創意的框框來自單一的理性文化，以及害怕錯誤、混亂、隨機、無序的心態。當你嘗試以反傳統的方法來製造聲音，你將會發現錯誤和無序的美，然後，突破絕對理性的狹隘視野，跳出框框來看問題。

Wong Chung-fai (aka Sin:Ned)
Sonic artist and writer (HK)
Wong Chung-fai is an idiosyncratic sonic artist who hacks and twists anything he can put his hands on. His interest ranges widely from improvisation, sound art, experimental music, and noise art to field recordings. His first two solo works, “Uroborus: A Study On No-input Device” and “60 Seconds: A Schizophrenic Manual for Eternity”, were released by Lona Records in 2006.He took part in the HK Sound and Vision Festival (2003), Get It Louder (2007), Hong Kong & Shenzhen Biennale of Urbanism/Architecture (2007, 2009), Notch Festival Guangzhou Station (2009), and was a major contributor to the legendary Hong Kong alternative music magazine MCB (Music Colony B-Weekly). He is a member of the electro-acoustic concept duo No One Pulse and co-founder of the experimental imprint Re-Records and soundpocket’s advisor.

黃仲輝 (aka Sin:Ned)
聲音創作人、樂評人（香港）
黃仲輝習慣將可以拿上手的都敲敲弄弄﹣﹣他對音樂興趣廣泛，涉獵範圍包括即興演奏、聲音藝術、實驗音樂、噪音藝術、在地錄音等。個人作品包括2006由Lona Records發表的《Uroborus: A Study On No-input Device》和《60 Seconds: A Schizophrenic Manual for Eternity》。曾參與香港視野音樂節（2003），大聲展（2007），香港─深圳城市／建築雙年展（2007、 2009），北歐音樂節廣州站 （2009）等，也曾是香港另類音樂雜誌《音樂殖民地》的主要撰稿人。他是概念電聲學二人組No One Pulse 的成員及實驗音樂廠牌Re-Records的創辦人之一，以及soundpocket的顧問。

an event of MaD 2011, more please refer to www.MaD.asia
此工作坊為 MaD 2011 活動，更多資料請瀏灠www.MaD.asia

Rooftops in our city are either luxurious private territories or outlets for exhaust-pipes and ventilators - they are unnoticed, sometimes wasted. OPEN ROOF is about listening to and on rooftops and balconies. It is a call to set free a layer of urban life from the routines of looking up and looking past. It is a call to imagine the in-between. OPEN ROOF is also about caring for rooftops as unique and endangered soundscapes of Hong Kong. Imagine standing in urban enclaves hewn out by the drones of the low and the screeching winds of the high - our ears are bigger than we think.

在城中往上望，高樓千尺，有人喜歡把天台改建成私人天地，居高臨下，有人把陽台密封，增多一點室內空間，更常見的是用以擺放冷氣及通風系統，天台變成超現代不毛之地。《天台與陽台》是卡爾維諾文學著作《看不見的城市》的聆聽版，也是對城市的「拜高」「拜看」主義的回應。《天台與陽台》邀請城市人探索不高不低卻「大有聽頭」的一片空氣，聽音樂人與聲音設計師以三個原創聲音事件，把天台與陽台的聲境掏空再盛滿，共用一天寬敞。

In Around sound art festival 2009, soundpocket presented French artist Jérôme Joy’s work
Locus Stream on the rooftop of a 14-storey building in the middle of Wanchai. The work was
a live mix of pre-recorded sounds from many parts of the world and the sounds of the
“roofscape” in situ. OPEN ROOF is inspired by that experience.
2009年《聽在》聲音藝術節參展藝術家Jérôme Joy在灣仔十四層高的天台上演出Locus Stream，
把世界各地收集的田野錄音跟現場聲音混成聲境，這成為了《天台與陽台》的靈感。

Sunday Dec 5, 2010 | 4-5pm @ patio of Object Factory
TYPHOON SHELTER | 避風塘
Composer Fast Forward with musicians Margie Tong (percussion), Cathy Wong (pipa), Peter Scherr (bass), Sham Kin Yu (dizi) and more
one early winter sunset…a rare mix of Chinese and Western musical instruments and ordinary objects against a sonic environment of ocean waves, north-easterly winds, and ship horns coming through the Lamma channel.
作曲家 Fast Forward 與中阮、琵琶、低音提琴及敲擊樂師面向南丫島的大陽台，奏出初冬日落。
HK$500 free for children under 12; shuttle bus included
包括往來中環及鴨脷洲穿梭巴士；十二歲及以下兒童免費

Saturday Dec 11, 2010 | 12noon-5pm @ outside Hong Kong Arts Centre
EXCHANGING AMBIENCE – a participatory sonic event | 轉換環境 — 一個或許由聽者調停的聲音事件
Anthony Yeung Ngor-wah
a microphone is open – you may come and go; what it takes from below, it brings up to two floors above ground. But where? You ask. Only distance will tell.
聲音設計師楊我華現場收集香港藝術中心門外的聲境，再與中心樓上的陽台對話，製做有距離聆聽。
FREE | 費用全免

Saturday Dec 11, 2010 , 7 – 8pm @ soundpocket
SECRETS FROM ABOVE | 天台有耳
Sin: Ned
sonic secrets to be liberated at a secret location - imagine letting loose a lantern in the dark night sky.
聲音創作人黃仲輝在秘密基地釋放聲音，就像孔明燈往星空飄移一樣。
HK$120 free for children under 12; shuttle bus included
包括往來灣仔香港藝術中心及土瓜環穿梭巴士；十二歲及以下兒童免費

Typhoone Shelter

Exchanging Ambience
Anthony Yeung at 2/F, Hong Kong Arts Centre

set up on 4/F, Hong Kong Arts Centre

audiences outside Hong Kong Arts Centre

Secrets From Above

Artists’ biography 藝術家簡歷：

Fast Forward performing in his work Musique a la Mode in Berlin, October 2009.
Photo © Mutesouvenir/Kai Bienert

Fast Forward is a New York based English composer and performer who makes music with almost anything. He is probably best known for his in depth musical explorations of the Trinidadian steel pan and his music-theatre works for diverse instrumentation. Feeding Frenzy, a culinary concert for 5 musicians, 5 cooks, 5 waiters and the audience has been performed in many countries, for many occasions, including the 15 year celebration of Freunde Guter Musik at The Museum for Contemporary Art in Berlin and the Time of Music Festival in Finland. It ran for three seasons at the Kitchen Center in New York. In his solo concerts, he adopts a sculptural approach to creating sound. He examines the sensual, tactile qualities of the objects, then ties the sound of the objects to the physical gesture that creates the sound. The result is a stage presence that integrates the visual element of the performance with the music. Musique a’ la Mode is Fast Forward’s NEW solo kitchen hardware concert. No food, just music made entirely with kitchen utensils and cooking hardware. http://www.mrfastforward.com

Cathy Wong Yui Kiu received her professional training at the Hong Kong Academy for Performing Arts, majoring in pipa and ruan. She received different types of scholarships, included Lady Jane Akers-Jones Memorial Scholarship, the Hongkong Bank Foundation Hong Kong – Mainland Exchange Scholarships and Prof. Lin Sheng Shih Memorial prize. In 2007, she was granted Society of APA full scholarship for her Master Degree program. She has worked with a number of Chinese orchestras, and was the chairperson of Hong Kong Pipa Art Ensemble and principal of other orchestras. Since 1997, she has performed and toured in music festivals in the U.S., Japan, Singapore, Malaysia, and different cities in China. In 2004, she joined Chinese Music Virtuosi to take part in the Buenos Aires Music Festival. During 2004 to 2005, she was appointed as a part time Zhongruan player in Hong Kong Chinese Orchestra. In addition to playing an active role in the classical music scene, Cathy has also been involved in recordings for films and theatres, and has performed live music in pop music shows.

Peter Scherr is an American bassist/composer/ musical strategist living in Hong Kong. He has over 20 years professional experience ranging from positions with symphony orchestras through jazz and experimental music performance and composition. Scherr has performed and recorded with leading creative musicians such as his brother Tony Scherr, Jenny Scheinman, Jim Black, Briggan Krauss, Allison Miller, Joe Rosenberg, Matt McMahon, Simon Barker and many others. Scherr pursues musical excellence and inspiration in areas of unique interest. His current focus is the realization of creative music concepts. One of his long-term goals is the establishment of a common practice of creative music in China, drawing on the talent of the most interesting improvisers from around the world.

Margie Tong is a graduate of the Hong Kong Academy for Performing Arts and recipient of The Standard Chartered Bank Scholarship (1994), two full scholarships from The Hong Kong Jockey Club Music Fund(1994) and The Croucher Charitable Trust (1996) from England to continue her studies at the Royal College of Music in London. Tong performed Marimba Concerto as a soloist with the RCM Sinfonia in May 1995 .During this time she won the Sullivan and Farrar Prize (1995) and the British Resume Prize (1995). Tong performed in many musicals including les Miserables (1996), Falsettle Land (1998), The Wizard of Oz (1999), and theatrical performances such as Hong Kong For Sure (2001) by the Hong Kong Repertory Theatre, and The Seventh Drawer (2003) by Theatre Fanatico. During 1997-1999, Tong was appointed as the Percussion Assistant Principal with the Hong Kong Sinfonietta. Tong has toured extensively with the Hong Kong Philharmonic Orchestra to Beijing, Taipei and Singapore. In recent years, she has been commissioned to play in festivals in Denmark and Paris, France. She also teaches at the HKAPA.

Ally Chan Shuk Har graduated from the Hong Kong Academy for Performing Arts, majoring in Liuqin in 1988. Since then, she has been a core member of the Hong Kong Chinese Orchestra, playing the Zhongruan, and has performed in numerous performances with the Orchestra both locally and overseas. Chan is dedicated to educating the younger generations about the Liuqin and the Zhongruan. She is an instructor for both instruments and teaches in many primary and secondary schools in Hong Kong.
*Chan participates in this performance as permitted by the Hong Kong Chinese Orchestra.

Sham Kin Yu is a student at the Hong Kong Academy for Performing Arts, majoring in dizi. He studies dizi with Dizi Principal and Section Leader of the Hong Kong Chinese Orchestra Sun Yong Zhi and Tong Xiao with master Tam Po Shek. He also studies Guqin with master Tse Chun Yan. As a student, Sham has been awarded the HSBC Scholarship, Jackie Chan Scholarship, and the Welsh Daffodils Prizes. He has also toured in France, Belgium, Germany and Singapore, and many cities in China. Sham is currently member of the Hong Kong Youth Chinese Orchestra and the Academy Chinese Orchestra.

Anthony Yeung Ngor Wah is a sound engineer specializing in classical music recording and CD mastering. He has also been active in theatre sound design for almost 20 years. He co-founded the label A Asterisk Music, which offers sound engineering support to independent musicians in Hong Kong. In 2003, he received the Best Sound Design award in the 12th Hong Kong Drama Award. His recent productions include ‘Diary VI • Applause’ by Mui Cheuk-yin, ‘Dao•Extraordinaire’ and ‘Very Dance!’ by City Contemporary Dance Company and ‘Works In Sculpture’ with Jaffa Lam and Jamsen Law, commissioned by 1A Space. He participated in the 50th Venice Biennale with Para/Site Collective. In 2007, he was commissioned by ‘in midair - sound works hong kong 2007’ to create a sound installation work ‘Still Moving’ in collaboration with Dr. Kawai Shiu. He currently teaches in the School of Theatre and Entertainment Arts, Hong Kong Academy for Performing Arts.

Sin:Ned (Dennis Wong Chung Fai 黃仲輝) is an idiosyncratic writer and a sonic artist from Hong Kong, who hacks and twists anything he can put his hands on. He used to be one of the major contributing writers of the legendary Hong Kong alternative music magazine MCB (Music Colony B-Weekly). While not writing as a pseudo-music critic elaborating his esoteric worldview, in the same idiosyncratic fashion, he spends much of his time hacking and sculpting sonic materials with his laptop and various electronic gears. His interest ranges widely from improvisation, sound art, experimental music, and noise art to field recordings. He had taken part and performed in various festivals and exhibitions such as HK Sound and Vision Festival (2003), Get It Louder (2007), Hong Kong & Shenzhen Biennale of Urbanism/Architecture (2007). His first two solo works, “Uroborus: A Study On No-input Device” and “60 Seconds: A Schizophrenic Manual for Eternity”, were both released by Lona Records in 2006. He is not only member of the electro-acoustic concept duo No One Pulse and laptop trio iii, but also co-founder of the experimental imprint Re-Records.

Fast Forward 活躍於歐美，有三十多年實驗音樂和音樂劇場創作經驗，曾演奏不同物件和樂器。近年，Fast創作的Feeding Frenzy，與五位音樂人，五位廚師，及五位侍應合作，曾於多個國家演出，包括柏林當代藝術館Freunde Guter Musik 及芬蘭的Time of Music Festival。Fast以雕塑的方式製作音樂，特別留意物件的感性和觸覺，然後把物件的聲音跟演出時的身體動作連在一起。 因此，演出往往能把音樂和視覺元素整合為一。Musique a’la Mode 是個完全採用廚具演奏的音樂會，是 Fast 的新作。 http://www.mrfastforward.com

黃璿僑先後畢業於香港城市大學及香港演藝學院，並獲頒工商管理學士學位及演藝音樂演奏碩士（主修阮琴及琵琶）。除獲頒發演藝學院友誼社全額獎學金入讀演藝學院音樂演奏碩士課程，亦曾獲其他不同類型的獎學金，如Lady Jane Akers-Jones Memorial Scholarship及林聲翕教授紀念獎，並多次獲發「匯豐銀行慈善基金﹣香港與內地學生交流獎學金」到北京作短期交流。於1995年起加入了不同的音樂團體，曾為香港琵琶藝術團團長及多個樂團的中阮及琵琶樂師。期間參與過不同的藝術節演出，曾獲邀前往美國、日本、新加坡、馬來西亞及國內多個城巿擔任獨奏和領奏。於2004年更隨鸙鳴樂坊到阿根廷參與布宜諾斯艾利斯音樂節。2004至2005年間，為香港中樂團擔任特約中阮樂師，參與各大型演出及排練。現亦在不同樂團擔任阮琴、柳琴及琵琶演奏員。除舉辦音樂會外，亦參與電影配樂錄音，並為多個舞蹈團及話劇團擔任配樂演奏，亦曾在流行音樂會中作現場演奏。

Peter Scherr為作曲家及低音提琴手樂器，有二十多年於管弦樂團、爵士樂團和實驗音樂的演出與創作經驗。合作創作樂手包括Tony Scherr、Jenny Scheinman、Jim Black、Briggan Krauss、Allison Miller、Joe Rosenberg、Matt McMahon及Simon Barker。Scherr現致力體現創意音樂概念, 冒求在中國各地建立共通音樂創作平台。

唐舜菁畢業於香港演藝學院。1994至1997年間分別獲得香港渣打銀行、香港賽馬會及英國 Croucher Charitable Trust 兩個全費獎學金，赴英國皇家音樂學院深造。 1995年，她以獨奏身份與英國皇家音樂學院交響樂團演出《馬林巴琴協奏曲》。同年亦贏取了Sullivan and Farrar Prize 及 British Resume Prize 兩個獎項。 唐氏曾參與多個音樂劇如《孤星淚》（1996）、《Falsettle Land》（1998）及《綠野仙》（1999）。話劇演出方面，則包括香港話劇團的《香港一定得！》（2001）和瘋祭舞台的《七重天》（2003）。 1997至1999年間，唐氏擔任香港小交響樂團敲擊樂助理首席。唐氏曾隨香港管弦樂團到北京、台北及新加坡演出, 亦曾參與世界各地多個藝術節, 包括新加坡、丹麥、法國等。2009 年, 唐氏分別在香港藝術中心及香港演藝學院舉行了個人獨奏會。唐氏現任教於香港演藝學院。

陳淑霞於1988年畢業於香港演藝學院,隨關秉文老師主修柳葉琴,在學期間曾受中央民族樂團彈撥聲部張鑫華老師指導,畢業後加入香港中樂團任中阮樂師至今.任職期間曾任獨奏演出及隨團到美國,歐洲,西安等多個地方演出.2009年應竹韻小集邀請與著名演奏家雷群安,梁惠文, 方嘉寶聯手以阮,柳琴,月琴為專題演出<細撥四弦唱明月>音樂會.
在柳琴及中阮教學方面十分積極,為多間中小學擔任柳琴,中阮導師,亦曾為香港音樂事務處兼職導師.
*蒙香港中樂團允許陳淑霞小姐參與是次演出

沈健榆現為香港演藝學院學生,主修笛子,隨香港中樂團聲部長兼笛子首席孫永志老師及本港著名洞簫演奏家譚寶碩老)學習洞簫,並隨本港著名古琴家謝俊仁老師學習古琴。在學期間，曾獲得匯豐銀行獎學金,成龍獎學金及威爾遜水仙花獎, 此外，沈氏曾代表學院出訪法國、比利時、德國等地。沈氏亦活躍於本港多樂團,現為香港青年中樂團及香港演藝學院中樂團團員。並曾隨本港多個樂團到星加坡,南京,江蘇,無錫等地演出。

楊我華1991年於香港演藝學院畢業，主修舞台音響及音樂錄音。近年曾參與多項製作及錄音工作。現為全職母帶後期處理工程師，並於香港演藝學院科藝學院任教。 www.aymastering.com

黃仲輝 (aka Sin:Ned) 聲音創作人、樂評人，習慣將可以拿上手的都敲敲弄弄 ﹣﹣他對音樂興趣廣泛，涉獵範圍包括即興演奏、聲音藝術、實驗音樂、噪音藝術、在地錄音等。個人作品包括2006由Lona Records發表的《Uroborus: A Study On No-input Device》和《60 Seconds: A Schizophrenic Manual for Eternity》。曾參與香港視野音樂節（2003），大聲展（2007），香港─深圳城市／建築雙年展（2007）等，也曾是香港另類音樂雜誌《音樂殖民地》的主要撰稿人。他是概念電聲學二人組No One Pulse及筆記本計算機三人組iii的成員，也是實驗音樂廠牌Re-Records的創辦人之一，以及soundpocket的顧問。

Presented by 主辦: soundpocket
PR Partner 公關伙伴: SAGE Communications
Venue sponsors 場地贊助: Hong Kong Arts Centre, Object Factory

~ A collection of artists and critics’ ear-witness accounts of Around sound art
festival 2009, and their latest reflections on “sound art” and listening ~
集合多位藝術家及藝評人對香港首個聲音藝術節的聽証及他們對「聲音藝術」及聆聽的想法

“Island” - sound installation by Miki Yui (Japan/German), Around sound art festival 2009

Contributing writers 作者: Akio Suzuki 鈴木昭男, Black 素黑 , Carlo Fossati ,
Cédric Maridet , Dajuin Yao 姚大鈞, Edwin Lo 羅潤庭, Eugene Tan, Felix Hess,
Jérôme Joy, Kawai Shiu 蕭家偉, Lau Gukzik 劉掬色, Mike Cooper, William Lane,
Yan Jun 顏峻
Publisher 出版: soundpocket 聲音掏腰包
Editor 編輯: Yeung Yang 楊陽

370 pages + 1 CD of 12 recordings (75’42’’)
ISBN 978-988-19480-1-4
in English and Chinese + French, Italian and Japanese
全書中英文＋部分法語、意大利語及日語文章

‘Writers write not only about “sound art” per se,
but of listening-to, listening-before and listening-after.’
– Yeung Yang, curator of Around sound art festival 2009

《Around 聽在》is the first book published by soundpocket, a registered charity
promotes sound art and its research and education in Hong Kong. The title of this
book is derived from Around sound art festival 2009 – a festival of listening and the
first of its kind in Hong Kong. Artists, curators, critics and musicians contribute 16
essays on listening in less noticed places in Hong Kong like Motat on Lamma Island,
empty public housing estates in Wong Chuk Hang, and listening to frogs and rivers,
listening to distance. The book includes a CD with 12 recordings of site-specific
works presented in the festival.

About Around sound art festival

Reaching its second year, Around sound art festival continues to highlight the
importance of listening in art. The title of the festival and the book “Around” is an
extension of the name “soundpocket”. They both emphasize comportment and
bearing, what lies around and makes them possible. The Chinese title of Around is
ting zai (Putonghua) and ting joi (Cantonese). It means both “listen at” or “listen in”,
and “listen to be”. When used as part of a phrase, ting joi designates the place and
time of listening, for instance, “ting joi Lamma” means to listen in Lamma, and “ting
joi 2009” means to listen in 2009. The broader meaning of “to be” is the human
horizon against which all listening activities are experienced and understood.

Click to download content of Essays and CD tracks

這裡書寫的未必是所謂「聲音藝術」本身，而是屬於聆聽前後、關於與藝術家一起聽的。
每篇文章就是一個癖好，一個世界，互相呼吸。

— 楊陽，《聽在》聲音藝術節２００９ 策展人

《Around 聽在》為本地聲音藝術慈善團體﹣聲音掏腰包(soundpocket) 首度出版的刊物。本書的名字由《聽在》聲音藝術節而來。藝術家、策展人、藝評人及音樂家等獻上十六篇文章，內容包括：在南丫島模達灣及空置的黃竹坑公共屋邨的聆聽經驗、聆聽青蛙與河流、及聆聽距離等。書本內附CD一張，十二段錄音為藝術節部分作品選段。

關於《聽在》聲音藝術節

進入第二年，《聽在》聲音藝術節繼續強調「聆聽」在藝術之中的重要性。書本及藝術節名字「聽在」為聲音掏腰包的延續，它同樣地强調一種方位，以及還繞它、讓它可能的種種。聽在，也可解作處於某時某地的聆聽，例如聽在南丫，抽像一點，也可以說聽在音樂，有如沐浴於音樂中；或者聽在2009年。
「在」字本身也有存在的意思，也是所有聆聽經驗之可能存在的領域。

按此下載文章及ＣＤ目錄

售價 Price： HKD300 (EUR30/ GBP26/ JPY3230/ RMB270/ USD40)
*Overseas(+ shipping cost): HKD370
查詢 Inquiry: listen@soundpocket.org.hk/ (852) 2356 2226

現凡直接向聲音掏腰包購買《聽在》可享額外優惠：
附送顏峻《走走 停停》CD一張以及限量版聽在明信片一套（數量有限送完即止）
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如欲購買請把閣下姓名、聯絡方法及選擇的付款方式*電郵至listen@soundpocket.org.hk

Direct purchase from soundpocket with extra offers:
a CD 《Walk…Stay…》by Yan Jun and a postcard set of Around (limited edition, first-come-first-served)
30% off for full time student
To purchase please send your name, contact and selected payment method* to listen@soundpocket.org.hk

*付款方式 Payment Methods:

﹣匯款 Bank Transfer
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Payable to: “soundpocket limited”
and please send to Unit 10C, Gee Chang Industrial Building, 108 Lok Shan Road, Tokwawan, Hong Kong

﹣直接付款 Direct Payment
請賜電 Please call：(852) 2356 2226 黃小姐 (Alice Wong)

﹣PayPal 網上滙款 internet payment
1. LOCAL本地

2. OVERSEAS (with shipping cost) 海外讀者（加郵費）

《聽在》現於以下店舖有售　Also available at:
藝鵠ACO
住好o的 G.O.D.
kapok
Kubrick
MCCM thebookshop
邊度有書pintolivro (Macau)
Ftarri/Improvised Music from Japan (Tokyo)
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*聲音掏腰包不干預各店舖銷售政策
soundpocket does not intervene in the sales policy of distributing stores

Please submit your photos, review or comments to listen@soundpocket.org.hk if you have attended any programmes of Around sound art festival and retreat 2010.

假如閣下曾參與任何《聽在》聲音藝術節2010活動，歡迎把照片、感想或意見寄到 listen@soundpocket.org.hk
期待聽到你的聲音。

姚大鈞, 聲音藝術家，唱片製作人，策展人，電台主持人，藝術史研究員。長年來透過電台節目、網站、及教學推動前衛音樂發展。曾策劃北京聲納、台北聲納、上海電子藝 術節河流體開幕式等大型新媒體及聲音藝術演出。九七年起組創「中國聲音小組」對中國各地市聲音現象進行研究、紀錄及創作。近年創作包括中國城市聲音裝置作 品系列，以不同的空間譬喻及聆聽方式探討中國各城市之聲音現象。在兩岸開創聲音藝術的系統教學，目前任教於中國美術學院新媒體藝術系。

詳細內容請按此

講座日期：2009年10月16日
地點：灣仔告士打道一號 香港演藝學院4樓 EDT Lab

姚大鈞, 聲音藝術家，唱片製作人，策展人，電台主持人，藝術史研究員。長年來透過電台節目、網站、及教學推動前衛音樂發展。曾策劃北京聲納、台北聲納、上海電子藝 術節河流體開幕式等大型新媒體及聲音藝術演出。九七年起組創「中國聲音小組」對中國各地市聲音現象進行研究、紀錄及創作。近年創作包括中國城市聲音裝置作 品系列，以不同的空間譬喻及聆聽方式探討中國各城市之聲音現象。在兩岸開創聲音藝術的系統教學，目前任教於中國美術學院新媒體藝術系。

公開講座：姚大鈞談《中國聲音藝術: 兩千五百年的聆聽》
(普通話主講, 英語補充)

謝謝大家在禮拜五的晚上抽空來這邊，我首先要抱歉因為我本來是來演出的，明天晚上和後天晚上要演出，今天晚上需要綵排，他們那邊已經開始綵排了，我是偷偷溜出來的，在這邊跟大家談完以後我必須趕回去，在8 點半要離開這裏，所以時間非常短，我希望把演講的部分儘量縮短，可以讓我們有更多的時間交流。因為我覺得跟大家交流是我比較有興趣的，而不是個人的演說，我希望不要把這次談話變成一個演講，一個很規矩的演講模式，因為我真的沒有寫好一個稿子， 但是我有一些材料希望跟大家分享。如果大家在我講的過程中有任何的疑問或想法，或有不清楚的地方，可以隨時舉手發問，就是希望大家不要把這作為正式的演講，因為我沒有寫好一篇演講稿。我們現開始進入主題——“中國人的聽音”，這個課題是非常有意思的，也是我個人研究了很多年的，但是這個主題並沒有人花太多功夫去研究，尤其是沒有從宏觀的角度去研究，也就是說，很多人研究古代的樂論，文獻，聽覺（跟音樂有關的文獻有大量的史料，注釋及學術論文），但是沒有人從它真正的本體，把它作為一個聽聲音的文獻或者說從聽聲音這件事情本身去研究文獻。我們都知道很多古代文獻，比如說《禮記》，《樂記》以及歐陽修的《秋聲賦》，這些都是我們耳熟能詳的東西，但是我們都從非常傳統的角度去看它，對於歐陽修的《秋聲賦》，我們一直把它當成文學作品，甚至是我們在中學需要背誦的一篇古文，而沒有從它的內容去看它到底是怎麼回事，所以今天我希望從一種新的角度來看大家可能已經接觸過的一些材料，從新的角度把它背後的真正意思揭開來，這些材料與西方接觸衝擊後產生的新的意義，這是我們主要的研究對象。

我現在換到另外一張畫，這張畫可能大家也看過，這是很有名的南宋的一幅畫。這幅畫現在在臺北的故宮博物院，它是古代非常著名的山水畫家馬遠的兒子馬嶺畫的《靜聽松風》(Quietly Listening to the Sounds of Pine-trees)。這幅畫非常有名，但一般我們研究它多半是從畫風，或畫的主題及對象，比如這個人的身份是什麼，我們關注它的構圖，一些美術史的關注，但這張畫經過我們今天晚上的討論以後， 大家會對它有不同的看法，有一種新的角度去分析它。

我們要從古代說起，古代的很多東西是我們熟悉的，我們熟悉它們的方式是用音樂、哲學、文學古文去認識它們，或是一種古畫的方式去認識它們。但是貫穿所有這些不同領域、不同媒體、媒材的各種不管是藝術或是文獻資料背後是一個很重要的事情——聆聽。聆聽在我看來非常拗口，小時候我們不會自己講或者聽到聆聽這個詞，因為聽就是聽，現在要把這個問題提高到一個理論的學術層面，所以我們用聆聽這個詞，但實際上它是很拗口的。中文裡面關於聽或是關於聲音的字眼是非常有限的，而且相當含混，比如說我們談聲音，噪音，音樂，這裏面都有音或者聲這個字，互相摻雜，混在一起，混淆不清的，這個時候我們可以看古代的樂論，其實就比我們現在的現代漢語的說法更清楚，比如說古代的樂論我們看一段，“To illustrate my point about the confusion of the terms for sounds, music and noise, in contemporary spoken Chinese, if we can compare to classical Chinese, it was clearly delineated that there are three kinds of things we are talking about listening and objects of listening. The first is sound, which is similar to what we have today referring to all kinds of things that is audible. So the first one is ‘Sheng’, and the next is ‘Yin’ or equivalent to musical notes. And the highest level is the musical work ‘Yue’. ”所以「聲」、「音」、「樂」三個是分的很清楚的，很多古代的東西從現代的角度看，或現代的東西從古代的角度看，會有很多的衝撞，在衝撞後產生新的意義，新的認識，新的瞭解。比較古雅的方法是相互發明，這裏說的發明不是發明家的發明，而是說互相得到引證，互相刺激，互相有新的東西產生出來。我最有興趣的是把古代和現代的放在一起對比，然後有一種新的意思我們可以看得出來。這是我個人覺得最有意思的事情，也是我們現在討論聽覺為什麼把最老的和最新的放在一起的原因，所以聽覺這件事情是沒有人研究過的，應該說在近代沒有人研究過。所以我們看羅蘭巴特在1976年寫的一篇文章裏面有一句話 “Listening does not figure in the encyclopedias of the past, it belongs to no knowledge discipline”，就是說聽聲音這件事情不屬於過去的任何一個學門，它不是被承認的一個學科。雖然我們都在聽音樂、做音樂、寫音樂，都在享受音樂、散播音樂，但是我們沒有研究聽覺這件事情或是聽這個動作。所以很有意思的是在西方傳統裏是羅蘭巴特這些，或是更早幾十年的法國具象音樂學派(Music Concrete)才把聽覺這件事情提高到一個很高層次，因為過去西方古希臘的音樂文獻或是早期關於和聲或律法的文獻裏面，主要對象是音樂而不是聲音，到了20世紀中期(the birth of Music Concrete)具象音樂產生，70年代結構主義學者羅蘭巴特才開始用厚澀的方法看聽覺這件事情，這個研究是非常新穎的，尤其在中文世界裏是很少人討論的，但是中國有雄厚的古代聽音文獻，所以中西方兩個碰撞在一起是很有意思的。

提問： 「聆」和「聽」是不一樣的，「聆」是比較專心的，在你們研究中，兩者有甚麼分別？

答：其實中文字裏關於聽的有：「聆」、「聽」、「聞」是有區別的，比如說「聽而不聞」，「聽」應該是最廣義的，「聞」是比較專注在一個對象上的，而「聆」我覺得是更加專注的，我沒有研究過，但我認為是有差別的。但是現代中文常常需要兩個字來組成雙音節，比如「聲音」 ,我們知道「聲」和「音」其實是不一樣的，但是放在一起，成了漢語，就混淆了它們的區別。「聆聽」也是，「聆」跟「聽」是不一樣的，當它們成了一個複合詞的時候，便失去了一個區分。

我們從古代的一些裝置來看古代人怎麼對付「聽」這件事情，把「聽」具體化、形象化。請看這個照片是編鐘，距今二千五百年左右的一件東西。仔細看的話，這個東西其實是非常可怕的、非常嚇人的。我們平常接觸到它時直覺得認為它是一個考古的、出土的文物，不會把它當作一個聲音的儀器或是作品來看，但是你看它的複雜程度，不只是製作它本身相當複雜，是高度的科學技術和知識，在當時是高科技的。同時在看不到的那一部分，它背後藏著是非常可怕的、非常早熟的調律的知識。我們知道，這一套鐘，它是十二音的，在西方當時是沒有這麼完備的十二音的調律方式。所以中國古代人花了很大心血，在很多的心力放在聽覺這件事情，不只是音樂，它的重要性超過了音樂，在「聽」本身。

剛才我們提到了這個十二音的調律，調律是一個非常值得注意的現象，因為調律也就是tuning，它在西方是被當作樂理、聲響學的一部分，而在中國，調律絕對不只限於樂理或音樂上的意義，它是政治層面的一個重要區塊，翻開中國政史，古有廿五史，每個政史裏都有一個章節叫律治，在這個章節裏談的不是音樂。而實際上中國音樂經過這麼多時代，它的變化其實也不是那麼大，所以沒有那麼多可以談的。律治這個章節裏談的是調律的方式，調律是不是調得對，和諧不和諧會影響一個朝代或推翻前一個朝代的新政權的執政的合法性成功與否，影響到政治上的結果。所以調律被賦予了很高的政治含義，更廣來看，不只是政治，而且是中國人宇宙觀的一部分，tuning is a part of Chinese cosmological system, that is way beyond just political content，音樂、調律、天文、星相在古人看來是一體的。我們都知道五行這些算命，在古代是holistic，是一體的，它不是個別的。所以音樂這個調律跟其他的各種屬性要了解的話，我們就要現在看一個律法圖，每個音階上的音跟每個月份、方向都聯繫在一起。它是非常完整的，一個整體性的宇宙觀。剛才看的這個東西是祭祀用的禮器，同時也可以演奏的，也是一種樂器。但是如果把它放在今天看，把它放在一個展覽空間，它是一個很了不起的，是非常嚇人的裝置藝術。可以在雙年展、三年展馬上一炮而紅，因為它的造型非常可觀，背後技術很強，還可以發出聲音，它是一個聲音裝置藝術。但是我們要作一個區別，在古代，它先是主要作為樂器，之後再變成禮器，比如說在陪葬的時候，它就作為一種禮器。

聲音裝置藝術在藝術史、美學史上是一個很重要的轉捩點。我覺得聲音裝置的出現和流行普及及被炒作是人類幾千年音樂傳統的最終的終結。它比日本的噪音理論更早，這被視作是反音樂的發展，跟音樂本體的定義是完全相反的，它們做出來的不是音樂，是反音樂。但是如果退後一步更宏觀來看，不管是John Cage還是日本秋田倉美的極端暴力噪音理論，他們討論的題材還是聽覺。不管是聽得舒服還是不舒服、聽起來是暴力還是協和的，有節奏還是沒有節奏的，討論的還是聽，所言它們都是聽覺、音樂藝術廣義上延伸。為什麼說今天的聲音裝置藝術是人類音樂文化的終結，因為它開始讓人不再聽了，如放在美術館或是雙年展裏的一件裝置藝術，你多半的注意力會放在它視覺的構成，它的造型和它的實體，而可能對它的聲音並不那麼感興趣。這個影響是很了不起的，做得很好的一件裝置藝術。我們今天看大多數的市面上流行的裝置藝術作品，它們聲音的結果其實是我們不關注的。我覺得作為一件聲音的作品或是音樂作品，它唯一能夠作為判斷的標準就是我們願不願把我們生命裏的時間奉獻給這個作品，比如一個交響曲三十、四十分鐘，我們願不願意用四十分鐘的時間去聽一首現場的交響曲或家裏的唱片。如果真的是好的作品，我會不只一次甚至好多次反覆地花四十分鐘去聽。但是現在的聲音裝置藝術，我們可以做一個旁觀者來看聲音裝置藝術跟觀眾之間的互動情況怎樣，我們觀察到很多觀眾走到這個聲音裝置前面，看一看它的牌子，是誰做的、年份是多少、它背後的技術是什麼、是什麼樣的感應器、什麼樣的互動、用到什麼軟體硬體，瞭解以後，大概看一看，可能就走到下一個作品。所以我認為聲音裝置藝術已經變成一個反音樂(anti-music)，因為我們不再聽了，我們只是把它當成一個造型藝術來評價來衡量它的價值，而它的聲音那部分，只不過是把它成為一個能夠發聲的裝置藝術。(It’s an installation with sound instead of a sound installation.)

我們看古代人聽音的廣度，隨便舉一些例子，這個東西可能大家不太注意到，在墨子的時代，2500年的時候就有完整文字記錄的文獻可以證明的一件中國人的發明——「地聽」跟「甕聽」。這是宋代軍事百科全書裏《五金總要》的一個插圖，這個插圖非常簡陋，但是我們可以看到地聽的構造，它實際上就是一個大的甕、大的瓦罐。我把這把個放在一起，這是出自《中國聲學史》這一部很重要的教科書裡面的，放在一起就發現這個瓦罐實際上就是一個 tempo resonated。中國古代人當然沒有一個resonated的概念，但他們知道這個東西的特性。「地聽」（geophone）是在古代被當作戰爭防備的武器，它不是用來攻擊的武器，而是防備的時候需要用的一個設備。先在地上挖一個大洞，把大的瓦罐埋在裏面，再派一個人坐到裏面去聽。因為在古代攻城的時候會有挖地道，要想知道敵人挖地道的進度和方向，必須通過地聽的裝置來探測。所以它是防衛的時候一個重要的軍時設備。這個很有意思，我們從今天的角度來看，它是一個非常早的發明。現在我們多半用geophone來聽埋在地下的油管是不是漏油，越戰時美軍用來geophone監聽地下越共挖地道。中國人是很早就應用geophone。

剛才提到我喜歡新的跟舊的結合、衝擊，我也曾經為南京這個城市做的一個作品叫《地聽南京》。希望用地聽這個模式建構一個空間，在裡面可以聽到四方有不同的聲音傳過來，模擬從前地聽的概念。我們當然不可能在畫廊挖一個地洞，所以做了一個地地面上的空間。

（第二部分即將發佈）

﹣﹣

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reading <The Soundscape – Our Sonic Environment and The Tuning of the World> (1977) by Murray Schafer

Walk for Silence from busy street to peaceful alley

and distribution bookmarks with Schafer’s quotes

sound collectors’ sharing at Part-of Studio

（中文請往下）

718 World Listening Day - Let’s Listen
Walk for silence + Sound collectors’ sharing

SUNDAY July 18th 2pm –
Walk for silence 2pm @ Southorn Playground, Wan Chai
Sound collectors’ sharing 3pm @ Part-of Studio Shop, G/F, 16 Sik On Street, Wan Chai
led by Sin:Ned(Dennis Wong Chung Fai), with sound collectors Jantzan Tse, Abby Wong and Tsang Sin Yu
*Dress code white tee

THURSDAY July 15th 7pm -
reading Murray Schafer’s The Soundscape – Our Sonic Environment and The Tuning of the World (1977)
@ ACO, 1/F, Foo Tak Building, 365 Hennessy Road, Wan Chai (www.aco.hk)

~ Free and open for all who care to listen ~

“The noisy city has become deathly quiet.”
– Murray Schafer, The Soundscape – Our Sonic Environment and The Tuning of the World (1977)

The noise level in our city keeps rising in an unpredictable rate. A 2006 research by the Chinese University of Hong Kong shows that, the noise levels of more than 90 parks in our community are much higher than the standard level (55dB) suggested by the World Health Organization. The most well known Victoria Park even reaches a noise level of 50% higher than the standard. In 2008, an Environmental Protection Department report says, “Traffic noise is a major concern which affects more than one million people.” (http://www.epd.gov.hk/epd/english/environmentinhk/noise/data/noise_exposure.html) Noise might even cause hearing loss, mental stress and irritation. Can we still hear our favorite sounds in this noise? What sounds are endangered?

The hazard of noise has long been identified by Canandian composer and environmentalist Murray Schafer. However, rather than championing noise abatement, he takes the positive approach: encouraging people to “clean their ears” and discover the joy of listening again. His work and call have since inspired acoustic ecology movements and artistic endeavors throughout the world. World Listening Day, also Schafer’s birthday, is a tribute to him for founding the Acoustic Ecology movement and the World Soundscape Project. On July 18, worldwide activities on listening take place to raise public awareness on our listening environment and to celebrate the creative exploration of field recording. (http://www.worldlisteningproject.org/?p=667)

soundpocket celebrates the first World Listening Day in Hong Kong with one-day event Let’s Listen – a group of active and critical listeners (university students of sound art, sound designers and engineers, artists…etc) lead a walk for silence in Wanchai, while distributing short quotations from Schafer’s book. After the walk, sonic artist Sin:Ned (Dennis Wong Chung Fai) shares with the public for the first time his private sound collection. Sin:Ned’s interests range from improvisation, sound art, experimental music, and noise art to field recordings. He says, “Collecting sound is like people collecting stamps in the old days.” Other sound collectors also share their favorite sound from their “stamp album” with Sin:Ned.

*Murray Schafer - La Semaine du Son 2010 : http://www.youtube.com/watch?v=JX9VzICmKpA&feature=related

“The essence of sound is felt in both motion and silence; it passes from existent to nonexistent.”
– Murray Schafer, The Soundscape – Our Sonic Environment and The Tuning of the World (1977)

What we can all do on 718 World Listening Day:

- treat our ears as if they are your greatest treasure

- participate in Let’s Listen and spend time with a group of active listeners

- put our earphones aside for one minute, one hour, one day; listen to the sound around

- speak less to listen more

- listen to stories from an elderly person: everyone has a right to be listened to

- listen again to what we habitually do; notice the quality and texture of the sound

- make a list of favorite sound (or least favorite ones)

- allow ourselves 5 minutes to do nothing but listening

*Let us know what you will do on World Listening Day with us: listen@soundpocket.org.hk

(Download PDF)

–

718世界聆聽日﹣《聽甚麼？》
為寧靜漫步＋集聲者分享

星期日　七月十八日 下午二時
為寧靜漫步 下午二時於灣仔修頓球場出發
集聲者分享 下午三時於灣仔適安街十六號地下 Part-of Studio Shop
分享嘉賓：Sin:Ned(黃仲輝)、謝振聲、黃美鴻、曾倩瑜
大會衣著: 白色衣服

星期四　七月十五日 晚上七時
讀書會 導讀 Murray Schafer 著作 The Soundscape – Our Sonic Environment and The Tuning of the World (1977)
於灣仔軒尼詩道365號富德樓一樓藝鵠　(書本現於藝鵠有售, 詳情請參閱www.aco.hk)

*費用全免 歡迎任何關注聆聽人士參與！

「嘈吵的城市都變得死寂起來。」
﹣ Murray Schafer, The Soundscape – Our Sonic Environment and The Tuning of the World (1977)

生活在亞洲國際都會，我們每天置身於人多車多的鬧市，飽受繁忙擠塞的交通帶來的噪音干擾。2008年，環境保護署（http://www.epd.gov.hk/epd/english/environmentinhk/noise/data/noise_exposure.html ） 一項研究指出香港現時的交通噪音問題滋擾超過一百萬名市民， 而建築工程、通風系統 、 防盜警鐘及鄰里所發出不同程度砰砰、轟轟或刺耳的噪音亦影響著市民的生活。休憩公園的情況會較為理想嗎？事實上，香港中文大學2006年一項研究發現，本地有90多個市區公園噪音水平極高，全部超出世界衛生組織建議的55分貝標准，其中最為人熟悉維多利亞公園的平均噪音更達到81分貝，令人有如置身繁忙的高速公路。我們的耳朵能逃得過噪音嗎？噪音會否一一蓋過那些我們喜愛的聲音？又有甚麼聲音將瀕臨絕種？

加拿大作曲家、教育家、作者及環境保護者 Murray Schafer早在四十年前已經提出噪音對人的危害。他並不是提倡控制噪音，反而採取正面態度， 鼓勵大家打開耳朵，發掘再次聆聽的樂趣。七月十八日是世界聆聽日， 旨於提升大眾對環境聲音的關注及使用地境錄音(field-recording)的創意，同時鼓勵推行聲境教育及實踐。世界聆聽日為Murray Schafer的出生日，以表示對這位聲境研究的先鋒者的尊重。他於七十年代發表書本 The Soundscape – Our Sonic Environment and The Tuning of the World (1977)，分享他對聲態學研究作出的種種判斷。他亦為 World Soundscape Project的創辦人，啟發了世界各地很多聲態學活動（http://www.sfu.ca/~truax/wsp.html）。

為嚮應世界聆聽日，聲音掏腰包(soundpocket) 首度在本港舉辦《聽甚麼？》﹣為寧靜漫步及集聲者（包括聲音藝術家、大學生、聲音設計和工程師等）的分享會。漫步由修頓球場開始，途中向公眾免費派發 Murray Schafer 的聆聽啟示，穿梭皇后大道東至灣仔適安街為終點。隨後，聲音藝術家 Sin:Ned (黃仲輝) 分享他多年來個人珍藏的聲音，他認為「收集聲音就如我們以前喜愛集郵一樣」。另外幾位集聲者亦會跟大家分享他們「集郵簿」內的獨特聲音，他們喜愛集聲只因他們都同樣熱衷於聆聽。

*Murray Schafer - La Semaine du Son 2010 : http://www.youtube.com/watch?v=JX9VzICmKpA&feature=related

嚮應718世界聆聽日，我們可以：

﹣好好善待耳朵，待她如瑰寶
﹣來參與《聽甚麼？》，認識一群熱衷於聆聽的人
﹣放下耳機一會，一小時，一天，聆聽身邊的聲音
﹣少說話，多聆聽
﹣傾聽長者的故事
﹣嘗試仔細留意聲音的質感
﹣在車廂內減少使用電話
﹣列出最喜愛（或討厭）的聲音
﹣花五分鐘，除了聆聽之外甚麼也不做

＊歡迎電郵至 listen@soundpocket.org.hk 告訴我們閣下如何嚮應718世界聆聽日

(下載PDF)

Date: Jan 9, 2009
Location: Videotage

Rune Søchting is an artist and composer of electronic music based in Copenhagen, Denmark. He works in the intersection of sound based art, performance and music composition. He has made numerous installations, field recording projects as well as composed music for videos and live music for performances and dance-performances.

R - Rune Søchting
Y - Yeung Yang

Y: Would you mind holding this [recorder] because it’s better sound this way.

R: Sure.

Y: So can you tell us about your background?

R: I have a university background. I have a Masters from the University of Copenhagen called Modern Cultural Studies. It is a study of aesthetic phenomena and modern culture. It’s philosophical aesthetics. It’s not really cultural studies and it’s not really art history. It’s somewhere in between. It’s nice because it’s very open - you can do what you want.

Y: Yes, it’s important…Anyway, I should explain to you why we want to interview you. We have on the website an item called “People working with sound.” We don’t label people sound artist or what we do as “sound art” because there are people who come into the field because of the possibilities but not because they aspire to be artists or anything like that. There are engineers, product designers, graphic designers etc. interested in this kind of thing. We just grab hold of anyone who can tell stories about different aspects of sound and listening, so it’s nice we can talk to you.

I read your short biography, but could you talk a bit about yourself, why you are here, your background, and how you got interested in sound.

R: Yes. I am not trained as a musician or composer. As mentioned I have a university background. I started working with sound because I was involved with performances in different ways. I got more and more interested in what you could call the sound aspect of set design – what can sound do when you introduce sound as a component, along with the light, color, costume, movement, whatever…It appeared to me that you can do so much by just altering the sound in a room. That turned into a type of work in its own right. This has been the onset of my work, and also the onset of the compositions that I do. Someone told me that what I do is more sound than music.  I believe it can be understood as music but maybe not music in a traditional sense – there are no fixed beats or rhythm. There are some harmonic components but it’s not melodic in a traditional sense. The work is sound-based in a more open sense. What I am interested in is really how sound can alter the atmosphere and how sound can affect the situation you are in. Sound has a way to color your perception in general. Often this happens without you noticing it. However the effect becomes clear once a sound that colors the room disappears, you experience this huge difference like someone turning off the lights. And it’s fascinating. I have been trying to develop ways to work with these types of qualities and effects. So in my work it has been a slowly developing process from where sound was used in a particular context, where it was a component as part of a play or a performance, to a thing in its own right. Something that has its own logic, something that you can create and organize as a temporal sequence of events. It’s as if you have taken away the visual part. You are left with the sonic shadows of what you would normally be able to experience with your eyes. But I leave it to the listeners’ imagination to create the rest. You are given some hints at what is going on but it’s left to you to subjectively fill in the blanks. In some ways it’s really like turning off the lights on a stage, and only hearing the sound track, it leaves a lot of things to your imagination.

Y: Can you give an example? I really like the way you put it, that it’s set design that inspired you. How did it happen?

R: I think…it’s a common phenomenon…this might be far off. When you are working in studios, in some places they have these powerful theatre lights where the light bulbs make this “phwommmm” sound…it creates this feeling of electrical tension in the room. Quite often it happened that we had to move the rehearsals to a different location. It could be a completely different setting. It’s not only the light that’s changing, but the whole atmosphere. You can really tell there is something radically changing. And sound played an important role here. And those things were the stuff that we started to notice. Another example is: You have the ventilator running all the time in the background and you don’t pay attention to it. It’s just there. And then you shut it off, and there’s the feeling of silence. A whole new situation is created. Sound is in general about change. It’s not just a matter of introducing a sound or sonic element, but also that you change it and how it changes. There it becomes a really powerful tool. It is when things are shut off or started…

Y: It’s a very good example. I like also the way you said sound is all about change. In a way there is never a situation where there is no sound, absolute silence. The different kinds of changes introduced by you or the environment…

R: Yes. That’s really what distinguishes it from working with visual components, our ears are so sensitive to these minor changes. At the same time it seems to be the case that once you have introduced a sound as part of an environment and it is repeated over and over. After a while, as a listener you tend to forget that it’s there. As a composer or sound artist, it’s really an interesting aspect. You can work with these things in the sound environment that you tend to forget but are still there. A number of theories about sound and the significance of sound in general seem to highlight the fact that we somehow forget what it is, what kind of sonic environment we are surrounded by. In these theories there’s often an ambition to introduce an awareness of what is actually going on around us, that we might actually be living in a world that is so noisy, that we just don’t pay attention to.

Y: Do you think this might be different when we are in an indoor environment versus when we are in nature? When you talked about how you were inspired, you were talking about enclosed, indoor environments, not nature…

R: There is a difference between the urban and “natural” surroundings. This has been studied by the soundscape project, by people like Murray Schaffer – his claim is that we have created a modern urban world where functions are often more important than sound. Sound becomes secondary. At the same time the density of sounds in an urban environment is really high. The result is that you can not hear very far. You can hear things closest to you, but you are not actually able to perceive the things happening in a distance, because there is so much information in the foreground. This is different from a natural environment, where you can perceive details of events happening in a distance. It can be surprising, say if you go camping, or if you go into a forest, how rich the sonic surroundings appear because you can hear these things so far away. There’s a big difference there. I think you can work with both elements. You can work with the density of sonic experiences for example where everything is upfront, and then you can create something similar to an open landscape with huge depth. There are some qualities in the transitions that are very interesting.

Y: Is this what you do?

R: Yes. It is a dimension of it. My compositional work integrates these elements. You can work with a concept of sonic landscape or something like that, as a way of structuring sound material. It is fruitful to consider these elements. There is a lot of experiential potential hidden in these elements. So it’s very interesting to work with these things.

Y: How do you choose your materials? This is a general question.

R: I guess my approach is quite eclectic. I use field recordings to some extent, and I use various types of noise. I also found that there is so much you can do once you start shaping sound artificially, creating synthetic sound, especially when you are creating synthetic versions of something that resembles “real” sounds, or “natural” sounds, whatever you call them. I found that something interesting happens when sounds resembles something but it’s not that something. It sounds like a bird but you cannot tell what bird it is. It’s like this very strange experience. Your ear accepts that it’s a bird but you cannot produce a clear mental image of it because it doesn’t resemble anything. Once it resembles something, something that points towards a particular type of thing or place, your ear tends to just believe it, even though it’s artificial and that everyone would agree that it’s done artificially. You still somehow immediately accept it even though it appears weird. There is an element of surrealism that is very fascinating. It is very different from a visually perceived concept of realism. When listening, the experienced realism seems to have a completely different threshold. You can work with artificial sound that is somehow believable in a strange way. I think that kind of strangeness is really interesting. It is a criteria for selecting sound material – I can be looking for something that resembles something that it is not. [laughs] And that’s different than…say when you choose sounds because you like how it sounds, or how it fits into the context. If you have the concept of, for example, a sound of a big machine. This could be a metaphor for a composition, for example. There is a big imaginary machine. Then you could make the sound of “querh, querh”, or some sound of metal squeaking against another metal, something that resembles that, even though you place it as to where exactly the machine is…but then you would place the sound not because of its visual qualities but how it would fit into the logic of composition. Although our perception is more holistic rather than individual part, you experience it all, your ear starts focusing on different elements within the whole landscape of it.

Y: Do you have a concept of the bigger picture of the composition first?

R: I start with an atmosphere, a space that somehow fascinates me. Then I slowly build it up architectonically, where something is placed in the background, something in the foreground, and work with the spatial dimension of the structure. You can place different sonic elements, locate them in the three-dimensional structure, so to speak.

Y: A follow up on this…you have described yourself or your composition as more sound-based, not melodic. Is it important that you distinguish yourself in the way you work from the way composers of music work?

R: No, I don’t think that’s very important.

Y: But the way you describe how you work, is it quite different from the people from a music composition background?

R: That’s a very difficult question. Composers work in so many different ways. And it is different from work to work. Some create chance music, some create conceptual works, some throw something in the air and see how it works. Other composers work with the rhythmical or spectral qualities of an instrument. There are so many different ways. I think as an artist, it’s a challenge to find your own way into the work that’s meaningful, where your work starts to make sense. In the process of searching, you slowly develop habits of working. And I think this might be the same whether the format is developing a musical score meant to be played on musical instruments, or whether it is working with real recordings of sound, again, there are so many different approaches. It’s very hard to… I know there is a lot of attention towards the question of the difference in approaches between sound and music in a traditional sense and the more open practice of sound. But my feeling is that this difference to a certain extent is over-determined.

Y: How about the Nordic art scene, in terms of this area – the need, or the absence of the need, to distinguish between abstract sound practice and traditional music composition?

R: I think there’s a lot of really interesting things happening at the moment. There is a heightened awareness towards the practice of sound. It is very lively at the moment with many different projects being developed. At the same time it seems quite open-ended. It’s hard to see what will actually happen. But there is a tendency in the Nordic context, where composers formally trained in music academies, that have been working with orchestras in a traditional setting are starting to play around the idea of how to introduce new scenes or new spaces where the audience listens to the music. The spatial setting is really becoming a central element of the experience. There is one tendency there. Another tendency is that, there is an interest among visual artists to work with sound as a material. Why not? It might be just as good as video or anything else. As a consequence the traditional and coincidental boundaries between media - what is a visual work and what is a sound-based work is being questioned. These boundaries are being blurred more. There seems to be so many interesting things happening in these boundary areas at the moment. This is just a general feeling – I am really just scratching the surface. There are a lot of things happening independently that might only surface later. There’re probably many good explanations for these. The technological development has made it possible for people to work experimentally with different setups. Working from laptops, or other portable devices is no longer a matter of three months salary, but something you can afford, with software you can download for free. Tools become available and accessible in a way that we have never seen before. This has created great potential for a whole new range of experiments. We can really feel this coming.

Y: You talked about tools. What kind of tools do you use normally?

R: I am the type that picks up whatever…The technical side of it might not be so important to me – it’s more a playground. I have been working with obsolete interfaces and non-typical sound-sources. You can use a video camera as a way of generating sound. Just take the output of the video camera. Plug it into a sound system, turn up the volume, and you will hear how it sounds. It’s really a matter of playing and trial and error. When something interesting is there, you take it and use it. I have been exploring different software tools. Many are easily accessible but they might only be good for one particular thing…when that thing is there it’s incredible, why not use it? Another aspect is the matter of context – what is the particular work – is it more the compositional aspect you work with, the structuring of sound as a sequence, or do you want to create an interactive setting, which for examples has to do with the experience of how you move in the room.

Y: Are there sound artists, or whoever’s works, that you find inspiration in? Or, what kind of music do you listen to, to put it simply?

R:  [laughs] I listen to everything. For me it’s a matter of focusing on the qualities rather than the genres.

Y: What do you mean by qualities?

R: Listening to some old pop music from the 1960s and 70s, in many recordings there is a really interesting sense of space, the reverberations used creates a strange and vibrant space that is surreal. That quality there…creates an interesting space. Then there is range of people working with field recordings, maybe associated with Musique concrète in different ways. Francisco López, the way he works with silence, particularly, I enjoy. The quiet elements I really find fascinating.

Y: Have you worked with him?

R: No, unfortunately. Another example of field recordings that I really enjoy is Toshiya Tsunoda from Japan. He has done some incredible field recordings. In one series he puts microphones inside bottles and other places, and creates field recordings of small spaces. They are just very, very fascinating.

Y: Since you mentioned this Japanese artist, what is the weirdest thing you have done, in order to collect materials to work with?

R: [laughs] I mean…It all becomes very weird. The performance I do later here is partly based on the sound of electric cords. It is sound based on electro-magnetic field with the laptop. You start with an open search, and it becomes an idea like, maybe there’s something there. Quite often it becomes a fruitless search. The sound doesn’t end up being interesting, which is part of the thing, but sometimes it works.

Y: As an outsider, it seems to me working with sound involves a huge change of scale – you pick up things that are not on the human-ear scale. Felix Hess came two years ago. He did the “recording” of the Atlantic Ocean far away on the other side of the horizon that is not audible to the human ear. It’s so abstract but you make it possible to hear.

R: Yes. Given the fact that we are working with electronic sounds, there’s always the translation when working with recordings. You start with acoustic waves that occurs, when things collide and scratch against each other. Once you do recordings, you introduce the electric currents. The acoustic waves are translated to an electrical signal through the microphone. The recorded electrical signal can then be translated back into acoustic waves due to the transducers, as a loudspeaker – a signal you can hear.

But once you have the electrical signal you can work with it, manipulate it, amplify it, before turning it back into acoustic signals. That’s really the concept of working with electro-acoustics. It’s the electric currents that you work with and make audible in different ways. Another example would be Mark Bain’s works with low, seismic activity, where he straps big transducers onto structures of houses, and turns the houses into speakers, by making them vibrate. They create a physical experience. They access a different layer of activity and events, that makes them accessible and perceptible as an audible experience.

Y: Lastly, about Hong Kong, is there anything striking to you in terms of listening?

R: One thing is the ventilation and the AC’s. That is an element that is really present. You walk from one environment to the next, the humming…some of them are really beautiful, with nice textures. Some other ones are really upfront. It is very striking. This is very different from the Nordic cities. Another thing is the sound of neon signs, the “buzzzzz”. I don’t think I will associate it with any other place. It’s very present once you start paying attention to it.

Y: Is there a sound festival in your area?

R: Yes, there’s a bunch of festivals. One comes up in the fall, which is next to Denmark, Gothenburg Art Sounds. There was this nice festival in Berlin, called Tuned City. That was about sound and architecture.  There are actually so many festivals that focus on sound in different ways. There’s great attention at the moment in general and there are good networks.

–
support us if you like our “people working with sound” - an ongoing project of soundpocket

Can tourist spots be heard, not only seen? In Rabbit Travelogue - Prologue, how do the sound and visual work together to bring out the absurdity of the concept of “tourist spots” - invented to be seen, hunted down, and snap-shot? When do the sound and visual appear and disappear, and how? Through the listening experiences of Rabbit, Edwin Lo investigates how sounds tell stories, create space, and converse with the flow of moving images.

*Exhibition 《Rabbit Travelogue: Prologue》presented by Ying E Chi is held from November 13 - 28 at The Grand Cinema Foyer, details please refer to Hong Kong Indie Film Festival 2010 official website

「旅遊景點」是個為眼睛而設的發明，好讓遊人探訪拍照留念。兔子發奇想，要把景點變為「聽點」，誰知旅行期間，兔子被快將清拆的地點吸引……
聲音藝術家羅潤庭及錄像藝術家許雅舒，將分享兔子選取「聽點」的過程及遊歷中感受到的種種, 一方面帶出「旅遊景點」概念的荒誕性，並介紹聲音與錄像之間反覆轉換的互補過程，揭示聲與畫怎樣呈現、重疊及消失，以及如何處理及重整兔子所聽所聞。

*由影意志主辦展覽《旅行兔子: 序》由十一月十三至廿八日於The Grand戲院大堂舉行
詳情請參閱香港獨立電影節2010 網頁

Over a few hot summer days, Susie Law of soundpocket went looking for people, places, and occasions worth listening to in Taipei.
She shares with us her encounters with
~ Lacking Sound Festival - a monthly sound performance
~ sound artist & educator Wang Fu-jui
~ Watching Dust - a sound dominated theatre project initiated by New York-based artist Wang Hong-kai
~ i/O lab – a group of emerging artists working with sound across multiple disciplines
~ Traversing The Fantasy - exhibition at TheCube Project Space

聲音掏腰包於八月出訪台北，參與聲音藝術活動及與幾位藝術家會面，與大家分享於行程中的所聽所聞。
報告內容包括:
﹣每月一次的＜失聲祭＞
﹣與聲音藝術家及推動者王福瑞訪談
﹣聲音藝術家王虹凱首度劇場作品＜微聲計劃＞及與藝術家訪談
﹣認識台灣的聲音藝術組織 i/O lab，結合聲音藝術與影像、裝置與動力
﹣於立方計劃空間的展覽﹣＜親歷幻見＞

Visit Otodate, a listening “self-study” event originated by Japanese pioneer sound artist Akio Suzuki. Over the past 15 years, more than one hundred Otodate – an ear+foot print on the ground for visitors to stand on and to listen – have been made over the world. A month ago, Suzuki came to Hong Kong and marked 15 Otodate. This day trip follows his path.

Otodate
The Japanese name for outdoor tea gatherings is no-date
Mr Akio Suzuki names listening activities in the city oto-date
An ear+foot print in white is made on the ground
Stand on the print
Focus to listen

《點音》是日本聲音藝術家鈴木昭男自年輕時開始創作的自修活動。其中一個重點是「聆聽好去處」尋找方法，以及超越「聆聽好去處」產生的觀念，探索「未聽感覺」。

現時《點音》印記遍佈世界各地不同城市。聲音掏腰包邀請大家一同尋找鈴木昭男於上月來港留下的印記，從土瓜灣開始「聽到」摩星嶺。

《點音》
在戶外享用的茶會日文稱爲「野點」(no-date)
鈴木昭男先生把在城市中享受聲音的活動名為「點音」
(日文倒過來讀成oto-date)
在地面噴上耳朵+腳印形狀的白色印記
站立在印記上
專心傾聽

(silence docent by soundpocket)

Absolutely Worth Listening (AWL) is a monthly event hosted by soundpocket for the sound-inspired to come and share your listening experiences, sound-related works and ideas-in-progress. While Facebook helps you connect and share with the people in your life, AWL creates a tangible “inter-face”.

We discussed mind-blowing YouTube links in AWL 1 - YouTube is Our School. This time, we invite you to bring a CD to play. Special guest Yuen Chi-chung will give a pre-show talk on Listening to Tears for Fears, who will perform in Hong Kong in May. As a free listener, soundpocket calls for you to exercise your right to, just as a free citizen of any civil society does, be a free listener.

《我出客廳你出聲》顧名思義就係邀請你來到我地個客廳，和大家分享你挑選既聲音–說聆聽經驗心得、分享最近聽聞過的種種、播放（因為太正、太爛、太不可理解等）忘不了的聲音作品…… 無任歡迎。我們每次有不同議題，邀請不同嘉賓來參與特定環節，更鼓勵參加者攜帶聲音相關的東西一同分享。

人人都是自由聆聽公民，人人都有權要求更好的聆聽環境。

繼上次一人一 YouTube link之後，今次邀請樂評人袁智聰來跟我們一起聆聽將於五月來香演出的英國組合 Tears for Fears 的聲音。誠意邀請大家也帶自己的一張ＣＤ來播放分享。

CD cover images source: http://991.com/eilcom/gallery/gallery.asp?artistname=Tears-For-Fears

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Have you ever learnt from YouTube clips? Millions of people over the world broadcast themselves every minute, every day, making YouTube a tremendous pool of knowledge, skills and experiences, and one full of surprises too. People shared their interesting Youtube materials on that evening, artists Rita Hui and Edwin Lo also come to tell us their upcoming event, Rabbit Travelogue and their favorite YouTube clips.

或許你試過在YouTube看新聞或各地連續劇，或許你也會在那裏看音樂錄像，那麼，你又有沒有看過一些具啟發性、讓你認識更多聲音知識的短片呢？每天有上百萬來自世界不同地方的人透過YouTube 廣播自己的短片，除了大量新聞娛樂宣傳資訊以外，YouTube是個充滿知識的寶庫，往往令你意想不到。當晚來到的人都分享了和聲音有關的短片，同場還有藝術家許雅舒和羅潤庭介紹他們的 Rabbit Travelogue 及心水YouTube短片。

Download that night’s Youtube playlist

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We have the following individuals, companies and organizations in addition to our honorary advisors to thank, for their time, energy, ideas, encouragement, and support:
Anthony Yeung Mastering Studio, Billy Larry, Codesign, Mike Cooper, Chris Lau, Wendy Lee Kwok-ying, Edwin Lo, Emergency Lab, MCCM Creations, Para/Site Art Space, Ellen Pau, SEE Network, Madeleine Slavick.
If we have missed you on this list, you know who you are. Thank you.

We need your support to better our listening environment.

For research and long-term public education, help us keep their voices alive -
Your donation will be used to hire interviewers and transcribers, both trained by experienced professionals in soundpocket, to keep extending our archive of People working with sound and sharing this experience with you.

Or donate by crossed cheque:
account name “soundpocket limited”
mail to Unit 10C, Gee Chang Industrial Building, 108 Lok Shan Road, Tokwawan, Kowloon, Hong Kong.
A receipt from soundpocket will be sent to all our patrons upon receipt of all donations.

*ALL DONATIONS ARE TAX DEDUCTIBLE

聲音掏腰包為藝發局資助團體
soundpocket is financially supported by the ADC

Akio Suzuki (Japan) is known as a pioneer of sound art, but the breadth of his activities and the form of his works far exceeds the normal boundaries of sound art. It is perhaps more as a “quester after sound and space” that he has received the most attention from artists in many fields. Suzuki is invited frequently to the US and Europe, and his performances at leading music festivals, Festival d’Automne (Paris, 1978) and Documenta 8 (Kassel, 1987) were rapturously received. Suzuki has started the Mogari series since 2002 at the Brunei Gallery at the School of Oriental & African Studies in London. This series centres around unbelievably powerful performances on iwabue - ancient and naturally-sculpted stone flutes which have been handed down in Suzuki’s family.

ki-date is a set with DVD of 3.5 hours and a 190 color pages book with Japanese and English translated. “Ki appears in many Japanese words - tenki (weather), kisei (elan), iki (spirited). In each of these cases, ki points to the fundamental generative life power created by each and every object, or the latent potential to reveal its inner life. Atmosphere, life-force, beauty - each is composed of ki itself.” - excerpt from foreword of catalog.

“All my work is interactive, and is very sensitive to what happens nearby. In fact, my work is aimed at an awareness of sensitivity. The origin of my work lies in the silence of the Australian outback, where I listened to frog choruses night after night. I made sound recordings of many frog concerts, in
Australia, in Japan and elsewhere. The frogs taught me to sit still in silence and listen…

My work is about communication and sensitivity, and also about the relation between sound and space. In a sense, my “machines” allow space and silence to speak for themselves. The basic theme in my work is listening.” -Felix Hess

I have only encountered Felix Hess’ work on paper. No photograph and no sound recording can capture his works, even slightly. Albeit on paper, they are enough to shift one’s attention and bring into focus with confidence on that which finds no figuration in general. His works create the breathing room for that which doesn’t hide but never show, that which may be shy. They propose
modestly but strongly that there is always more to the presentable.

Yeung Yang, founder of soundpocket

*also available in soundpocket - enquiry: info@soundpocket.org.hk

土炮日營及基本聲音編輯補習班
《聽者言》系列五

導師將在這實用而有趣的土炮日營，指導你使用自選材料製作私人錄音設備，再用這剛製成的趣怪土炮於土瓜灣區內進行現場錄音，讓你瞭解錄音基本功及聆聽技巧。基本聲音編輯補習班讓你認識如何充分利用聲音編輯器和錄音軟件Audacity，把土炮數碼化。參加者須帶備手提電腦和MP3格式的聲音材料以即時實習編輯技巧。

土炮日營 導師：黃漢基
基本聲音編輯補習班 導師：楊我華

Make Your Own Mic day camp & Basic sound editing tutorial
The art of listening series V

A practical and fun Day Camp where tutors guide you through making your own sound recording equipments with materials of your own choice, understanding basic sound recording techniques, and critically listening with them in the Tokwawan soundscape – a basic first step to field recording.

The workshop on sound editing guides you through how to make full use of sound editing software Audacity - an introduction to digital audio recording and editing which helps you break through the learning curve and straight into the world of digital audio. Participants are required to bring their laptop and sound sources in MP3 format for editing practice.

Day camp: Make Your Own Mic by Billy Wong Hon Kei
Tutorial: Basic sound editing by Anthony Yeung Ngor Wah

導師簡介
黃漢基畢業於香港演藝學院，主修舞台音響設計及錄音室錄音。曾為多個藝術團體擔任音響設計、音樂總監、劇場操作員、錄音技師、舞台監督及技術統籌，包括中天制作、赫墾坊劇團、香港藝術中心、中英劇團、佚名劇團、城市當代舞蹈團等。他於1988年榮獲最佳音響設計，1989年參與中天制作的「強者小紅蟻」獲提名最佳音樂劇。現職於音響系統顧問(亞洲)有限公司及藝聲音響系統顧問(澳門)有限公司出任項目經理，為公共運輸設施、劇院、賭場及酒店提供影音系統設計、顧問及安裝。2007及2009年於澳門文化中心任教「舞台音響無難度」工作坊。

楊我華為母帶處理工程師，擁有二十年的現場錄音，錄音室錄音和舞台音響設計經驗，2003年獲第12屆香港舞台劇獎之最佳音響設計。近期作品包括梅卓燕的《日記ＶＩ．謝幕…… 》、城市當代舞蹈團的《非常道》及《舞！舞？舞……》、 與林嵐及羅琛堡合作於1a Space 舉行 的《從事雕塑》。

About the tutors
Billy Wong Hon Kei graduated from Hong Kong Academy of Performing Arts, majored in the Theatre Sound and Studio Recording. He was the acoustic designer, music producer, theater operator, recording master, stage manager, technical coordinator for many art groups, including the Exploration Theatre, Hong Kong Arts Centre, Chung Ying Theatre Company, City Contemporary Dance Company, Anonymous Theatre Company and so on. He received the Best Acoustic Design Award in 1988, and participated in the ‘Powerful Little Red Ant’ which was nominated as Best Musical in 1989. Billy is currently working as Project Manager of Audio System Consultants (Asia) Limited, dealing with the consulting, planning and installation of audio system for transport facilities, theatre, casinos, and hotels. He was a tutor of Workshop de Desenho de Som - Sound Design Workshop in Cultural Centre in Macau in 2007 and 2009.

Anthony Yeung Ngor Wah is a sound engineer specializing in classical music recording and CD mastering. He has also been active in theatre sound design for almost 20 years. He co-founded the label A Asterisk Music, which offers sound engineering support to independent musicians in Hong Kong. In 2003, he received the Best Sound Design in the 12th Hong Kong Drama Award. His recent productions include ‘Diary VI • Applause’ by Mui Cheuk-yin, ‘Dao•Extraordinaire’ and ‘Very Dance!’ by City Contemporary Dance Company and ‘Works In Sculpture’ with Jaffa Lam and Jamsen Law, commissioned by 1A Space.

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Our hearing is born with – the gurgling of water in our mother’s womb, her voice, her breath, her heartbeat. Hearing is to perceive by the ear, all we hear is initially shapeless sound. Listening also involves judgment, and the unending search of personal meaning. What a waste of our good ears if we put them to hearing any less. Join us in The art of listening series IV & V

我們出生前已擁有聽覺–母親子宮內的汩汩聲、她的話語、呼吸、心跳……我們聽到的聲音最初是無形的，聽覺讓我們認識周邊的事物，以至理解世界。但假如我們不用心聆聽，便會失去很多體驗及認知世界的機會。不善用聽覺就是浪費了與生俱來的一雙好耳朵。《聽者言》系列四讓我們一同練習關注聆聽體驗。

–

Talk 1:
Creating Theatre Sound – Christopher Shutt, sound designer visiting from UK would share his experience of sound creations at various kinds of theatres in UK.

Talk 2:
Working on Very Little - German artist Jens Brand speaks about his listening experience by sharing his sound-related works.

soundpocket (2 years old) & Jens birthday party at night

Talk 3:
Hopelessly Devoted to Sound Design – Sound designer and educator Christopher Johns (HK/UK) speaks about his journey of no return, fifteen years into theatre sound design in England and Hong Kong.

About the speakers
Christopher Shutt trained at Bristol Old Vic Theatre School. In 2002 he designed the sound for Simon McBurney’s production of The Resistible Rise of Arturo Ui, New York. Formerly Head of Sound at Bristol Old Vic and the Royal Court where work includes Serious Money and Road. For 14 years, Sound Supervisor at the National Theatre, where work includes Mourning Becomes Electra, The Talking Cure, Play Without Words, The PowerBook, Humble Boy, Life x 3, Hamlet, Albert Speer, Not About Nightingales, Death of a Salesman, Chips With Everything, The Homecoming, Machinal. Awards: Drama Desk Awards for Outstanding Sound Design for Mnemonic (2001) and for Not About Nightingales (1999).

Jens Brand lives and works in Cologne, Germany, graduated from Art Academy Muenster, Germany at 1994, founding the artist initiative „mex e.V.“ (www.mexappeal.de), an inter-media and experimental music group in Dortmund, Germany in 1992, and worked as the artistic director from 1992 - 2006. He participated in different residencies projects in China, Belgium, USA and Japan since 1999. His works and concerts were exhibited and held in Austria, Switzerland, Spain, China, France, USA, Taiwan, Japan, Denmark, Portugal and Finland, with awarded by Edith Russ Site Award for Media Art; Media Ateliers Munich and Karl-Ernst-Osthaus-Award in Germany. Brands started his sound-related projects in Qinghai Province in 2008 with the Grant of the Goethe Institute Beijing. More - http://jensbrand.com

Christopher Johns is from England and has 15 years of experience as a theatre sound designer and 10 years experience as a theatre educator. His career as a sound designer included working at the Bristol Old Vic, The Royal Shakespeare Company and The Royal National Theatre. He also worked as a freelance sound designer and production engineer working on many tours of productions. As an educator Christopher worked at Bridgwater College teaching and developing the various programmes in music recording, music technology and sound for television, he has shared his professional experience by giving seminars and lectures at drama schools in the UK. He is the Chairman of soundpocket and the Head of Entertainment Design and Technology of School of Theatre and Entertainment Arts at Hong Kong Academy for Performing Arts. He was the Sound Producer of Symphony of Lights (Hong Kong Harbour Light Show) since 2006, and worked on the sound design for Looking for Antonio Mak exhibition in Hong Kong Museum of Arts in 2008.

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訪問日期：2009年5月2日
地點：東澳

與顏峻對談 - 《聽在》聲音藝術節 2009
訪問: Edwin Lo

藝術家簡介：颜峻，聲音工作者，文字工作者。1973年生於蘭州，中文系畢業。現住北京。他的創作涉及反鐀噪音，嗡音，人聲，田野錄音，場地定制聲音装置，即興音樂，環境聲響，寫作，出版和策劃，并且把這些看作同一件事。他是撒把芥末和觀音厂牌創辦者。2005年創辦了每周進行的實驗音樂活動《水陸觀音》，以及每年舉辦的Mini Midi音樂節。主要文字出版物包括5本音樂文集和3本詩集。

Ｅ- Edwin Lo
Ｙ- 顏峻

E: 大概是2006年, 我做了一個關於中國聲音藝術的小研究。那時候我找到你的Blog。當時, 對我來講, 顏峻就是schizophrenic, 精神分裂的身份：他是一個詩人，一個樂評人, 之後還是聲音藝術家, 我想知道當中身份轉變的過程是怎麼樣? 那個關係可以怎樣說?

Y: 哎呀, 我都覺得太多了。

E: 是身份太多?

Y: 這不是身份, 要做的事情太多了。身份多一點比較好, 我不喜歡很職業的感覺。我最早是寫詩, 上中學就一直寫詩。一直寫到20幾歲的時候，我就覺得寫詩是自己的事情, 那我不用花時間跟人打交道, 不用花時間去參加詩歌活動，那時候用很多時間。作為一個詩人不需要花那麼多時間, 而且寫詩的時間很短。

E: 那個時候的狀態是蠻個人的, 不會理會其他人的感受。

Y: 對啊！其實, 這個感覺是最好。這個身份最好的東西是, 完全為自己, 完全都沒有關係。因為我上大學時還辦詩刊; 後來工作以後, 大學畢業也不辦詩刊, 所以寫詩完全是我自己的事情, 我覺得這永遠是, 到現在也是最舒服的。寫詩到現在還是最舒服的事情, 我不用考慮給別人看, 或者是用詩做什麼。後來做的其他事, 都沒有這件事好，都是次等的。次等的事情是做樂評、做聲音, 還有安排演出這些東西……也是比較次等的事情, 但肯定要做很多次等的事情。

E: 但是，做樂評人和詩人, 對你做聲音有沒有幫助?

Y: 做樂評人對創作有太大的妨礙了。（笑）

E: 真的嗎?

Y: 太可怕了。（笑）

E: 為什麼這樣說?

Y: 會想太多了。

E: 很多顧慮了。

Y: 因為甚麼是創作? 創作什麼不想就最好。因為我就會想……哎唷, 這樣好不好, 這樣做不對, 別人做什麼, 跟別人有什麼的關係啊, 或者說, 這些聲音有什麼意義。我就開始解釋它, 或者是, 這些腦子裡東西就成了影響。其實創作就是不管它好壞, 不用管跟別人有什麼關係, 它有什麼意義, 都不用管, 只要創作就好。

E: 現在對你來說, 自己開心就可以?

Y: 對啊。

E: 那個狀態就和做詩人一樣, 自己滿足就好。

Y: 所以, 我一直在想辦法回到寫詩那個狀態去做所有的事情。比如說, 做評論的時候, 把想太多的東西排除出去。還有把前幾年受到的影響也排除出去。因為前幾年, 其實剛開始創作以後, 就學習那個人這樣說, 那個那樣做, 我要學習他們。但學了幾年以後, 我發現我學到一些壞東西, 它們是我不需要的, 所以現在也要排除出去。就像昨天吃飯, 坐在我左邊的那個日本老頭是誰?

E: 他是Akio的朋友。他專程來看他的。

Y: 他不是住在香港的?

E: 應該不是。

Y: 他很好, 昨天我們聊天聊到那個社會, 就是說, 我特別同意他說的。他說他去歐洲開會時, 指出日本當代藝術沒有社會背景和社會學這些東西。那些歐洲人特別不高興, 說你不是正式的藝術, 這樣不正式的, 不對的。

E: 應該說, 做藝術的原因是很單純的, 很簡單的。

Y: 我覺得中間有些潮流因素。因為歐洲從九十年代開始, 就有這樣的潮流; 九十年代以後, 他們開始把社會學及政治放到藝術裡面。其實我覺得這個是資本主義的問題, 再說就大了, 可以先不說。總之, 所有東西清到藝術裡面, 然後改變藝術, 也有很好的地方, 但是最後變成潮流。所有的藝術, 都要講政治正確, 有什麼社會意義, 有什麼責任感……它有他媽的政治經濟什麼, 亂丟的﹗歷史, 那些東西……我覺得其實這是過度詮釋, 所以, 我覺得這幾年學得壞的事就是過度詮釋。這是在你的作品中間, 給它太多的意義。我現在要重新來學, 怎樣把意義再排除出去, 然後再回來。

E: 我看你早期的作品, 是在詩歌上加soundscape也好, 一些ambience。但是, 後來又變成很單純的東西, 一些feedback, 也有詩歌的元素。現在又做田野錄音。你在這個當中很多的改變, 是不是因為之前跟著別人做, 之後想再改變自己?

Y: 也有。其實最近這段時間, 我想去研究feedback這些東西。研究feedback的目的不是為了研究feedback, 而是為了自己, 一定跟自己的關係最直接。feedback是特別微妙的東西, 做的時候要特別安靜; 或者說, 也可以不安靜, 但它要跟你有互動。我覺得做feedback更多是為了認識清楚自己, 所以我應該做會feedback一段時間。我不是想要去研究feedback的科學, 及做技術性的東西。之前做創作用電腦, 我想做的東西是人造音景, 管它叫做artificial soundscape; 但後來有一件事情就是, 我那個時候偏向mix的東西, 我覺得技術上面有問題, 我覺得我用得不好。如果簡單把他們編在一起的話, 我不用電腦也可以了, 用我最早時候用的iPod, MD, CD就可以了, 我根本可以不用電腦, 我可以用4、5個MD。我用電腦是為了什麼? 然後用電腦做現場, 我覺得它跟身體的關係太少。

E: 我也覺得。近幾年，我也思考現場和筆記本的演出。可能就是跟Francisco Lopez這樣說: 沒有用的, 你看那個人在弄筆記本。我覺得聲音的經驗還是比較重要, 所以近幾年, 我都在做田野錄音, 了解自己跟那個環境的關係, 之後再到聆聽的經驗, 這是比較重要的。

Y: 我覺得現場就像做feedback, 我做的時間不長, 多久? 一年? 我忘了, 反正不長。我覺得在裡面很多樂趣, 最大的樂趣是, 到現在我都做不好Feedback現場。但是我想OK, 我不是為了做多麼好的東西, 而是要對自己有更多的認識, 讓它改變自己, 這可能是自己的功課。其實我覺得我現場的東西, 不是很舞臺、很音樂家的東西。其實在很多事情中, 每件事情都是自己的功課, 其他的東西, 我想最後每一樣都有關係。像做field recording這件事, 最重要的是錄音的時候, 而不是最後呈現、發表的時候。錄音的時候是最重要的, 因為你自己在聽; 只要你不錄音, 感覺就不一樣。

E: 很奇怪! Microphone這一件東西，是很奇怪的。你知道Yannick Dauby, 他寫了一些field recording、phonography的東西, 很影響我。他說：用你的裝置、microphone來對這個環境做一些反應, 不關於你的裝置有多貴多好, 就是那個反應。你說得對, 錄音的時候很最重要的。

Y: 其實我覺得, 能不斷地回到這樣的狀態：做田野錄音, 然後回來, 再用它做新東西……能不斷回到這樣的狀態是最好的。其實這就跟寫詩差不多, 是為了自己, 那個時候你存在, 環境也存在, 而且你們中間的關係存在, 那是最美的。然後比如說, 要做一個裝置, 做裝置的這個過程, 像做《蟲洞旅行紀念》的時候, 每天上班, 早上去, 然後呆著——其實我幹事情很慢, 就是我很猶豫, 我就會想半天, 浪費了時間, 我很想做這個, 所以《蟲洞》就是要我浪費時間看那個。其實這個想是沒有意義的, 但呆在那個空間裡面, 我會覺得很舒服。這個過程最後是享受, 也可以算是創作。最後《蟲洞》做出來以後, 我覺得它也是田野錄音, 只不過是用contact microphone錄那些管子的聲音。浪費時間這個過程, 也是特別好的。

E: （笑）浪費了時間, 也有用的。

Y: 因為那是第一次有人支持我做一件事。別的不算, 以前也有, 但支持就不夠好。

E: 為什麼不夠好?

Y: 比如說, 它把東西發給你以後就不管了, 什麼事你都自己去做。本來那個機構有一些幫助, 但他們自己很忙, 沒功夫幫你, 那怎麼辦? 這一次是因為跟張巍和胡昉合作, 很舒服, 事情很簡單, 他們工作, 我點泡荼喝, 我覺得就是有人縱容你去發呆, 太好了! 我覺得在任何時事、任何地方, 這樣浪費時間去發呆, 都不對的, 都不好。可是在這件事情上, 他會縱容你去發呆, 我自己沒有任何負罪感, 我不會焦急要做下一件事情。我每天去的是發呆, 太概兩個星期——其實要做好, 總共兩三天就可以做, 當中每一件事, 我爬上梯子幹一些事情, 之後下來想半天——其實我可以呆在梯子上, 把東西換一下, 之後下來。這個跟寫詩一樣的, 完全為了自己的享受, 而且只有在這樣的時刻, 你會跟世界, 跟周圍的東西發生一種關係。因為我是這樣, 別人可能不是, 我覺得對創作來講, 有兩件事情對我不好的影響：一就是寫評論, 二就是做太多安排演出活動。安排活動時你會太理性, 太行政——你知道我的gmail是我花錢買空間, 現在快百幾G郵件了, 這百G就是行政的東西…..

E: 很辛苦﹗所以你就放下，給別人攪《水陸觀音》了? (由顏峻策劃, 每個星期二在兩個好朋友酒吧舉行的聲音藝術活動平台; 後來將形式改為由不同的藝術家策劃)

Y: 對﹗其實最後我在想, 所有的事情應該是一件事。那我現在想用這方式去寫評論, 去安排演出。最後, 我想安排演出也有行政, 但它的基礎應該是推動創作。評論也應該是一種創作, 因為最早我寫評論也是一種創作, 想要回到寫詩的那個地方去。

E: 幾年以來, 你攪《水陸觀音》很辛苦, 很多事情成為你的負擔, 這對你的創作是否一個障礙?

Y: 但我覺得任何事情也有好處的, 前幾年辛苦到最頂峰的是07年。

E: 很大的壓力?

Y: 對, 壓力很大﹗07年的時候, 身體也是最差的, 精神壓力也特別大。而且, 每件事情都做不好。但你經過這個壓力以後, 它總是有好處。

E: 我覺得水陸觀音是蠻成功的, 一件事情做了這麼多年, 一直做下去, 我很欣賞那個堅持。

Y: 其實《水陸觀音》就是自己泡在裡面。不管任何事情, 幹了那麼久, 總是會有收獲的。其實《水陸觀音》不是堅持下來的——有一段時間在堅持, 是我狀態最差的時候。我一直在想，做事情最好不要堅持, 你真想做你肯定會做下去。堅持時的狀況不會好, 會特別緊張嘛﹗所以那段時間我覺得很努力, 很用力做出來的東西就不好。但不管怎麼講, 這些事情對創作就像東闖西闖, 試了很多東西, 每一樣東西都在試, 試完以後, 就慢慢知道自己想要的是什麼。

E: 現在《水陸觀音》給別人攪不同的專場, 是你現在想要的?

Y: 其實我想原來的形式死掉才好。因為在北京, 應該有些壓力, 或者是有些刺激, 才能賺到錢。現在水陸觀音最大的問題是太容易了, 每個人說:「下一個禮拜我要演出」「OK, 來吧﹗」那個質量慢慢就不會高。你必須要讓人有刺激的感覺, 他會很興奮的去準備表演； 或者說, 不管是觀眾還是表演的, 都是這樣。所以我不想觀眾這樣鬆懈, 來表演的人也需要有新的、更好的作品, 所以必須要改變形式。現在這樣子讓更多的人去策劃, 每個人有自己的想法, 大家都來試一試, 往後再過一年兩年, 我覺得會看到結果。會什麼樣, 我不知, 但會有結果, 會有新的東西出來。

E: 但是攪這個東西的原因是否很……

Y: 原因就是我累了, 我想不做了。

E: 但是，最初攪這東西的時候也簡單的? 很單純?

Y: 我想我們應該有一個固定的地方做一些事情。

E: 那麼《Mini midi》又是什麼一回事? (Mini Midi是中國最早和最大的戶外音樂節——迷笛音樂節的一部分。2005年，作為迷笛音樂節實驗舞台，第一次出現，以後每年和迷笛音樂節同時舉辦。由北京迷笛演出有限公司主辦，撒把芥末工作室承辦)

Y: 《Mini midi》去年太成功了, 我覺得太大了, 很累, 很成功, 但那麼累﹗那我在想, 一些事情你還要做。明年、後年, 五年以後, 我要想像《Mini midi》會怎麼樣。去年我在想, 我想到結果就是, 五年以後它會變成像Transmedia,像一個很正規的歐洲節, 然後很多贊助單位, 有更好的影響, 更大排的音樂。但我想: 這東西是我想要嗎? 跟別人有什麼區別嗎? 我覺得沒有區別, 只不過變得更大、更專業, 但其實沒有區別。所以我就想: 今年累了, 要休息一下; 明年又累了, 還是要休息一下。但最終我在想《Mini midi》就是絕對不會辦成那樣的, 這個節本身就是創造性的, 應該有它的意思, 可能是巡迴的、甚麼的……甚麼都可以, 最重要的是這個節要有創造力, 可大可小, 可以很業餘, 但必須要有創造力﹗我當時在想, 如果像去年一樣, 再做下去, 唯一的是我可以賺錢。

E: 這個你不想要的?

Y: 我想要錢 (笑)。

E: 但那個狀態不想要的?

Y: 對。

E: 幾年以後太商業了, 可能很多元素就不一樣了。

Y: 不是商業, 可能就像歐洲那些聲音藝術節的狀態。每一樣都很清楚, 每一樣都有檔次。比如說，這椅子變成一個沒有生銹的東西, 塑膠變成了不銹鋼, 不銹鋼變成大理石。

E: 就是像紅白藍膠袋變成了一個藝術品, 幾年前大家談論香港的共同回憶, 就是那個紅白藍膠袋。但我覺得我們的文化不是這個膠袋, 紅白藍膠袋是不行, 被推了很高的檔次。

Y: 這幾年我身邊的環境都在升級, 我一直都在想升級這個事情。有幾個朋友, 比如其中一個朋友, 他很多計劃…（顏峻的電話響，接聽電話）

E: 但是對你說, 不論是《水陸觀音》, 還是《Mini midi》, 最大的困難是什麼? 不是不金錢?

Y: 不是, 因為我一向做花少錢的, 主要靠支願者和朋友, 所以不需要很多的錢……（顏峻的電話響，接聽電話）當你需要錢的時候, 錢才變成困難,。就像去年我們需要錢, 因為事情變大了, 要升值。這幾年, 我太容易被影響, 所以我也想到升值; 想到升值, 就需要錢, 就需要不自由的東西, 那就會覺得難。其實就好像我的朋友穿衣服發生變化一樣。

E: 什麼變化?

Y: 比如說, 本來穿短褲、破或者比較土的衣服。然後, 慢慢就會有很多男的穿黑色皮革, 衣服會有牌子——我不知道牌子, 香港有很大的店。其實就是這樣, 當你要買有牌子的衣服, 就需要花錢。但當我做那麼多升值的事情以後, 在香港時, 我覺得我不是想要更多的升值, 只是我以為這樣好。其實, 我覺得最有意思的是, 那種你自己的東西, 你的個性, 你原來的創作力, 你獨特的東西, 那個是最好的﹗所以升值與否不是最重要, 最重要的還是把原來的東西開發出來。所以, 我有一個朋友叫阮千端——做很多設計那個阮總, 他說了一句話, 「我們一定要跟國際脫軌」。脫軌這個事情很重要, 因為很多人說我們要跟國際接軌, 當他說脫軌的時候, 不是說我們跟世界沒有關係, 而是說我們要跟國際化、標準化, 跟全世界都一樣的這種事情。

E: 很可怕﹗很多東西都是一元, 沒二元的。脫軌的事情我很同意的, 很多人說要跟國際一樣, 但是我覺得, 例如聲音藝術方面, 中國的聲音藝術要有個性和自己的發展, 可以和其他地方不一樣, 那個context是很重要。

Y: 因為其實有一種, 剛剛說當代藝術被社會學過度詮釋。還有一些就是技術上的崇拜, 國際崇拜。還有做事情的方式, 各種各樣的東西, 大家都用特別單一的國際標準來做事情。我說的脫軌不是要與世隔絕, 而是要保持自己的性格。我就在想這些年裡, 有些人已經很成功地跟國際接軌了, 就像現在北京年青的搖滾樂, 全都是英文, 你看十個月中有九個月都是英文, 而且他們穿的、領帽、皮衣、背心、褲子, 然後腳的那個形狀、頭髮, 所有東西都在一個或幾個模式裡。然後當代藝術……跟全世界一樣的畫, 那些標題, 那些研討會的標題。07年參加大聲展, 我一直想學會歐寧做的這些事情, 後來參加了就跟我一點關係也沒有, 什麼社會公正, 什麼責任感, 什麼去關心社會議題。

E: 我也覺得困難, 因為中國在某方面不自由, 很多資訊就是被隱藏, 沒有人說。像艾曉明一直堅持, 用她自己的媒體來維持公義, 我很感動, 但是可怕的事情, 沒有自由。

Y: 我在想, 艾曉明做的事情是她的需要。但在藝術的領域裡, 你會看到絕大多數的藝術家們, 設法做這樣的事情, 他們做這個事情是一個衝動, 是一個潮流, 這是最可怕的。

E: 對﹗你知道嗎? 這一兩年裏, sound art在香港就是一個潮流, 開始明顯的事情, 阿豬夠狗都是sound art。我不是氣憤, 但是當聲音藝術成為一個潮流的時候, 就是很可怕; 不是可怕, 是有一些氣憤。

Y: 其實在大陸, 很多人就很小心, 不願意用art和聲音藝術這樣的詞語, 因為一用這樣的詞語, 就會變成一個精英的東西, 因為…… 相當於社會學藝術, 它會變成一種high art, 去關心low people, 這本身就是特別不公正、不正確的事情。兩三年前我說「太過聲音藝術」這個詞, 我現在覺得都不好意思了, 毀了在這個潮流裡面。現在我想, 少用藝術這個詞比較好。所以之後就會發現, 有些升值了, 成功了, 但我升不了這個值。

E: 但是這個naming, 聲音藝術家的label是很困難除掉的, 只要你在sound art裡面, 你就會有這個naming, 這是沒辦法的。

Y: 對, 這還是要用的。就像詩人一樣, 很久以前如果我叫自己詩人, 你會笑。所以, 我一直覺得不好意思說我是詩人; 但我就是詩人, 沒錯, 我作詩嘛! 所以聲音藝術也是這樣, 看你怎樣看待這個詞, 只是把它當成一個詞來用的話, 沒有問題, 只不過最終要跟國際化這個潮流保持距離, 這是我最後的發現, 亦是我經歷這幾年壓力後的收獲之一……其中一個收獲, 就像, 最後發現自己本能的不喜歡。就像我做《虬江路》的時候, 第一遍寫唱片的內頁, 寫完以後, 我就跟設計師西西說：「我說我重寫吧! 這個像歐寧寫的, 不像我寫的。」我就重新寫了一個。

然後我為什麼來這兒, 就是因為楊陽知道我在曼徹斯特做的那個《Microphone Walk》, 所以她覺得有意思。但其實曼徹斯特的策展人寫了幾段話, 那些話是很國際化的：上海是一個中國經濟的……世界工廠, 經濟起飛這種。昨天, 我就跟那個日本人說, 這個跟那個不一樣, 我這個東西太有社會背景﹗這一次我想把社會背景全部砍掉, 不要社會背景——因為作品有兩部份, 另外一部份, 我想有意地砍掉社會背景, 所以他才說他在歐洲講日本藝術時遇到這樣的事。其實, 因為像做曼徹斯特的那一次, 對我來說最有意思的事情是, 把一個聲音移置到另外一個環境裡面。但對策展人來講, 最有意思的是這個聲音的背後：這個聲音是來自什麼地方, 是經濟、是社會學這些東西。但其實我理解社會學說的那些話, 我完全理解, 我也可以去寫這些文章, 但這跟我沒有關係, 包括《虬江路》。後來我就想, 《虬江路》真的要多花一點時間的話, 我最後寫出來的唱片內頁跟這個會不一樣。

E: 我看到你的文章是很個人的事情。

Y: 對, 這個日記是我真正要說的話, 而不是唱片內頁。唱片內頁雖然不像歐寧了, 但是還不像我。所以後來我覺得每天寫博客, 那才是我真正要說的話。

E: 其實, 為什麼要做《虬江路》? 是否因為去過這個地方的經驗……

Y: 因為去過, 另外是因為聲音很豐富, 而且是第一次憑直覺做的散步：我帶著耳機和microphone三十多分鐘, 第一次我就覺得很完美, 完全憑直覺走一圈, 在那停下來, 在那再走快一點, 這完全是聲音本身的事情。我想要做它是因為有一段時間, 有人出了錢, 出了路費, 有錢住酒店, 還可以做CD, 而且一個人, 跟別的工作沒有關係, 就去了, 特別高興! 其實《虬江路》最想做的東西是迷幻的幻覺, 這從來沒有說和寫出來。我每天在走, 很想做這一種幻覺, 這是聲音本身的東西; 這個聲音背後, 我覺得可以寫一本書……沒有問題, 經濟, 什麼社會學, 一本書都可以寫的。但我覺得不要寫了, 不要說太多了。

E: 是不是留白?

Y: 我也不知道是不是留白。我覺得就是不能說, 你要是說了, 聲音就沒了, 就聽不見了。說了, 聽到的就越來越少。其實就像南丫島, 我還是可以寫一本書, 我也可以寫島和城市的關係、環境, 什麼經濟, 然後關於聲音經濟。所以現在我說, 有時候我會寫這樣很像學術的東西, 我覺得這是出於思考時的樂趣, 但不要讓這些樂趣破壞創作。

E: 我對在你的文章有一個印象, 你在錄音的時候被別人罵, 給別人趕走…… 我覺得field recording 就是在環境的一個行為, 這個行為和這個公共空間也有關係。我也有一個經驗是我去中環行人電梯做contact microphone的錄音, 那些保安就問：你在幹嘛？我想要是我的態度不好的話, 警衛就會打999, 這跟保安問題有關。另外一件事就是在香港仔魚市場錄音, 在那工作的人看著我, 我很害怕, 因為那些人當中有些具黑社會背景, 而且脾氣不好。我的經驗就是這樣, 不知你有沒有這方面的經驗?

Y: 其實我錄音還未遇到這些事情, 我給別人趕是我拍照。我錄音一般都會比較隱蔽, 如果是敏感地方, 我就戴耳機, 或者是話筒, 看起來就沒有人會知道。我本來看到SONY那個PCM-M1、D-50, 我看到就覺得很好, 聲音很好, 可以動話筒, 但它看起來太像錄音機了。

E: 對, 你用你現在那個剛剛好。

Y: 我最後沒有買。我想錄就可以錄, 甚至我放在桌子, 別人也不知道是什麼, 所以我沒有遇到過這個問題。而且我要去一個地方, 我就假裝, 不要讓他們注意; 不行我就假裝打電話。

E: 在香港錄音有這個問題, 可能是我用比較大的microphone, Bloom, 蠻叫人注意。可能有這一些事情發生。

Y: 對, 只要你拿一個特別專業的東西, 讓別人看到就不好。我認識一個韓國的藝術家, 他做音樂, 他用手機錄音。對他來說, 很好, 他很喜歡用手機錄出來的東西。

E: 但是手機的音質不太好?

Y: 對他來說, 他可以用好的, 也可以用不好的。用不好的, 得到的是另一件東西而已, 並非不好的東西。所謂的quality沒有好壞之分, 只有高低——它的數字可能是96、41, 或者是6, 或者是8比特的錄音, 可以有這樣的區別。但是8比特和16比特, 是沒有好壞區別的, 因為他們有自己的特點。就像FM3唱佛機, 它就是8比特; 如果這不是8比特, 就不好了。他們後來做了iphone版本的唱佛機, 我覺得就不是那個東西了。他們現在就想, 把裡面的聲音變得更像8比特, 而且你看這個流線型的高科技的產品, 它來模仿塑膠的東西, 感覺就不對了。所以用手機錄的那個很特別, 就像張立明 (hitlike), 他有一個東西就是用特別差的設備來錄, 但如果那東西換成好的, 就不是他的。所以, 應該這樣講, 做field recording只有不同的quality, 沒有好壞之分。

E: 對對…… 我是在2003年開始做聲音藝術研究時, 當時是一個出發點, 在中國叫「新音樂」, 後來發展到2009年。可以講講你對中國的新音樂, 或者是聲音藝術的看法和感覺嗎?

Y: 我覺得有些人是知道自己在幹什麼的, 他們不管別人了, 比如說, 鐘敏杰、林志英、王長存、FM3、張立明、李劍鴻…… 每一個人都知道自己幹什麼。但其實FM3最後是回到那個搖滾樂的傳統裡面, 他們現在更像搖滾樂隊。李劍鴻也回到傳統迷幻, 甚至更經典。他喜歡Derek Bailey; 既然Bailey是經典, 他也變得經典。他也做噪音, 但他做的噪音融合了六十年代的傳統迷幻搖滾, 例如Derek Bailey這些經典, 結果他的噪音也保留了這經典。雖然這些人都找到自己的方向, 但其實大家就像是在一個舟裡、湖裡找方向, 每個人找的過程都很辛苦。剛想說我自己找那麼東西, 試那麼東西, 是因為我們沒有老師。

E: 每一個人就是自己的老師, 我覺得很厲害﹗我不知道自己是不是幸運, 有一些老師。但是相對來說, 能自己慢慢學東西是蠻厲害的。

Y: 但當我在做創作的時候, 經常會想, 怎麼會沒有一個老師? 如果我們都有老師的話, 他會讓你少浪費時間, 少走錯路。也許有一天, 你覺得老師教得不夠, 就拋棄他、超越他。但對於我們所有人來講, 誰都沒有老師。如果你自己不夠努力, 不夠熱情, 不夠天份, 缺任何一樣的話, 你就真的找不到方向, 可能一輩子也找不到方向, 所以你會看見這十年的場景是一直混亂。那現在最流行是什麼, 最多的是harsh noise, 最多的十八九歲的孩子都在豆瓣上。你看豆瓣那個音樂人, 找幾個噪音的, add了他們, 串起來, 一個一個連過去, 你看到很多人做harsh noise。這個像甚麼……

E: 開始流行吧?

Y: 對吧, 一個人, 我很酷。

E: 但是沒有人可以像Junky(中國噪音團體Torturing Nurse的成員) 那樣, 對這件事情很專注熱情, 亦有自己的想法。我覺得有自己的想法是最重要的, 不管你做什麼音樂也好, 什麼藝術也好。

Y: 因為Junky已經三十二、三歲了, 他做了這麼久。噪音是最多的, 其他都比較少。有很多人同時做不同的東西, 這是因為沒有老師。有老師, 你就有流派; 每一個人都做相同的東西, 然後五個人做一樣的東西。現在是五個人都做不同的東西, 然後都不一樣, 這有好處, 也有不好的。但今天我覺得……對想清楚這一件事情, 是有一種排拆。這種排拆, 我覺得特別好。

E: 為什麼?

Y: 你應該要想清楚你要什麼, 你要幹什麼。你不能對所有要想的東西都排斥。完全靠身體、本能回到這個純粹的狀態, 那好, 很好, 沒問題。但你回不去的話, 你還要想一想吧。

E: 要抽離自己, 看自己想要什麼。

Y: 對, 要看自己到底自己想幹什麼, 我為什麼要做這樣的聲音。

E: 我也有這個的狀態, 要抽離來看自己之前做的事情, 對我有沒有意思。

Y: 反正我覺得現在很多人需要, 或者是正在想這樣的問題。因為其實每一個潮流開始的時候都有原因, 比如噪音這個潮流, 或者是幾年前有一個機性的潮流, 完全什麼都可以用。每個人都在用不同的設備, 從電腦，到硬件、樂器、小東西都一起用, 純粹都是機性的。這本來是對自由的享受, 對自由的揮霍…… 但揮霍是不可取去發展的, 可實際的事情就要想清楚。

我覺得中國需要應該想一下, 而且不一定每個人都要去做什麼聲音藝術, 其實那怕你回去做民謠也好, 做古典也好, 沒問題, 只要真的是你適合做的。你想做的, 我覺得不一定要前衛。對於中國人來講, 這三十年, 新音樂的新, 前衛的前, 先峰的先, 這三個字「先」、「新」、「前」是一種推動力。就是說, 我要往前衝, 我要做最新的音樂, 我要做最極端、最反叛的音樂…… 其實最後你會發現, 只要你做了自己的東西, 你就跟別人不一樣。你運氣好, 也許它會是新, 也許不新, 沒有關係, 因為沒有東西是新的, 早就有啊﹗所以現在, 我寧可說我做的是後衛音樂, 不是前衛音樂, 我真的不前。科技也不行, 對吧? 科技很落後, 那就行了﹗我放心了﹗我做後衛音樂, 那我不怕別人說我不夠科技, 不夠不一樣。

E: 有時候自己滿足, 自己覺得夠了, 就可以。

Y: 我應該強調自己真正的需求, 一個真正滿足了自己的藝術家, 他絕對可以對社會是沒有好處的, 沒用的。他不用想著為社會做什麼, 想的話那做學問就行了, 幹嘛, 不要做藝術家﹗

E: 那你感覺以後的自己會怎樣?

Y: 我不知道。我在想一件事情, 就是說, 我必須要想到未來, 必須為了未來而做現在; 另外要享受當下, 更好生活在當下, 跟未來是有關係的。要知道你做的事情, 不是今天做完就沒有, 而且它明天會變成一個東西, 後天會變成另一個東西。我不知道會是什麼, 我也不知道五年以後的中國會是怎麼樣。

E: 很多事情太快了。

Y: 對﹗我覺得越是不知道將來怎麼樣, 越是要做一些更有耐性和生命力的事情。

E: 很多中國的聲音藝術家給我的感覺是很有力量, 在一個不太好的環境裡面努力。像周日昇那樣,他在山西很努力地做這樣的事情, 給我的感覺很powerful。

Y: 像鐘敏杰、林志英, 我覺得他們太厲害。

E: 他們厲害的地方在哪?

Y: 一個是他們的作品, 他們作品同樣是田野錄音, 但各具獨特的性格。他們做《懸浮景觀》的時候, 兩個人把自己的素材給對方剪, 你一聽就感覺到這個是他剪的, 那個是他剪的, 不一樣。你能從剪這個事情上感覺到性格, 知道他在什麼地方停, 他們停的地方不一樣。

E: 他們捕捉了很多決定性時刻, 給我的感覺很不一樣。

Y: 而且他們對聲音的質感和韌度非常敏感, 這些東西不是靠社會和後期技術做出來的。他們站在有質感的地方錄音, 這是關於地方的選擇, 所以絕對厲害﹗而且他們一直在做。 我不知道他們現在幹什麼, 但我相信他們是在這個狀態裡面, 肯定一直都在工作。

E: 其實我很期待他們的新作品。

Y: 我自己也在想, 焦急沒有用, 焦急確實也沒有用。就像做feedback這個東西, 我知道我做不了feedback, 我不可能以feedback的方法, 做到好像加拿大的一張CD,《Abandon》那麼好的feedback作品。從各個角度來講, 我不能做出這麼好的東西; 但我要做是為了未來, 當它是一個學習和練習。做field recording也是這樣, 我想再這樣做下去, 未來會有什麼樣的東西, 不知道。我從來沒有目標, 我覺得這是好的。但我們要讓這些事情滾動, 這樣在未來你會有某些收獲。

————–

E: 那麼, 《紂王》的演出是一件什麼的事情?

Y: 我參加《紂王》的動機其實很簡單, 當時我崩緊了很長時間, 將很多事情放下去玩。《焚琴煮鶴》有朗誦的單元, 我想：朗誦這事情很簡單, 而且我很善長, 還有錢……一千萬。我想：那做吧﹗因為做一件你很擅長的事情, 你會很快樂, 很有自信及成就感——我一直都在做我不熟悉的事情, 在創作及表演方面, 我的表演經驗很少; 我的表演能力也很差。所以我覺得做《紂王》這類演出會很快樂, 錢也是這樣。《紂王》的劇本有三個角色, 他們問我要不要找兩個人, 我說：不用, 錢給我一個就好﹗我想我一個人拿錢最好, 不想跟別人排練及分錢, 結果對白變成現在這樣, 只有一個人在說話, 空白; 說話、空白。

E: 完全轉化成另外一件事情。

Y: 第一次演完之後, 大家說好。然後, 陳宇說：其實這事你幹了幾年了。這幾年我都是這樣朗誦的, 每一行都停很長的時間, 所以我已經是很擅長了。

做完這件事情以後, 我就想關於人生及語言的事, 而且有點收獲。我想, 像說話這種最簡單的材料, 我不一定要像聲音師那樣調變——法國的聲音師們會玩弄磁帶——那很複雜。我不一定要做複雜的東西才能達到我要的效果, 這可以是很簡單的東西：我可以去做在舞台唸詩的人——以前我會覺得在舞台唸詩太簡單了, 算什麼表演? 我覺得不夠複雜, 不夠技巧; 但演完《紂王》之後, 我認為我可以很簡單地在舞台唸詩, 所以我現在更多的在舞台唸詩, 或者自行說話。雖然還不是那麼好, 但我已經覺得有意思。別人不這樣做, 可能是因為他們瞧不起這樣太簡單的事情。我以前也瞧不起這簡單的事情, 但現在我覺得沒關係。

我覺得《紂王》最後有一個很大的時候, 是因為這個表演用了紂王這人所共知的故事, 所以你只要說一些關鍵的東西, 觀眾們都會把它們串起來, 那不是留白, 而是每個人會把自己腦內的東西拿出來了。留白的前提是空白的東西, 都被人自己補上, 那個空間會被自己填滿, 不是真是空的, 沒有真正的空白。所以紂王中間的東西是有用的。

E: 那麼你可不可以講講你在這個festival的作品?

Y: 我最初做的時候, 在想一件事情: 我很久以前, 已經把家裡剪的每一個錄音素材放到電腦裡。我以前有一個小毛病, 可以說是潔癖: 我做任何聲音處理時, 都會忍不住剪掉開頭錄的幾秒聲音。有時候錄下來, 覺得不好聽時, 我更會停下, 那麼錄音機裡就會有十五秒、三秒鐘不好聽和不必要的東西。我會把這些東西留下來, 把它們放在一個文件夾裡, 我慢慢喜歡這些幾秒鐘破的, 沒用的東西。這次我想要用他們。

然後這個headphone walk, 我在想: 我對那個島沒有概念。我想人可以隨便亂走, 我想這可以是一個冒險島, 我可以走和不走。那個headphone walk, 你帶著耳機, 聽外邊和裡面的聲音, 有時候效果不一定好——我也不知道會是什麼效果。我利用這些空白碎片, 讓人聆聽環境的聲音。我試一下, 確實也很好, 所以我把這些碎片放在前後, 亦給中間添一些空白, 這個聲音讓我享受發呆, 所以我覺得別人可能也享受發呆。發呆的時候冒起來的聲音又沒了, 中間的回到現實裡面聽, 這些聲音也不真實。其實也不是現實的, 整個效果就變成另外一種現實。這個現實跟《紂王》一樣, 因為當中某些聲音讓你發呆時, 你更多的跟你的記憶、潛意識這些東西打交道。比如說, 有一個說話和手機震動的聲音, 其實這些記憶是最適合發呆的。我覺得如果你讓一個人發呆, 那是一件很好的事情。所以我把這個東西想好, 可以這樣用就這樣用。

另外一部份就是走走停停嘛。走的就是我八分鐘在走路, 都是我自己走過的。如果沒有停, 我這個走就沒有意義了, 所以一定要停。這也是我第一次利用沒用的東西——我早就想用, 但不知道怎麼用。之前我還做了一個東西, 全是一分鐘, 四十個一分鐘的聲音, 那個時候也在想那些小碎片。

E: 四十個一分鐘的作品是什麼?

Y: 四十個一分鐘的作品是這樣的: 在一個空間裡面, 有四十個耳機, 高低不一樣。地面有電子, 你可以關電子, 你可以站上去戴耳機聽。你不戴耳機的話, 聲音就會一起從耳機裡面出來, 那個是一個裝置。因為其實最後是有一些政治, 人會搶這電子, 我覺得很好玩。如果你想聽這個, 你會把電腦放得高。你走了, 那個人會放在那, 然後, 一直在變, 我覺得這很好玩。

聲音的部份是四十個一分鐘的片段, 裡面是一些沒有意義的聲音——這也是我對那個日本人說, 我想這次的作品沒有社會背景。發呆是沒有社會背景, 所以發呆時我拒絕被人用社會學去解釋。因為如果我做的聲音裡，有八分鐘說北京的東四大街, 商業街, 大都市等, 那可以解釋; 但你沒法簡單地解釋這些碎片的中間。所以這一次, 我也不知道再往後會怎樣, 不知道這個作品會為我帶來什麼。這次對我來說是放肆, 這個作品對我沒有什麼壓力, 我覺得可以是胡來——真是胡來的﹗就是我睡覺前錄音, 然後第二天醒來……我在做聲音日記, 聲音日記是什麼? 就是有我在。

E: 我也開始做一些很短的聲音日記, 就是錄下來, 沒有意義的, 但我覺得蠻有趣。

Y: 我聽過一個法國人的冰湖之歌。

E: 那張唱片我有。

Y: 它介紹說: 用最好的設備還原了真實冰湖的聲音。有件事情我一直不知道, 那個是否小時連續錄音。它有一段文字提過, 那是台灣的蔡宛璇寫的, 她把不同的編在一起, 但又沒有說得很清楚。我後來忘了, 沒有問她。連續錄音的還是編的都不重要, 因為高度還原這件事情, 比這個還重要, 怎麼可能有一個高度的還原呢？不可能! 你的話筒放在這裡跟那裡, 是有天壤之別的。話筒放在水上, 就不一樣。沒有真實﹗你怎麼說有真實的？所以最後我做這個是不客觀的, 完全是主觀的。那我要做的事情是盡量自然, 其他的事情盡量不要造作, 這是我要做的事情, 就跟法國的那個傳統。

E: 我老師也有一個差不多的想法, 就是很多東西很有理性的, 問這個東西有沒有你的觀點。在某一方面是好的, 但是在另外一方面就是不夠自己, 沒有太多的自由和個性。

Y: 因為這個太經典了, 就跟古典音樂有關。

E: 因為他們有很長久的實踐, 在聲音方面有一些先峰。

Y: 反正這次我就完全要另一端。其實這個東西有點像古典音樂：古典音樂討厭的是上帝、宇宙是什麼樣的東西; 當它談論愛情的時候, 也是用統一的角度來談論愛情; 談論自己的時候, 也用統一完整的角度來談論。其實這種錄音方式跟古典音樂是一樣的, 你要把自己獻給一個統一, 所以你才接近無限的還原。為了達到無限的還原——但只有上帝才能做到無限的還原, 你就要很努力地做。對我們這個時代, 很多影響已經不是這樣。我沒有受過這樣的教育, 這個對我來說太陌生了, 我自己的本能也太陌生了﹗我現在不知道最後是什麼樣子, 我就是先錄, 因為我覺得錄的時候很好玩吧﹗

E: 關於田野錄音, 我的老師Cedric, 他去了巴西Amazon的residency, 他說很多藝術家的錄音習慣是放下錄音裝置後離開, 兩小時後回來, 停。我跟老師也覺得這習慣很奇怪, 沒有那種共同的經歷, 這沒有用…… 正如你說, 很多事情很主觀, soundscape這樣的事情, 你不可能客觀, 也不可能除掉語言、生活和自己。我相信姚大鈞的話, 中國的田野錄音就是不一樣, 我們要做自己的田野錄音, 我不是說大自然的聲音不好, 只是跟西方的不一樣。

Y: 我一直在想, 西方經典的藝術和音樂跟我們有什麼關係。我們沒有負掉音樂, 在我們的生活和歷史中間, 我們沒有負掉音樂, 所以我不會用Murray Schafer 的態度。當Murray Schafer談到聽這一件事情時, 是跟我們一樣的; 但他們這一派在創作音樂作品時, 就有太多的控制。太多的作曲, 就會回到古典音樂去。我們不可能回到古典音樂, 那不是我們的根。如果說錄音就是作曲的話, 我們回到那一個作曲？我們不是回到古典音樂, 是另外的一個地方; 但另外一個地方在哪？我覺得現在不用說, 它會慢慢表現出來的。現在不應該說太多, 應該去做, 將來我們一定會做出我們錄音和作曲的關係。

﹣﹣

假如你喜歡聲音掏腰包的持續計劃﹣people working with sound，請支持我們

李耀誠 (框鼓、喉唱等) 、陳偉光 (尺八、喉唱) 、素黑 (銅謦、情感聲音、尺八) 談全黑靜心音樂會的理念，以及聽和唱的經驗。

訪問日期：2008年8月21日
地點：灣仔富德樓艺鵠

楊：可以從樂器開始嗎?

黑：先「講故」

Ocean: 這個詞蠻好的。

John: 故嗎？我打手鼓的，是鼓的家庭， 是中東，印度和中亞洲的傳統，這個家庭裡面有很多手鼓。

楊：那麼它是哥哥，姐姐還是誰？

John: 我打的都是現代的版本，因為我很多手汗，而且我不是跟老師學的。

楊：多手汗跟現代有甚麼關係？

John: 因為傳統的鼓都是用動物皮造的，很sensitive 的，一碰到潮就虧了，所以我不可以用作表演和錄音， 因為會愈打愈軟。我這些是膠的

楊：但以前的人都有手汗的。

John: 你不會想像到我的手汗。

Ocean: 選人打！

John: 我主要打手鼓，這個家庭主要分tambourine, 就是有銅片或是有銅環的，有些就只有個frame一塊皮，我主要打的是rig - 埃及的鈴鼓，聲音是這樣的。最簡單的手鼓，它有不同大小或者框的深度， 這些因素都會影響鼓發出來的聲音。我這個22吋， 會ring 很久的，overtone比較動聽。

楊：最大可以多大？

John: 有24吋的，有些更大，不過好像無需要那麼大。

楊：再大一點不就是不能托上身嗎？

John: 對， 會辛苦的。其實手鼓是跟薩滿教Shamanism有關的，傳統就是巫師用的，有靈性的內容，在某些地方?

楊：中國香港現在還有的?

John: 問題是自己給自己的，其實無所謂的。

楊：你覺得自己是(靈性)嗎？

John: 我沒有這概念。我常說這些鼓的聲音是靈性或者是spiritual 的。其實靈性很簡單， 就是你自己focused，你只要focused於你的世界就不同了，外面的東西可以進來，你亦可以去另外一個地方，因為你focused。

楊：還有其他樂器嗎？

John: 這些是牛鈴，其實很吊詭的，我剛做了一個網站叫John Lee Frame Drum，但我發覺其質我不太喜歡打 Frame Drum。

Black: “Frame Drum and Friends”

John: 它給我一個technique，但如果你說聲音， 我每天就在找這個東西。純粹是一個聲音的質地，一個水舀(“殼”)，是很正的。

楊：你呢？

Ocean: 我主要吹尺八，日本造的，是一尺八吋，用竹做的，natural material, 我react to 它的，有共鳴的，是 natural 的物料，尤其用竹做感覺很好，感應很好，原本是唐朝的簫，由日本的僧人傳到日本，變了吹禪的法器，吸引我的是除了人要參與， 就是呼吸，日常生活很重要的東西，精神除了要focused 你也要很 relaxed。傳統的尺八有五個洞，是中國傳統的D,F,G,A,C是基本音，但中間有很多伴音，吹的時候有很多指法和角度去做出音色變化，所以很subtle，要感應得好，要很長的時間和專注，這個過程對人是好的，因為你穩定寧靜地呼吸，是跟自然和宇宙有很直接的connection, 對spirit 或者 physical 方面都是很peaceful 的過程，簡單而豐富, 好像你看著海， 不需要講甚麼都很豐富的。 它的家庭有最短的一尺兩吋，越短越高音，長的有三尺六，看你的手的長度，但一般 meditation 的就是用兩尺四，聲音比較低沈，我跟它較有共鳴，但它們有不同的音色， 也有很好的變化，事實上聲音對我是個過程或一個path，當然它本身是spiritual 的。
物料方面，這個是日本的鳴竹，質地比較硬，它吹出來的聲音比較有穿透力，比較強，也有四川的竹，也有人用膠或木造，我的經驗裡，用竹是好一點，它的穿透力和空間感比較強。而它的曲式分三種: 一個是和尚吹的，這個我比較投入的，那主要是空間的體現和一個呼吸的過程，一個絕對靜的經驗， 它也可以吹流行歌，新的曲式， 跟日本人去合吹。

楊: 造的人來自哪裡? 是否手造的?

Ocean : 手造的, 我這支便是由兩個人造的, 我這裡有個印着「周鳳」的,他是最著名而且質量比較好的竹, 因為選擇竹除了音色和質地要靚之外, 還要顧及美感, 譬如說有個微微的彎曲, 那樣很graceful 而且warm的curve?, 那就是靚的竹; 而這支稍微扁一點, 拿上手的感覺很smooth, 表面的斑紋很natural, 如畫一樣,¬¬ 吹口用的物料不同, 跟現在中國的洞簫不同, 是向外的, 會有些風聲, 如風吹過竹林, 很natural的感覺, 而中國那種則比較內斂一點, 中庸點, 以前我也吹洞簫, 但我覺得尺八更expressive, 表現的可能性較大, 我尤其喜歡那風聲的感覺。做調音的是另外一個人, John Neptune, 他是現時世界上其中一位tune 音最準確的人。因為它有五個洞但能吹奏大部分的音出來, 所以音準和balance 要做得很好, 有些是靠電腦的激光, 但他是靠自己去聽的, 那是比電腦更好的, 因為電腦只是physically 知道那個音是怎樣, 而親自聽的話便會了解感覺的配合?, 所以我很幸福地可以擁有這支尺八。

楊: 那你認識他們嗎?

Ocean: 我認識John Neptune, 因為素黑曾邀請他來港表演, 他亦是我老師的朋友, 是很好的, 當你好專注地投入吹尺八, 個人會慢慢的完整起來, 也許打鼓也可以的, 令你慢慢有完滿的感覺。John Neptune和John 也是的, 他們很有energy, 有個很giving 和sharing的感覺, 在nature 中例如海和太陽也能尋找到, 這都是很吸引我的。但事實上你問我因由的話, 我是第一次在美國一個chapel聽到, 便認定這個是我需要奉獻一切去追求的東西, 因為我吹的時候, 例如去醫院探訪小朋友的時候, 也很安靜。除了對自己好, 我認為幸福的是譬如上次去四川和義工和小朋友share的時候, 個energy 很好, 希望可以再develop多一點, “Music as energy”。

楊: 想問John 是否認識造鼓的人?

John: 不認識, 我自己也不懂得造鼓, 但想自己懂得造, 曾叫別人幫我造鼓。我有個想法, 曾在鼓後加些弦線, 再用手指公plug, 所以上面可以有些鼓的聲音, 而後面可以有些melodic, 不過放棄了這個idea, 因為想先打好鼓, 現時鼓也未打好。我很希望可以造鼓, 和可以有一遍綠地, 但基本上我做不到因為我的手一直也有傷。很想可以自己種東西吃, 而且我好想整蠱人。

楊: 我想整件事應該很spiritual, 生活, 音樂, energy, 那世界很holistic 的……

Black: 因為音樂就是分享, 人的存在就是和音樂分不開, 任何形式的生命和聲音是分不開, 而且是無私的, 我們很感激地取得這些東西。我想它是純粹的, 比起任何其他art form 都純粹的, 就算畫畫也要詳細顧及顏色或其他, 很多其他art form 也經過改造或人工化, 但音樂 (當然可說鋼琴都很複雜, 但那都是後期develop的東西, even蕭邦也是個很複雜的人), 但聲音本身就是純粹的, 人們出生之前已是在子宮之中的聲音nurture 出來, 這對我來說是比較大的感覺。

楊: 你們三人怎樣開始接觸? 如何去聽世界? 如何發現自己和聲音那麼接近? 或發現的時候是如何的呢?

Ocean: 我自小便喜歡聽自己的聲音, 或者是風聲, 河流聲, 因為我很幸運, 小時候便在自然的環境中長大, 動物的聲音等等都我喜歡聽。那些本身已有很好的共鳴, 是part of nature, 至於尺八則是偶然的, 像是一直有種calling, 對竹的聲音都很接近, 試過吹笛子和洞簫, 但也未到那個位置, 而尺八則是「啊, 整個世界」, 好像有些機緣遇上了, 不是刻意的,最重要是本身自己要打開去感覺, 否則便感覺不了。其實那一直都存在的, 但要聽自己的聲音, 未必人人一定要吹尺八或打鼓。

Black: 我? 我不肯定, 我從小到大, 由有記憶開始也是比較孤獨的一個人, 即使我的家有很多人, 但我仍是一個人不知怎的。而我又不喜歡說話, 所以listening 對我來說更為重要, 而聲音在我的生命中有很強的reaction, 而我又不太貪求視覺享受, 而聲音在我的慾望中是最強的, 六慾其中一種都是聲音慾。因此自小便不知在聽什麼, 聽人的聲音比較多, 因為家人多而經常吵架, 從小便發展開始聽自己內在的聲音, 亦因而develop很多的胡思亂想。 對長大後, 我對樂器不是特別感興趣, 很多事我也不明白自己為何那麼樣, 但對於聲音或某些東西, 如在我的生命中突然出現, 我便會自然hit到, 沒任何理由, 只知道你跟我有一種共震(人也好聲音也好), 那東西是不多的, 因此我從小到大也在等那東西出現, 我想我直至大學更甚, 我甚至曾寫過「我的一生是在等一把聲音出現, 而聲音出現後我便可以結束了」, 直至遇到尺八, 雖然遇到的時候我不知道它就是尺八, 只感到我很想接近那東西, 但我沒想過自己要學, 因為我是種不喜歡上堂學習的人, 我只會想親近它, 結果我在94年上了三課, 那是跟Ocean現在的老師學, 香港只有他有資格教, 如果將尺八作為一種藝術去教, 我認為他是位好老師, 原來三課要學scale 或什麼什麼的, 對不起，那不是我想要的學習方式, 那只是「學習樂器」, 對我來說那不是樂器, 而是我的生命, 所以我不會同這種方式接近我的生命, 於是我停止學習尺八, 94年至08年我是完全沒有學習尺八的, 但我有一支黑色的尺八, 1.8呎的, 這支較高的, 是John Neptune 跟我一起造的, 當我擁有那尺八後便在等候一個機緣去和它「發展關係」, 一直的關係也不知怎的, 若即若離的, 然後我嘗試吹奏它, 我發現我對吹奏單音特別有感覺, 而我也不會刻意要求自己吹奏什麼曲目, 因為我實在不把它當成樂器或音樂, 於我來說它是一種聲音, 而它的聲音跟我的聲音是echo 的, 而我想我從大學開始跟聲音的關係就是, 我很追求一種回音。而回音這東西曾是我想成為自己博士論文的主題來的, 我很喜歡那種echo, 而且我覺得那是我生存的目的, 否則我不知自己為何仍存在。但那具體是什麼, 我又不會刻意去山洞聽回音或學術地做些什麼研究, 雖然歐洲有很多人在做, 很深入的說及聲音, 但那是接近哲學的, 而我已讀了太多哲學, 我希望可以離開那些理論, 希望有種聲音可以跟我直接地接近, 而吹奏尺八是會令我震撼的, 整件事是與我同體的, 我亦曾寫過有關經驗, 那是種很強的power, 而這power 不是從音樂上或從學習音樂上可以獲得, 那是種很強的感情, 甚至是種生命的力量, 沒了的話便不行了。我沒具體的去想這問題, 正如有人時常問我「黑是什麼, 為何那樣喜歡」我便回答不了, 因為我實在沒有認真的想過, 但我知道自己就是很需要它。我一直對尺八有很深的感情, 但我早幾年不是跟它很親近, 有很多原因, 有些東西在你身旁你也未必會靠近, 只是近日開始吹奏, 和05年我探訪過John Neptune的家, 選了黑色的竹造了一支黑色的尺八, 自覺很幸福, 因為這是一支很普通的竹, 不是特別名貴的, 但它的聲音可以把我帶到無限遠, 甚至可超越宇宙, 不知怎形容的, 我這支跟他那支是很不同的, 他那支的內部是盜了一屠「山漆」, 我這支是raw的, 你可以摸摸它, 我很喜歡摸它的, sexy一點的說(我不知應否說)有如女人的陰道, 感覺很像的, 我認為內部沒理由盜了一層東西, 這樣raw的感覺和那powerful 的力量得出的聲音很美, 是美得像生命中母體的聲音, 跟它的親密關係令我覺得自己很幸福, 而且是自己親手造的, 並且我會在音樂會中吹奏一個音, 一個最低的音, 而這些音是跟我的整個身體有共震的, 我其實是剛開始和它去建立那關係, 我猜漸漸會有更大的震撼, 而我追求的是種很大的生命的震撼, 而不是一個音色或一個音樂上的東西。

楊: 那平常在城市中生活你會否很辛苦? 因為你談及一種內在的共震, 在平日的環境中, 或遇到的聲音環境, 你們有甚麼感覺?

John: 這是一種不斷的struggle來的, 因為其實早幾天我發現我仍在打鼓的原因是因為我沒甚麼別的想做, 這不是悲觀的答案, 其實是好事, 是一個constant 的選擇, constant 的 struggle, 而有時候struggle 是essence 來的, 未必一定要舒服的。

Ocean: 我覺得很平靜, 在任何地方也是一樣的, 我自己住得比較接近大自然, 就算不住得近我也會去找, 香港是很好的, 有山有海, 只要你想去便有, 很多好美的地方, 而且人本身亦很有趣的, 亦有不同的聲音, 我有一個能力是可以screen 東西的, 即screen 一些memories, 感覺或者是聲音等等, 所以這能力在專注了吹尺八後更加好, 對於個人平靜地去感覺去screen, 我想沒有特別大的不安, 自己的生活, 但除了自己以外, 教育和政府, 整個system等等也有很大的問題, 我以前會很想做些「大事」, 但我現在反而覺得由自己做起, 踏實地去做事對自己或對別人也很好的, 我想是機緣決定要做些甚麼, 我沒有說刻意要做些甚麼, 有機會便和身邊的人share, 而且保持自己有健康而positive 的心態, 這些都是基本的東西。

Black: 我沒有特別被周遭的聲音 bother到, 因為自小都是住在有噪音的地方生活, 是每天都聽到飛機聲和車聲的地方, 成為了不錯的background music, 不好的聲音是比較少的, 除非是刻意製造的, 譬如有些流行歌手聲音不佳以外, 其他在街上的, noise itself是city life的一個background, 我覺得沒甚麼的, 反而個人靜下來時便會聽到很多層次的東西, 我想有些東西是無意識的不會bother到, 但有些例如人們在使用手提電話聊天, 還要迫我聽那些我不想介入的生活, 但他偏偏迫使我去聽他生活的details, 我覺得很痛苦, 而其他東西我覺得沒有特別的bother。反而我十多年前也曾經跟小朋友做聆聽聲音的workshop, 其中一個exercise是去聽多層次的聲音和尋求那些內容跟他們自身的關係, 然後拍點東西或寫點東西, 我們很容易麻目了, 原來在很寧靜的或嘈雜的空間我們也可發現一些細膩的東西, 其實是在polish 自己的sensitivity, 看你夠不夠敏感, 而我想在這般hectic 的city life之中, 保持敏感是很重要的, 否則便會麻木不仁, 麻目是自己的事, 但不仁是很可悲的, 會製造很多痛苦, 而「仁」是企人邊一個二字, 就是指人與人的關係, 那我認為自己可以冷漠的, 但跟別人相處則敏感一點較好, 不是nervous 而是sensitive, caring 或者 detached, 但起碼要有一定的敏感度, 否則別人不舒服你也不會知, 大聲說話disturb 到別人你也不知, 手機鈴聲其實也可以是很恐怖的, 我想這是有沒有take care 不同人的心, 這些都是會bother到的。

楊: 你們怎樣consider 語言? 是否喜歡以語言作為文字? 是否喜歡這樣表達自己? 或者自己的聲音對你來說又如何?

Black: Terrible! 我不喜歡自己的聲音。

楊: 你認為自己是否認識自己的聲音?

Black: 我這次演出是第一次當眾唱歌, 我不認識自己的聲音, 願意去發掘多點, 但是大體上我對著自己的聲音這麼久, 一直未有甚麼震撼, 很難和自己的聲音談戀愛, 但希望可以。

Ocean: 我跟自己的聲音是close 的, 是一體的, 至於language 或說話我傾向愈說愈少, 因為我認為最好不說, 但如果真的要說的話便極少的說, 那就好了。我不希望說得太多, 只要說到那東西便可以了。我想語言本身是件很複雜的事, 我從前是教書的, 我傾向不說太多, 反而令聽的人可聽到更多, 我想這是有趣的地方, 可以的話我是不想用語言去表達的, 因為限制太多, 太不直接, 吹尺八後更加覺得。當然有很多方便的地方, 但也有很多miscommunication, 反而我會比較enjoy 聲音
本身的感覺。

Black: 對此我有更大的同感, 因為寫字像是另外一種東西, 但其實是差不多的, 我寫字寫了一生, 作為一個作家, 我亦曾表達過文字即使不虛偽, 它也不直接的, 它的內在有著太多古古怪怪的暗格, 令到人迷失或「中招」, 而那東西變為真實或事實便會很可悲, 也導致人與人之間有很多misunderstanding, 或者甚至是傷害, 而最傷害是語言, 比「打你一身」更難受。因為我們對它有很多幻想和信任, 都是來自authority(權威), 我們不知為何對文字很有權威, printed的東西甚至更加有權威, 所以人們覺得你是位作家便會不知為何很崇拜你, 我覺得很荒謬。十多年前我一路以來教不同的大學, 後來教了小朋友三年, 全都是base on 語言、聲音去說話, 好像是deliver 知識和我覺得好的東西給別人, 越來越覺得, 即使寫作亦然, 甚至可以更加理性地去看－這是跟時間觀有關係的，寫作的空間更大，時差更大, 而語言則較為直接, 但我仍認為那是太多了, 那種多令我有點迷失而且有點驚慌, 我離自己越來越遠, 這是我個人作為作家最大的矛盾, 甚至到一個either or 的問題, either 繼續, 或者是全部stop, 否則我便會失衡, 因此我在辦這些音樂會, 我是由去年開始辦的, 去年就邀請了John Neptune, 因為例如有很多讀者經常問我何時有講座、工作坊, 何時開班, 但我越來越不想做, 因為我做這些事越來越平衡不了自己, 我不想有一群人在期待聽我說話的感覺, interview 亦然, 大部分我也會拒絕, 任何雜誌也好, 因為讀者質素參差, 而他亦不太認識我的東西, 那有甚或好說呢? 因此我希望用更直接、友善和溫柔的方式去令人平靜一點, 那音樂就是很好的事, 例如 John Neptune跟人分享, 另外是人的問題, 我也不會隨便舉辦活動, 不是任何一個artist也可以去做, 那是不行的, 但John Neptune就是, 你就算不聽他吹奏尺八, 他的人本身就是一個很好的人, 幾乎是我遇過眾多musician 之中我最尊敬的一位, 無論是他的藝術造詣或是甚麼都是top class的, top class的人我也認識不少, 但人品很重要, 假如一個top class的人很造作, 裝酷或很計較, 很自我的話, 我便不太舒服, 雖然這不是壞事, 但John Neptune 就是將自己跟音樂結合, 他站出來已如宗教般的見証, 見証了尺八、音樂跟美善, 他亦會很大方地去share, 是一個很ready去share的人, 我很喜歡此人, 喜歡他的尺八, 而聆聽尺八的音樂 來說, 我不是特別喜歡他的吹奏, 因為有些人靈性的深度或唱奏技巧的優雅等, 我不是特別欣賞John Neptune的吹奏方式, 不過如果聽他現場演奏, 沒有人會不感動, 而那感動並不是short term 的, 而是你看到一個人一份生命的力量在其中, 所以如果舉辦活動的話我會想辦這一類型。譬如是次活動, 我也是因為人的問題, 我不會草草找個人來做音樂因為我想辦音樂活動, 不是因為這兩個人的話我也不會辦這件事, 而這東西令我很舒服, 不用說話, 很開心, 但同樣地如果幫助到自己淨化, 這類活動是遠比看我的書或聽我說話更為有力量, 因為我越來越覺得自己說話不動聽, 而重複的說話我也不想說, 透過音樂, 我會認為這件事太好了, 正如剛才跟妳說過假如舉辦一些文字聲音的活動, 也是件好好的事, 可以多合作舉辦, 我是 more than welcome 的, 多於計劃出書的事, 而在鋼琴上我自己亦計劃用一些特別的方法去做些 meditative 的音樂, 希望在這一兩年做出一些事, 然後慢慢fade out, 不再寫作, 而事實上我亦不想寫東西, 我想寫的都不是我, 我二十年來也沒有寫, 我想我要暫停所有事務我才可以寫出來, 人就是這樣, 要停止所有東西才能達成, 做出真正是自己的東西。

楊: 是不是呢?

Black: 是的! 對我來說是這樣, 或者是我有種要出走的心態, 不放下所有的話很難行多一步, 還有東西念掛或放不下的話, 那是種不舒服的感覺, 因為at ease 的, 你有種軌跡在跟隨, 正如一直都吃那碟叉燒飯, 我便希望那店結業讓他不能再吃, 找其他食物吃或自己煮, 不同人不同心態, 有些人很害怕搭飛機, 怕離開一下, 或怕沒人在旁邊睡覺不了, 我想我不能, 跟我的性格有關, 如我昨晚的夢, 關於火, 我整個人著了火, 救也救不熄, 但看到很美, 很黑的手和很美的金黃色的光, 那是火來的, 我整個人的性格也是一團火, 但我不希望燒傷別人, 因為火不是傷害, 火是整個生命的來源, 否則很難走下去。

楊: 希望可以繼續燃燒。

Black: 一邊噴火一邊唱尺八也不錯, 打鼓亦一流, 回到原始, 其中一個是很好玩的, 假如我們可以建一條通往密室的通道, 然後在通道外搞鼓, 最原始的meditation, 金字塔的其中一個秘密就是這東西了, 最原始的meditation 加上觀星, 就在特定的黃金比律內發出鼓聲, 便製造到一個完全淨化的效果, 法老皇真精明! 他們很聰明的。

楊: 有沒有補充?

Black: 沒有。

楊: 你們如何認識的?

Ocean: 都是尺八介紹的。

Black: 對我認識他(ocean)因為尺八。

Ocean: 我認識他(John) 因為鼓。

Black: 我認識他(John)是因為看他(Ocean)表演。但我知道John這個人已經很久, 因為在藝術圈之中, 十多年前我亦是藝術圈的人, 我一直想聽John的東西, 但沒有緣份, 他開演唱會我卻身在英國, 應該是演奏會, 這個(Ocean)是不認識的, 但因為他想學尺八, 也不是很久之前。

楊: 一直找便會找到了?

Black: 沒有尋找的。

Ocean: 「撞下撞下」便自己happen。

Black: 對, 很多東西會自己出現。但出現後自己有否hit到亦是一個point, 其實所有東西都在, 世界上所有事物沒有extra 也沒有欠缺, 而且有abundance, 只不過是a matter of readiness, 所以我剛才說, 你open up 自己的sensitivity 是很重要的, 當你麻目的時候你會覺得世界很貧乏, 因為我每天收到的來信都是那樣的, 覺得自己很不足或欠缺, 但其實所有東西都一直存在, 我想舉辦音樂會其中一個意義也在此, 你每天也會面對「黑」, 你會否在其中豐富自己呢? 或者你每天對著噪音或音樂, 你有否通過它而豐富自己呢? 這都是舉手之勞的事, 我們沒有製造出更多的, 如果製造更多我亦不喜歡, 因為太複雜, 我比較喜歡簡單的事, 我個人來說不喜歡plug的東西, 譬如電結他(rock 的另計, 因為個form itself 需要這些來配合), 但個人來說我不認為應該要專門製造些聲音來看看反應, 那是太多了,於我來說是conceptual art來的, 我們可以試, 也不反對人做, 但就站在這樓下也有很多那些聲音了, 我們不用再在concert hall中造一次, 這對我來說是太過「你沒事幹便找些事來做扮artist」, 我不覺得很吸引。

楊: 不如問最後一題, 你們最記得的聲音是甚麼? 或是最喜歡的?

Ocean: 尺八聲和海浪聲。

楊: 怎樣類型的海浪聲?

Ocean: 海浪聲是太豐富了, as一個family那樣, 我試過潛入水底聽, 晚上聽, 於不同的季節聽, 我曾花了一年只聽海浪的聲音。不同時間不同天氣去聽, 雖然像是很長的時間但其實不是, 是很短的時間, 我想大部分是很organic, 就是它的聲音, 而尺八就是從內在發出的一種聲音。

楊: John呢?

John: 其實是沒有的, 其實我想如果你說是connect的聲音, 其實…我預備這個表演時也遇上這問題, 一個自己會出現的問題, 亦同樣是那個問題, 我到底在尋找甚麼聲音? 當然這問題的出現是在你靜下來的時候, 身邊會有很多聲。所以其實, 我玩音樂是因為我沒事可做, 或者我根本不喜歡音樂, 剛才你說起寓言, 阿拉佰的傳統, 很多spiritual 的學說都有一句說話, 就是「一個人聾了其實即是啞了」, 但其實未必一定的, 啞的人也可以有「依依呀呀」的聲音, 但我經常會想它為何那樣說, 正如現在我說話, 如果可以的話我寧願不說, 當然我不是說這個situation, 說足夠的話, 因為你到底明白了多少, 當這問題自己出現的時候, 你會知道其實你一點也不明白, 那就是指先要明白了才可express, 所以說聾了就是啞了, 因為你聽不到, 聽不到即不明白, 問題就是到底你明白多少, 聲音亦然, 其實我在尋找的聲音可能就是這樣的聲音, 就如「黑」, 不單是我們rehearsal我們從來未做過全黑, 自己也未經驗過真正的黑, 我亦不知真正全黑的感覺是如何的……

Black: 我亦是尺八和海的聲音, 我想這兩種東西是最震撼的, 另一樣便是silence,一種淨化過後整個世界掏空了的「靜」, 那種是經過極限體驗後得到的, 我曾經試過幾次, 也不少比較震撼的經驗, 例如我吹尺八的一個音, 是吹到震撼的, 震撼後的silence, 又例如性高潮, 這些經驗, 那是身與心自然地去到一個瘋狂的邊沿, 而那瘋狂是種極限的體驗, 令你整個心打開, 因此整個五官的感覺都不同了, 眼見的不是眼見, 聽的不是聽, 嗅的不是嗅的, 摸的不是摸的, 當這些都掏空後, 我懷疑那不知是否為佛家所說的一種「空」, 在聲音的層面上, 那正正就是silence來的, 尺八在這方面做得最好, 因為吹奏的都是沒甚麼意思的, 所以那些音或手指位也不重要, 重要的是你吹奏後身心跟它結合後的靜, 銅器都做到這個效果, 是明顯的, 對聲音不是特別大敏感度的, 那就是令「低能的」都可以聽得到, 但尺八來說, 你要跟它很接近, 並且最好不用amplifier, 你好近地傾聽它的話, 你會聽到「空」的, 是silence的, 而音樂或聲音最高的境界都是silence, 這種感覺或境界會令我有最深刻的印象,令我知道生命的某種極限或如何去超越的一個方位, 因此我不會花太大精神在其他事物上, 不是因為我不夠八卦, 而是因為那些東西對我來說都太過膚淺, 或者我更enjoy一個在夢裡面的世界, 就如今早的夢, 我是很深印象, 並且生理上直至現在仍有反應, 但一般在我現實生活中, 相對來說是貧乏的, 但尺八及海的聲音則是太細微了, 普通的去聽你不會發現有甚麼動聽, 海真是太過細微, 在外或在內聽亦很不同, 因為它實在太龐大, 如果我們可以靠近太陽, 我猜太陽的聲音亦會很震撼, 但是它太熱了, 而海則很welcome, 它已經ready。這些聲音在生命之中很重要, 起碼對我來說是, 假如要追求的話我會追求這種聲音, 這種的silence instead of 去「攪攪震」, 因為我不會花太多精力, 亦被很多事occupied, 寧願多一點聲音的虛位。

楊: 說起「靜」, (你們也經常提到的)是否除了沒有聲, 或不一定要沒聲也會有靜的狀態呢? 可否說多一點你們所指的「靜」是甚麼?

Black: 我想很難說的, 說就是要define, 最簡單的比喻, 我想很多人或多或少也會經歷過的, 當兩個人坐在一起表面上甚麼也不做, 但感覺到很舒服很豐富, 好像是正在溝通或分享著一些東西的時候那種滿足, 那種感覺是很靜的, 沒說甚麼但兩顆心在一起的感覺, 應該很多人會明白是甚麼一回事, 而那事實上是靜的。沒說多餘的話, 人可以去到一個好好的分享或關係, 多一點那樣的moments 總會好一點。

Ocean: 我想除了人之外, 就是跟nature, 當你很平靜甚麼也不做, 當你完全靜下來忘記了所有事投入自然, 除了我平日去那個靜的環境外, 有一次我印象深刻的就是我嘗試自殺的時候, 快要完結的時候我看到有些樹葉飄進來, 那時很靜, 全世界也沒有聲音, 但那種靜是很intense的, 我想是那個connection, 因為在那一剎, 人也是自然的一部分, 一個很圓滿的, 很清很pure的感覺, 大概就是那樣。

John: 我不知怎樣說, 但我想這是很老土的, 人們都喜歡說「活在當下」, 你在那刻的定義吧! 其實我又經常問一個問題, 為何我們不在有光的地方演奏, 或者我自己的音樂究竟有甚麼分別? 沒甚麼的, 就是在那刻要定一點, 因為沒有得思考如何靜的, technically 我想是有的, 宗教的話就是你不斷的拋開不同的心, 那是intellectual的都是需要的, 但是我想…還是「那一刻」很重要的。

楊: 其實也不是在問定義, 不過也好, 聽到一些東西, 多謝你們。

﹣﹣

假如你喜歡聲音掏腰包的持續計劃﹣people working with sound，請支持我們

Date: March 26, 2008
Location: Club 71, Central, Hong Kong

Dug Winningham is creative sound director of New York-based soundwalk. He was in Hong Kong in 2008 as sound designer for Chanel Mobile Art.

Biography: Born in the United States in 1968, Dug Winningham is a sound designer who lives and works in New York. Having received a BFA in Conceptual Art and Information Design from San Francisco State University, he is the creative director of sound for Soundwalk. Dug began his career at Skywalker Sound in California, where he learned the language of soundtrack through his work with the field’s heavyweights. As a sound editor and mixer, he regularly collaborates with American filmmakers: “Fight Club”, “A.I.”, “Broken Flowers”, “Sicko”, and “The Darjeeling Limited.” Since 2002, Dug has captured and mixed sonic textures for Soundwalk. He travels around the world and records voices, music and atmospheres unique to each place that he finds himself in. Then he compiles and remixes all of these sounds for Soundwalk’s installations and productions. Dug is also a film director; his short film “Visual study: Bronx 4/5/6” was featured in RES Magazine in September 2003. As a musician, he and his group “The 8 Year Olds” released an album, “Boogieman,” in 2009.

D - Dug Winningham
Y - Yeung Yang

1. about soundwalks

Y: Maybe we can start with why you are here, what you have been doing?

D: My name is Dug Winningham and I am a sound designer for a company called Soundwalk, based in New York City. For the past six years, we have been doing audio walking tours in New York City, in about 20 different neighborhoods now. We are now doing this worldwide. We have five neighborhoods in Paris, one in Berlin, one in London, and we even have a beautiful boat ride, in Varanasi, India. And so we are here in Hong Kong because we are doing soundwalks in Hong Kong, Beijing and Shanghai.

The company started out doing soundwalks in New York neighborhoods. We all have art backgrounds. Stephan Crasneanscki, the founder of Soundwalk has a photography degree from Parsons in New York. I have a conceptual art degree from San Francisco. So yes we are all kind of artistic by nature. So we started this hoping we could make some money out of this. (laughs)

What happens is when we’re doing these soundwalks, we get critical acclaim, I guess. A lot of magazines have written about us. Some schools have actually used our soundwalks for curriculum in media courses. That’s really exciting for us. So we started approaching the big companies like Adidas, Puma, Nike, to pitch them the idea that we are a street-critical media. Our first corporate project was with Adidas, where we did a soundwalk in The Bronx.

Y: When was that?

D: About five years ago. We did three walks in The Bronx. There was the birthplace of Hip Hop, the origin of Graffiti, and the history of Yankee Stadium. And you are actually, the users are actually walking through neighborhoods where Afrika Bambaataa, Jazzy Jay, and the Tats Cru were born and raised. We walk through places where there’s all this graffiti, almost like an outdoor museum, with graffiti artists talking about their works in different locations, or walking around Yankee Stadium with all the players and people who work there, even the guy who plays the organ, the whole experience. And that’s become very successful for us. On the one side, we are trying to make some money on the commercial side, but with that we can do what we really like, which is exploring the neighborhoods.

Y: Can you explain to me what a soundwalk is? Is it very narrative-based?

D: It IS very narrative-based. Basically we want to get away from the idea that you go on a tour with this guide, and he would tell you this building was built in 1955 by so and so, all that historical crap which we don’t really want to know about. When you go to a new city, what you really want to do is to be with a local, an insider, who knows it. And that’s always the best way to show you around. So when we decide to go to a neighborhood, we go there and meet someone and they tell us their life story, everybody we meet. From there we build a route which is interesting, which has nothing to do with history. We might talk about some historical stuff, but we really want to talk about what’s happening right now. And we are not interested in just looking at buildings. We want people to open doors, to climb staircases, to get on the roofs, in and through alleyways. In some walks we even give you the code to go into some buildings so you walk inside places. Another thing we do is we offer cinematic experiences. You are entering a world we have written. Some of it might not even be true. But while you are doing the experiences they seem very real to you.

Right now, in Hong Kong, we are really pushing this concept. In Hong Kong we walk with the actress Shu Qi. We walk with her for an hour. The story is that she met her man ten years ago, and now she’s walking through the streets and she sees things that remind her of him. So it’s kind of like a love story, and it’s very cinematic. The idea is that you don’t have a movie screen, that the whole city becomes a movie screen and you interact with this history directly. When it works, it works very well. One example is we walk past here (Club 71), in the daytime, the old men are playing different card games. When we sit down with them, you hear about their lives. You slow down. You realize they built all these skyscrapers around you. That’s a work in progress. We’ll see how it goes. But we are excited about this direction.

Y: In this way you are using sound and human voices to tell stories?

D: Yes, we record every city. We try to get music from the neighborhood. Now we are using a composer to compose original music for the entire series. And when it all comes together, you walk for an hour, you feel like you really know the place, and you experience something more than just walking through.

2. listening and designing listening experiences

Y: For you, personally, how did sound come about to be exciting?

D: For me, I have always played music, although not very well. And I was at San Francisco State University, studying conceptual art and information design. They taught us everything - media, video, installation, sculptures etc. I really got into audio, the possibilities of audio. I studied under the multimedia artist Pamela Z. She is an amazing sound artist, using a lot of midi-triggers, triggering different samples while she’s moving. I got really excited about it.

Y: What was it that got you excited?

D: For me it’s…I really enjoy the musicality of my environment. I am interested in hearing sirens coming by, birds singing, the melody of people talking. So to be able to record that, design it, mix it and make it sound like a musical piece, this is really interesting for me. It’s like sampling for a record. You are sampling the city and the environment.

Y: In terms of what goes on every day, how would you describe listening? I mean, listening seems to be a way of understanding that is being pushed aside, because of the way a lot of cities are designed. As a sound designer, or someone naturally sensitive to the musicality of the environment…

D: I would say that everybody is just as selective in what they see and what they choose to see as what you hear. People walk in Central Park in Manhattan and think it’s a very peaceful place. But if you have a microphone, you are recording, it sounds like a major metropolitan city, but you are fooled into believing that it is very peaceful and calm. The reality is that it is chaotic. People choose to hear different things. Because I record a lot, I tend to hear things people are not picking up on. Like all artists, they are seeing things differently than other people would.

In Hong Kong, I didn’t do much of the recording, but my colleague Simone Merli did. You can have a chat with him. He’s a sound artist. He does really interesting stuff on bio feedback, technology, in real time, in the museum setting, where you are looking at visual arts.

Y: What do you think of the soundscape of Hong Kong?

D: Sounds of Hong Kong…everybody is woken up by the sounds of construction. You get used to it. It’s the same sound in Berlin, a city that is constantly rebuilding. So you may not love it but you can appreciate the sound. There is nothing you can do about it. The sound of mah jong tiles being shuffled endlessly…in my building, old folks, who sing karaoke. I like walking through Graham Street with all the different AM radios passing by me as I am walking up the streets. The sound of the children singing, near the Man Mo Temple. There is a school there, and when I walk by, they are playing some kind of xylophone instrument or something. It’s really charming.

Y: My friend told me how she got really irritated with children on her upper floor playing marbles on the floor.

D: I am on the top floor so luckily I don’t have that experience. For me, also being from New York, it’s great how fast you can reach the country from here, to the sea. In New York, you can’t do that. You can drive three hours and you are still in the city.

Y: One thing I realize myself is also as I grow old, I listen more.

D: I can also tell you from a technical point of view, I started getting into sound working for motion pictures. I also sound edit for feature films, so I have a lot of friends in that industry. We are always recording things and trading sounds, like, Do you have the sound of a taxi cab in Mumbai? I just recorded that, and we trade sounds, sometimes we just have fun listening to different things.

I had a west coast sound editor friend visit me, he was walking through New York, and he was laughing. I asked him why, and he said, “I can’t believe how much sound there is in New York.” When we are doing it for a film, you are editing layers and layers of different elements. You have a layer of traffic, a layer of people talking, a layer of horns, a layer of sirens, a layer of birds… a motion picture soundtrack is hundreds and hundreds of sound effects tracks. And you always think when you are editing in the editing room that this is too much. You are recreating it in the editing room, you are in San Francisco trying to recreate the sound of New York. He came to New York and realized he couldn’t possibly recreate so much noise, in the tracks. The same with Hong Kong. Once you start listening to Hong Kong, there are so many things happening at the same time it’s…you are overwhelmed.

What you do in editing is become selective. You refine the experience for a desired effect.

Y: But why is there a desire, maybe, to reconstruct and imitate the real?

D: Well, professionally we just have to. It affects the way you talk to people. You talk more in terms of sound. You have jokes about it, that nobody understands…and also professionally you learn to be very quiet. You don’t realize how much noise you make. I would never wear this nylon jacket if I were actually recording. My shoes, I always wear canvas. Everything you wear has to be quiet. No jewelry or this kind of stuff. The moment you set your microphone down…the great moment for me is when you find a place that sounds good, you set up your microphone, get comfortable, hit record, and then you are listening, and you are really paying attention. When you go back to the studio, the same studio, but listening to different countries, it’s very exciting. The recording becomes a story.. You come back and it’s better than any photograph you have taken of the city. You immediately recall everything and see everything, with just the sound you have recorded. Usually for an ambience I record three minutes minimum, you have things you have to cut out, and other things you have to edit, and you might end up having one minute of sound if you are very detailed about it. If you listen to these long recordings, you are completely transported back to the place. You could probably ask me about the sound of Hong Kong when I get back to New York. I will have a better answer.

It’s just a way of looking at the world. For example, I wish there weren’t any plastic bags, just because it’s ugly sound.

Usually when you are recording, the thing you don’t want to record is the thing that comes alive. A baby suddenly crying in the middle of your recording. You can’t say anything, staying very quiet. I was very angry, but later on that baby becomes the best of part of the recording you did. If you can be open to that…you have no control.

I guess that’s what we do. I’d like to do more on a personal level, play music. I play bass in a rock band in New York.

3. sound art

D: We will be showing an installation in Paris, at the Exit Festival, and that was a really nice piece. Basically we’ve recorded sound for ten years in New York. And every thing we didn’t use for Soundwalk, we put together and made something new. It’s kind of like a journey. I am very proud of it. The curator, Eric Dalbin listened to it, and asked the graffiti artist RoStarr to do a visual representation of what he was hearing. They shot it on video and edited it. Now it’s a multi-media show all in one piece.

Y: What’s the name of the work?

D: It’s called “Kill the Ego.”

Y: Will you do the same thing in Hong Kong?

D: I’d love to. I am really interested in doing that kind of stuff, which is not commercial. But it takes a long time, too.

Y: How long, for this one in Paris?

D: Ten years in New York, so we have a lot of stuff we can choose from. The World Trade Center attack, we have used some stuff there. That was not the main focus of the story, but it’s definitely a very dramatic moment for the story.

Y: Is there a big interest in New York in terms of what you do, Soundwalk, sound art in general? Isn’t there a sound art space called Diasponan?

D: I’ll check it out. There is the Kitchen and it’s been there forever. They do a lot of sound, performance, and video. There are a few dedicated locations for sound art – Engine 27, Roulette, Issue Project Room…

4. sound design for Channel Mobile Art

D: The Mobile Art Container is really interesting. I started working individually with the artists, creatively, and then at a certain point, politically, it’s high fashion and art, and a lot of people in between. You don’t know who you’re working for sometimes. So at the end of the end of the day, I met with the artists again, they didn’t know what I’d been doing. I was really scared that they would say, “this is horrible”. But they actually, most of them, pretty much all of them, liked it.

Y: You were in the project at an early stage?

D: Yes. We were working on two levels, creatively, and technically, moving people through the space, everybody was moving at the same time, same location, it’s like we’re also doing crowd control. People don’t start to bunch up.

Y: These are designed into the sound.

D: Yes, that’s part of the technical part, things get switched around. So that’s frustrating, but we deal with it. I was in England in December, where everything was supposed to be finished, and I was supposed to walk into the space and see all the artwork. When I go here I go here, and I know how long it takes. It’s a perfect world, right? When I got there, in the middle of an open field, there was just a chalk outline on the ground. They told me this will be here, this will be there. You never know…we never actually saw the complete exhibition together until two nights before the opening. So you have to be creative.

Y: I am speculating, but it might have to do with how artists produce these days.

D: I will say this though…it’s exciting to be in a place where everybody is creative. Your problem is, everybody is creative. You can complain people are being too creative, but this is the kind of the problem you want to have.

Y: And you guys can solve it, being professionally and creatively trained.

D: Right, so then your technical expertise is on autopilot. So when it moves on to Tokyo in a couple of months, I will be in Tokyo. I’ll switch a couple of artists around. I think as it travels around the world, it will change.

Cultural critique-wise it’s an experience for me. It’s an art gallery. It’s very well respected artists and they are all doing something related to the commercial project or product. I have talked to some of the different artists about it. I have their takes on it. When you see it you will see that it’s not an ad for the handbag. It’s kind of like a very rebellious…a lot of the artists are very rebellious. It’s also part of the project.

Y: The Container is very close to where our old Star Ferry clock tower was. It raises an interesting question – how do you preserve sound? I don’t like the word preserve because it sounds like you put something in the freezer.

D: Well, in the film world, my mentor, Ren Klyce recently sound designed “Zodiac”, a film about the serial murders in San Francisco. Most of it takes place in the newsroom, over the course of 20 or 30 years in time. It starts with the typewriter. Where do you get that sound? You have to go and find and record all the typewriters…that sound has to be built now. So in one sense, technology is moving so fast we are jumping over things. Yes, we could miss something, for sure.

Y: Which means we really do have to preserve something.

D: Yes. What’s exciting about Hong Kong to me is this total disregard of history. And in a sense, nobody comes here to live in the first place. They come here to do something. It’s a recent development that people choose to stay here, and preserve things. In Hong Kong, we walked through Graham Street, Wellington, Peel, the whole Wet Market scene. Our narrator Shu Qi is saying basically, all that is in front of you, will be gone! So you better take this walk now, because next time you come here, it’s not going to be here!

Y: It’s not like people don’t’ want history, but it’s so recent, it’s right in your face, you don’t know how to take it, like which history?

D: Yes, which history told by whom.

I have another story. I was working on a movie, it’s about the Brooklyn Bridge. I was working in San Francisco and I had to record a bridge. So I went to the Golden Gate Bridge. I went there with a contact microphone and I had to stick it on the bridge. The idea was to record all the vibrations. So I was sticking the microphone to different parts of the Golden Gate Bridge, and getting all these rumbles. And then I finally got to the cables that actually hold up the bridge. So I stuck the microphone there.

Y: How did you get up there?

D: You can actually walk on the bridge. This is post-9/11, there are cameras, they probably thought I was doing something really weird. But nothing dangerous. So I stuck it on the actual cable. And I hit the cable with my hand, and it would make the most, lowest, lowest, strangest, beautiful metallic sound I have ever heard. It’s just gorgeous. I went to the next cable and it was the same, gorgeous sound, except a little bit higher. It’s the biggest string instrument I have ever heard. Going from string to string, I was playing all these different tones. I was thinking if I did it right, I would have recorded all the strings and map it onto a keyboard, and you could play the strings of the Golden Gate Bridge. It was really beautiful sound. Then I went back to New York, to record the real bridge, the one I wanted, the Brooklyn Bridge. I was recording the strings. Nobody stopped me. it didn’t sound as good. I was really bummed out. I was really looking forward to the real bridge. It just sounded dirty. I realized it was like a guitar. You have to replace the strings after a while because they get old and they lose their tones. So the Golden Gate Bridge is a much newer instrument than the Brooklyn Bridge. But it had a musicality I hadn’t thought of before I actually started with the recording. That bridge on the way to the (Hong Kong) airport would be amazing.

Y: That’s very new.

D: So probably too bright.

5. working with sound: brief chat with theatre sound designer Anthony Yeung

D: A Sound effect is what you record in real life. Sound design is what you cannot record in real life and you have to create it. For example, if I can record a dinosaur in real life, that’d be a sound effect. If I can’t I have to design it with other elements. It may be part of the recording of a lion, and then you add a hyena, or maybe some other animals put together, a locomotive train in there, with some low-end punch. However you create that, that’s sound design. Same for atmospheres that don’t really exist, I don’t know, other planets, other psychological states. You can’t record a psychological state. There would be no sound effects. So you will be designing the sound.

Y: Yes, how Mars sounds, and Uranus.

D: Probably like absolute silence.

Y: He once asked me what a sunset sounds like.

A: No, it’s the sun disappearing.

D: What does it sound like?

A: It’s reverse atomic bomb.

D: They must have a recording of the atomic bomb.

A: Change the speed, get the attack. They still used the open reel.

D: So you were cutting tapes? Wow. That’s old school.

A: That’s fun.

D: My friends who have been working on movies for years, they had physical storage problems because they used to have reels of sounds. If you are talking about 56 tracks of sound effects, that’s 56 reels.

A: I am a little bit lucky. I worked in the radio station that time. I can keep the tapes in the studio.

D: I like radio a lot.

Y: Did you see the film Contact?

D: My friend Steve Boeddeker actually designed all those sounds, the radio frequencies and all that. It’s a great world, a very creative world. The people I worked with are very creative.

–
support us if you like our “people working with sound” - an ongoing project of soundpocket

Address: Unit 10C, Gee Chang Industrial Building, 108 Lok Shan Road, Tokwawan, Kowloon, Hong Kong　(next to Hoi Sham Park)

如有興趣探訪我們請將個人姓名、電話號碼、探訪日期及時間電郵至 listen@soundpocket.org.hk
我們將儘快與閣下聯絡！

地址: 香港九龍土瓜灣落山道108號志昌工業大廈10樓C　 (海心公園側)

View map here 地圖

Around sound art festival 2009

Around is about listening. It is almost a contradiction in terms to call a group of listening activities a festival, for festival connotes the joyful sounding of crowds in celebration. Around would like to propose a different kind of celebration – one that requires retreat. Retreat is the experience of a time of non-participation. “A time when what mattered was receiving, in all simplicity and in all honesty…a time when there was no need to express oneself, to prove something, to be one’s noisy intrusive self.” (Yasmina Reza, “Thirty Seconds of Silence”)

The name of Around is an extension of soundpocket. They both emphasize comportment and bearing, what lies around and makes them possible. The Chinese title of Around is ting zai (Putonghua) and ting joi (Cantonese). It means both “listen at” or “listen in”, and “listen to be”. When used as part of a phrase, ting joi designates the place and time of listening, for instance, “ting joi Lamma” means to listen in Lamma, and “ting joi 2009” means to listen in 2009. The broader meaning of “to be” is the human horizon against which all listening activities are experienced and understood. We invite you to listen to the many meanings the name whispers to you.

…continue reading festival booklet

《聽在》聲音藝術節

〈聽在〉是關於聆聽的。以“節日”的“節”爲一系列聆聽活動命名好像有點矛盾，因爲“節”像是較熱鬧和歡天喜地的情景。〈聽在〉則想提出另一種慶祝的狀態 － 退。退，是一種非參與的狀態。「這時候, 重要的是最簡單和坦誠的接收, 這時候沒有需要表達自己, 證明甚麽, 和做那個强加於人的自我。」

〈聽在〉這名字是《聲音掏腰包》的延續, 它同樣地强調一種方位, 以及還繞它、讓它可能的種種。〈聽在〉，也可解作處於某時某地的聆聽, 例如聽在南丫, 抽像一點；也可以說聽在音樂, 有如沐浴於音樂中；或者聽在2009年.“在”字本身也有存在的意思,也是所有聆聽經驗之可能存在的領域。

我們邀請你聆聽這名字向你細語, 說出不同意義。

…閱讀全文請往小冊子

Artists & Speakers 藝術家與講者：
Akio Suzuki 鈴木昭男 (Japan), Anthony Yeung 楊我華 (HK), Beatrix Pang & Siu Fung 彭倩幗 + 小風 (HK), Black 素黑 (HK), Cédric Maridet (France/Hong Kong), Jérôme Joy (France), Jaffa Lam Laam 林嵐 (HK), Jason Lim 林榮華 (Singapore), John Lee 李耀誠 (HK), Kacey Wong 黃國才 (HK), Kawai Shiu 蕭家偉 (Singapore) & Hong Kong New Music Ensembles, Mike Cooper (Italy), Miki Yui (Germany/Japan), Patrick Shek 石達明 (HK), Yan Jun 顏峻(PRC)

*Simone Merli did not participate in the festival due to unforeseeable circumstances.
Simone Merli 因特發事故未能參與本藝術節

Curated by Yeung Yang
楊陽策展

Artistsʼ works 作品與活動：

Jérôme Joy
DURATIONAL PERFORMANCE 現場演出
LocustreamMix
rooftop of Foo Tak Building, Wanchai 灣仔富德樓天臺
April 2009

Artist presentation

In the eighteenth century, a French writer has imagined a globe directly connected to different places around the world with the help of pipes and trunks, thus one could simultaneously listen in the live sound ambiances of these remote locations. Since 2005, the Locustream project by Locus Sonus consists of a Internet network of worldwide open microphones which are accessible via streaming techniques. This soundwork is a recording mix of some of these live and continuous microphones along a short period : from the 30th of August to the 2nd of October, 2009, and from Amsterdam, Boston, Buga Valle in Colombia, Chicago, Honk Kong, Lijiang in China, Montreal, Nice, Marseilles, Solleftea in Sweden, and Paris.
Locus Sonus : http://locusonus.org/

Miki Yui
INSTALLATION 展覽
Island
six-channel sounds 六聲道裝置
abandoned houses, Motat Village, Lamma Island 南丫島模達村廢屋
May 2009

Artist statement

The island is a sound
arose from the waves

In a old village on Lamma island, time stand still.
4 Houses in line, protected by two stone god of the village.
Houses gradually collapse and return to the nature.

Inside the houses, things were left just as if people lived until recently.
Just piles of dust tell amount of time that has passed since they left.

My work was to add sounds to those remainings
of the houses, and to the surroundings.

Donna Ong & YC Teo
INSTALLATION 展覽
Landscape Portraits 地貌寫照
Abandoned houses(Rooms I – IV) in Tung O, Lamma Island 南丫島東澳廢屋
May 2009

Phoebe Hui 許方華
INSTALLATION 展覽
ONCE UP ON A TIME
Motat Village, Lamma Island 南丫島模達村
2009

Beatrix Pang & Siu Fung 彭倩幗 + 小風
INSTALLATION 展覽
(:)
MCCM TheBookshop, Wan Chai 灣仔MCCM TheBookshop
2009

Kacey Wong 黃國才
OUTDOOR INSTALLATION 戶外展覽
Mind Stir
outside kapok, St Francis Yard, Wanchai 灣仔聖佛蘭士圍kapok門外
May - June 2009
(photo taken at soundpocket on April 2010)

Jaffa Lam 林嵐
INSTALLATION 展覽
Sound Tree 聲音之樹
Hong Kong Architecture Centre, Central 中環香港建築中心
2009 – 2010

Akio Suzuki 鈴木昭男
DURATIONAL PERFORMANCE 現場演出
untitled 無題
Motat Village, Lamma Island 南丫島模達村
May 2009

Kawai Shiu with Hong Kong New Music Ensemble
DURATIONAL PERFORMANCE 現場演出
Tung O Processional
Tung O, Lamma Island 南丫島東澳
May 2009

Mike Cooper
CONCERT 音樂會
Shek Pai Wan, Lamma Island 南丫島石排
2009

John Lee 李耀誠
CONCERT 音樂會
Tung O, Lamma Island 南丫島東澳

Photo courtesy to John Lee

Jason Lim 林榮華
LIVE ART PERFORMANCE 行為藝術表演
Motat, Lamma Island 南丫島模達
2009

Yan Jun 顏峻
HEADPHONE SOUND WALK 聲音漫步
Walk…Stay… 走走停停
Tung O & Motat, Lamma Island 南丫島東澳及模達

Hahn Chu Hon Keung 朱漢強
Friends of The Earth talk on light Pollution 香港地球之友談「噪光」
TALK 講座
Motat Village, Lamma Island 南丫島模達村

Patrick Shek 石達明
Stories of acoustics in HK concert halls 香港音樂廳的音響歷史故事
TALK 講座
HK Architecture Centre, Central 中環香港建築中心

Kawai Shiu 蕭家偉
TALK 講座
Sound and Myth 聲音與神話
MCCM TheBookshop, Wan Chai 灣仔MCCM TheBookshop

Black 素黑
TALK 講座
Sound in Writing 書寫的聲音
MCCM TheBookshop

Anthony Yeung 楊我華
LISTENING WORKSHOP 工作坊
Tung O & Motat, Lamma Island 南丫島東澳及模達

Piklikpaklakbong! sounding toys exhibition 霹靂啪喇嗙! 兒時玩具大聲展
EXHIBITION 展覽
hulahoop

Cultures of Listening 聆聽的文化與想像
BOOK EXHIBITION 書展
aco_books 藝鵠

Yeung Yang 楊陽
READING GROUP 讀書會
Guided reading on books about cultures of listening 聆聽的文化與想像- 楊陽導讀
aco_books 藝鵠

Kacey Wong & Jaffa Lam 黃國才及林嵐
TEA 茶敘
Tea with Kacey Wong & Jaffa Lam - on sculpting sound 與黃國才及林嵐茶敘
daipaidong opposite kapok kapok地鋪對開大排檔

meet and greet Around artists 與藝術家見面
SHARING 分享
Tung O & Motat, Lamma Island 南丫島東澳及模達

Around sound art festival 2009 closed on June 15, 2009.
Our warmest thank you to all participating artists and speakers:
Mike Cooper, Hahn Chu (Friends of the Earth), Phoebe Hui, Jerome Joy, Jaffa Lam, John Lee, Jason Lim, Donna Ong & YC Teo, Beatrix Pang & Siufung, Kacey Wong, Kawai Shiu & Hong Kong New Music Ensemble, Patrick Shek, Su Hei, Akio Suzuki, Yan Jun, Anthony Yeung, Miki Yui.
Around sound art festival would not have been possible without the generous support of the following sponsors, co-organizers, and volunteers:
Hong Kong Arts Development Council, Le French May and the Consulate General of France, our sole beverage sponsor San Miguel, our media partner Alive Not Dead,
Hong Kong Electric, Mr Bobby Li, Rainbow Seafood Restaurant, Dawei Charitable Foundation,
Asia One for the excellent printing quality of our programme book,
Osage Gallery for supporting Donna Ong and YC Teo’s collaborative work for Around;
Hong Kong Institute of Acoustics for exchanging web links with soundpocket on the occasion of Around;
Hong Kong Electric volunteers team ;
Green Lamma Group ;
young docents of HKICC Lee Shau Kee School of Creativity ;
Para/Site Art Space for lending soundpocket headphones and CD players,
SEE Network, Hong Kong Architecture Centre, The Bookshop by MCCM, aco books, Friends of the Earth, kapok, hulahoop.
Special thanks to Lee Chun Fung and his friends, and Wendy Li, for being around.

Download 下載
Around 2009 聽在　Booklet小冊子 | Programme-at-a-glance節目一覽
出版書籍 Book published Pocket:1 Around 聽在

*Around 2010 聽在

If sound can speak…
Sound is in every move we make. And yet, it always disperses into the past, unnoticed, untouched, leaving no trace behind those places that were once home. If sound would speak, what is there to tell?
In her debut curatorial, Susie Law invites three emerging Hong Kong artists Joego Chan Yeuk-ming, Attor Cheung Tin-yau and Jantzen Tse Chun-sing to present sound installations and performances to listen to. Creating sonic imaginaries in an aging place, the works seek intimacy in our relationship to the past, present, and future.

Biography of artists and curator
Joego Chan Yeuk Ming – Born in Hong Kong and completed her BA degree in the Academy of Visual Arts, Hong Kong Baptist University in 2009. Chan works on photography, installation and jewelry, focuses studying on photography theory, public art and body issues. She continues her research in The Chinese University of Hong Kong.

Attor Cheung Tin Yau – Awarded with Distinguished Visual Arts Award at Academy of Visual Arts Graduation Exhibition 2009, participated in performances in ArtWalk 2008 and 2009. Cheung captures a few possibilities out of thousands by making things strange.

Jantzen Tse Chun Sing – Graduated from Fine Arts Department, The Chinese University of Hong Kong, currently working as a violin teacher. Tse attempts to work on installationcombining with music, creates a way to express his pop-up imagery stories from his daily life based on certain contexts.

Susie Law Wai Shan – Graduated from the Academy of Visual Arts, Hong Kong Baptist University. Law tries to discover patterns in Language, Daily objects, Lifestyle, Mentality, or whatever catches her mind. Currently focus on observing and investigating the pattern in the Systems of art. Art to her is a kind of nutrient, however sadly a junk food in some occasions.

《聲音不說謊》
聲音依附在我們的動與靜，盛載著時間的痕跡。我們不能不聽，卻未曾細聽。假若多年後的今天，我們的家成為像這座荒廢凋零的舊建築物, 聲音到底有甚麼話要說？年輕策展人羅偉珊邀請三位新晉藝術家－陳曰明、張天佑及謝振聲創作聲音裝置及行為藝術作品，從物件、人物、場景及自身的發聲過程， 營造不一樣的聽覺經驗，洞察種種親密關係，讓聲音聯繫當下、過去及未來。

藝術家及策展人簡歷
陳曰明 ﹣生於香港，2009年畢業於香港浸會大學視覺藝術院， 主要從事攝影、裝置及首飾創作。現為香港中文大學視覺文化碩士研究生，關注攝影理論、公共藝術及身體議題。

張天佑 ﹣曾於香港浸會大學視覺藝術院獲最傑出作品奬，2008及2009 ArtWalk 參與行為藝術。習慣把身邊的事奇特化，捕捉萬千可能中的幾個。正在營運公司，同時在找工作及修讀碩士。

謝振聲 ﹣畢業於香港中文大學藝術系，現職小提琴教師。嘗試將音樂與裝置藝術結合，去描述及刻畫當下環境令他想象出的種種故事。

羅偉珊 ﹣畢業於香港浸會大學視覺藝術院，她嘗試從語言﹑日常物﹑生活習慣﹑想法或值得她注意的種種之中尋找及試圖重整那些不斷運轉的模式。近日致力觀察及研究藝術制度模式。藝術於她來說應該是一種營養，很可惜在某些場合只被淪為快餐或零食。

at Room 208, Sound Objects by Joego Chan and Unknown by Attor Cheung

performance - Talking with Skills by Attor Cheung

performance - Give me leftovers, I come for Garden Party by Jantzen Tse
a group of 15 performing with the instruments made by on-site found objects

October 18
Meeting Yao DaJuin – an artists’ sharing at soundpocket, Yao shared about his own art practice and experience of teaching sound-related courses and participating in art events.

公開講座：姚大鈞談《中國聲音藝術: 兩千五百年的聆聽》

姚大鈞, 聲音藝術家，唱片製作人，策展人，電台主持人，藝術史研究員。長年來透過電台節目、網站、及教學推動前衛音樂發展。曾策劃北京聲納、台北聲納、上海電子藝 術節河流體開幕式等大型新媒體及聲音藝術演出。九七年起組創「中國聲音小組」對中國各地市聲音現象進行研究、紀錄及創作。近年創作包括中國城市聲音裝置作 品系列，以不同的空間譬喻及聆聽方式探討中國各城市之聲音現象。在兩岸開創聲音藝術的系統教學，目前任教於中國美術學院新媒體藝術系。

http://www.sinologic.com
http://www.post-concrete.com
http://www.subborg.com

Support the nurturing of deep listening, sound art and their education in Hong Kong!

an all acoustic, all veggie afternoon, with a mini-exhibition of musical instruments of different cultures from veteran musician Kung Chi Shing’s private collection, and acoustic music performances by frame-drummer John Lee and musician and composer Nelson Hiu.
Limited copies of autographed books and DVDs by sound art pioneer Akio Suzuki and veteran sound
artist Felix Hess are also on display and for sale.

2pm Guests reception, exhibition opens and screening of short video on the making of Around sound art festival
2’30-3’30pm Entwined: conversation with Kung Chi Shing
4-5pm John Lee and friends free music jamming (Special Guest: Nelson Hiu)
at o-veg, 1/F, 9 Sing Wo Road, Happy Valley (www.o-veg.org)
素苗，香港跑馬地成和道九號一樓
Entry HK$1,000 / person (free for children aged 12 or under)
Limited Seats: 40
*Conversations and performances will be conducted acoustically, with no PA system.
Who’s who

Nelson Hiu (Special Guest of Free Music Jamming Section)

Born and raised in Honolulu Hawaii, is a fourth generation descendant of Chinese and Japanese immigrants. His interest in music, improvisation and self-discovery began while a secondary school student during the tumultuous late 60’s and early 70’s. He studied Ethnomusicology at the University of Hawaii, and moved to Hong Hong in 1985 where he took up dance music accompaniment as a profession. He had been performing and composing with many artists in the multi-arts in all sorts of venues and osscasions. His innovative uses of instruments include the bamboo flute, drums, erhu, guqin, electronic musical instruments and voice. He has performed in the Mainland, Japan, Taiwan, Germant and the United States. His discographies include Music for Roaches, birds & Other Creatures, Still Here, POK and Normal Free.

Kung Chi Shing

Born and raised in Hong Kong, Kung Chi Shing studied classical music and composition in the United States with Allen Trubitt, Arman Russell and Neil McKay at the University of Hawaii and George Crumb,
Richard Wernick and Chinary Ung at the University of Pennsylvania. From 1987-90 Kung headed the music program of the dance department at the Hong Kong Academy for Performing Arts, and also
in 1987 formed the Hong Kong-based music and performance group the box, with Peter Suart. Since 1993 Kung has worked internationally as an individual composer and performer. Kung collaborates frequently
with choreographers and theatre artists, and has composed music for original productions by Toronto Dance Theatre, Hong Kong Dance Company, City Contemporary Dance Company, Hong Kong Ballet,
Taiwan’s U Theatre and Taipei Dance Forum. He has performed in Hong Kong, Taiwan, Japan, Tashkent, New York, London, Berlin and Venice. Kung’s recordings on CD include Destiny Travels Limited and
the compilation BOX GO HOME. Over the years Kung has worked with a cast of international musicians and some of them have become regular participants in Kung’s music ensemble (among them are
renowned Hong Kong classical pianist Nancy Loo, Los Angeles vocalist and cellist Bob Een (a long time partner of Meredith Monk) and New York percussionist Peter Javis (the artistic director of the New Jersey
Percussion Ensemble, a group specialised in contemporary music). As both a composer and performer, Kung focuses on experimentation with different formats that include pop, classical and improvisational music and theatre art, and through the exploration of the unconventional sound possibilities of different acoustic and electronic instruments.

Audio samples of Kung’s music:
http://www.kungmusic.net/html/samples.html

John Lee

A self-taught percussionist, studied modern dance, classical piano in his early years and started to teach himself frame drum since 1990. He has been regularly giving musical theatre productions since 1987, recent works included ‘Frame Drum Solo Concert’ in New York and Beijing (2003) (2007). He also released his solo piano CD “The Piano Story” in 1996 and hand drumming CD “Holodrum” in 2001. In 2002, he went
to New York and North America under Asian Cultural Council Scholarship to further his frame drum and throat singing technique. He studied with teachers like Glen Velez and Ed Herbst, etc. His most recent solo concert took place in the Nam Chung Wetlands in the New Territories, as part of the ecological sustainability initiative of the Hong Kong Agricultural Sustainability Association. He also performed in the Mediterranean Arts Festival, October 2007.

Audio samples of Lee’s works here:
http://www.johnleeframedrum.com/audio.html

the art of listening series II /《聽者言系列二》
presented by soundpocket / 聲音掏腰包主辦
in conjunction with Hong Kong Sound Station, Para/Site Art Space

Class 1
Date Feb 12, 2009 (Thursday)
Time 6’30 – 9’00pm
Place soundpocket, Unit C, 10/F, Gee Chang Industrial Building, Tokwawan, Kowloon
Title Sound of Music – listening to cultures

Speaker Mike Cooper
For the past 40 years Mike Cooper has been an international musical explorer, performing and recording, solo and in a number of inspired groupings and a variety of genres. Initially a folk-blues guitarist and singer songwriter his work has diversified to include improvised and electronic music, live music for silent films, radio art and sound installations. He is also a music journalist, writing features for magazines, particularly on Pacific music and musicians, a visual artist, film and video maker, collector of Hawaiian shirts and appears on more than 60 records to date. Ambient Electronic Exotica is the genre and subtitle of recent solo performances, often accompanied with film or video, and three c.d. releases, ‘Kiribati’, ‘Globe Notes’ and ‘Rayon Hula’. Ambient field recordings collected in the Pacific, South East Asia, Australia and New Zealand, sampled, looped, treated electronically, and combined with acoustic or electric lap steel guitar improvisations to create Virtual Soundscapes. Cooper credits the writing and recorded works of ethnomusicologist Steve Feld as a major influence on this latest phase of his music, in particular Feld’s work with the Kaluli people in Papua New Guinea and the concept of what they call ‘Lift Up Over Sounding’ - ‘Unison or discretely bounded sounds do not appear in nature; all sounds are dense, multilayered, overlapping, alternating, and interlocking. A constantly changing figure and ground…a spatio-acoustic mosaic of ambient and human sounds…a texture without gaps, pauses or breaks…part relations that are simultaneously in synch while out of phase.’ ( from Sound and Sentiment-Steve Feld).

More about Mike Cooper

Class 2
Date Feb 21, 2009
Time 2 – 5pm
Place soundpocket, Unit C, 10/F, Gee Chang Industrial Building, Tokwawan, Kowloon
Title Sound of Music|Music of Sound
The term “organized sound”, coined by Edgard Varèse (often misattributed to John Cage), has gained such popularity as a succinct modernistic definition of music for the past few decades that the term itself has almost become a cliché, or at its worst a fake badge of Know-all. Part lecture, part workshop, part listening party, part nostalgic gathering, composer Kawai Shiu will discuss the intricate relation of sound and music. Not aiming at a wiki-way of knowledge transmission, the event encourages the participants to interpret their personal relationship to the subjects.
(Optional: Bring your instruments or sound devices to be part of the event)

Speaker Kawai Shiu
As a versatile artist, Kawai Shiu has received numerous awards in recognition of his work. Composition awards include those from the Vienna Modern Masters’ Orchestral Recording Award, the Rudolf Nissim Award, Frederic Goossen Composition Prizes, ASCAP Awards, Kent Kennan Scholarships, and funding from the American Music Center. Other Commissions and performances include those for Endymion at the Purcell Room, the Cheltenham Festival, the International Clarinet Course in Spain, Dartington Festival, the World Saxophone Congress, and the Pacific Contemporary Music Festival. Kawai’s music has been recorded by CRI, Vienna Modern Masters, Ablaze Records, and Soy Sauce Records. His music is also widely broadcasted on radio worldwide and online, including a featured series at RTHK-4 and a live broadcast program by Chicago based new music ensemble CUBE. Kawai is also a prolific writer on poetry, drama, and writings on music and art criticism. He is also a credited contributor to instrumental pedagogical publications. Kawai has served as the Music Director of the British Royal National Theatre’s production of Euripides’ Bacchai, directed by Sir Peter Hall. As a researcher, Kawai was a Research Fellow at Swiss Paul Sacher Stiftung. A lecture performance co-developed by composer Sir Harrison Birtwistle and Kawai on Paul Klee has been presented at Hayward Gallery (London), British Royal Academy of Arts, and Lucerne Festival. Kawai has been appointed the Honorary Visiting Professor of Music at the Conservatorium of Music at the University of Tasmania and at present Assistant Professor at Yong Siew Toh Conservatory of Music. For his contributions to the musical field, Kawai Shiu was selected for inclusion in International Who’s Who in Music and Musicians’ Directory, among other bio-dictionaries.

More about Kawai Shiu

Class 3
Date Feb 28, 2009 (Saturday)
Time 2 – 5pm
Place soundpocket, Unit C, 10/F, Gee Chang Industrial Building, Tokwawan, Kowloon
Title sound, lake, rain
Maridet recently came back from the Mamori Art Lab, a Barcelona-based cultural organization that offers workshops to artists of various disciplines, including music and sound. He gives a presentation of his creative experimentation with local residents of Mamori, one of the many lakes surrounding the Brazilian part of the Amazon River, and the inspiration he received from a sensational environment.
Speaker Cedric Maridet
B. 1973. Works and lives in Hong Kong since 1999 and is currently a full-time PhD candidate in media art in the School of Creative Media, City University of Hong Kong. His research focuses on soundscape theories and on the paradigm between sound-event and sound-object. He founded Hong Kong based electronic label monème in June 2004 as the main platform to release his works [_habitus, 2006]. He has participated in performances in Hong Kong and exhibitions in Hong Kong, Macau, New York, Paris, London, Madrid, Berlin, Vienna and Cambridge. He was awarded Prize of Excellence in the Hong Kong Art Biennial 2005 for Huangpu [video collected in Hong Kong Museum of Art], and was invited to be artist in residence at the Hong Kong Visual Art Centre and in Mamori ArtLab in Brazil. He is also a contributor to the open microphones project of French-based research lab in audio art Locus Sonus (École Supérieure d’Art d’Aix-en-Provence, École Nationale Supérieure d’Art de Nice Villa Arson and Ecole Supérieure des Beaux-Arts de Marseille). His works focus on field recordings and soundscape composition, audio-vision, the construction of altered sonorous spaces, and aural architecture.

More about Cedric Maridet

Fee – HK$140/ class [HK$390 for three classes]
Sign up for the classes by emailing soundpocket at yangy@soundpocket.org.hk
Enquiries – Yeung Yang 90403877

~ Special thanks to Hong Kong Sound Station, Para/Site Art Space, for publicity support ~

Veteran artist Frog King once said that installation art was first made by stage set makers in the theatre. “the art of listening series I” presented by soundpocket aims at matching knowledge and know-how from the theatre to the needs of contemporary art production. It is designed for practicing and prospective artists who are interested in making sound works. It suits in particular installation artists dealing with the relation between sound and space, and artists whose work with recorded or live audio components. It enhances and sharpens skills artists may already have in making works with sound as a prominent component. It inspires artists who may be just starting to think about trying out sound works.
Participants will learn about the specifications and characteristics of a range of microphones and speakers, how to critically and creatively listen to and interpret indoor and outdoor spaces with microphones, indoor sound systems, and technical know-how that is crucial to theatre production and applicable to contemporary art production.
蛙王說過， 裝置藝術源於舞台設計。 聲音掏腰包推出《聽者言系列一》旨在讓舞台工作人員跟當代藝術工作者分享他們的技術、理論、知識和經驗。
本系列特別針對有興趣製作聲音作品的藝術家和藝術學生、對聲音及空間的關系有興趣的裝置藝術家和藝術學生、及任何對錄音及現場音響有興趣的藝術家和藝術學生。
本系列分三節，內容包括理論、導賞和實習。第一節主題為西方舞台音響歷史和演變，及應用與研讀舞台技術於舞台以外。第二節主題為各種不同的話筒和揚聲器的特性和用法，及室內音響系統的種類和特性 。第三節主題為練習聆聽和學習如何應用各種不同的話筒詮釋室內及室外空間。
*The main language of all sessions will be Cantonese supplemented by some English and
Mandarin where necessary ／ 授課語言主要為廣東話， 有需要的式候以英語和普通話補充。

About the tutors 導師簡歷
*All tutors have fifteen to twenty years of experience in theatre production and/or audio industry, active in art and commercial projects. / 各導師具備十五至二十年舞台、音響專業及商業項目經驗。

Anthony Yeung 楊我華 / mastering engineer and theatre sound designer
Billy Wong 黃漢基 / audio system consultant
Christopher Johns 莊繼滔 / theatre sound designer and Head of 莊繼滔 / Head of Dept of Entertainment Design and Technology, HKAPA

SERIES I : technical and practical by professionals 內容
Class 1 Dec 14, 08 (Sunday) / 2-5pm / AYM Studio, Tokwawan
Theatre Audio: histories, systems and configuration by Billy Wong and Anthony Yeung
Sound design for Looking for Antonio Mak contemporary art exhibition at Museum of Art (on show until Jan 28, 2009)

第一節主題為西方舞台音響歷史和演變，及應用與研讀舞台技術於舞台以外
Class 2 Dec 28, 08 (Sunday) / 2-5pm / AYM Studio, Tokwawan
Listening to spaces – technicalities of field recording by Anthony Yeung (for artists
interested in sound works)
認識各種不同的話筒和揚聲器之特性和用法，及室內音響系統的種類和特性
Class 3 Jan 11, 09 (Sunday) / 2-5pm / AYM Studio, Tokwawan
Listening to spaces – field recording theories and practices by Anthony Yeung
練習聆聽和學習如何應用各種不同的話筒詮釋室內及室外空間

soundpocket’s piece -
Title of work: The Window / 窗口
Mock set-up: on a window, install a sound bug speaker connected to any audio player with headphone-jack out / 模疑装置: 把具有吸盘的sound bug 扬声器紧贴窗口, 配上任何声音播放系统
Concept:
Windows in modern hotel rooms are designed to stay closed. They are transparent barriers that separate the inside from the outside. They present the perception of safety for the traveler in a foreign land. They frame the foreign into a distant view. They keep it under control. They purify.
Closed windows are also part of the wider global phenomenon of indoor living, the result of intense urbanization. How much time do we spend indoors every day?
In face of barriers, one tends to break. The Window takes a different approach. It brings the windows back to life by making them physical. It makes them speak. It asks, Whose imperative is it to tame the foreign? How has the modern hotel participated in making taming part of the traveler’s package?
Slowly and gently, place your palms on the window. Slowly and gently, press your ear against The Window.
Lean. Listen. Imagine.

现代社会的酒店, 窗口往往是关着的。 它是个透明界线, 把内外分隔。 它给异地的旅者安全的印象; 它把异地纳入框架。它操控; 它净化。
关着的窗口也是极度城市化的现象 – 我们每天有多少时间活在室内一个关闭着的保安空间?
遇上界线, 我们要冲破。窗口选择了另外一个进路。 窗口要寻回窗口的物质性; 要窗口说话。它要问, 谁要驯服异者?酒店如何参与把驯服异者变成承包旅游的一部分?
轻轻地, 把你的手放在窗口上。 轻轻地, 把你的耳朵贴近窗口。
亲近, 聆听, 想象。

Another Space in Shenzhen / 另·空间 深圳站
Time / 时间：Dec 7 - 14, 2008 / 2008年12月7日-14日
Place / 地点：F14, F518 Idea Land, Bao’an Area, Shenzhen, China / 深圳市宝安中心区F518时尚创意园14栋

(Will be tour in Beijing, Shanghai, Guangzhou and Chengdu, the specific time will re-released / 将于2009年在北京，上海，广州，成都巡展，具体时间再公布）

参展名单 Exhibitors List

柏志威 Bai Zhiwei
曹丹 Cao Dan
CLOOZ组合：程君 Jun + 卢俊 Bibi + 陈洪伟 Victor
邓瑜 Deng Yu
冯志峰 Fanci
黑一烊 Hei Yiyang
黄帅 Huang.S
黄薇 Mee Wong
黄雪冬 Huang Xuedong
黄周妥 Huang Zhoutuo
李伟斌 Ben
李昱昱 Yuyu
刘世贵 Jason
MEI：Carp + Miss Mei
Paul Coquerel
Philip Tinari
苏焊光 Alex So
糖果猫猫 Popil
杨阡 Yang Qian
杨阳+声音掏腰包 Yueng Yang + SoundPocket
张淼 Zhang Miao
朱德才 Eric Zhu
字态 Zitype

Host / 主办：
F518 Idea Land / F518时尚创意园
Avant-garde Art Hotel / 前岸艺术酒店

Organizer / 承办：zitype workshop / 字态工作室
Co-operative / 协办：Shen Zhen Zhang Miao Architects Co., Ltd / 张淼建筑设计事务所
Curator / 策展人：Imagine Wong / 黄立光

Date: Nov 13, 2008

Yannick Dauby is a sound artist influenced by the natural sciences and social sciences. He spent several years in Taiwan recently to conduct field recordings of natural and cultural soundscapes. He talked to Edwin Lo, an emerging sound artist in Hong Kong, about his work.

YD: Yannick Dauby
EL: Edwin Lo

EL: Could you briefly introduce yourself?

YD: My Chinese name is Peng Ye-Sheng (澎葉生) and my favourite activity is going for a walk. When someone asks me what is my activity, I used to say “Sound art”. This includes a lot of practices including the collection and the manipulation of sounds, but the most important one, or at least the one that I breed the most, is the pleasure of outdoor listening. Listening to details, structures, evolution, behaviours, patterns, relationships, etc…

EL: Could you let us know how you start working with sound? Is there anything or anyone special that have influenced you into taking this path?

I have a long-term fascination for extra-European musical traditions. That was probably the starting point: discovering music as if you arrive at an unknown place. And like many others the largest part of my listening experience of music came from recorded sounds. I was not introduced by someone specifically, but one element helped me so much for my orientation - public libraries. As far as I remember, I am used to the exploration of archives, of documents, as it is an incredible opportunity to travel through sound and music.

By chance I was in contact with experimental music (in fact an Eliane Radigue concert in a chapel…), and I immediately wanted to immerge myself into that, through studying electroacoustic composition and at the same time discovering large areas of less institution-related musical forms. Many artists gave me inspiration, but I would say that it is much more the cohabitation of different musical practices (from Uzbek music to industrial music to Ligeti) that made me think a bit about working with sound.

EL: When I visit your website, Kalerne, I discover that many of your works are often related to natural environment and natural phenomenon and you are still actively investigating this aspect. It seems that, for me, you are doing something like sound art as a multi-disciplinary approach which makes various connection or research with sound. What do you think about that?

YD: I am from a mid-sized city, a quite boring one from a cultural point of view, but I always have been deeply connected to the surrounding Alps and the Mediterranean Sea. I was not supposed to make music or sounds. I was more expecting spending my life studying lifeforms: oceanography, practice of geology at a very early age with my parents and more recently interest in ecology and ethology. For sure this interest for natural environment and animals is much more important than my studies. I find in there a lot of ideas and inspiration. I rarely open a book about music but I am always attracted by researches about animal behaviours, the most influential ones being the work of Estonian biosemiotics pionneer Jakob Von Uexküll and the French philosopher and ethologist Dominique Lestel. So, I would say that for me natural environment feed my artistic practice but at the same time field recordings and artistic activities are just a way to explore and learn about natural phenomena and environments.

Another attraction pole is the study of extra-European cultures. Ethnography and cultural anthropology are fascinating not only for the subject they deal with but also for the methods they use (participatory observation, description of daily life, immersion in a different social context). These help a lot when dealing with topics such as the listening of the environment.

About the multi-disciplinary approach, I would say that natural sciences such as ethology and social sciences such as ethnology provide complementary concepts and tools, all of them being based on in-site observation and interpretation through writing. I would say that for me working with sound, has to do with a certain kind of observation (= listening, recording, describing) and writing (= decision of what is relevant, creating relations, transmitting an experience). And reciprocally sound art can become a relevant tool for these scientific fields.

EL: You have been staying in Taiwan for some time. Can you let us know the background of this long trip? What is your sound experience in Taiwan? What are the things that impress you most? Is there any difference of sound with any place you had been before?

YD: Before coming to Taiwan, I never lived for a long time in another place than France. So, I still don’t know if my experiences in Taiwan are specific to this country, or if they are the consequence of my own move from a well-known place to a completely new one.

I came here in 2004 with my partner, visual artist Wan-Shuen Tsai. We were in residency at Taipei Artist Village. Immerged during one month in the city was quite a shock. The sounds of the urban environment are so loud here, the traffic is so invasive, that I just couldn’t or didn’t want to listen too much. Later, while living in Taipei neighborhood during one year, I noticed that my listening in the city was always limited, protective and passive. At the contrary, the vision was enhanced, leading me to practice more photography than phonography!

But each time I have been able to go out of the city, or even when finding quieter shelters such as garden or old houses, ears began to be highly active trying to catch all these unidentified sounds. With the exception of language (that I am still learning at a very beginner’s level) ,I would say that the most surprising phenomena is the way I progressively appropriate the different sounds (from the tree frogs to the metro through the typhoons), not only through identification but also because I associate so many emotions and physical sensations with them.

EL: Regarding your activities in Taiwan, like the sound art seminar, the art residency and Transonic 2008, how do you feel and how would you conclude these activities?

YD: For sure I don’t have a conclusion! I see it more like an on-going process of cultural immersion and development of my point of view. The artist-residency was an opportunity to be in contact with the local soundscape, and I’m still working on collecting sounds, sharing them and working with them. The sound art seminar evolved into lectures in various universities and school, and right now I am working in a Hakka community with kids from the countryside, discussing with them about musical traditions and soundscape. All these creative and pedagogic activities are for me a way to interact with and to learn about this country I am living in.

EL: The very first time I get to know you is through your website, Kalerne. Why do you establish Kalerne? Is there any story or meaning behind it?

YD: It came from regular and repetitive questions through mailing-list or individual emails: how do you make contact microphones, what is binaural microphone, and so on… So I decided to provide my own experiences about that, in the hope that someone would find them interesting, and that some others would share new ways of using them. Then when I restarted my studies, because of the lack of communication between students who were supposed to do theoretical research, I decided to write my thesis on-line, just to make it possible for anyone to criticize it, to comment on and discuss about it. Progressively it became for me a kind of permanent non-physical workshop. Some place where I can develop ideas, openly.

EL: The first official release of Kalerne, interestingly, is not from you, but Marc Namblard. What is the story behind this publication?

YD: Marc discovered the sounds of frozen lakes years ago, at the same time with another sound recordist Boris Jolivet. The first time Marc made me listening to these sounds I was stunned by the phenomenon itself but also by the quality of the recordings. During my last year in Taiwan, I began to make CD editions for special contexts such as creative markets, Marc told me that he would make something for me. Listening to the result, I didn’t think twice. I wanted to release it as a CD because such work really needs to be shared, and especially because this soundwork is a long duration listening experience, not a series of samples, not a rough field recording. It is a real proposition for the listener. This is how Kalerne Editions started.

EL: I read your essay about soundscape and sound art, honestly, your words really mean so much to me that somehow solved my deadlock in my mind. Sound art is not some kinds of technical operation of sound but more importantly is an experience for listeners. Is there any thing that makes you thinking in such way? Do your words reflect your observation of the current sound art scene (if it is exists)?

YD: Behind any technological tool, there is a kind of behaviour. The design, the possibilities and limitations are preparing for this behaviour. Press one button when you want and then you memorize sound. Therefore, I often encountered people hoping or criticizing the fact that in order to produce a sound artwork or at least to record an interesting sound, the technical operation is sufficient. But all of that is very weak consideration for the sensitivity of listeners.

In fact spending years behind microphones and loudspeakers doesn’t increase one’s technical efficiency. Such skills need so short a time to be learnt, it is so easy to buy and use audio equipment nowadays. But what change throughout the years of sound practice is the perception: the listening sharpens, becomes smoother or just adapts to the context. Sound art is about this evolution in one’s listening. Sound art practice makes the artist find a listening point of view, and it makes the audience share this listening point of view. Of course, I won’t say that my ears are better than 10 years ago! It is much more a special relationship to sounds that is permanently changing. I see it like a house whose shape is slowly changing through the weeks.

EL: Could you tell us what kind of equipment you are using right now?

YD: Since years, I haven’t change the kind of tools I use: no real studio, working at home only, with a pair of normal loudspeakers, with a normal software for editing and mixing. I have another piece of software for live interactions with sounds and building automatic systems. And I am always carrying various kind of microphones (from lo-tech home-built things to condensers ones), a good recorder and headphones (the same for the last 10 years!) in my back-pack.

EL: Any project or event you are working or planning right now?

YD: I am still trying to catch frogs! I hope to publish this month a CD devoted to Taiwan’s amphibians. I am collecting these sounds since several years, and hope to cover the whole species present in Taiwan. I already have half of the species, and it will take me years to listen and record the shyest and rarest one. I am trying to make this CD an aesthetic listening experience as well as some useful tool for naturalists.

By coincidence, I have also the opportunity to work in Hakka community, and I am collecting Bayin music around temples, and during weddings or funeral ceremonies. I still don’t know why I am documenting this practice. Maybe it is a way for me to be introduced to this musical form. Then I have also several collaboration projects I would like to develop as soon as I can meet again my remote friends.
–

support us if you like our “people working with sound” - an ongoing project of soundpocket

soundpocket presents sound installation work WATER RECLAMATION by YUEN Cheuk Wa, at Broadway Cinematheque, Yaumatei. Thanks to Kubrick’s Amanda and MCCM Creations’ Mary for their encouragement and support.

Stockhausen on music, Lectures and Interviews

In the documentary film Modulations directed by Lara Lee, Karlheinz Stockhausen spoke briefly about his works that explore, in his words, the “micro-world of the acoustic vibrations” (p.87) with the tam-tam (commonly known as the gong). The film led me to this book, among many others - how musical instruments may also be understood as sound machines, how music may also be understood as a particular organization of sound, how players and performers give shape to sound with their bodies. As a concerned outsider to music and sound and whatever they can mean, I find myself initiated to a new wide world.

Stockhausen speaks with honesty and a sense of humor, and at times, with the voice of an advocate who would like to see a few changes in our ways of listening urgently. It is not new to say that “We are no longer, have long ceased to be in fact, an aural society, one which communicates mainly by hearing. Our entire system of values, of the things we accept to be true, is based on the visual sense. You have to sign a paper because your word is not enough to be trusted.” (p.26) It is however timely and thought-provoking to sound the warning of how “acoustically deaf”, how “incapable [we are] of noticing the acoustic pollution of the world”, if yet again. And Stockhausen isn’t just presenting a problem. He takes it up as his own, as a task with profound implications for the future. One example is his encounter with Theodor Adorno and the insight he gained from it. He recounts in the book how he was playing Messiaen’s Sonata to Adorno, who “couldn’t understand it at all”. I am not familiar with Messiaen’s work, but I know Adorno as a philosopher who had lamented on the “regression of listening” since music became reproducible on a mass scale. Stockhausen recalled how he reacted, “So I stood there on the stage in short pants, looking like a schoolboy, and defended this piece…I said, but Professor [Adorno], you are looking for a chicken in an abstract painting. That’s when I began to have my doubts about intellectuals and so-called specialists, even among the avant-garde. It showed that even though Adorno had been a student of Alban Berg and had composed a great deal…he was not basically a creative person. A creative person is always most excited when something happens that he cannot explain, something mysterious or miraculous…” (p.36) In the current social environment where being “creative” has become such a hype and slanted towards the making, making and more making of things (so that they sell?) without being clear on the references and inheritance of making (eg. patterns of nature as the reference of creativity, curiosity itself etc.), Stockhausen’s little story ought to remind us of a few things more primary.

His calls for composers to spend time in a recording studio, for performers to not just play their own instruments but listen to others, and for anyone to “Play anything” to “discover the micro-world of the acoustic vibrations, amplify it and transform it electronically” (p.87) are small steps we could all take to get in touch with that which could only be revealed and not made.

///

“the heap of one’s own echo” - Yasmina Reza, Hammerklavier, faber&faber, 2000
reviewed by Yeung Yang

Books sitting on the shelf are not static stuff. They groove and dance, until they are noticed, but never fully - that would have been Too Much, the title of one story in Reza’s book.
I share with you the mere and the overflown: “The world is ‘uncountable’, filled up with things and books, and books about things, the world accumulates and books accumulate what the world accumulates and seeing on one’s table books and more books of photographs, about art and books about other books and getting ready in one’s turn to fit the world onto a page, that vile accumulation of babbling, to add to the heap of one’s own echo…”
Sometimes, forgetting to breathe helps.

訪問日期：2008年7月21日
地點：中環國際金融中心星巴克

從事舞臺音響工作三十多年, 石達明曾經擔任主管香港政府會堂的音響部門，包括香港文化中心，高山劇場，沙田大會堂，荃灣大會堂等, 在澳洲墨爾本藝術中心作音響系統監督一職， 及中、港、澳洲舞臺音響顧問的工作。現在致力于舞臺音響教育，績亟培訓下一代。

石 － 石達明
楊 － 楊陽

楊： 你可以講一下你的背景嗎？

石： 我是一個不折不扣的工程師。我看東西是跟據科學，不會迷信。 但你又不可以說我不認識藝術， 因為我在香港大會堂做音嚮工程師差不多十年， 見藝術的東西多得不得了， 腦裡充滿著藝術。我會看到現在的確有好多藝術家和藝術創作， 但提到聲音藝術， 我就會有很多問號， 我會問， 這些藝術家對音嚮的認識有多少？ 很簡單， 你用音嚮來表達你的概念， 你一定要能master音嚮的特性， 比方啦叭本身的特性、 啦叭和啦叭之間的interaction是怎樣？ 還有是啦叭和周圍環境做成甚麽關系和影嚮？我覺得這些比較重要， 一般人對啦叭或者microphone的認識只是留於不太真實， 有點敷淺的感覺， 但 market 又很奇怪， 沒有帶動 education的意識， 人們就以為是用耳朵來猜測這對啦叭或者system的 好與壞， 我越來越覺得要從事這行業，一定要有進一步的認識。

我做了三十多年音嚮工程， 其實都頗專業，不論是在香港或澳洲， 都把握了一些經驗。 我覺得除了耳朵， 我們必須有量度的儀器， 才有客觀的標準， 因為靠主觀的耳朵， 其實很講心情， 今天心情靚， 聽到的都會好一點， 烏雲密佈，情緒差的時候， 結果也會變的， 但實質量度出來的數據就不會變了。我很強調要有scientific approach, 最近我經過一些研究，找到一些特別的programme, 它們是可以給下載的， 只要有電腦， sound card 和 measuring mic就可以測到一個啦叭的好壞、 它的frequency response, harmonics, 可以看它的情況、也可以看到一個啦叭跟另外一個的 interaction 是怎樣，這些都是很好的measuring equipment， 這使我有一對耳朵以外， 也有一雙眼睛，可以分析系統的好壞，還可以讓同行有可以溝通的平臺（。有數據， 對整個行業都會有幫助，所以在未來的日子， 我會編一個課程，大概八至十個課題， 讓人可以學習除了聽， 還可以用眼睛去分析。

說回頭， 這個的確是個很專業的行業，現在香港 的專上 學院都沒有教太多， 特別是舞臺音嚮， recording 方面可能比較充足， 但音嚮或是 electroacoustics是比較不太有人懂，再專門的sound alignment 更加沒有人認識，香港外國都一樣， 我希望有生之年可以多教育下一代。那麼， 你又如何對這方面有興趣？

楊：首先肯定是我丈夫， 認識他前，我根本不知道有一個叫mastering engineer的工作， 但另外也有更私人的經驗， 就是關於我爸爸，我十二歲的時候他去世，最近幾年我發現我開始忘記他的聲音， 我沒有覺得要找他的錄音或者甚麼， 反而覺得這個我們怎樣記憶聲音的問題很有趣， 就像我們聽到一個老朋友的聲音， 就算見不到都可以認出來。另外就是外在的環境， 天星鐘樓拆了，五個那麽老的鐘的響聲沒有了， 新鐘的聲音的不同， 它的淺，要很久才會像舊鐘一樣， 這麼簡單的道理， 那麽寶貴的聲音，在衝突中犧牲了。對我來講是比較多關於人文的， 社會的，令我對這方面有興趣。

石： 香港其實有很多東西值得保存的， 比方大會堂 concert hall, 是 acoustics 非常好的hall，雖然在世界上沒有甚麼名氣， 但它是仿效英國 Royal Festival Hall的， 出來的效果很不錯。是誰做的我不知道， 可能也沒有紀錄。 這些就是文化遺産，希望大會堂不會拆，如果拆了就很可惜。 現在的改動， 可能已經改了裏面的 acoustics，改了都不知道，比方改了椅子，它本身的吸音量如果大過原本的，就不能做回以前的效果。這些都不是很多人知道。

另外，香港人對冷氣 嘈音的敏感度不夠，一個好的 concert hall應該有好的嘈音標準，即是 Noise Criteria， 大概是 NC-15 至 NC-20 左右， 但往往我們不注重這些嘈音問題， 導致嘈音蓋過原聲，使演出大爲失色。 嘈音方面香港是全球之冠的，好像我現在跟你講話（國金內的Starbucks)， 這裡的 noise criteria已經是很差了，但有時有些酒樓食市，十人大桌，你是沒可能跟對面的人說話的，那麽這些問題是否不能解决？也不是， 只因爲我們沒有這種意識。你做好acoustics，改善一下， 室內不要使用那麽多玻璃或硬面，减低聲音的反射，把聲音吸掉， 我們就不用大聲講說話了。

楊：我們用瓷具和筷子，碰撞的聲音，其實是文化的一部份， 但你的意思是， 只要做好acoustics， 這些習慣都不用改？

石：對， 比方天花用了吸音的才料， 基本上就可以改善。有時用了太多玻璃和鏡，用一些吸音的窗廉，就已經能做成很好的幫助， 或者地板多用地壇都有幫助。還有，好多時環境是沒有嘈音限制的， 所謂嘈音管制，只不過是晚上有人大聲放音樂你可以去投訴的意思， 但在日常生活， 你走過彌敦道，人家爲了找生意就用大聲公，或用PA system大聲叫， 對面街都聽到的， 這絕對是嘈音。我記得有一次我經過羅湖關口， 警察都用大聲公做宣佈， 很幹擾的， 它不是由真的警察說的，而是用recorder不停重覆又重覆。

楊：對，現在public announcement 的現像很嚴重，火車站上落電梯都在不停播放。

石： 那些是提醒大家安全的說話， 其實是不是需要呢？是不是要不斷的勞役我們的耳朵呢？我有很大的疑問。 這是我預測的， 香港人很多東西Number 1, 例如香港最多人近視，我預計香港人有失聰和弱聽的比例跟世界各地比較可能要拿Number 1。

﹣﹣

假如你喜歡聲音掏腰包的持續計劃﹣people working with sound，請支持我們

Listening under water sounds different? Sound travels 4.5 times faster in water than it does in air.
an underwater sound art gallery - Wet Sounds

Sound Innovation. With Teeth.
removable hearing device that transmits sound via the teeth - SoundBite

Playlist from Absolutely Worth Listening 1 - Youtube is our School
(shared by Susie Law, Jantzen Tse, Tsang Sin Yu, Becky Wong, William Lane, Edwin Lo & Rita Hui)

do you listen to everything?
somebody listens to everything.

sounds ice-cream-cool! ben and jerry’s uses sound to chill ice-cream

merry christmas from microwave ovens…lots of them

Pirates attacked a Singapore cruise ship with over 1,000 people on board on Nov 20, 2008. The Straits Times reported that the captain accelerated and left the pirates behind. But there was another tactic that saved everyone on board: to use a long-range acoustic device that blasts a painful wave of sound to distract the pirates. Another such use was documented, with explanations of how they work - contemporary manifestations of what French thinker Rabelais had written of seafarers’ experiences 500 hundred years ago, and of the Greek mythology of the Siren’s songs that caused shipwrecks

Kraftwerk concert in Singapore (Dec 3, 2008) was a blast!! As if worried the audience will be overly blasted, ear plugs were made available at the entrance with a sign saying, “in case the music is too loud”.

a bird that imitates the sounds of her environment! 一隻會模仿環境聲音的小鳥

the Honda Choir 車聲歌詠團

sonic postcards project 聲音明信片

listen for extra terrestrial signals 尋找外太空訊號

last update - Feb 25, 2011

soundpocket supports not just an art form, but ideas and possibilities that engage with aesthetically meaningful, culturally-grounded and publicly relevant sonic practices, which have a lot to teach about how we understand the world and the experiences yet to be valued.

IF YOU LISTEN, YOU CAN BE ANYWHERE
Tell us about your vision, what you think of ours, to debate and discuss. Please leave us your EMAIL.

soundpocket 扮演宣傳、教育、促進與收集的角色。我們涉足聲音、藝術與文化，發現聲音與不同的藝術形式(包括視覺藝術、裝置藝術、音樂、戲劇、舞蹈等)有著多樣化和動態的關係；在不同的文化背景下為我們的生活賦予意義。我們希望與所有對聲響有同樣興趣的人共事。

參考閱讀：《傾聽：用有孔的口袋收集聲音》（刊登於《號外》2008年六月號）

Founding Member & Executive Director
YEUNG YANG 楊陽
is an independent curator, writer and university lecturer. Upon graduating from Yale University with an M.A. in anthropology, she worked as a documentary video director at Radio Television Hong Kong. She graduated in 2004 with a PhD in Intercultural Studies at the Chinese University of Hong Kong. Exhibitions she curated include “in midair, sound works hong kong 2007” (Jun,2007), “Art Responds to 14QK” (Nov 2007), “Nocturne, Alfred Ko solo photography exhibition” (Apr, 2008), and “Around sound art festival” (2009 & 2010). She was also artistic director of “October Contemporary 2009 - Now or Never”. She currently teaches Chinese and Western classics at the Chinese University of Hong Kong. In 2008, she founded soundpocket (www.soundpocket.org.hk) to promote sound art and its research and education in Hong Kong.

楊陽(博士)從事教育、文字、學藝/策展，及文化工作，畢業於耶魯大學(人類學)及中文大學(文化研究)，曾擔任香港電台電視部紀錄片導演，近期策展項目包括《夜祭》(2008)、《聽在聲音藝術節》(2009) 及《拾月當代 之 宜家唔做等幾時》(2009)。 現任職中文大學大學通識教育部導師，2008年成立聲音藝術組織聲音掏腰包(www.soundpocket.org.hk)，推動聆聽文化和聲音藝術。

Chairman, Board of Directors
CHRISTOPHER JOHNS 莊繼昌
is Head of the Department of Entertainment Design and Technology of the Hong Kong Academy
for Performing Arts. An internationally acclaimed sound design and engineer, he has worked with
Sir Richard Eyre, Phylida Lloyd, Trevor Nunn, Robert Lepage and Peter Garbriel.

Directors
BILLY WONG HON KEI 黃漢基
graduated from Hong Kong Academy of Performing Arts, majored in the Theatre Sound and Studio Recording. He was the acoustic designer, music producer, theater operator, recording
master, stage manager, technical coordinator for many art groups. He received the Best Acoustic Design Award in 1988, and participated in the “Powerful Little Red Ant” which was nominated
as Best Musical in 1989. Billy is currently working as Project Manager of Audio System Consultants (Asia) Limited, dealing with the consulting, planning and installation of audio system for transport
facilities, theatre, casinos, and hotels. He was a tutor of Workshop de Desenho de Som - Sound Design Workshop in Cultural Centre in Macau in 2007 and 2009.

ERIC DELANNOY
is an art lover and art collector who has been living in Hong Kong since the 1980s. He has a
business background and is currently planning a recurrent public sculpture event in Hong Kong.

PARRY TAM 譚至偉
has over 13 years experience as entrepreneur and business owner. His expertise is in business
planning, strategy, profitable negotiations, and operations. He is also well-versed in music
arranging, music composing, film scoring and producing, which led him to independent music
publishing and co-founding Asiavibe.com in 1999, Asia first e-commerce music site. It won Best
Asian Music Site in 2000 from Asiaweek/ CNN.

STELLA FONG 方詠甄
received her graduate curating training at the Royal College of Art, London. She has curated
numerous contemporary art exhibitions in Hong Kong and the UK, the most recent one being
Beautiful Journey, Beautiful World - The art container exhibition in West Kowloon Cultural District,
Hong Kong. In 2007, she received the Dr Joseph K.W.Li Arts Fellowship of the Asian Cultural
Council to pursue research in the US. She is currently curator at the Hong Kong Heritage
Museum.

Advisors
CEDRIC MARIDET
works and lives in Hong Kong since 1999 and is currently a full-time PhD candidate in media art in the School of Creative Media, City University of Hong Kong. His research focuses on soundscape theories and on the paradigm between sound-event and sound-object. He founded Hong Kong based electronic music label monème in June 2004 as the main platform to release his works [_habitus, 2006]. He has participated in performances in Hong Kong and Cambridge and exhibitions in Hong Kong, Macau, New York, Paris, London, Madrid, Vienna, and Berlin. He was awarded Prize of Excellence in the Hong Kong Art Biennial 2005 for Huangpu [collected in Hong Kong Museum of Art], and was invited to be artist in residence at the Hong Kong Visual Art Centre and Mamori ArtLab (Brazil). He is also a contributor to the open microphones project of French-based research lab in audio art Locus Sonus (École Supérieure d’Art d’Aix-en-Provence, École Nationale Supérieure d’Art de Nice Villa Arson). His works focus on field recordings, audio-vision, the construction of altered sonorous spaces, and aural architecture.

DENNIS Wong CHUN FAI 黃仲輝 (Sin:Ned)
is an idiosyncratic writer and a sonic artist from Hong Kong, who hacks and twists anything he can put his hands on. Used to be one of the major contributing writers of the legendary Hong Kong alternative music magazine MCB (Music Colony B-Weekly). While not writing as a pseudo-music critic elaborating his esoteric worldview, in the same idiosyncratic fashion, he spends much of his time hacking and sculpting sonic materials with his laptop and various electronic gears. His interest ranges widely from improvisation, sound art, experimental music, and noise art to field recordings. He had taken part and performed in various festivals and exhibitions such as HK Sound and Vision Festival (2003), Get It Louder (2007), Hong Kong & Shenzhen Biennale of Urbanism/Architecture (2007). His first two solo works, “Uroborus: A Study On No-input Device” and “60 Seconds: A Schizophrenic Manual for Eternity”, were both released by Lona Records in 2006. He is not only member of the electro-acoustic concept duo No One Pulse and laptop trio iii, but also co-founder of the experimental imprint Re-Records.

JOHN DREVER
is an award-winning composer with an international research profile working in the fields of sonic
art, digital media, soundscape studies and interdisciplinary collaboration. He is also reputed for
fostering new channels of dialogues among the fields of music, sound design, new media and
other environments. He is currently Lecturer in Composition and Head of the Unit for Sound
Practice Research at the Department of Music, Goldsmiths College, University of London.

KAWAI SHIU 蕭家偉
As a versatile artist, Kawai Shiu has received numerous awards in recognition of his work.
Composition awards include those from the Vienna Modern Masters’ Orchestral Recording Award,
the Rudolf Nissim Award, Frederic Goossen Composition Prizes, ASCAP Awards, Kent Kennan
Scholarships, and funding from the American Music Center. Other Commissions and performances
include those for Endymion at the Purcell Room, the Cheltenham Festival, the International
Clarinet Course in Spain, Dartington Festival, the World Saxophone Congress, and the Pacific
Contemporary Music Festival. Kawai has served as the Music Director of the British Royal National
Theatre’s production of Euripides’ Bacchai, directed by Sir Peter Hall. As a researcher, Kawai was
a Research Fellow at Swiss Paul Sacher Stiftung. A lecture performance co-developed by
composer Sir Harrison Birtwistle and Kawai on Paul Klee has been presented at Hayward Gallery
(London), British Royal Academy of Arts, and Lucerne Festival. Kawai has been appointed the
Honorary Visiting Professor of Music at the Conservatorium of Music at the University of
Tasmania and at present Assistant Professor at Yong Siew Toh Conservatory of Music.

MC YAN   MC 仁
is a musician, graffiti artist, and rapper. He is founder of “Fu©KinMusic” and Chinese hardcore
streetgear label ” NingSiBuQu”.

PATRICK SHEK TAT MING 石達明
is a theatre audio engineer with over 30 years of experience. He has been head of audio for such theatres and concert halls as Hong Kong Cultural Centre, Ko Shan Theatre, Shatin Town Hall etc. He recently returned to Hong Kong from the position as audio system director in the Melbourne Art Centre, Australia, to promote the education of theatre audio in Hong Kong.

YEUNG NGOR WAH ANTHONY  楊我華
graduated from the School of Technical Arts at the Hong Kong Academy for Performing Arts in
Theatre Sound Design and Music Recording in 1991. He has worked with City Contemporary
Dance Company, Hong Kong Ballet, Hong Kong Art Festival, Ching Ying Theatre, Radio 4 Radio
Television Hong Kong, Chinese Music Virtuosi, Chor Fung Ming Theatre Company and so on.
In 2003, He received the ‘Best Sound Design’ award at the 12th Hong Kong Drama Awards with
the Chung Ying Theatre Company’s production, ‘Little Shop of Horrors’ and participated in the 50th
Venice Biennale with Para/Site Collective. In 2007, in collaboration with Dr. Kawai Shiu, he was
commissioned a sound installation work ‘Still Moving’ in the event ‘in midair - sound works hong
kong 2007’.