海漂垃圾DIY音箱 DIY Speaker from Marine Debris

馬祖每年接收無數的海漂垃圾，資源回收一直是當地嚴峻的環保課題。村民家中皆可見這些海漂垃圾，有的作為容器、節慶樂器，或作為裝飾。進駐期間從村民家中得到的海廢料，經實驗意外發現，這些海漂浮球作為音響音箱使用，有著極佳的共鳴。再次利用海廢垃圾轉變成音響設備，也重新發現垃圾的再利用價值。

Every year, Matsu receives countless amounts of marine debris, and recycling has long been a pressing environmental issue in this area. It’s common to see these marine waste items in the homes of local villagers, where they are repurposed as containers, festival instruments, or decorations. During my residency, I obtained some of this marine debris from the villagers, and through experimentation, I discovered that these floating marine balls have excellent resonance when used as speaker enclosures. By repurposing marine debris into audio equipment, I also rediscovered the value of reusing waste materials.

教育的可性度 The credibility of education nowadays

已經有許多例子顯示當今教育可信度的薄弱。許多知名的人物的例子已顯示，老舊的學術訓練已廣泛不受大多數人信任。 人類的價值始終與我們的個人特質相關，例如想像力和創造力。傳統教育告訴我們正確的答案或鼓勵我們遵守規則。然而，在這個高科技時代，世界瞬息萬變，許多大門已經打開，舊規則已不再適用。 下個十年，人類會在哪裡呢?

There are already many examples that show the weak credibility of education nowadays. Many rich or famous influencers don’t need the degree of feasibility anymore, the academic training has been doubted for decades. The value of humans is always connected to our individual traits, such as imagination and creativity. Regular education tells us the correct answers or encourages us to follow the rules. However, in this high-tech era, quickly changing world, many doors have been opened and the old rules are not applicable anymore.

Where will humans be in the next ten years?

In quest of spirit

今天，我重新翻開了這本我在撰寫第一篇碩士論文時研究過的書。我從 De Slegte 線上書店以良好的狀況買到這本二手書。不過，我沒有注意到前一位讀者用鉛筆做了幾處重點標記。令人驚訝的是，今天我發現所有的重點標記都是重要的信息。
Today, I reopened this book that I had researched for my first master's thesis. I bought this 2nd-hand book from De Slegte online store in good condition. However, I didn't notice there were a few pencil highlights from the former reader. Surprisingly, I just found all the highlights are important information today.

QUALIA | 2021-2022 NTT Artists in Residence

從作曲、電聲、裝置到有機介質，發現所有生命體各承載著不同的電訊號，再到探索不同表演者的獨特性，身體以及空間感知，一切是個驚喜的旅程。2021年開始在歌劇院五樓涵洞種植小樹苗，從種子發芽茁壯至小樹，一路陪伴著駐館製作，也影響著作品。
From composition, electronics, and installations to organic materials, the journey to discovering that all living creatures carry different electrical signals was amazing. Exploring the uniqueness of individual performers, body, and spatial perception, everything was an amazing journey. In 2021, I planted moringa seeds on the fifth floor of the NTT. From these seeds, trees grew and accompanied me throughout my residency, inspiring my work.

Qualia aims to explore the uniqueness of nature and appreciate the primitive and pure individual by exploring the originality of the performer's body and sound. There is no specific role to play on stage, and the only correct way to perform is to express one's own language honestly. However, playing oneself is actually more difficult than playing a predetermined role. This journey is a long road to rediscovering oneself.

Untitled Journey (2015)

這作品委創是來自一位可愛的薩克斯風演奏家—吳痞康。然而，我最終卻比較喜歡這個純電聲的版本。

裡面的聲景部分，除了紐約地鐵的部分是來自朋友，其他皆是我於2012-15年間，拿著zoom h4n在各處車站錄的聲音。裡面包含巴黎、阿姆斯特丹、倫敦、薩爾茲堡、柏林…等。當時似乎也想藉由這個作品整理一下過去的錄音。


Originally commissioned by saxophonist Pikon Wu, this piece was eventually developed as a tape-only version which I preferred over the saxophone version. The soundscape in this piece, with the exception of the New York subway sound, was recorded by myself between 2012 and 2015 using a Zoom H4N recorder, in places such as Paris, Amsterdam, London, Salzburg, and Berlin. I had initially intended to organize my past recording files, which is why I used these materials in this piece.

The end of the end

《感質》的前置計畫

https://i-llycheng.com/moringa-tree

在這個種樹計畫中，我成功讓三顆種子成長，而有一株在非常早期眾所期待的壓力下夭折了。這個過程告訴了我很多故事，對我來說最重要的信息是“獨特性”來自自然，而我們人類也是自然的一部分。 然而，人類試著控制太多事物，而常常忘記尊重自然。

In the moringa project, I grow three trees successfully in the end, one died under the pressure of high anticipation in the very early days. The process told me many stories, and the most important information for me was "individuality" comes from nature, and we human beings are part of nature as well. However, humans think of controlling things too much and often forget to respect nature.

The Closure of Yours Mine

Dear Yours Mine,

這作品最初的想法源於2015年，對於每個個體獨特的好奇心，當時居住於阿姆斯特丹，一個被各式各樣的人種、國籍、文化包圍的城市，藉由一些文字、問答…等想法，然後這作品就產生了四個不同的結果。然而，在過程中有無數的參與者曾嘗試執行這個作品，我深深感謝所有的參與者。


The very first idea for this project comes from the curiosity of different individuals in 2015 when I was surrounded by varied people/nationalities/cultures in Amsterdam, with a few words, quizzes, then voilà: the project with 4 different results. However, there were numerous people did try this project. Even though not all of them achieve the final step, I still deeply appreciate all of them.
Individuality is the keyword of my work in the past few years. It has been 7 years and I found a clear reason to close this topic.

什麼是跨領域？什麼又是作曲？

“跨”領域從來就不存在。唯有整合，沒有界線。

“Inter”discipline，是交織的，不是跨越的。現代人無論在哪個領域都面臨到多元發展的課題，多個專業的分工交疊，肯定不是這個世紀的新鮮事，只是在資訊與科技的發展下普及化了。
也許是興趣廣泛的緣故，不自覺就頻繁地參與了不少不同領域刺激的計畫。當我接觸越多自身專業科目外的知識時，反而越了解原生專業—作曲，對自己的影響有多深。跨得越遠，越要抓住自己的本業；既使外顯看起來並非如此，但根脈上是如此。

"Inter"discipline is about intertwining, not crossing. Modern people face issues of multidimensional development in any field, and the overlapping of multiple professional divisions is certainly not a new phenomenon in this century, but it has become more widespread due to the development of information and technology.

C-LAB creators 國際交流計畫參訪IRCAM MANIFESTE 2019心得

IRCAM在當代電子音樂中極具影響力，自1969年成立以來至今培育了無數作曲家與電子音樂人才。IRCAM的定位一直都十分明確，過去在已逝的知名法國作曲家兼指揮家Pierre Boulez(1925-2016)的帶領下創造了許多當代音樂經典作品，奠定了其歷史地位。電腦與科技的進化在過去半世紀來產生了巨大的變化，除了影響我們的日常生活外，也改變了藝術環境。在人人皆可使用電腦創作音樂、各領域的界線越來越模糊的時代下，正抨擊著眾多歷史悠久的電子音樂研究機構。從IRCAM這些年積極對外合作，與音樂節曲目趨多樣化，即可察覺其處於轉型的過程中。

這次參訪觀賞了許多不同類型的音樂會，看見了此機構對整個音樂節策展之用心與考量，除了經典作品的精緻再現外，也有許多不同領域合作共製的全新面貌作品。

觸系列 Touch series

從2014年我開始把Cymatics的現象應用至表演中，在阿姆斯特丹學習期間弄壞了無數學校的喇叭與擴大器元件，2016年才終於把以水為素材的裝置在Darmstadt實踐，17年受合作的樂團We Spoke邀請完成作品。18年改成三重奏編制投新人新視野專案，雖入選但最終未獲補助。今年也將17年版tape的部份改編成裝置的形式於ICMC 2018展出。

因為這整個作品是自己從零建構，包辦了硬體、軟體、製譜、統籌、執行，只有我深知這個作品的發展可能性，其實可能性是多到必須要做適當的選擇 。起初覺得沒拿到補助是件令人傷心的結果，後來才發現這段時間所接受的批判和考驗，是在引導我走向更成熟的創作之路。現在是該回顧一下過程和檢討作品。

Copy right © 2023 I-Lly Cheng. All rights reserved.