Formant

Foreword

今日声音:洗衣机的滚筒、水池里浸湿的羊毛衫拎起来滴水的声音、绞干时更大的水声、楼下小娃娃石头剪子布的欢喜叫喊、电子烧水壶的呼呼声、微波炉的长嗯声、万户捣衣声(瞎来了)。

For English Please Roll Down

《共振峰——从聆听之形式到形式》

“声音艺术”—— 一个艺术用词、一种艺种学上的艺术形式分类,在2000年后的中国越来越多地被不同文化背景的群体所提及。无论是实验音乐界、当代艺术领域、媒体还是普通 大众,“声音艺术”都成为一个热词。但是“声音艺术”又显得指向不明。这表现在其定义、认知、批评、艺术谱系梳理、展览表演组织、理论体系建立等诸方面的 缺失。就其原因,是因为在以视觉文化为基奠的大文化背景中,我们面对“听觉”的失语。
2011年,同为声音艺术家的Luca Forcucci 和殷漪开始筹划声音艺术项目,意在通过展览、讲座、演出、艺术家交流等活动为“声音艺术”在中国健康生态的建立做一些工作。
《共振峰——从聆听之形式到形式》是此次声音艺术项目的主体展览,展览期间将邀请中外艺术家展示其最新的声音作品。通过作品的展示,不同文化背景下的艺术家对于作为材料、媒体、美学、观念的“声音”的思考、研究、工作方法将共时地并置呈现。

共振峰

共振峰(Formant)是一个电声学术语,是指复合声(complexsound)的声音频谱(spectrum)中能量相对比较高且对于声音特征具有意义的频率(frequency)。每个声音都有其独特的共振峰,共振峰对声音的音色和音质有着决定性作用,分布和强度的不同导致了声音特征的不同。共振峰的形成除了取决于声源的振动特性,还与声源的共鸣腔(resonator)和共鸣环境息息相关。

使用共振峰作为展览的名字,更多的用其隐喻。今天展示在这里的艺术家作品就是“声音”这个基础频率(base frequency)上的共振峰。差异的相遇便是整体的特质。同时在这些作品与“声音艺术”甚至是大写“艺术”的共鸣环境的关系中我们也许能够尝鼎一脔。

参展艺术家
Lawrence English (Australia), Luca Forcucci (Switzerland), 颜峻,殷漪,张鼎。
地点:视界艺术中心 VART CENTER , 莫干山路50号3号楼210 (视点空间)
展期: 3月30日至5月24日。
开幕:3月30日19:00。

展览包括两场由参展艺术家组织和参加现场声音表演。
演出:3月30日19:00。暨开幕表演。
4月14日15:30。

讲座 《声音艺术的历史与现状》
2012年3月31日 19:00
上海外滩美术馆2F,虎丘路20号
主讲人:殷漪 嘉宾:Luca Forcucci、颜峻
翻译:顾灵

《画廊视角下的声音艺术——关于鉴赏和价值》
2012年4月12日 星期二 19:30
Art+ Shanghai Gallery 富民路22号,2号楼
主讲人:Luca Forcucci 殷漪
翻译:顾灵

BM Space | 艺术机构

BM (身体·音乐) 空间由声音艺术家殷漪和舞蹈编导刘亚囡于 2011 年在上海创建的表演艺术平台。 艺术家们可以通过演出 / 工作坊 / 讲座等形式,与大众分享其作品 / 观念 / 经验。它为舞蹈、肢体剧场及实验音乐领域的艺术家们提供了交流的可能性,同时也为国内外的独立艺术家 / 团体架起了一座桥梁。
殷漪

记录

这不是乐器。

也不是乐谱。

它可能更像一个声音谱,混合了实物与虚拟、声学与电子、具象与抽象。

它不是为了重复,而是为了再现。

你可以无数次踏入同一条河流

据赫拉克利特所言,要两次踏入同一条河流是不可能之事。。。。。。(《赫拉克利特著作残篇》,残篇91a。)

我想,在这里赫拉克利特更多指涉的是时间。

在我们的经验中,可经验的不是抽象的时间,而是“持续时间”(duration)。时间在被切割封装后被我们的意识所意识,被我们的经验所经验。

在现象界中,“持续时间”表现为可变事物的连续变化。

作为连续系统的模拟录音术在记录声音的过程中把经验过的时间具体化,使抽象的时间隐藏在一种媒介里。在此过程中声音是中介物。

卢卡·福尔库奇(Luca Forcucci):从聆听之形式到形式

绝对的安静是不存在的”——约翰·凯奇(John Cage

“聆听之形式”旨在向聆听致敬。它呼应了法国哲学家Roland Barthes的断言:听(hearing,隶属物理范畴)与聆听(listening,一种心理行为)不同。与之相反,作曲家Pierre Schaeffer提出了一种特定的聆听形式,称之为“削减聆听”(reduced listening)。“削减聆听”加入了声音物件,也就是我们所说的声波形式,它应被置于其原有语境来聆听并理解。

“形式”指声波形式。声音是可见的,若有心为之,“深度聆听”(deep listening)的行家将会激活有意识的聆听,即“聆听自己的聆听”并有意地去感知相关效果。同时也将声音的声波和振动考虑在内。

“从聆听之形式到形式”在充斥着过量视觉信息的当下将聆听作为对常被遗忘了的耳蜗功能的(再)发现。

延展肌体动能

这件声音装置作品探索了对“领域”的界定,其作为一种概念的局限及其有效的主观边界。

法国哲学家Deleuze与Guattari的理论即基于领域化与负领域化。《延展肌体动能》将这一概念投诸整体参与者,并通过解构的方式擦除了概念及其感知之间的界线。

卢卡·福尔库奇是一名意大利/瑞士声音艺术家,表演者与作曲家,其作品探讨了感知性,无论是建筑空间、无形的场域、城市的声音景观、自然胜地,或是废弃的空间。为了在音乐与艺术的语境中探索声音作为一种感受的可能,其作品的创作形式涵盖了舞蹈、数码演出、诗歌、建筑与神经科学。

卢卡同时也是德国柏林艺术大学主办的欧洲伊拉斯谟交流项目(European Erasmus exchange program)特派英国的博士研究员。在就读博士期间,他与巴黎的GRM/INA(音乐研究小组/国家视听研究所)及瑞士的“心脑研究所”(Brain Mind Institute)合作。他也是贝尔法斯女王大学声音艺术研究中心的硕士毕业生。他参与过的驻地计划包括:“国际艺术城市”(巴黎)、“实验室中的瑞士艺术家” (Swiss Artists in Lab)、Mamori艺术实验室(巴西亚马逊)、3D数码建筑投影数码奖(Sitemapping Digital Award)与斯沃琪和平饭店艺术中心驻地(上海)。

卢卡的作品曾在全球各地展出,包括:Barbara and Culver艺术中心(美国加利福尼亚滨河区), DEM密钥画廊(美国洛杉矶), 现代美术馆(法国巴黎),美术馆(瑞士La Chaux-de-Fonds), 文件-电子音乐语言艺术节(巴西圣保罗), 蒙特勒爵士音乐节(瑞士Montreux)、瑞士研究所(意大利罗马)与德国国立广播电台。

Lawrence English+Werner Dafeldecker

Lawrence English(出生于1976年)是一名常驻澳大利亚的媒体艺术家、作曲家与策展人。其创作常不拘一格地开展美学调查,针对场域、认知与记忆提出疑问。他综合运用各类创作手法,从声音、装置、投影到聚媒体(polymedia)物件,通过作品思考空间的微妙转换,并让观者自问其感知边沿甚或逾越之。作品先后在全球不同地区展出:欧洲、英国、日本、美国、新西兰与澳大利亚。

Werner Dafeldecker(出生于1964年,奥地利维也纳)

来自欧洲现代音乐与即兴演奏的背景。研究图形记谱法、激浪派、极少主义音乐、电声学与实地录音。其音乐项目常受非音乐的启发,如建筑、物理、摄影与电影。长时声音与结构研究及特定联结的建构是其作为一名作曲家与音乐人的创作核心,同时也平行于技术发展、常与电子形式相联系。

微蓝

南极洲拥有地球上最夸张的山峰形态,这件作品即是通过某一特定地景的延展版本对这些形态阐发的冥想。

《微蓝》是一段纪实录像,记录了位于南极半岛阿根廷境内的“希望基地”(Esperanza base)。录像旨在扭曲时间-时刻,稍纵即逝的瞬间被放大并探究。动态被放缓直至无法辨别出动态的发生,延长了观看并从而揭示另一个真相。画面轻悄地变化着,云朵挪移、消散,好似被某种力量驱使着漫游经过这片土地。喷流着的汹涌云道跨过山峦,风将之提起并越过山头。

作品的声音部分同样反映了对时间的扭曲。在南极洲的实地录音被作为素材重新处理,将之转变为陌生的声音空间:引人遐想、遥远而空旷。

张鼎:一个大哥的梦想

S大哥是L城市HSH的大哥。他自信,有时有点咄咄逼人,喜欢迎接挑战,承担风险。但他不盲目,做事脚踏实地,有强烈的控制欲和指挥欲。S知识广泛,大事小事几乎无所不知,了解世界上一切有关娱乐、消费和时尚潮流的最先进知识。S有超人的能力,他能够从杂乱无章的事物中,整理出一套逻辑构架,有时也会全凭惊人的直觉作决策。S对人际关系有客观的态度,为了事业他往往“冷酷无情”、“不顾情面”,给人“大公无私”、“就事论事”的感觉。现在S在L市可以说是呼风唤雨,但他还有一个崇高的理想:他喜欢艺术。他想有一天可以将他的艺术才华在一个合适的地方展现,实现自己崇高的梦想。他找到我,委托我在展厅为他设立一个舞台。展览时,他将在L市的寓所弹一曲《致爱丽丝》。通过手机,把他对音乐美妙的理解,传达给现场的观众。

颜俊

http://www.subjam.org/

 

FORMANT / FORMS OF LISTENING TO FORM

Sound Art, an artistic notion, a category of Sonic Arts, has been frequently mentioned since 2000 among Chinese communities who shared different cultural background, from experimental music to contemporary art, from press to public. But the notion Sound Art is not clear enough, its definition, perception, critic, performance/exhibition organization, historical and theoretical systems are missing. The reason of these absences is the forgetfulness towards Listening in the contemporary visual-based culture context.

Since 2011, sound artists Luca Forcucci and Yin Yi launched a sound art project in Shanghai through a series of exhibitions, lectures, performances and conferences to push forwards the construction of Sound Art in a healthy format in China.

FORMANT / FORMS OF LISTENING TO FORMS is the main exhibition that belongs to this project, five international sound artists are invited to show their most recent artworks. This exhibition proposes reflection, research and working methods on Sound as a material, media, aesthetics and concept. The artists from different cultural background juxtapose their thoughts.

Formant

Formant is an academic notion from electro-acoustics, it is defined as “the spectral peaks of the complexsound spectrum”, and it is often measured as an amplitude peak in the frequency spectrum of the sound. Every sound owns its own formant, which plays a pivotal role in the timbre and tone of the sound. The density and intensity of formant give the quality of the sound. The formation of formant depends on the amplitude of the sound source and its resonator and resonance environment.

The reason to take Formant as the title of this exhibition is more on its metaphor sense. The artworks presented here are the formants on the base frequency of the notion Sound. The juxtaposition of differences is the characteristics of the entity. These artworks are a sample from the whole of the Sound Art or Art as the resonance environment that gives us a better idea of the latter.

Artists: Lawrence English (Australia), Luca Forcucci (Switzerland/Italy), Yan Jun, Yin Yi, and Zhang Ding.

Host: VART CENTER

Address: 210, Building 3, No. 50 Mo Gan Shan Road (Inside the M50 Art Area)

From March 30th to May 24th

Vernissage: 19:00, March 30th

Two sound performances from the artists will be accompany the exhibition:

Concert A: 19:00, March 30th (on the vernissage)

Concert B: 15:30, April 14th

Tow lectures:

A:   “Sonic Arts – The History and Now”

        Guest speaker:Yin Yi, Luca Forcucci, Yan Jun   Interpreter: Gu Ling

        Saturday, March 31st 19:00

        Rockbond Art Museum 2F, No.20 Huqiu Road.

B:    “Sound Art from a Gallery Perspective : Issues on appreciation and its value”

        Guest speaker:Yin Yi, Luca Forcucci

       Thursday, April 12 th , 19:30

       Art+ Shanghai Gallery  22 Fumin road, house#2(near Yan’an Road)

BM (Body & Music) Space is a performing art platform in Shanghai, established by sound artist Yin Yi and choreographer / dancer Liu Yanan in 2011. Artists can share their works / concepts / experience here with audience through performances /  lectures / workshops.It links performing artists in dance, physical theatre and experimental music. It builds a bridge for independent artists / groups between China and the world.
YinYi

Luca ForcucciForms of Listening to Forms

‘There is no such thing as silence.’ – John Cage

FORMS OF LISTENING is regarded as a dedication to listening. It echoes the affirmation of the French philosopher Roland Barthes, who declared that there is a difference between the notions of hearing (a physiological faculty) and listening (a psychological act). In contrast, the composer Pierre Schaeffer mentioned a specific form of listening, which is described as reduced listening. Reduced listening involves sound objects, sonic forms in our case, which should be listened and understood out of their original context.

FORMS refer to the idea of sonic forms. Sound is invisible, but with dedication, the Deep Listening practitioner activates conscious listening, which is ‘listening to one’s own listening’ and the conscious awareness of the related effects. The considerations include all the sonic and vibratory aspects of sounds.

FORMS OF LISTENING TO FORMS is engaging with listening as a (re) discovery of the cochlear functions, that seems to be forgotten in a world polluted with too much visual information.

Luca Forcucci is an Italian and Swiss sound artist, performer and composer whose work explores the perceptive properties of architectural spaces, city soundscapes, and abandoned spaces. In order to explore the field of possibilities for sound in a context of music and art as experience, his works converge with dance, digital performance, poetry, architecture and neuroscience.

Luca is also a PhD researcher in UK under a European Erasmus exchange program with the University of the Arts of Berlin. During his doctoral studies, he collaborates with GRM / INA (Groupe de Recherches Musicales / Institut National d’Audiovisuel) in Paris and the Brain Mind Institute in Switzerland. He graduated with a M.A. from the Queens University of Belfast. He has participated in residencies such as Cité Internationale des Arts in Paris, Swiss Artists in Lab Residency, Mamori Art Lab in the Brazilian Amazon, Sitemapping Digital Award and The Swatch Art Peace Hotel in Shanghai. His works are presented worldwide on a regular basis Including: Barbara and Culver Arts Centre for the Arts (Riverside, California), DEM Passwords Gallery  (Los Angeles), Museum of Modern Art (Paris), Museum of Fine Arts (La Chaux-de-Fonds, Switzerland), File, Electronic Music Language Festival (Sao Paolo, Brazil), Montreux Jazz Festival and the Swiss Institute in Rome, Swiss and German National Radios among others.

EXTENDED KINETISM

Is a sound installation exploring the notion of territory, its limits as a concept and its effective subjective borders.

The French philosophers Deleuze and Guattari emitted ideas based on territorialisation and de-territorialisation. EXTENTED KINETISM maps these notions on the whole body of the participants and erases the borders between an idea and its perception by a deconstruction of dogmas.

Lawrence English+Werner Dafeldecker

Lawrence English (born 1976) is media artist, composer and curator based in Australia. Working across an eclectic array of aesthetic investigations, English’s work prompts questions of field, perception and memory. He utilizes a variety of approaches including sound, installation, projection and polymedia objects to create works that meditate on subtle transformations of space and ask audiences to consider that which might sit at the edge of or beyond their perception. His pieces have been presented work widely in Europe, the UK and Japan, as well as in the USA, NZ and Australia.

Werner Dafeldecker, Born 1964 in Vienna / Austria

Background: European modern music and improvisation. Examination of graphical notations, fluxus, minimal music, electroacoustic music and field recordings. His musical projects are often inspired and deduced by outside influences such as architecture, physics, photography and film. Longtime sound and structure studies and the formulation of specific articulations are in the center of his work as a composer and musician and are – parallel to technological developements – often connected with electronic formats.

Slender Blue

Antarctica plays host to some of the most radical climatic expressions and shifts, and this piece mediates on these phenomena through an extended vision of one particular landscape.

Slender Blue is a motion portrait shot just beyond the edges of the Esperanza base. The motion portrait seeks to distort time – moments, fleeting are expanded and explored. Here, motion is slowed, to a point at which it almost appears as though nothing changes, but prolonged viewing reveals another reality. The image gentle shifts, the clouds are displaced, collapsed from the sky and seemingly forced to roam across the land. They cascade in a relentless passage across the mountain, wind forcing them up and over the peak.

The sound work too reflects this notion of distortion of time. Location recordings from Antarctica are used as the basis for a series of treatments that take original recordings and devolve them into alien sound spaces – reflected, distant, cavernous.

Zhang Ding:A big brother’s dream

S is the big brother of HSH in city L. He is self-confident, sometimes might be a bit too aggressive. He loves taking challenges and risks, but he is not blind. He is quite down to earth when comes to the business. He owns an obvious control freak and always wanting to command. S is very well informed; he knows everything about the most recent happenings in entertainment, consummation and fashion. S has super-power; he can carry out a complete set of logic structures from a mess. And other times he just make decisions by intuition. S holds an objective attitude towards relationships. When comes to business, he can be ruthless while impartial. Now S is the big brother in city L, everyone listens to him. But he holds a sublime dream: he is in love with art. He always dreamed to show his artistic talent somewhere. And he found me, commissioned me to set a stage for him in this exhibition, the audience will see his meticulous understanding of music through the cellphone-recorded To Alice played by him in the apartment in city L.

Yan Jun

http://www.subjam.org/

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About Ling

Open Smile
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