麥海珊 anson mak:「 Sonic meditation Exercise II: Kai Tak River 」

Sonic meditation Exercise II: Kai Tak River
Besides "going home (or not)", i also have a new sound installation work at 1a space. Sonic meditation Exercise II:Kai Tak River in GREEN - through the Kai Tak River.

Note details in the link. OPENING party at 10th oct 6pm, at 1 a space at cattle depot.
come and join us.

http://www.facebook.com/note.php?saved&&suggest&note_id=165818817999#/event.php?eid=187744405288&ref=mf


Statement:
當我們張開耳朵,和對聲音空間敏感,我們領悟 。那,我們的腦袋開闊了,世界也就不一樣。

作為一個田野錄音的聲音藝術家,我一直希望有更多的推動力讓音景研究成為城市設計(公共場域)和香港當代藝術的一部分。在個人層面上(個人場域),於聲音空間/地方的察覺; ,亦是對自己以至於我們的城市——香港的文化重遊。

我們都習慣去「看」,視覺感知是主要的,而聽覺是次要的。 看不見的東西往往會被忽略。正如最近一個「專業人士」 所做的有關貫穿我們寶貴的新界西耕地的新鐵路系統環境評估報告,噪音和地下水的問題均未得到仔細研究。事實上,挽救我們的耕地與活化啟德河同等重要。

聽覺上,啟德河的沿水道地區,涵蓋了綠化且安靜的中學校園環境及嘈雜得要命的馬路。那麼有關河流空間特質的聲音能否以任何一種方式幫助社區呢?(又或如果空間特質不夠好的話,它能否得到改變?)

這個作品嘗試去處理(領悟 )聽覺方法,和聲音空間,尤其是就著香港十分普遍的交通噪音/街道噪音。透過沉思性的裝設和音響設備的媒體獨特性,呈現對比的音景(交通噪音和河流水聲),我希望大眾能更關注聲音感知是我們思考方式、以至於生活方式的重要部分,而生活方式裡關於空間的部份,很大程度是被行政人員、城市設計師和建築師所塑造。

“When we have our ears open and are sensitive to sonic space, WE REALIZE. Our minds will be broadened, and hence the world will be different.”

As a phonographer, I always hope there is more effort paid to soundscape studies as part of urban design (public domain) and Hong Kong contemporary art. At a personal level, awareness of sonic qualities of space/place is also a culturally audible revisit to ourselves (private domain) as well as to our city, Hong Kong.

We are so used to seeing and visual perception is primary to ways of listening. The unseeable is very often ignored. For example, in the recent environmental assessment report written by “paid professionals” for the new railway system that will cut across our valuable farmland in western New Territories – issues of noise and underground water are not examined closely. Saving our farmlands is as important as restoring the Kai Tak River.

Areas along the Kai Tak River, audibly, range from green and quiet secondary schools’ campus environment to shockingly noisy roadside. Can the sounds of the river, pertinent to its spatial qualities (or can the spatial qualities be CHANGED if it is not good enough), help the community in any way by reducing noise pollution?

This work tries to deal with listening, and works around sonic space specifically regarding traffic noise/street noise, which endemic to Hong Kong. From the meditative set up and the medium specificity of the audio equipments that go together with the contrasting soundscape (traffic noise and running water sound of the river), I hope, more attention is given to our perception of sound as an essence of our way of thinking, as well as our way of living within a space which is to a large extent shaped by administrators, urban designers and architects.

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