藍耳朵:空( )聲
Blue Ears: Space ( ) Sound
x-site 藍屋開幕演出 Opening of Blue House
Taipei Fine Art Museum, 2022.5.21
內外之邊界/ 幻實之交替/當聽覺成為穿梭於邊界的隧道/ 交替律動於現象與想像的遇見/在操控之下誘發失序之律/ 在無為放下投射誤差之美/耳行空間，空間走耳/自然與非 自然的游移場域，參與者與空間互相聆聽的表演/誰是表演 者?誰是觀者?
Boundary between interiority and exteriority / alternation of fantasy and reality / as auditory sense turns into a tunnel through the borderline / an encounter of the alternative rhythms between phenomenon and imagination / under manipulation is triggered a law of disorder / by laissez-faire inaction is projected a beauty of inaccuracy / ears wandering in space, space wondering between ears / shifting fields of nature and unnature, a performance where participants and space listen to each other / Who is the performer ? Who is the spectator?
〈藍耳朵:空 ( ) 聲〉聲景地圖
Sound Map of Blue Ears: Space ( ) Sound
A: 幻聽河流 Illusive River (8 channels soundscape)
B: 藍鯨門 Blue Whale Door (2 channels structure vibration)
C: 沈浸聲場 Immersion Field (4 channels soundscape)
D: 飛耳朵海浪 Flying Ears Waves (2 wireless microphone on ballon, headphones)
E: 天光弦 Sky Light String (2 channels structure vibration)
F: 二十隻蟲蟲 Twenty Bugs (20 channels soundscape, modified small speaker & LED )
本計劃概念上的出發點是用聲音與特定場域和材質共振開創出流動性的「空」與「間」，空氣的空，之間的間：摸不著的聲音存在於空氣與耳朵的相互觸動，就像是從空間中的一點走向另一點，甚至是來回穿梭於身體到不了的地方。而在腦袋的感官判斷與發聲現象之間，是聆聽者意識投射的遊樂場，是一場想像與現象包容並存的旅程。 我們希望以聆聽為手段去觀察虛實、內外的邊界，讓參與者的互動與投射成為作品的一部分。
聲景地圖不只是作為一個為過去發聲的紀錄，而更是視為一個時空的延展，讓聲音可以和參與者的當下持續流動。透過360度環繞聲場（Ambisonic）的技術，我們將不同時空的錄音堆疊成為非線性聆聽的虛擬場域，讓聆聽者可以透過旋轉影片視角去主動探索聆聽的角度與想像的維度。抽離出視覺與實體空間的感官刺激，剩下的只有聲音和個人的主觀體驗。在耳機與耳膜之間的微小空間裡，蘊藏了什麼故事去探索呢？ 文 / 楊博宇
The conceptual starting point of this project is to use sound to resonate with specific fields and materials to create a fluid "space" and “in betweenness ”. The invisible sound exists in the mutual touch between the air and the ear, as if moving from one point in space to another, or even shuttling back and forth to places that the body cannot reach. Between the sensory judgment of the brain and the sonic phenomenon, it is a playground for the listener's imagination. We hope to engage listening as a means to observe the boundaries between the virtual and the real, the inside and the outside, so that the interaction and projection of the participants can become part of the work.
The sound map is not only a record of the past, but also an extension of time and space, allowing the sound to continue to flow with the present of the participants. Through 360-degree ambisonic technology, we have layered and spatially composed different recordings into a virtual field of non-linear listening, allowing listeners to actively explore the angle of listening and the dimension of imagination by rotating the perspective of the video. Away from the sensory stimuli of visual and physical space, all that remains is sound and personal subjective experience. In the tiny space between the earbuds and the eardrums, what is the story to explore?
〈藍耳朵:空 ( ) 聲〉創作團隊: 楊博宇、林彥君、丁啟祐、林育德、洪梓倪、許乃文
"Blue Ears: Space ( ) Sound" Creation Team : Aloïs Yang, Yen Chun Lin, Chiyou Dean, Yu De Lin, Tzu Ni Hung, Nai Wen Hsu
X-site 計畫以美術館戶外廣場為基地，每年公開徵選，期待以 各種開創性議題與當代跨域形式的臨時性裝置提案，建構美術 館、公共廣場及公眾三者間對話的整合性實驗。2022 年由跨 領域團隊「藍屋」的同名作品從 20 件提案中脫穎而出，獲得 2022 年第 9 屆首獎。
《藍屋》透過單一而獨特的藍色為主題，提供了一個感性的濾 鏡，試圖超越語言、超越詞彙、超越建築理性，展開一段深富 詩意的篇章:可以是遼闊，是靜謐，是神祕，是浪漫，或憂傷; 可以是星空，是海洋，是宇宙，或科技。回看建築本體，以木 構創造出各具抽象意義的細部表徵，超尺度的結構體、曲面地 板、斜屋頂，形成殊異的都市開口與身體性經驗，再透過展期 間公眾活動，讓空間與身體感知的多重性逐一被意識與觸發。
「普羅米修斯為人類盜取智慧之火，人類開始追求知識的偉大， 長年被教育、被訓練、被期許成為閱讀人(Homo Legens)，卻 漸漸忘記智人(Homo Sapiens)是如何懂得善用獸性感知的原 始本能生活、身體力行感受自然萬物的一切。」1 遊走在《藍屋》 的現實與想像之間。 聲音迴盪知道方向與尺度，空氣中尋找愛 與危險的氣息，木頭的氣味想像到原始的山林，天井中看去， 夜空的星星與月亮透漏了時間與宇宙的運作。
《藍屋》雖然沒有明確的目的，也不是一個多功能空間，它可 能是一個盛裝事件的容器，一片大海或森林入口，一座私密的 公共建築。更重要的它是關於當下的不同閱讀方式。它關乎模 糊性(Ambiguity)，這個模糊性非常真實，能夠精確的被策劃， 卻觸摸不到。《翡翠之城》裡的最後一段話說「人都說要理性。理性，僅只 是我們生命官能的二十分之一;理性，所知道的僅是它已學習 到的東西，有些東西，我們可能永遠學習不到，人類的本性是 一個整體，要作為一個整體來行動，有意識的。」2 生活的每一 刻都是過去、現在和未來共存的證據，都是暫時，卻永恆的。 因此建築的意義不只存在於物理上，而是抽象指涉的無限延 異，能夠隨時變化、流動，超越明確的尺寸與材料 。《藍屋研究》初衷是找尋一種更為貼近個體之間意識與感知上的匯集與 流動，這樣的建築，會漸漸地長成獨一無二的身體經驗，以不 同的樣態在世界上持續演化與生長。這之中空間的力量是由個 人開始的，而漸漸蔓延成集體自覺與共感。
《藍屋研究》是由「藍屋」策劃的五場體驗與一項持續不間斷 的遊戲，回到對五種感官最初始的認識，以身體經驗尋回本能 採集世界訊息的方式。〈藍耳朵:空 ( ) 聲〉透過聲音體現出 空間邊界、方位、尺度、材質與身體的關係，勾勒出《藍屋》 的形體。〈藍眼睛:心境〉如果不用視力閱讀，什麼是藍，什 麼又是家的意象?《藍屋》的形體會是以什麼樣貌存在?黑暗中的感官對話，在集體的想像中建造《藍屋》。〈藍鼻子:在他方〉以氣味置換空間，透過個人對氣味的想像跳脫出《藍 屋》的實體邊界。〈藍身體:水上的精靈之歌〉在有形與無形 之間，與所有在《藍屋》相遇的人們創造即興的真實互動，存在即是參與。〈藍意識:融入共眠〉嘴裡含一塊《藍屋》形體的冰塊，作為睡眠的起始點，在公共空間中，感受身體與建築 空間融為一體，一起做夢。〈藍字〉一個藏在《藍屋》裡的任務，每個人的身體都是一個探測儀，試著用自己作為單位去 丈量空間。
人的一生由一連串事件組成，我們透過創造事件參與了彼此的 生命，期望在日常中共同製造一點即興，一點浪漫，在模糊不 清中隨遇而安，在這之中，文不一定需要對題的對話。相信所 有的元素都會和諧地找到一個自己的位置。文 / 張雅筑
Based on the outdoor plaza of the Taipei Fine Arts Museum (TFAM), Program X-site organizes annually an open call for projects and, through various cutting-edge issues and cross-disciplinary proposals of temporary installations of our times, expects to design an integral experiment of dialogue among museum, public plaza and audience. The project, Blue House, entitled after the interdisciplinary team’s name, distinguished itself from the 20 proposals as the ninth X-site laureate in 2022.
Through the single and unique theme of blue, Blue House provides a filter of perception, with an aim to transcend language, vocabulary, and architectural rationality, so as to unfold a profoundly poetic chapter about vastness, tranquility, mystery, romance, or melancholy; about starry vault, ocean, universe, or technology. The architectural body itself is constructed by timber structures, by which the detailed symbols of different abstract significances are created. Hyper-scale structure, curved floor and sloping roof–all fabricate a particular urban crevice and bodily experience, where a multiplicity of spatial and bodily perceptions, by the public activities during the exhibition period, will be gradually triggered and brought into our consciousness.
“Prometheus stole the fire of wisdom for human beings, and they began to pursue the greatness of knowledge. Over the years, they have been educated, trained and expected to become Homo Legens (reading man), but gradually start to forget how Homo Sapiens (wise man) make the most of the primitive instinct of animal perceptions for living and learn by hard practice to perceive everything in nature.”1 Between reality and imagination we roam in Blue House: echoing sounds know directions and dimensions; in the air permeates an aura of love and danger we search for ; the smell of woods triggers imaginatively a primordial mountain forest, and through the light wells, the stars and moon in the night sky reveal the working of time and universe.
Blue House is not a multifunctional space with a specific purpose, but it may be a container full of events, an entrance to a boundless ocean or forest, and an intimate public building. What Blue House counts most concerns a multiple reading of immediacy; it is about ambiguity-accurately manipulated, utterly authentic and intangible.
The last passage in City of Jade said, “Everyone says to be rational. Reason is only one-twentieth of the organic faculties in our life, and what reason knows is merely what it has learned. There are some things that we could never possibly learn. Human nature is a whole, and it has to act as a whole, consciously.”Ephemeral and yet eternal, every moment of life is the evidence of the coexistence of past, present and future. Therefore, the significance of architecture does not lie in physics, but in the infinite différance of abstract references, changing and floating at any time, beyond definite dimensions and materials. The original intention of Blue House Study is to unearth a convergence and fluidity which are closer to the consciousness and perception among individuals. The architecture as such will gradually grow into a unique experience of the body, and continue to develop and evolve in various shapes in the world. The power of space is initiated by individuals, and progressively extends into collective consciousness and empathy.
Curated by the team Blue House, Blue House Study, composed of five sessions of experience and a continuous game, aims to look back upon the original understanding of the five senses and to regain, by physical practices, the instinctive approach to collect information in the world. Through sounds, Blue Ears: Space ( ) Sound embodies a relationship between body and space’s boundary, orientation, dimension and material, and delineates the shape of Blue House. Blue Eyes: Inner Landscape interrogates if we read without vision, then what is blue ? What is the image of home ? What will be the shape of Blue House ? In the sensory dialogues in darkness, Blue House will be built in the collective imagination. Blue Nose: Being There replaces the space with smells, escaping the physical boundary of Blue House by the individual imagination of smells. Between the tangible and intangible, Blue Body: Spirit Song Over the Waters animates authentic interactions of improvisation for all who meet in Blue House: existence is participation. In Blue Mind: Melt in Sleep, each participant has an ice cube in the shape of Blue House in the mouth as a starting point of sleep, and feel the body integrated with the architectural space in the public space, dreaming together. Bluetext designs a hidden mission in Blue House. Each participant’s body is a detector, with which s/he can try to measure the space.
A man’s life is composed of a series of events. By creating events, we’ve participated in each other’s lives, expecting to bring about together in daily life a little improvisation, a little romance, and adapting ourselves to ambiguities where dialogues are not necessarily to be dialogued. We believe that all elements will find in harmony a place of their own.
Text / Lydia Ya Chu Chang
創作團隊 | 藍屋
策 劃 | 孔維傑、張雅筑
設 計 | 張耕嘉、邱嘉盈、洪雋、貝赫尼斯.馬丁、鄭幃格、
黃凱祺、李明翰、邱元甫、龔寶稜、林浩雯、呂庭安
視 覺|吳致怡
Design Team | Blue House
Project Lead | Wei Chieh Kung, Lydia Ya Chu Chang
Designer | Ken Chia Chang, Jia Ying Chiu, Chun Hung, Bérénice Martin, Pao Leng Kung, Hao Wen Lin, Ting An Lu
Visual | Chih Yi Wu
