隨響製噪—電子聲響講演系列

作曲家在構思樂曲之初,可能僅憑即興;表演者在演出中的某個段落,也可能展示即興。但若即興的成分被拉高,甚至占滿整場表演和樂曲全部,結果會如何?即興是創作的根本,但也可以是創作的結果。雖然如此,它仍像所有音樂一樣,可以被聆聽,可以被表演,甚至可以作為工作坊的內容同參與者互動,讓他們相互學習,從中產受到即興時的身體樣態、人與器物(包括樂器)的關係、人與空間的關係、表演者與觀看者/聆聽者之間的關係。


即興除了是某種藝術表達的形式之一,也是認識自我的歷程,發展個人特質與創造力的必要方式之一,經由長年累月不斷地嘗試、探究及磨練,達到具備辨識度的獨特藝術美學,同時也是外而內,內與外的反復關照,與環境、社會、人文的直接對話。外:觀察環境、人事物之於自身的關係處境;內:接收、感受、消化、反饋、回應。這種種卻也意味著連結過去的歷史脈絡、當下存在的自我意識主張、打破慣性而創造通往無法預知的未來。

Capriccio

At the very beginning of the composition, the composer may just improvise on the melody. During certain parts of the performance, the performer may add some improvisation. However, what will happen if the proportion of improvisation is increasing or even the whole performance and song are improvisational? Improvisation is not only the origin of creation but also the result. In fact, it’s just like all types of music which can be listened to, be performed and even become the content of workshops to interact with participants, making them learn from each other and feel their body shapes in the improvisation and the relationship between human and objects (including musical instruments); human and space; performer and viewers / listeners.

Improvisation is not only a form of artistic expression but also a journey to know oneself, which is a necessary means to develop personal qualities and creativity. With constant trying, exploring and tempering over a long period of time, it turns into a unique aesthetics with identifiable features. It is also a recurrent processing of awareness from outside in and between the internal and external as well as a direct conversation with environment, society and humanities. The external: observing the environment and the relation between oneself and surroundings; the internal: receiving, feeling, digesting, implementing feedback and responding. Besides, these represent a connection with historical context from the past and the expression of self-awareness at present, breaking the routine to create an unpredictable future. 
電子聲響講演系列
以兼具對談和表演的「講演」形式,讓大家在欣賞各種型態的聲音變化時,也對藝術家創作與表演的相關主題有基本理解。


系列1:賴宗昀音瀑奧譜 


由擅長匯聚各種聲音元素來創作的賴宗昀,先後以軟體和硬體的合成器表演,展示兩者聲音質地與操作方式的差異,隨後暢談表演時聲音的特色與軟硬體在使用上的互補。


講師:賴宗昀
時間:9/1(日)19:30 
地點:通信分隊展演空間1樓


系列2:fish.the雙重音樂人格
在台灣專攻 Ableton Live 的資深講師與音樂創作者 fish.the(黃凱宇)分別於兩段表演中呈現噪音和techno的不同玩法,訴說兩者近乎對立的風格與聆聽方式,最終是彼此融合的可能。


講師:fish.the(黃凱宇)
時間:9/6(五) 19:30 
地點:通信分隊展演空間1樓


系列3:徐嘉駿無輸入混音器


噪音藝術家徐嘉駿呈現無輸入(no-input)混音器作為一種樂器的狀態。現場他除了自己的即興演出,也會以開創這個傳統的西方前衛音樂家為藍本,重新演繹與詮釋,向觀眾介紹無輸入混音器的概念與系譜。


講師:徐嘉駿
時間:9/8(日) 19:30 

地點:通信分隊展演空間1樓