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聲土不二
Revitalization of Chiayi Sound Project
嘉義聲音再生計劃 澎葉生＋許雁婷＋蔡宛璇
Yannick Dauby，Yen-Ting Hsu & Wan-Shuen Tsai 2012.08.25-10.05
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展出聲音列表
不同種類的鳥鳴（大埔馬頭山） | 河流和瀑布（阿里山達邦） | 自然解說（辜瑞源） | 賽鴿笭（義竹） | 鴿笭製作說明（義竹） | 鄒族歌謠 Somorosoro （演唱：Pasuya Tiakiana） | 鄒族歌謠（日本曲調）（演唱：鄒族長青活力站老人家） | 鄒族童謠 （演唱：Mo'o Tapangu） | 諸羅樹蛙（大林） | 大林
唬爛館由來 | 幾種兩棲類動物及鄰近山林聲音（竹崎頂笨仔） | 拉都希氏赤蛙（大埔馬頭山） | 車鼓陣歌唱和訪問（林探） | 卦菜收成（鹿草） | 製香 （新港） | 製作草蓆機器（溪口） | 製作草繩（民雄） | 咖啡豆製作過程（阿里山樂野） | 茶葉製作過程（梅山） | 打小米和洗愛玉（阿里山達邦） | 竹
編藝師訪談（鄭錦宗） | 剪黏過程與訪談（陳忠正） | 草蓆製作師傅訪談（陳永豐） | 採茶（梅山） | 擲筊與環境音（朴子配天宮） | 進香與廟內活動
（番路紫雲寺） | 頂笨仔社區營造訪談（劉嘉南） | 刺繡藝師訪談（詹黃玉嬌） | 鄒族生活習慣 | 自然環境變遷與歷史訪談 (Paicu Yatauyuana, Mo'o Bionsi) | 北管藝師訪談及戲曲演唱（徐東海） | 製香師傅訪談（涂志嘉） | 採茶班交談及訪談（梅山） | 太保知名人物訪談（葉憲修） | 儀式與陣頭（民 雄大士爺文化祭） | 鳥類與船隻（東石鰲鼓溼地） | 漁獲處理與叫賣（東石魚市場） | 鄒族戰祭雨夜（阿里山達邦） | 蒜頭糖廠導覽（六腳）
Sound Recording List in the Exhibition
Various birds species in Matoushan | Rivers and waterfall in Tapangu | Gu Rui-yuan explanations | Piegon whistle sounds | Explanations about pigeon whistle | Somorosoro by Pasuya Tiakiana | Old japanese song by elders in Tapangu | Children song of Tsou by Mo'o Tanpangu | Farmland tree frog
(Rhacophorus arvalis) in Dalin | Explanations in Hulanguan | Various amphibian species and nature ambience in Dinbenzai | Latouchi shichewa (Hylarana latouchi) in Matoushan | Lin Tan sings and explains | Vetegables harvest picks in Lucao | Sounds of incense making in Xing-gang | Tatami
machine in Xikou | Rope making machine in Minhsiung | Leye coffee making | Meishan processing of tea leaves | Hitting the sticky rice, processing Ai-yu in Tapangu | Bamboo craft interveiw | Ceramics cutting and interview | Tatami machine interview | Tea process in Meishan interview | Crop
of tealeaves in Meishan | Interview about community in Dinbenzai (Liu Chia-nan) | Embroidery craft interview (Jan Huang Yu-Jao) | Interview about
habits, transformation of environment and history (Paicu Yatauyuana, Mo'o Bionsi) | Beiguan master interview and sings songs (Hsu Dong-hai) |
Incense maker interview (Tu Chi-chia) | Tealeaves crop group interview in Meishan | Poster of Taibao (Ye Sien-xiu) | Divination blocks and ambiences
in Puzih Pei-tian temple | Different groups of music and spiritual activities in Zi-yun temple | Processions and rituals during the dashiye in Minhsiung | Birds and boats in Aogu wetland in Dongshih | Fish processing and selling in Dongshih fish market | Rainy night in Mayasvi of Tapangu | Guide of sugar factory in Lioujiao
立方計劃空間 重見/建社會 Re-envisioning Society 聲土不二 - 嘉義聲音再生計劃 Revitalization of Chiayi Sound Project
藝術家Artists | 澎葉生+ 許雁婷+ 蔡宛璇 Yannick DAUBY, Yen-Ting HSU & Wan-Shuen TSAI 策展 Curator | 鄭慧華 Amy CHENG
專案管理 Project Manager | 羅悅全 Jeph LO
行政助理 Exhibition Assistant | 董淑婷 Dale DONG
展場技術 Technical Support | 藝術戰爭公司 Art War Company
平面美術 Graphic Designers | 陳萱白 CHEN Hsuan-Pai，蔡宛璇 Wan-Shuen TSAI
翻譯 Translators | 陳靜文 Christine CHAN，許雁婷 Yen-Ting HSU，羅悅全 Jeph LO 英文校對 English Proofreader | Emma CERDOR
發行 Publisher | 立方計劃空間 TheCUBE Project Space 100台北市羅斯福路四段136巷1弄13號2樓
2F, No. 13, Aly. 1, Ln. 136, Sec. 4, Roosevelt Rd., Taipei, 100, Taiwan +886 2 2368 9418
www.thecubespace.com info@thecube.tw
出版 Published 2012. 08
©作品圖片版權所有 藝術家 Images courtesy the artists 「重見/建社會」系列展覽贊助 | Re-envisioning Society Sponsor 2010 視覺藝術策展專案 2010 Production Grants to Independent Curators in Visual Arts 「聲土不二-嘉義聲音再生計劃」展覽贊助 | Revitalization of Chiayi Sound Project Sponsor
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聲土不二－嘉義聲音再生計劃 2008年底至2009年，嘉義縣居民或許有時候會遇到兩名機車怪客，帶著錄音器材四處奔馳...。澎葉生(Yannick
Dauby)和許雁婷在嘉義縣共同合作建置聲音資料庫，名為「嘉義聲音計劃」。這看來不太可能，野心也未免太
大。不過我們試圖先畫出一個概略的綜述，作為構建嘉義縣聆聽記憶的一個範例，內容包括宗教、音樂、自然環 境、地方產業、口述歷史、節慶活動等，設法在不同地域的地理文化脈絡裡找到些許聲音。
從田野調查、錄音、後製一直到建置聲音資料內容，幾乎完全獨立作業，除了錄音，我們同時於大學、社區、書
店等地方舉辦/參與一系列的工作坊、課程演講以及聆聽會。2008年嘉義縣文化處開始了這個計畫，由獨立音樂廠 牌大大樹音樂圖像承辦。原意是希望建置聲音資料庫，但此案在2009年結束後因為種種原因停擺，而這些聲音還 需要一個儲存空間，大眾尚無法聆聽到聲音採集成果。
透過〈聲土不二〉展覽計劃，錄音者透過身為創作者的另一身份，重新審視這些聲音，抽取其中的一部份進行詮 釋，並思考聽覺再現的問題，同時也讓它們能被大眾所聽見。
Revitalization of Chiayi Sound Project During the end of 2008 and all the year 2009, the inhabitants of the different areas of Chiayi County in Taiwan could meet two unusual motorcycle riders, carrying microphones and recorders....
Yen-Ting Hsu and Yannick Dauby collaborated for building an archive with various sounds of the region, which is entitled Chiayi Sound Project. This may look impossible and/or pretentious, but the intention was to make an overview, a sampling of what
could constitute an auditory memory of Chiayi County. Religion, music, nature, local industry, oral history.... The idea was to find a few sounds in each of the different geographical and cultural contexts.
Yen-Ting Hsu and Yannick Dauby worked in complete autonomy from the survey to the mastering and organization of
database. Aside of the recording session Yannick and Yen-Ting proposed series of workshops, classes and listening sessions in
universities, communities and bookshop. The Cultural Affairs of Chiayi County created this project which was held at that time
by Treesmusic, folk music label who invited us. Due to some reasons, this project stopped in the end of 2009. Originally the aim of this project is to establish a sound archive, but for now the sounds still need a home and the public still don’t have access to the collection.
Through the exhibition project Revitalization of Chiayi Sound Project , the artists who recorded the sounds reexamine them
and extract some sounds for interpretation, as well as reflect on the question of the recreation of aural experience, so that the sounds can be heard by the public.
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嘉義聲音計畫 - 聲音紀事七篇 Chiayi Sound Project - Seven Sound Anecdotes 藺草草蓆 最後了，明年後就聽不到他饒富節奏的吟唱了。這是九月在溪口鄉溪北村錄下的一曲，全臺灣唯一還在運轉、昭 和六十三年日本進口的二手草蓆編織機。
溪北村在民國六十多年到八十年左右，全村皆以種植圓藺草及草蓆編織維生，七十年到八十年是全盛時期，而後 因臺商開始前往中國大陸投資，產業逐漸移轉西進中國，對臺灣草蓆產業產生莫大衝擊。同時間，暖化效應使氣 候遽變，原應五月初夏收成的圓藺草，再無法適應五月即達三十六、七度的高溫，收成前便已多數乾枯。日據時 代，以製作榻榻米見長的日本人發現臺灣雲嘉南地區整體氣候、環境最適合圓藺草生長，試驗播種後，那時起便 從臺灣進口原料製作榻榻米。圓藺草裡面有如棉般的白色纖維，是使草蓆或榻榻米得以冬暖夏涼又吸汗的主因。 如果可能，我們也好奇以鐮刀割下圓藺草的聲音該是怎樣？但現在似乎沒什麼機會聽見了。
目前溪口僅存的一家草蓆工廠廠主陳永豐憶道，以前幾乎整個村庄都在織草蓆，早上一早工作，還一直加班到半 夜，兩週才得以休息一天；現在，連白天都沒事可做了。這唯一一家的草蓆工廠，正用著十多年前剩下的倉儲原 料，估計今年年底前就會用完，然後歇業。圓藺草耕種、處理過程的勞力、手工部份早已不復見，而今過去吵得 全村翻天的機械音，在這最後一臺機器的最後一份差事完成後，也將完全靜默。
圍繞著機器，或遠或近，可以聽見他不同的歌唱，發掘他每一個零件之間碰撞的聲響，從不同角度就能組成各異 其趣的編曲。廠主陳永豐說，這聲音聽都聽怕了。結束了，請聆聽最後一臺老機器編織的美麗歌謠。 - 於溪口鄉溪北村，2009年九月十日。(許雁婷)
Tatami In Europe, tatamis are one of the symbol of Japanese (and by extent Asian) culture. I remember having spent a bit of time in some dojo, listening to my steps (sometimes wearing tabi socks) on the weaved grass, the Mat Rush.
A caressing sound associated with a delicious smell. Because of its natural material a tatami floor makes a regulation of
temperature and humidity in a house, warm in winter, cool in summer, slowly absorbing and releasing the water present in the
air. It is also absorbing the sounds, contributing to an acoustically intimate architecture. One of the sounds that I will never hear in Taiwan is the sound of the crop of the grass which tatami is made of. I am wondering if the knives on an armful of the Rush makes a sound similar to the one of the rice when it is cut. This won't be heard because the Rush can't grows here anymore. The weather changed, the heat increased giving unproper conditions for this traditional industry which was developped
during Japanese colonization era. Nowadays Taiwanese people prefer the western-styled bedrooms, unappropriate to the local climate of course. The last machine, an antique, is still weaving this plant in Taiwan. It will keep producing some tatami and its polyrythmic song until the end of the stock of the grass.
I could have spent hours exploring the details of these sounds, moving my microphones centimeter after centimeter. For me, the owner of this workshop, the last one in Taiwan, is a kind of musician and his machine is his instrument. I had a chance to listen to his music, but he will stop it very soon.
- Recorded in Xikou country, on the 10th September 2009. (Yannick Dauby)
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魚市場 過去四年我去過澎湖很多次，但從來沒錄下魚市場的聲音。現在，大多數魚市場都已電子化操作，沒什麼有趣的 聲音好錄。東石魚市場卻不是這麼回事。每天下午的傳統魚市，在一個有著很大回響的空間裡進行，所有的聲音 融合成很大聲的鳴響。人們邊看著陳列在地板上的魚，邊討論魚的品質、新鮮度和價格。有時候有擴音器的放
送，有時塑膠籃子被放下倒出漁獲，發出擊鼓一樣的「碰」一聲。工作人員在將魚分類，把魚丟進籃子裡時，也 會發出魚碰撞的啪啪聲。但最驚訝的是，當他們把魚分堆擺放在地板上，魚、蝦、和其他各種海底生物排列組合 的圖樣，漁獲成堆擺出的線條簡直像地景藝術。至少有兩個人在從事這項工作。一個丟擲籃子給另一個，此時籃 子先是碰撞地板發出喀喀聲，經過濕漉的水泥地數公尺「咻」的一聲，然後另一個人接住籃子重複動作，持續到 地板全都擺滿了魚。
然後一聲長哨，所有人往同一方向聚集。一個拿著一本簿子的男人站在第一落魚堆前，大夥聚精會神，他便開始 了。他訕訕地以臺語呢唸著。口中的數字遞減，也就代表魚的價格遞減。一旦有人決定以某個價格購買這堆魚， 就會喊停，拿出印鑑給這個男人。男人在簿子上用印、填寫價格，撕下存根聯給買者，移動到下一堆魚繼續重
複。所有顧客、買家都靜默不出聲，全心注意著價格，因此喊價者也不用喊得大聲，倒是只要稍不留神或移動腳 步，便可能錯過一個好的成交價。
東石魚市場的喊價拍賣方式，使魚販和顧客間的關係變得密切，我從來沒在臺灣見過！這裡的聲音環境和豐富多 樣的聲音物件，是非常強烈的經驗。當然，在未來當這樣的聲音被無聊的機械數位取代時，漁夫、顧客、賣家都 還將會認得這些聲音...。(澎葉生)
Fish Market I have visited Penghu many times in the last four years. But I never have been able to record a fish market : nowadays, the selling is organized electronically, and no interesting sound is produced. This is not the case here, in Dongshih fish market, where is
held every afternoon a traditional fish market. This happens under a wide reverberant space, where all voices are melting into a
loud whisper. People come to see the fish and they discuss about the quality, the freshness and the prices of the sea foods lying on the floor. Sometimes a voice annouces something through loudspeakers. Sometimes some big plastic container are pushed and fall, producing a very loud drum sound : "Boum" ! The workers are sorting the fishes, orgazing them into categories, and
when the throw them into buckets, it makes a discrete slapping sounds : "Slap" ! But what is the most surprising is when the sea products needs to be put on the floor. The fishes, shrimps and other animals are organized into patterns : lines of small piles,
reminding me land art. At least two women are working for doing these patterns of fishes. One is throwing a bucket containg
a few fishes, it bounces on the floor with a big "clac !" and glide on the wet concrete floor during several meters "Shhrrrr !", and the second lady catch it and suddenly reverse it, throwing its content on the floor with another short "clac". The operation is repeated many times until the floor of the whole building is covered with piles of fishes.
Then a strident blast of whistle comes from an area. People gathered in this direction. A man holding a notebook waits above one of the piles of fish. When people become attentive, he starts. He's recitating monotonously in taiwanese. His words are
decreasing numbers, corresponding to the decreasing price of the fish. When someone decides to buy it at the spoken price, he will give the man his personal name stamp. The guy uses it on his notebook, writes the price, tears the page, and gives it to the
customer. Then he restarts his vocal process on the next pile of fish. All the potential customers are silent, attentive to the prices. Therefore the man who organizes the selling doesn't need to speak very loudly. And if one moves off a little bit, he won't be
able to hear correctly the prices. So it is a quite intimate selling, something I've never witnessed in Taiwan ! The sound ambience and different sonic events of this fish market are a very strong experience. For sure customers, fishermen and sellers would be able to recognize it when it'll disappear, replacing the voices of the people by digits on scree... (Yannick Dauby)
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鰲鼓溼地 候鳥。這兩個字對我而言像魔咒、神奇的名字，我只有非常短的時間能夠錄下牠們的聲音，然後完全地沉浸。到 那裡的第一個早晨，我們看到許多候鳥。我已記不住當天我們的嚮導（一位當地居民，是一位愛鳥人士、漁夫、 手工藝品製作人）提到的那些鳥的中文或拉丁名，不過我記憶最深的並非鳥的鳴叫，而是風的狂嘯。因為嘉義的 冬天，北風意外強勁。候鳥或許可以在冷冽的北風下存活，但我的麥克風就不行了。麥克風無法錄到我所希望捕 捉的環境音和鳥聲，風聲阻絕了所有聲音，僅能錄到風的狂咆。因此我錄了些風吹動樹木、電線的聲音。
若我說風、鳥、昆蟲或其他動物的聲音是鰲鼓溼地最具代表性的聲音，那可不誠實。這裡最駭人、令人印象最深 的聲音卻是人為的。像是船隻，引擎聲就像此地的背景音一樣不歇。使這裡更為特別的聲音是，每天在溼地穹頂 練習，將此地的空氣與氛圍撕裂為片片段段的空軍軍機。他們像開著飛機在玩樂一樣，劃著極盡優美的弧線，並 且發出極大的聲音，每一次的飛行有二十分鐘至半小時，這時候我們都必須停止說話、停止聆聽。似乎萬物都要 屈於這個噪音而寂靜。嚮導還告訴我們其他和空軍有關的聲音，和溼地隨處可見的保麗龍碎片有關。保麗龍是空 軍練習射靶的目標物，而後風又將這些保麗龍吹得到處都是。破壞生態的人為行動，於此可見可證。(澎葉生)
Aogu Wetland Migrating birds. These two words sound to me as a mantra, as a magical name. I had so short time to record them and became
obsessed by it. And the first morning we went there, we saw so many of these animals. I can't remember the Chinese names or the Latin names of all these birds that our guest (a local inhabitant, bird-lover, fisherman and craftman) mentionned. But what
I remember the most was not the birdsongs. It was the windsongs. Because in winter time, in Chiayi, the wind that comes from the North blows heavily. If a migrating bird can resist to this wind, my microphones are much more shy. In this case, my stereo microphones would not catch the ambience of the ecological area like I would like, it just caught a huge rolling growling. My
parabolic microphones would not catch the delicate calls or the barking of the water birds, it would just be pushed by the blasts of wind. Even the ears are under pression because of the wind. The wind stops the other sounds, the tympani can't work very well. Therefore, I recorded the pine trees, the bushes and the electric lines singing under the movement of the air...
Another very interesting sounds was coming from the water. On the shore of the swamp area, I heard a very tiny sound. The water seemed empty and quiet but I had the feeling that something was happening inside. I immediately threw inside my
home-made hydrophone, a cheap microphone able to record inside the water. And then I heard a huge activity. A lot of water bugs were singing. These animals are almost invisible, they are just very small black dots swimming. But they can make loud sound under the water. Sometimes, another aquatic insect was trying to eat my hydrophone producing a huge crunshing sound, but it was hopefully harmless for my equipment. I would not be honest if I say that all these sounds, the wind, the
egrets, the herons, the insects and other animals, where the most representative sounds of this ecological area. Because the most stunning, the most impressive, and the most intrusive sounds were man made. The sounds of the boats for example. Their motors produce a drone, a humming that is always present. Non-stop, one can hear them, like a background on the
soundscape. But everyday, what makes this place so special is when the air, the atmosphere is teared to pieces by fight planes. The army send everyday a couple of these screaming machiens to this place. During twenty minutes to half an hour hey seem to play above our head, doing elegant curves. And producing an extremely loud jet sound. Then we have to stop speaking.
We have to stop listening. Everything seems to stop under this incredible noise. Our host told us that there are also other army
sounds. These sounds are related to the blocks of polystirenes that are spread everywhere in the natural reserve. Soldiers shoot these white blocks, then the wind spread these targets, very sad proofs of human activities in the swamp. (Yannick Dauby)
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配天宮 配天宮內部整體空間有非常特別的聲響效果，在廟裡，配天宮正前方街道的聲音像被關掉一樣完全不見，就像待 在一個很大的房間裡。即使在沒有屋頂的室外，也感覺像在室內。因為配天宮正值整修期間，搭建一個鐵皮外殼 的臨時空間，包覆了整座廟宇，導致這特殊的音響效果。我也錄下了工人修繕的聲音，在這個安靜的空間裡從頂 上傳來的超現實音聲，而這也代表了這座廟的一段歷史：老舊而需要修復。
另外還有一些廟裡典型的聲音，像是點燃香火，會有打開瓦斯爐的喀擦聲；有時可能只是訪客為了點根香菸打開 點火爐，但沒有人能夠辨別其中聲音差異。另一個常在臺灣廟裡聽見的聲音就是擲筊了。但擲筊的結果不只能看 見神明對信眾問題的指示，其聲音回響還正好能提示聽者廟宇空間的大小。這兩個聲音並不能反映嘉義廟宇的特 色，但確實符合了一般人對廟裡聲音的期待。最後我花了點時間，錄一位媽媽帶著小孩在廟的不同殿裡走動的聲 音，每次當她走進不同地方，她鞋子的木跟就會敲出不一樣的回音。(澎葉生)
Pei-tien Temple Here in this temple, the most surprising thing was the overall acoustic. The sounds of the street in front of the temple were
absent, completely turned down. And the feeling in this temple was strange, like if we were in a wider room. Even in the openair parts, where there is no roof, I had the feeling of being indoor. Because of the fragile and old decoration of this temple, a
wide protection, a metal hangar has been build, housing the temple, stopping the outside sounds, and making this specific
acoustic. I recorded then some workers reparing the roof of the temple. Their voices where coming from the top of this quiet place in a very surreal. These voices represent this particuliar period of time where the temple is becoming old, needing care
and fixing. Other typical sounds include the incense lighter, doing a loud and short 'clac'. Sometimes it may be used by a visitor to light his cigarette, but no listener would made the difference... Another sound is oftenly met in the temples of Taiwan, the
divinations blocks "poe". Their falling on the floor not only indicate the god's opinion on the believer's questions. It also informs
the listeners about the size of the room by triggering its reverberation. These two last sounds are not endemic to this temple or
the Chiayi region, but it fit to one's expectation about what should be heard in this kind of place. Finally I spent a little bit of time recording a mother and her child walking in the different rooms. Each time she would enter in another space, the sound of her wooden shoes would make a different echo. (Yannick Dauby)
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賽鴿笭 賽鴿笭是每年義竹八村最重要的盛事。今年我們前往理事長家及另一位養鴿人家錄下鴿子揹起鴿笭飛翔的聲音。 賽鴿苓在義竹由來已久，超過五十年歷史，其對抗方式是兩村對兩村捉對廝殺，每村各放出一百五十隻鴿子，揹 上鴿笭飛到對村。「笭」的造型像放大的哨， 最大的鴿笭有直徑約八吋長。當鴿子揹上笭飛翔，笭就像伴隨鴿
子翱翔天空的樂器般發出嗡嗡聲響，因著鴿子飛行速度快慢以及笭的尺寸大小不同，相異的音聲合奏為奇妙的共
鳴，時而有點詭譎。沒能在比賽現場錄音，但可以想像數百隻鴿子揹上鴿笭在兩村間，形成一大道不僅由形體還 由聲音構築起來的橋樑，對我們來說，那便是義竹的聲音標誌。
台南鹽水及嘉義義竹乃是臺灣賽鴿笭的兩大鄉鎮。 義竹本身並不製作笭，目前都在台南鹽水製造，而製笭的師傅 老了，學徒少了，技藝也將逐漸失傳，這聲音不知道還能存在多久。(許雁婷)
Pigeon Competition Pigeon competition is the most important event in Yi-Chu Township and it has been in existence for over 50 years. It is
organized as a tournament. A few villages are releasing 150 pigeons with bamboo-made whistles attached on their backs. The biggest whistle is 8-inches long. When pigeons fly through the sky, they act as musicians playing humming sounds. Because of different speeds of flying and sizes of whistles, various tones are created above the villages. We didn’t have a chance to
record during the competition, but one can imagine hundreds of pigeons with whistles, producing enchanting music a bit like acoustic bridges or rainbows between the villages. These are the sound marks of Yi-Chu Township. There are only two places –
Yi-Chu and Yen-Shui in Tainan – where this event still happens. All whistles are made in Yen-Shui now, but craftsman are old, the making of whistles might disappear soon. We’re not sure how many years the sounds of pigeon competitions could still exist. (Yen-Ting Hsu)
諸羅樹蛙 第一隻諸羅樹蛙1995年在嘉義發現，因而以嘉義舊地名「諸羅」取名。諸羅樹蛙是臺灣特有，僅在雲林、嘉義、 台南地區棲息，棲息地多為農耕地區，竹林、果園、水田等，在因溼地不斷被開發、農藥使用而減少的情況下， 仍亟需保育。
嘉義縣大林鎮是目前全臺諸羅樹蛙棲息密度最高的地方，居民集體積極保育諸羅樹蛙，並將其列入學校鄉土教
材，帶小朋友一起紀錄觀察。每日與大林鎮居民同住的諸羅樹蛙，在無數個夜晚如竹鈴般大聲鳴叫的聲音，是大 林鎮的指標性聲音。
我們在大林鎮馬路旁一簇小樹林錄到這些聲音，那天下午有雨，但晚上青蛙並不如想像中多。在大林鎮居民許銘 坤先生和荒野保護協會會員（鹿草圖書館館長）鄭宏毅的引領下，我們在大林鎮裡轉移陣地多次，終於錄到了能 夠滿足耳朵的聲音。錄音中不只諸羅樹蛙，還有其他青蛙唱和與當下環境中一些清晰可辨的聲音。(許雁婷)
Farmland Tree Frog The first Farmland tree frog (Rhacophorus arvalis) was found in Chiayi in 1995, it’s named after the old name of Chiayi, “Zhu-luo” in Mandarin. Farmland Treefrogs are endemic to Taiwan, and they live in Yunlin, Chiayi and Tainan, mostly in agricultural areas,
like the bamboo forests, fruit gardens or fields. Unfortunately because of overexploitation of the wetlands and use of chemical
pesticides, these animals are becoming sparse. Da-lin has the most important population of Farmland tree frogs in Taiwan now, so inhabitants endeavor to preserve Farmland tree frogs together, and they include this topic in teaching materials of schools, inviting students to document and observe frogs. Songs of Farmland Treefrogs are remarkable sounds heard in Da-lin. We
recorded their songs in a small forest besides a big road. The afternoon on that day was raining, but in the evening frogs didn’t
appear as much as we thought. Our guides Mr. Hsu (inhabitant) and Mr. Cheng (member of the Society of Wilderness) brought
us to many places for meeting more frogs, and finally we recorded some sounds which could satisfy our ears. These recordings include not only Farmland treefrogs but also other common species. (Yen-TIng Hsu)
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MAYASVI 戰祭 鄒族達邦 Mayasvi（戰祭），祭戰神 Iafafeoi，傳說中滿口血腥面相猙獰總是盤旋在庫巴上方觀望守護著鄒族。他 性喜吵鬧，平時極少歌唱舞蹈的鄒族人，這兩天徹夜歌舞，獻祭戰神。
送神儀式的前三個小時，錄音現場在村莊較上頭、離部落中心有些距離的山邊，如瀑的落雨，青蛙奮力地鳴叫， 遠方的歌聲在山谷間來回晃蕩，不知道誰應和著誰，在達邦織成錯縱的網盤踞這寧靜的村落。他們唱著古時打仗 後回到部落歌頌的 Miome，緩慢地踏著僅僅四步的走踏舞步，圍繞著庫巴的火。 - 於阿里山達邦部落，2010年二月十六日。(許雁婷)
MAYASVI (War Ritual) Tsou people are indigenous people of Taiwan. Mayasvi is one of the two most important rituals and is dedicated to Iafafeoi, God of War.
The voices are strongly embodied. The dance is quite a simple movement, a kind of collective spiral, which is supporting the energy of music. These songs are spread from the front of Kuba towards the sky, just above, where Iafafeoi is staying. They
are also bouncing between the mountains. Raindrops and insects are transforming the calm of the night into a flow of sound particles and the voices of the people of Tapangu are echoing behind, like a curtain surrounding the village. - Recorded in Tapangu, Alishan area, on the 16th February 2010. (Yannick Dauby)
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「嘉義聲音計劃」的再生 澎葉生、許雁婷與蔡宛璇訪談 訪談者：羅悅全、鄭慧華
問： 〈聲土不二－嘉義聲音再生計劃〉是在什麼樣的機緣開始的？ 這個展覽奠基於一個聲音資料庫的聲音檔案，而這個資料庫是一個受委託的錄音計劃。2008年嘉義縣政府文化處 提出一個地方文化館計劃，名為「嘉義聲音蒐集及紀錄建置計劃」（當時的文化處處長是詩人鍾永豐先生），計 劃目的是希望蒐集紀錄嘉義縣十八鄉鎮的聲音，並建置一個資料庫（線上或實體的）以供民眾聆聽。當時由大大 樹音樂圖像承辦，委任許雁婷和澎葉生執行。原本這是一個四年的計劃，希望前兩年進行田野錄音與建置資料庫 的相關調查之後，後兩年可以與其他單位合作建置資料庫，並思考與社區連結、建立聆聽社群，及其他進一步推 廣應用的可能等等。但在第二期結束（2009）後，嘉義縣政府文化處便沒有再繼續進行這個計劃。 問：「嘉義聲音計劃」沒有繼續的原因是什麼？ 計劃進行至第二期時，蒐集聲音之外，針對建置聲音資料庫目的，我們有給予聲音建置管理規劃的口頭與書面建 議。亦參考國內外資料庫管理標準，將聲音資料以通用標準與易於整合進各種資料庫的方式建檔管理，並聯繫已 有多年籌劃音樂資料庫經驗的台灣師範大學音樂系，獲得其支持，願意提供其資料庫軟硬體知識與平台，與嘉義 縣政府進一步討論、合作，未來便可能納入國科會數位典藏中供民眾查詢聆聽。而後曾與大英圖書館聲音資料庫 的總監會面，當時他也表達高度合作意願。但這計劃是一個標案，每年一期發包，雖說嘉義縣文化處起初表示希 望做四年四期，但即使意圖四年都由我們來執行，也必須每年標一次委託案，並必須與其他廠商競爭評估。第二 期做完後，這個標案就沒再繼續公佈第三期了，曾去信詢問數次，但無法得知真正原因。 問：蒐集關於地方誌的資料，包括聲音在內，必然牽涉到對地方文化脈絡的研究與瞭解。你們如何決定要採集什 麼樣的聲音？有哪些聲音？ 由於我們都不是嘉義人，最初僅能從各種可得的文獻資料著手，包括書籍、報導、研究調查、網站等等，再者就 是與地方居民的直接接觸。雁婷在計劃期間駐地執行，盡可能地直接去查勘資料上所見，「可能」有值得錄下聲 音的地點、事件或人物，並藉由當地居民的引薦，再延伸網絡。由於原以聲音資料庫為目的，一開始擬定的六大 主題：口述歷史、民間藝術、自然生態、產業、宗教信仰、節慶活動，幾乎是包羅萬象。我們不可能錄下這些主 題含括的所有聲音，所有檔案也僅是呈現我們在嘉義縣這個區域所能聽見的採樣。能夠做到的只是在我們執行計 劃期間，以聲音紀錄當下環境的轉變，以及盡可能錄下我們或刻意或偶然遭遇到的、值得紀錄的聲音。當然，值 得與否不可能客觀，田野錄音仍然遠於真實，那是錄音者主觀意識的選擇，或許是對一個社區、地方有特殊意義 的，或許是一個能夠反映周遭環境現況的聲音，也可能是純粹從聽覺上感覺有趣的聲音。田野工作中，錄音者直 覺地在當下做出一連串的選擇，尤其在於什麼時間點以及如何去錄這些聲音－－就像攝影的取景及「決定性的瞬 間」。 問：嘉義當地人曾經聽過你們採集的聲音嗎？有什麼樣的回應？他們對於你們作的事情－－把他們生活環境的聲 音用資料庫的方式蒐集起來－－能夠理解嗎？畢竟，台灣過去從未有過這類的地方田野聲音採集與保存行動，有 點接近的是作曲家史惟亮與許常惠在1966-1978年間進行的「民歌採集運動」，無論如何，那是關於「音樂」， 而非更廣泛的「聲音」。 當地人曾透過幾種方式聆聽到我們採集的聲音：包括錄音的當下讓他們戴上耳機聽，或錄完一段後播放給他們 聽，以及我們也曾至社區、學校做過聲音聆聽坊，挑選數段聲音讓前來參與的人聽。口頭的解釋說明大部份人其 實很難理解，當我們表明來意時，也曾遇過對聲音敏銳的當地人，譬如帶我們進入鰲鼓溼地的一位當地青年，他 說從少年時就希望有一張全是溼地鳥類聲音的專輯；又或大林鎮社區發展協會（他們暱稱為「唬爛館」）的會 員，都能清楚辨認並喜愛諸羅樹蛙或其他蛙類聲音。不過更常遇見的問題是：「這有什麼聲音好錄啊？」「這聲 音又不好聽，為什麼要錄？」「常有人來錄影，但沒見過有人只要來錄音的。」但他們聽過錄音，發現某些活動 「真的有聲音」，或者透過麥克風錄出來的聲音與實際上耳朵聽見的聲音有差異，甚至聽見平日生活習慣了而遺 忘或忽略的聲音時，反而興致勃勃地再介紹我們那些可能的聲音場景可去採集。或許他們仍然不理解蒐集聲音製
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成一個資料庫的目的何在，也不理解聲音資料庫會是什麼樣子（可惜他們也無法聽見完整的資料庫），但在嘉義 錄音的過程中，至少部份曾接觸的在地人開始注意、感受日常生活、環境中的聲音，且進一步發現過去未曾注意 的聲音。 問：「嘉義聲音計劃」資料庫相信應是相當龐大，以展覽呈現只能抽取其中小部份的聲音，你們如何挑選展出的 聲音？ 要從採集時間前後加總起來有近十二個月，並且歧異度很高的聲音紀錄中找出展覽的素材，一開始是有些不知從 何著手。在幾次討論過後，我們決定從這些聲音紀錄中，找出令我們三個人都感興趣的幾個主軸：聲音、環境 （人為或自然的）、轉變。再來，是回到聽覺感官的層次：例如有些聲音雖深具意義，但在紀錄的當下由於情境 本身或天候條件，並沒有得到很好的錄音品質，因此就會影響我們在呈現上的選擇。還有，展出場地的空間條件 也決定了配置聲音的邏輯：例如我們決定在展場中最大且較完整的空間中，以「多聲道」的編輯方式，透過發聲 媒介的不同位置將這個空間分為兩個聆聽層次：觀/聽者身體周邊的、和空間環境的，並用「章節」的概念在時間 軸上將聲音分成幾個主題段落。這樣的決定當然也就間接指示了我們的選擇。另一方面，我們也思考到在「嘉義 聲音計劃」中所紀錄的聲音在質量間的比重差異，應該如何在展覽中重新被分配。例如，鄒族的人口雖是相對少 數，但在所紀錄的聲音資源量卻是相對地多。又例如在原本聲音資料庫中有很大比例的訪談，但並不見得適合這 個展覽主軸，因此要如何做出摘要且適當的呈現...等等這些得考慮的問題。 嘉義聲音計劃的採集方式是針對嘉義縣的每個鄉鎮都盡量紀錄到一個以上的主題內容，但我們在〈聲土不二〉展 覽中，著意的當然不是什麼是屬於「嘉義」的而什麼比較不是，甚至剪輯出來的某些聲音（如：語言）是脫離情 境脈絡的。其實是就「嘉義聲音計劃」這段期間所紀錄的種種聲音當中試著找出，有哪些事物透過聲音傳遞出了 某種地方紋理，並且含帶複合層面的訊息，當然還有它在聽覺上所展現的特殊性。〈聲土不二〉這個展覽在某些 方面上是受到一些歐洲廣播電台的聲音紀錄片所影響。 問：什麼是「聲音紀錄片」？與田野錄音有什麼差別？ 田野錄音與聲音紀錄片相關，但非相同的東西。只提供一段錄音或許是非常深刻的聆聽經驗，但紀錄片提供更廣 闊的主題、更複雜的敘事，一般來說，蒙太奇/剪輯的使用也更重要。聲音紀錄片應該視為一種特別的寫作方式。 若說田野錄音依賴於田野錄音者的主觀，那麼聲音紀錄片是這種非中立性的更進一步：以蒙太奇（如同電影）的 手法把聲音接在一起，創造一種敍事。每段聲音與前一段聲音之間的對話，都帶來一種感知、情緒或是意義。在 聲音紀錄片裡，可以加入一些額外的人聲：解說、疑問、散語等等。使用的聲音之中，可以有某種音樂感（即使 是工廠的聲音也有它的旋律或節奏），或者，作品甚至可以包含一些音樂的片段（不論是否為田野的錄音）。所 有媒介與音響技術的手段，都是用來描述、建立一個論述、提供一些感覺與思考的材料。聲音紀錄片並不缺乏影 像，並非影像紀錄片的縮減版，而且，它當然也需要高度技術能力。聲音紀錄片甚至更需要觀眾以想像的方式參 與。 問：聲音紀錄片對於台灣觀眾應是比較陌生的藝術形式。在我過去記憶裡，十多年前的中廣電台午夜12點由李 季準主持的「知性時間」偶爾會播出接近你說的聲音紀錄片的節目片段，但它只是一段十分鐘左右的聲音：海浪 聲、風雨聲、蟬叫、兒童嬉戲、...，並沒有聲音的蒙太奇。我想台灣觀眾應該會疑惑：如果電視與電影裡常見的 紀錄片已包含了影音，那麼沒有視覺影像的聲音紀錄片是否能夠承載更多、更豐富的敍事？或者說，聲音紀錄片 提供什麼樣的訊息與感知不同於影像紀錄片？ 電影，包括影音紀錄片，混合了不同的感知以建構敍事，而其中的聲音一般是以人聲為主。在聲音紀錄片裡，觀/ 聽眾只能靠聲音，各種聲音。因此，它需要觀/聽眾某程度的投入，專注與想像是必要的。產業讓電影朝向飽滿的 感官經驗（3D、動力座椅、高清、...等等）。作為聆聽者與藝術家，我們認為自己還需要一些以更幽微的方式所 建立的經驗來刺激自己，也需要一些可讓每個人去反思的空間/時間的創作。聲音紀錄片並不用一連串的刺激去吸 引聆聽者，聽者可以在被聲音所感動的同時仍然保持理智的距離，這種事不會發生在你各個感官頻道都被佔用的 時候。
一般來說，聽覺與視覺提供相異但互補的訊息，可是我們傾向於只關注觀看，這主要是因為我們的文化與個人背 景缺乏聆聽的訓練。舉個例子：在一件影音作品中，美麗的風景可以給我們一種自然保護區的感受，但如果它是 完全寂靜，我們就應該質疑為何沒有動物在其中。我們時常漏掉了第二部份。人聲也可以讓我們得知許多關於人 格與情緒方面的訊息，但我們通常把太多的注意力放在外觀。有了聆聽，我們才是完整的。聲音紀錄片依賴的是 這些不尋常的訊息接收方式。 TheCUBE
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但聲音可以比影像更曖昧，因為我們無法辨識所有的聲音。有些無法確認的聲音可能與樂器或遠方的引擎聲有 關。正常的觀眾通常不會理解錄音技術的種種選項，但他們，好比說，卻很明瞭廣角與近拍鏡頭的使用。另一點 是關於蒙太奇。熟練的剪輯者可以創造一連串看起來很自然的影像與場景，但專注的觀者一定會發現哪邊經過剪 輯。而在聲音剪輯中，聽者不可能知道一段訪談是否經過重組，或者一段音景的錄音去除了哪些人為的噪音。聲 音紀錄片要說謊比較容易。它促使我們質疑更多關於接收到什麼訊息的問題。當然，媒介的成功與否依賴於這些 作品所分享的脈絡，就像在電影裡：在火車上用 iPad觀賞庫柏力克或塔科夫斯基的經典大作並不合適。有些電影 必需要在戲院以膠片投影，同樣的，聲音紀錄片需要它自己的物理空間與耳朵投入的時間。 問：除了〈聲土不二〉展覽，「嘉義聲音計劃」的部份聲音也會提供網路聆聽。你們希望展覽提供觀眾什麼樣的 經驗不同於CD或線上聆聽？ 任何科技媒體與脈絡都可能導向一種特別的聆聽。聆聽者在高速公路上開車從電台聽到、在家裡用高級喇叭聽、 在網路漫遊時用耳機聽，相同的錄音內容（鳥叫、說故事的聲音、鞭炮的迴音），都會被認為是很不同的東西。 因為聽者的聆聽習慣不同，會有不同程度的專注力與期待。「嘉義聲音計劃」並非藝術創作計劃，而是聲音採集 計劃，或許是非常主觀的計劃，但仍然是關乎地方特質而非「創作」。計劃最後的結果儲存於某個政府辦公室不 起眼的硬碟中，這種形式無法被人接收到，只是或許有被聽到的機會。從這些錄音中抽取部份，提供一種全新的 脈絡，就像CD是線性連續的聲音－－是一種藝術的姿勢：它提供一種特定的聆聽。就像可線上聆聽或下載的聲音 檔，可以讓聽者重覆聽好幾次，或是跳過這部聲音作品的某幾段。但我們無法控制聆聽的狀況。 這檔展覽讓我們對觀眾探索聲音的方式負更多責任。物理的面向（建築、設備）將會影響聆聽者如何參與進來。 但即使聲音編輯仍是線性的，我們還是漏了時間脈絡，無法預測聽者從何時開始聽。從視覺的角度來看，我們的 展覽可以描述為稀疏或極微，我們有剛好足夠的元素去挑起好奇心，並邀請觀眾花時間去聆聽。還有非常重要的
一點，展覽空間是公開的：聆聽會是集體的行為。我們的耳朵習於台灣震耳欲聾的環境，習於專供耳機聆聽的音 樂。在展覽中，聆聽是共同且專注的。
問：在一般人的經驗裡，降低或去除視覺成份的專注聆聽，幾乎都是聆聽音樂。在〈聲土不二〉展覽裡，視覺成 分都降低到幾乎只有文字資訊，或是如你所說的，僅用來挑起觀眾的好奇。這個展覽的聲音內容與音樂，在形式 上有什麼不同？其所帶來的感知經驗與聽音樂又有什麼樣的差異？ 儘管聲音藝術已入侵了藝廊與美術館，提出一個以聲音為主的展覽仍有些爭議。我們主要是展示聲音，而非物件 或影像。專注聆聽的地點與時機通常是在音樂廳，那裡大半活動是以音樂家的表演為主。即使是預錄的音樂，現 在人們也已不再會聚在音響前共同聆賞新唱片，他們如今是在網路上分享與討論音樂。有些聆聽只在高度專注時 才能達到某程度的品質。而這種聆聽（有人說是「深度聆聽」、「絕對聆聽」、「縮限聆聽」、...等等）不應該只 用於所謂的「音樂」。高級的聽覺感知可以用來聆賞人類與動物聲音、機器或環境噪音等等的錄音。這些錄音若 專注地聆聽，通常會顯現出某種音樂感：空間裡的聲響變化、聲音的能量、聲音的結構與組織，都如任何音樂作 品一樣的有趣。 其實，這檔展覽會選擇某些聲音是因為它的敍事內容、意義，以及其包含的地域訊息，但某些聲音被挑選、編輯 與組織，是因為它有自己的音樂感，我們在其中所使用的編曲技巧與實驗音樂（例如「具象音樂」）裡用的沒什 麼不同。 整個展覽就像是一個邀約，邀請大家來聆聽一些錄音、聆聽一個地區、聆聽日常以及不尋常的環境。
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The Revitalization of Chiayi Sound Project Interview with Yannick Dauby, Yen-Ting Hsu and Wan-Shuen Tsai Interviewers: Amy Cheng, Jeph Lo Q. Why did you start this exhibition Revitalization of Chiayi Sound Project ? The exhibition is based on field recordings from a sound archive, which was a commissioned project that we simply called “Chiayi Sound Project”. In 2008, Cultural Affair of Chiayi County Government had a project about local culture museum, which aimed
to collect sounds in 18 towns in Chiayi, and build an (online or physical) archive for people to listen. At that time, Treesmusic (a folk music label) got this project and invited Yen-Ting Hsu and Yannick Dauby to manage this project. In the beginning, it was
planned as a four-year project, and we hoped that after field recording activities and related surveys during two years, we could cooperate with other organizations to build a sound archive, and think how to connect with localities and build up listening communities, or other possibilities. But after two years, in 2009, Chiayi County Government decided to stop the project. Q. Could you tell us the reason why Chiayi Sound Project didn’t continue? During the second year of work, in parallel of the recording sessions, due to the aim of building archives, we gave the
government suggestions about planning and management of sound archives. We used the common standard to organize data of sounds, so that it’s easy to integrate into other existed archives. We contacted Music Department of National Taiwan Normal University, which has abundant experiences on building archives. We got their support, and it’s very possible to have more
discussions and collaborations between the university and Chiayi County Government. We met the director of sound archive of British Library, and he’s glad to have the sounds of Chiayi in their archives. But it’s a commisionned project, and we signed the
contract each year. So even the government hoped to make it as a four-year project originally, and we’d like to make it, we still
needed to compete with other companies and write a proposal every year. Whatever, after the second year, they didn’t publish the next one, and we tried to ask the reason, but didn’t get real reasons.
Q. It must relate to the research and understanding of the context of local culture, when you studied chorography, including collecting sounds. How did you decide what sounds should be recorded? What kinds of sounds you recorded?
Since we’re both not local people there, we could just start from any available texts, like books, reports, surveys or websites
etc. And then we had to contact local inhabitants directly. Yen-Ting lived in Chiayi during the time of project, and she visited the people, events, or places which are possible to have interesting sounds to record as many as possible, and through
recommendations from local people, we could find extensions. We had some topics: oral history, folk music and art, nature,
industry, religions, local events... this already includes everything ! Of course it would been impossible for us to record all the sounds, so all recorded sounds could just represent some samples of what we could listen to in this region. What we could
do is only to produce sound documents about the transformation of the environment, and make our best to record sounds
worthy to be collected when we encountered them, on purpose or by chance. Of course, it’s impossible to be neutral to say if
it’s worthy or not. Field recordings are far from being fragments of reality: they are points of view, a perspective chosen by the sound recordist. In the field, a series of choices are made instantaneously and intuitively, especially about when and how to record the sounds (the equivalent of the framing and "decisive instant" in photography).
Q. Have local people listened to the sounds you recorded? How do they respond? Could they understand the project – to
collect sounds of their environments in normal life for building an archive? After all, Taiwan has never had this kind of local
field recording project and movement of reservation. The only similar one is the movement of collecting folk music by two
composers Shih Wei-Liang and Hsu Tsang-Houei during 1966 to 1978. However, it’s related to “music”, but not “sound” which means more widely.
Local people have heard our recorded sounds through several ways. For example, we made them wear the headphones to listen while recording, played sounds for them after recording, and when making some listening sessions or workshops in
communities and universities, we selected some extracts to play for them. It’s hard to be understood through explanations.
Sometimes we met some local people who are sensible of sounds, like a youth who brought us into Aogu Wetland. He said he always wants an album of bird songs of the wetland from his childhood. Or those members of the Community Development Association in Dalin, most of them love and can recognize sounds like the Farmland treefrog or other amphibians. We’re
more often asked: “There’s nothing worthy to be recorded!”, “It sounds ugly, why do you want to record?”, “It’s very often
someone wants to film, but no one just wants to record like you.” However after listening to the recordings, they found that
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some activities “really have sounds”, or it has differences between recording sounds by microphones and sounds in the real
world. Moreover, they listened to some forgotten or neglected sounds which they were used to in normal life. These reasons
motivated them to introduce us to more possible sounds scenes. Maybe they still don’t understand the aim of this project, and don’t know how it would be as a sound archive (it’s pitiful that they couldn’t listen to the archive either), but in the process of
doing this project, at least some local people started to feel the environmental sounds in their lives, and even discovered some sounds they’ve never noticed.
Q. Recordings of Chiayi Sound Project must be very big, so you can just select small parts of sounds. How do you select them? We had some difficulties to start selecting some material for this exhibition from this highly diverse collection of sound documents, which took about twelve months of field work. After a few talks, we decided to search for some common
directions of interest : sound experience for itself, relation to the environment, context in change. Several steps of listening for these elements were decisive, for example : some sounds have an important content, but the quality of the recording
wasn't satisfying enough because of the conditions of the recording session (weather or other). The physical context of the
exhibition implies a certain logic for presenting the sounds. In the bigger room for example, we decided to use a multichannel system with two different configurations for listening: an environment created by surround loudspeakers and some more
precise sources engaging a relation with the body of the listener. Through the temporal structure of the piece, we gathered sounds into chapters. The sonic content of the exhibition is the consequence of these different choices. We also thought
about the distribution of the sounds in terms of quantity : if the sound archive contains a lot of interviews, we had to decide the appropriate amount of spoken words. The same question happened with the large collection of recordings concerning
the Tsou ethnic minority which could have created an unbalanced representation in the exhibition. The methodology used in the field work was to record the sounds of at least one topic for each township. But in the exhibition we were not interested into presenting the sounds as the belongings of the region of Chiayi. Sometimes some sounds may have been taken as
disconnected from their original context and were considered for their local color and their multiple potential interpretation. Our exhibition is in a way influenced by some audio documentaries broadcasted by some European radio. Q. What does “audio documentaries” mean? What’s the difference with field recordings? Field recordings and audio documentaries are related but not the same. Just providing a sound recording might be a very deep listening experience but documentaries provide a more extended subjectivity, a more complex narration and in general a more important use of montage/mixage. Audio documentary should be regarded as a specific way of writing. If field recordings are dependent of the subjectivity of the field recordist, sound documentaries are going further in this non-neutrality : by the way
of montage (like in cinema), putting sounds side by side, a narration is created. Each sound brings a sensation, an emotion or a
signification in dialogue with the previous one. In a sound documentary, some additional voices can be included : explanations, interrogations, wanderings, etc. There can be a certain musicality in the sounds used (even the sounds of a factory can bring its own melody or rhythm) or the work can even include some fragment of music (recorded on the field or not). All the resources of the medium, of the audio technologies being used for describing, for building a discourse, for providing some image, they
aren't a reduced version of video documentary and of course they have their own technical needs. They engage even more with the participation of the audience by the way of imagination.
Q. Audio documentary is an unfamiliar art form for Taiwanese audience. In my personal memory, there’s a midnight radio program by Lee Chi-Chuen more than one decade ago. In that program, sometimes he played extracts similar to audio
documentaries, but it’s just about 10 mins in duration. We could listen to sounds of waves, wind, rain, cicadas or children ... etc.,
without any montage. Taiwanese audience may doubt: if documentaries of TV or films already included audio and video, audio
documentaries without images could carry out more abundant narrations or not? Or do audio documentaries provide messages or perceptions different from visual documentaries?
Cinema, including audio-visual documentaries, are combining different senses for the construction of a narration and sound is
generally devoted to human voice. With audio documentaries, audience is only relying on sounds, all kinds of sounds. Therefore, it requires a certain participation of the audience, concentration and imagination are both mandatory. Industry is leading
cinema towards a saturated perceptive experience (3D, shaking chairs, high definition, etc.). As listeners and artists we think we also need some experiences based on a more subtle way to stimulate us and some creations that let space/time for individual
reflection. With audio documentaries the listener isn't caught by a flow of stimuli, he can be at the same time touched by sound and still keep his intellectual distance, something you can't do when all the channels of sensation are used. In general, audition and vision provide different but complementary informations, but we have the tendency to focus only on seeing, mainly
because our cultural and personal background lacks training and listening. As an example: in an audio-visual work, a beautiful
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scenery can give us a feeling of preserved environment, but if it is completely silent we should wonder about the absence of
animals. We often miss the second part. Voices of people can also inform us a lot about personality and mood but we're often paying too much attention on appearance. Audio documentaries rely on these unusual ways of informing. But sound can be
much more ambiguous than image because we can't recognize all of them. Some unidentified tones could be associated with music instruments or with the sounds of a remote engine. Regular audiences are not able in general to perceive the various choices of the sound recording technology, meanwhile they are used to detect the use of a wide angle or macro lens for
example. Another point is about montage. Crafted editors can create a flow of images and scenes that would look natural, but
an attentive viewer will always notice where the cut happened. With sound editing, a listener would never be able to know if an
interview has been reorganized or if some human-made noises have been removed from the recording of a natural soundscape. Audio documentary make lies easier. They make us ask more questions about what is being perceived. Of course the success of this medium depends upon the context of sharing these creations, like for film: discovering Kubrick or Tarkovski's masterpieces on an iPad in the metro might not be appropriate. Some movies require film projection in theater, and in the same way audio documentaries require its own physical space and moment of devotion to the ears.
Q. Except this exhibition, some sounds of Chiayi Sound Project will be put online for downloading. What kind of experience do you want to provide for listeners in the exhibition? Is it different from CD or listening online?
Any technical medium and context may propose a specific listening. The same recording (a bird singing, a voice telling a story, echoes of firecrackers) would be considered very differently if the listener was in his car listening to the radio on the highway,
or at home in front of high-end loudspeakers, or using headphones while surfing on the internet ... There are different levels of concentration and some expectations from the audience according to listening habits. Chiayi Sound project was not an artistic project but a sound collecting project, probably a very subjective one, but still something more related to local heritage rather
than creation. The final result of the project was an anonymous hard drive in some government office, it isn't a form that can be
perceived by anyone, just a potential. Extracting some of these recordings, providing a new context to them, such as a CD which is a linear succession of sounds, is an artistic gesture : it proposes a specific listening. Like audiofiles available for online listening
or for downloading, it would allow the audience to listen several times or to skip some sections of this sound work. However we are unable to control the conditions of listening.
The exhibition gives us more responsibility in the way the audience will discover the sounds. The physical aspects (architecture, equipment) will influence how a listener can get involved. However even if the sound editing is still linear, we lose the
chronology, we can't predict when the listening would start. Our exhibition can be described as sparse or minimal from a visual point of view, we have just enough elements to trigger the curiosity and invite the visitor to take the time to listen. Another very important point is the fact that an exhibition place is public: the listening would be collective. Our ears are used to the
deafening environment of Taiwan or to the music which is reserved to the owner of a pair of headphones. Here, the listening is shared and concentrated.
Q. In general, only when listening to music, people could reduce or eliminate visual elements and just concentrate on listening. In this exhibition, it almost only has text information in visual part, or as you said, visual information is just for trigger curiosity.
What’s the difference between the form of content (sounds) in the exhibition and music? Does the perception it brings has any difference on listening to music?
Even if sound art invaded galleries and museums, proposing an exhibition based on sounds is still arguable. Here we mainly
show sounds, not objects or images. Places and moments devoted to listen are usually concert halls, where half of the event is
based on the presence of a musician doing something. Even with recorded music, people are not gathering anymore around a
stereo system to listen together the new record: they're sharing and discussing about music online. But some quality of listening can be reached only with high attention. However some kinds of listening (some have said "deep listening", "absolute listening", "reduced listening", etc.) should not be reserved to what is so-called "music". High level of auditory perception can be used for the recorded voice of a human or an animal, the noises of machinery or a sound environment. Often those recordings, when
listened attentively, can reveal a certain form of musicality: the evolution of sound in space, their dynamic, their structure and organization can be as interesting as any kind of musical piece. Actually for creating this exhibition, some of the sounds were
chosen for their narrative content, for their significance and the information they provide about a territory. However some have been chosen, edited and put together because of their own musicality, using composition techniques not unlike those used in
experimental music ("musique concrète" for example). The whole exhibition works as an invitation to listen to some recordings, to listen to a region, and to listen daily and/or in an unusual environment.
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澎葉生 聲音藝術工作者，他的創作和研究約始於1996年在法國學習的具象音樂。從音樂開始並延展極廣：即興演出，電子原音 音樂(electroacoustique)編曲，以及人類音樂學。1998年開始田野錄音工作，在大自然、都會和工業環境中進行錄音，成為他聲
音紀錄片及編曲的素材，或與其它聲音媒介對話，時而與影像創作結合。作品發表形式如：即興演出、聆聽活動、出版或聲響裝 置。其創作主軸為對於聽覺經驗的實驗和探索，並十分著迷於民族學與自然科學。作品常參與國際活動，亦常與聲音藝術家、現
代舞（2007年開始與台灣驫舞劇場合作）及視覺藝術家（如與蔡宛璇進行〈拾景人〉系列創作）合作。 近幾年來持續在台灣各地 進行田野錄音與發表，未來幾年計畫透過藝術活動、聲音紀錄及教學行動持續在這個島嶼中探索。(www.kalerne.net)
Yannick Dauby His sound practice was initiated around 1996, studying tape music (musique concrète in French) : discovery of the physicality of the magnetic tape, vertigo-inducing analog synthesis and acousmatic pleasures. However, it's outdoor that things really started. He began working with field recording since 1998, during a travel in a distant country, capturing
fragments of environments, urban situations, animal signals and unusual acoustic phenomenas. Those are his favorite materials, sometimes published like they are as phonographies, or providing some montage elements for some audio documentaries
or musical compositions. On stage, he improvises mainly with recorded sounds, modular synthesizer and computer. Regular
collaborations with other sound artists, contemporary dance (since 2007, produces soundtracks for Horse Dance Company in Taiwan) or in association with visual artists (such as the creations about landscape with Wan-Shuen Tsai). Experimenting the
perception of acoustic spaces with sound installations. His active discography includes personal compositions, documentations of performances, and selected phonographies. Fascinated by ethnology and natural sciences, he often wanders into these
domains in collaboration with naturalists or during community-based projects in Taiwan in Hakka or aborigine villages. Plans
for the next years include more exploration sessions of the island through artistic activities and sound documentation as well as teaching actions. (www.kalerne.net)
許雁婷 文字/聲音工作者。與聲音工作的緣份始於嘉義聲音計畫，此後開展對聲音藝術的興趣和研究。喜歡探索聲音與生活、
環境、族群文化的連結關係，聲音之於周遭世界另一種角度的體認，並以田野錄音素材從事聲音紀錄片及音景創作，作品多富敘
事性。2010年獲國藝會補助赴英、法進行「網路電台作為發展聲音藝術平台」訪談調查。今年獲選至成龍溼地國際環境藝術節駐
村，以當地田野錄音與資源回收物在村中老房子作一聲音裝置。作品曾發表於英國 Formosa Show、法國網路電台 Arte Radio、失 聲祭等，近期多嘗試與表演藝術團體或創作者合作，其中包括舞蹈團隊「周先生」。
Yen–Ting Hsu Her affinity to working with sound started from Chiayi Sound Project, which opened up her interests and study toward sound art. Yenting investigates the connection among sound, life, environment, and ethno-culture; sound
is her approach to realize different perspectives of today’s world. Adopting materials from field recordings to create audio
documentaries and soundscapes, her works is often told with narrative. She went to England and France to carry out a study of “Web-radio as a platform of developing sound art” in 2010. In 2012, she was selected as a residency artist in Cheng-long
Wetlands International Environmental Art Project, and used field recordings and recycled objects to create a sound installation in an old house of the village. Her sound works have shown in Formosa Show (England), Arte Radio (France), Lacking Sound
Festival (Taiwan) etc. Currently she often tries to collaborate with groups or creators of performing art, and collaborates much with Chou/Shu-yi & Dancers.
蔡宛璇 澎湖成長，旅法數年，現居台北地區。創作媒介從裝置、圖像、錄像和詩文著手，她的裝置作品經常具暫時性，並與所
存在的空間構成一特殊關係。而她的錄像創作受實驗電影啟發，呈現開放性的敘事空間，或將現實風景轉變為內在活動之折射， 時而與詩作結合。 2004年與聲音藝術工作者Yannick Dauby 開始合作〈拾景人〉系列創作計劃，陸續於台北、法國、愛沙尼亞
駐村，透過展覽、出版、錄像或小型演出等形式發表的駐地影音創作。 著有個人詩文集《潮 汐》(2006)，第二本詩集出版籌備
中。近幾年也開展藝術領域周邊的創作空間，如：社群與藝術的交會、與其它藝術人文領域的人或團體合作。2008年與Yannick Dauby共同成立回看工作室(www.hui-kan.com)，聚焦在聲音藝術推廣與出版、社群藝術等項目的策劃與實踐 。
Wan-Shuen Tsai grew up in the archipelago of Penghu, Taiwan. Studied and lived in France during several years and
nowadays settled in the region of Taipei. Her artwork is shared between mixed-media installation, drawing, video and poetry.
Her installations are ephemeral and constitutes a specific relationship to the physical space and architecture. Her image creation suggests an opening of narration and transforms a landscape into a mental space. In parallel of her personal projects, she
collaborates since 2004 with sound artist Yannick Dauby under the group name Shijingren, focusing on audio-visual works
about landscape. This project has been invited by artist residencies in France, Taiwan and Estonia. In 2008, founded Atelier HuiKan developping activities related to pedagogy, publication and communities (www.hui-kan.com). In 2006, she published a collection of her poems and she’s currently preparing the second one.
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