2023聲響藝術節節目手冊

目錄 Contents
002 序｜ Preface
004 2023 C-LAB 聲響藝術節｜ 2023 C-LAB Sound Festival: Diversonics
010 C-LAB 臺灣聲響實驗室｜ C-LAB Taiwan Sound Lab
012 地圖｜ Site Map
014 節目日程｜ Schedule of Programs
020 展覽與票券資訊｜ Exhibitions & Ticket Info
當代音樂聲響 VR 新聲境 098 Sound Installation: Myst &

Contemporary Music & Sounds VR: New Soundscape Soul
100 an·other voice
022 Hello 061 NTT×C-LAB《出體》｜
NTT×C-LAB OOBE 102 《灰屋》｜The Middle Room
024 《聲響》
｜Sounds
063 《彼岸－－無常之聲》｜ 104 《大地回音》｜
026 《綺想 ∞ 奇響》｜ LIMBOTOPIA - Echoes of the Land
Capriccio ExTpt Impermanence
028 Digit(s) - Initial // start from 1
校際單元
030 《介⾯詩學》｜舞蹈聲響
Dance & Sounds Academy
Interface Poetry
032 《遷》
｜Migration 066 《R》 107 《啌啷啪咔咻》｜
Clang-Puff-Achoo
034 《先祖：虛視》｜The 069 NTTxC-LAB《逆斷口》
Ancestors: Illusory Vision Re-Fracture 109 香港演藝學院電子音樂會｜
072 《潘朵拉幻象 - 無限穿梭》｜ Electronic Music from the
036 《靈魂的副翼：呼吸》｜ HKAPA
Aileron of Soul: Exhalation Pandora Illusion - Infinite
Odyssey 111 《人造星系》｜
038 《自然的脈動》｜
074 《無人知曉 : System Tandm》
｜ Artificial Galaxy
Nature’s Pulse
System Tandm
113 《即視旅行》｜
040 皿樂隊 Feat. 音速死馬｜VSL
Ad hoc voyages
Feat. Sonic Deadhorse 展演跨域
Inter-Artistic Expressions 115 《耳朵劇院：返響》｜Cinema
042 大象體操 x 張欣語｜Elephant
Gym x CHANG Hsin-Yu for the Ear: “Reverberation”
078 《風摧肉身》｜Worn Away 117 《道生九思》｜
044 《大都會》
｜Metropolis
081 《鎏/》｜Current/y Birth of Channels
048 《森聲不息》｜
084 《之間 I》｜Between I
Vibration Forest
086 《Miedka：野性⾯容》｜詩與聲響
050 IRCAM 工作坊精選作品｜
Miedka Faces of the Wild Poetry & Sounds
IRCAM Workshop:
Selected Works 088 《共鳴記憶：我響你》｜
120 〈詩與聲響：感官的意義〉｜
Resonant Memory: Echoes
054 《不可能的三難困境》｜ between You and Me 〈Poetry and Sounds: The
Impossible Trilemma Meaning of the Senses〉
090 《共鳴記憶：聲體糾纏》｜
056 《地平線上的新笙景：雙城記》｜ Resonant Memory: Acoustic ｜Sound of Becoming
122 《降聲》
Landscape on the New Volume of Entanglement 124 《飄浮》｜Floating
Horizon of Sheng: A Tale of
092 《誰的手術刀 2.0》｜
Two Cities 126 《它們從不存在。》｜
Whose Scalpel 2.0
They never existed.
058 《聆聽城市： 095 《消逝的靈光：政戰大樓影音
臺北＿一本聲音的雜誌》｜繞響》｜Lost Aura: Lingering 128 《超譯新詩學：Be⁷ 記得》｜
Listening Cities: Taipei Sound and Image of the Reflections on Modernist
A Sound Magazine Political Warfare Building Poetry: Be⁷ 記得 “Forgotten”
130 IRCAM 國際論壇與工作坊｜ 132 專場講座｜Lectures 133 製作團隊｜Production Team

IRCAM Forum & Workshops 托梅克・雅羅利姆、夏維爾・布瓦
薩瑞｜Tomek Jarolim & Xavier
Boissarie
SKYGGE 與朱迪特・德尚｜
SKYGGE & Judith Deschamps
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序文 Preface
「臺灣當代⽂化實驗場」（C-LAB）歷經五年的實驗碰撞、跨域合作，在藝術省思表現、科技 After five years of experimental collision and cross-domain collaboration the Taiwan
研發運用、社會公眾發展等⾯向，均構築出熱絡的交流平台，在因應科技快速發展的當代， Contemporary Culture Lab (C-LAB) has built a platform for intense exchanges in terms of
artistic reflection and expression technological research and development and social and public
我們如何拆解原有框架，在既有的基礎底蘊下創發新的想像－－這思想、軟體工程亦如同 development. The rapid technological advancement in our contemporary era has necessitated
C-LAB 的實體園區硬體改造，在新舊相容並存中，闢建共榮新興的未來。 a deconstruction of the existing frameworks and the renewal of imagination on the existing
foundation. This software engineering on the level of thinking is like the recent renovation at the
C-LAB 臺灣聲響實驗室與法國「聲響與音樂研究統合中心」（Institute for Research and C-LAB enabling the co-creation of a prosperous and emerging future where the old and the new
are compatible and coexist.
Coordination in Acoustics/Music IRCAM）合作以來，未因疫情停擺，但兩年多無法實
地互訪，終於 2022 年重啟實地交流、研習參訪活動。第一件國際共製《失眠寫生簿》，在 The collaboration between C-LAB Taiwan Sound Lab (TSL) and the Institute for Research
and Coordination in Acoustics/Music (IRCAM) in France has not been suspended due to the
2023 年春天，於巴黎的歐洲首演發表廣受各界讚賞好評，讓臺灣創作暨技術團隊與國際團 pandemic but on-site exchange visits have ceased for two years. In 2022 the two institutions
隊現場工作對接，獲益豐實，同時，於 2023 年 IRCAM 工作坊聯合研討會的「臺灣聚焦」 finally reassumed exchange visits and on-site research projects. Their first co-production The
Insomnia Sketchbook had its European premiere in Paris in the spring of 2023. In addition to
（Focus Taiwan）單元發表 VR 影像結合立體聲響作品，亦獲得國際各專業人士推崇。其 receiving wide praise from professionals the creative and technology team from Taiwan gained
中，沉浸式影音共製作品《黑洞博物館 + 身體瀏覽器》更從 26 國共 91 件作品中脫穎入選全 fruitful experience from on-site collaboration with their French colleagues. Besides VR video
works based on sound spatialization presented in Focus Taiwan at the 2023 IRCAM Forum
球最具代表性的動畫影展——2023 年法國「安錫國際動畫影展暨市場展」中「VR Works」
Workshops also won critical acclaim including the immersive audio-visual co-production Black
競賽單元七部最終決選名單，以及入選英國「美學短片電影節」（Aesthetica Short Film Hole Museum + Body Browser which was among the seven finalists in the VR Works competition
Festival ASFF）影展。臺灣聲響實驗室經過多件多樣性的跨域創作實驗，逐漸獲得國內外 of the eminent Annecy International Animated Film Festival and Market in 2023 (out of 91 entries
from 26 countries) and selected into the Aesthetica Short Film Festival in the U.K. The TSL’s
關注肯定，實踐了音樂聲響多元介入參與後，讓「聲音」扮演的角⾊為各類創作注入更激昂 diverse interdisciplinary creative experiments have gradually gained international recognition.
鮮活的生命力。 Its diversified interventions based on sound and music have vitalized creative practices by
renewing the role of sound in artistic practice.
2023 年「C-LAB 聲響藝術節：Diversonics」邁入第三屆，除了匯集多項展演節目，亦規 In its third edition the C-LAB Sound Festival: Diversonics this year features various performances
畫藝術家講座及 IRCAM 國際論壇與工作坊，分享音樂科技趨勢與實作。規劃多時的《大都 as well as IRCAM Forum & Workshops on trends and practices of music technology. Additionally for
the long-planned Metropolis cine-concert the iconic sci-fi silent film is combined with contemporary
會》電影音樂會，以經典科幻默片結合當代音樂作曲、室內樂演奏，搭配電聲及 IRCAM 團
composition and chamber music along with electronic sounds and a soundscape designed by the
隊聲場設計，將於高雄衛武營戲劇院帶來耳目一新的影音感知盛會。此外，本屆持續催發、 IRCAM team bringing a refreshing audio-visual sensory feast to National Kaohsiung Center for the
媒合多件跨域新創作品，共推出「當代音樂／聲響」、「VR 新聲境」、「舞蹈聲響」、「展演跨 Arts (Weiwuying). Cross-disciplinary productions achieved through incubation and matchmaking
are presented in the six sections of this festival namely Contemporary Music & Sounds VR: New
域」、「校際單元」、「詩與聲響」等六大單元，邀請藝術家、團隊合作新創共製與重製，推出 Soundscape Dance & Sounds Inter-Artistic Expressions Academy and Poetry & Sounds featuring
近 50 組作品，包含 200 多位各領域創作者、演出者、技術人力等參與，編創各種音樂聲響 around 50 new works co-productions and re-productions through the contribution of over 200
artists performers and technology professionals interweaving a variety of music and sounds with
與各類作品的交織與對話，不僅拓寬深化音樂聲響的表現形式與內容，部分作品亦探問即將 works in dialogue and widening and deepening the expression and content of music and sounds.
對人類社會掀起新一波狂潮的人工智慧科技。 Furthermore certain works explore or question the artificial intelligence (AI) a technology that will
soon overwhelm human society.
科技革新發展不斷，新興技術工具除對人類生活、習性、觀念與行為形成巨大影響，亦對各
With the constant development of technological innovations new technological tools have greatly
領域創作者帶來衝擊，無論持審視批判態度或是擁抱讚嘆，終須無畏⾯對新變化的挑戰。 influenced human life habits concepts and behaviors and also impacted artists and creators in
various domains. Whether they criticize with prudence or embrace the status quo they have to face
2023 聲響藝術節在全新整治後的空總園區展演之外，更輻射至各城市、館舍，期讓更多民 the challenges of the transformation fearlessly.
眾了解認識音樂聲響科技的發展，促發各界未來更無垠寬廣的想像與創造力。十分感佩各創 The performances and exhibitions at the 2023 C-LAB Sound Festival not only take place in C-LAB’s
作者╱團隊的無懼實驗精神，及各合作單位、協辦、贊助單位熱情參與⽀持。 renovated venues but radiate to other cities and venues. The aim is to allow the wider public to
understand the development of music and acoustic technologies and to incite unlimited imagination
and creativity in related domains. The artists’ audacity in experimentation and enthusiastic support
of the collaborators co-organizers and sponsors are greatly appreciated.
謝翠玉 HSIEH Tsui-Yu

財團法人臺灣生活美學基金會執行長 Executive Director of Taiwan Living Arts Foundation
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C-LAB 臺灣聲響實驗室 About Taiwan Sound Lab
In 2018 the Ministry of Culture Taiwan and the Institute for

Research and Coordination in Acoustics/Music (IRCAM) France
signed a letter of intent for cooperation. In 2019 the Taiwan
Contemporary Culture Lab (C-LAB) and the IRCAM co-founded
the Taiwan Sound Lab (TSL) to promote cross-disciplinary
contemporary art-making in Taiwan by drawing from IRCAM’s
development strategies and operational experiences in the
2018 年，由⽂化部與法國「聲響與音樂研究統合中心」
domains of music and sounds.
（Institute for Research and Coordination in Acoustics/
The TSL was founded by adhering to the integration of artistic
Music，簡稱 IRCAM）簽署合作意向書。2019 年，空總臺 creation sciences technologies cross-disciplinary practice
灣當代⽂化實驗場（C-LAB）與法國「聲響與音樂研究統合 and educational research. In the initial stage the C-LAB and
IRCAM discussed and planned the positioning equipment
（Taiwan Sound Lab，
中心」合作成立「臺灣聲響實驗室」 requirements operational direction and talent training regarding
簡稱 TSL），汲取其音樂與聲響領域之發展策略及營運經 the TSL leading to visits as well as exchanges of co-production
educational research exhibitions and performances. In 2019
驗，促進我國當代跨域創作的合作。 the two parties co-organized the first C-LAB Sound Festival:
Diversonics and also started their first international co-
臺灣聲響實驗室秉持以藝術創作、科學、科技、跨域、教育 production through bilateral cooperation.
研究融匯建置。草創期間，雙方就臺灣聲響實驗室的定位、
From 2019 to 2021 the TSL accumulated production experience
設備需求、營運方向、人才培訓等層⾯進行討論與規劃，並 and trained talents through projects and activities including visits
展開人員互訪、共製、教育研發以及展演等領域交流，並於 performance invitations international co-productions original
cross-domain programs experimental music composition online
2019 年共同舉行第一屆聲響藝術節，同時展開雙邊合作第 education programs and online international forums gradually
一件國際共製。 revealing new expressions of music/sound art practices to
actors in relevant fields and inspiring artistic conception based
2019 至 2021 年，臺灣聲響實驗室透過人員互訪交流、 on music and sounds. By applying software and hardware
of novel digital technologies and through various forms of
作品邀演、國際共製、自製跨域節目、實驗作曲、線上教 artistic expression opportunities for self-exploration and self-
育學程、線上國際論壇等計畫活動，累積製作經驗及人才 challenge are provided to artists to break conventional thinking
and realize new representations blending musical sounds with
培養，逐步讓各界認識音樂╱聲響創作的新表現，鼓勵創 artworks of various genres. Furthermore following the gradual
作者以音樂與聲音作為發想的元素，結合新創數位科技軟 global reopening between 2022 and 2023 from the COVID-19
pandemic the TSL has continued with new projects and
硬體應用，透過各種不同的藝術表現形式，提供創作者探 successfully promoted its recent cross-domain productions to
索、挑戰自我的機會，打破傳統的創作思維，實踐音樂聲 the world.
音與各種藝術作品交融的新樣貌。2022 至 2023 年，疫 The TSL intends to build an experimental platform based on
情逐漸解封，實驗室持續創新製作，並成功將近年各種跨 musical sounds where technical engineering is integrated into
creativities across disciplines and art genres. It also conducts
域製作成果輸出至國際。 resource integration and cross-institutional collaboration.
Through continuous development in software and hardware
臺灣聲響實驗室希冀打造一個由音樂聲響進而媒合跨學科、 for acoustic engineering the TSL becomes an incubator of
跨藝術領域的創意與技術工程的實驗平台，整合資源、跨機 technicians and talents. Exchanges including projects of
composition musicology digital art sound engineering and sound
構協作，將持續推動相關聲音軟硬體工程技術與創作人才培 recording and processing are organized in an attempt to apply
育與交流，包含作曲、音樂學、數位藝術、聲音工程、錄音 relevant technologies in electronic music-making computer
music production cross-field exhibitions and performances and
處理等項目，期能應用於電聲創作、電腦音樂製作、跨領域 interactive multimedia systems and auditory interface design
展演、交互式多媒體系統與聽覺介⾯設計等，激發音樂聲音 thereby stimulating diverse ideas and creativities of musical
sounds developing multi-level cultural imagination and dialogue
創意多樣性發想，為臺灣音樂與聲響領域發展多層次的⽂化 for music and sound art in Taiwan and forging a complete
想像及對話，進而建構出健全的媒體科技創新生態鏈。 ecosystem chain for innovating media technologies.
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2023 C-LAB 聲響藝術節：DIVERSONICS 臺灣電子音樂作曲先驅曾毓忠的人機互動實驗作品《綺想 ∞ 奇響》。晟 SHENG、吳沛奕、
陳亮的《Digit(s) - Initial // Start from 1》則結合實時影像，呈現擊樂從單純到繁複的漫長
演化。賴宗昀的《先祖：虛視》基於以機器學習方式處理的臺灣原住民照片史料，吳秉聖的
技術型塑當代文化構體及美學演進
《靈魂的副翼：呼吸》則以銅管樂器結合電聲與即時生成的影像。此外，與「再壹波藝術節」
全球已經進入一全新的轉變速率，自然界的異常、能源、區域政經、宗教心靈、⽂化、科合作邀請的柏林新音樂室內樂團（Ensemble KNM Berlin）將演奏 2023 年的新製作《聆聽
技、人與人之間人與生活環境之間的「互動關係」等均在可辯可感的大規模演化、反叛，技城市：臺北＿一本聲音的雜誌》。法國當代音樂家 SKYGGE（丹麥⽂，意指「影子」）的《介
術進化之浪潮接踵襲來，新科技的介入運用已內化成人類的生活必需，也重塑了⽂化藝術層⾯詩學》演出計畫結合他的實驗流行歌曲及數位藝術團體 OYÉ 的原創 3D 動畫，均以人工
⾯的結構體系，無論多措手不及皆是無可抵擋的趨勢。新技術賦予各創作者新的想像空間也智慧（AI）創作。法國作曲家亞歷山大・李維（Alexandre Lévy）的《森聲不息》（Vibrational
帶來挑戰，美學的脈絡與辯證⾯臨新的思維衝擾，雖技術發明運用早存於遠久的每一年代， Forest）裝置作品包含循環反覆的返響，專精電腦音樂的藝術家奧利維耶・帕斯奎特（Olivier
然而人類的科技發展非等速度運動，是一種加速成倍竄升的速率，其發展帶來的衝擊接踵而 Pasquet）將推出《不可能的三難困境》國際首演，透過擴增合成聲場，融混實虛音響。本
至，毫無喘息迴轉餘地，以致人類不及思索全⾯浸淫，思潮發生轉換的時間隔越來越短，並單元同時邀請多組電聲創作與獨立樂團及聲音藝術家跨樂種合作共創，像是皿樂隊與音速死
且密集頻繁，人們如何於這波浪潮安然掌舵？馬、大象體操與聲音藝術家張欣語，以及跨領域樂種音樂創作者及歌手葉穎、電音樂團「幽
專注技術探討的哲學家貝爾納爾 ‧ 斯蒂格勒（Bernard Stiegler，前「聲響與音樂研究統合法」等，均將透過臺灣聲響實驗室聲音創作與技術的媒合、運用，讓聲響藝術的觸角無限擴
中心」
〔IRCAM〕執行長，2002-2005）解析了他稱之為「藥」（pharmakon- 古希臘⽂）的情延，亦將展現先前參與 IRCAM 工作坊的臺灣創作者的豐碩成果。
狀：技術如同解藥亦是毒藥，具創造性的破壞（destruction créatrice）能量。有形無形、虛「VR 新聲境」單元推出與臺中國家歌劇院共製，由新媒體藝術家謝⽂毅、肢體藝術家趙亭婷
實空間中，技術已成為⽂化條件，內建於人類的生活日常與思想，讓人類既感綑綁囿限亦感及作曲家黃祈諺合創的《出體》，透過 C-LAB 臺灣聲響實驗室立體聲場的 Ambisonics 沉浸
自由解放，而創意與藝術終究須由人的意識主導，突破各種制約與規範，闢出一條新美學的式多聲道系統，呈現靈魂離開肉體後的未知經驗。另委託當代音樂創作者黃苓瑄、藝術家謝
表達路徑。⽂毅合創的《彼岸－－無常之聲》則意圖營造聽覺感知的「真實世界」與「恍惚幻象」之間的擺
盪，科技新技術與機具供給與創作者更寬廣的自由想像及拓延受眾者的感知空間。
人機共存，科幻成未來之實？
於這使用形式語言（langages formels）的數據時代來創造嶄新、不可預見的藝術，過程多元領域創作互文為藝術之本
冒險刺激、充滿未知，新科技帶來不斷重整分類排序的混種生產及模糊邊界，人類與機具因臺灣⽂理科教育、各領域、產業發展長期過於壁壘分明，近年臺灣「跨領域」、「跨界」積
介⾯的相互協作共融已非科幻想像，持續掌握新技能、透過數位科技新興工具來理解交極倡議，然而當代創作中跨學科、跨類別領域的思辯與協同實踐於西方早已行之多時。橫
流、統合彙整、創造等各領域知識，已成不可或缺之能力。2023 年 C-LAB 聲響藝術節跨 19 至 20 世紀、人稱變⾊龍的音樂鬼才史特拉汶斯基（Igor Stravinsky）即是一位視覺性
DIVERSONICS 持續媒合、嫁接、激勵各類創意協作，展演內容共分為「當代音樂╱聲響」、強烈的音樂開創性作者，在他一甲子的流離人生，創作了多件當時難以定義的新形式音樂作
「VR 新聲境」、「舞蹈聲響」、
「展演跨域」、「詩與聲響」及「校際單元」
。以音樂聲響涉介殊異品，其音樂與劇場形式緊緊相扣，涵蓋儀式、朗誦、舞蹈、歌劇等，故聲響藝術節希冀推助
的創作形式內容，構建新的展演作品，科幻逐成真實的延伸，人機共存成為常態。不同創作思維與藝術語彙交流碰撞，不受自身囿限的藝術觀點論述演繹，探勘音樂聲響與其
「當代音樂╱聲響」單元中的《大都會》電影音樂會，復古影片質地至今看來卻仍充滿當代真他藝術深入的縱橫交錯，而更相得益彰。「舞蹈聲響」單元推出臺灣聲響實驗室與 IRCAM 的
實現象，呈現之議題於今日充滿先知且極具省思深義。影片於 1927 年由德國導演佛列茲・第二件共製作品《R》，由編舞╱舞蹈家林祐如、田孝慈和當代作曲家林梅芳共創，透過肢體
朗（Fritz LANG）拍攝完成，IRCAM 邀請當代作曲家馬丁・馬塔隆（Martin MATALON）重視覺與聽覺編構出各式運動線條，體現歷經疫情之「停滯」後，期許「重啟」的蓄勢待發，音
新編創音樂，本創作結合爵士樂、當代音樂、電子音樂與前衛搖滾風格，由 16 位音樂家編樂肢體再共啟生命動能。另一件臺灣聲響實驗室與臺中國家歌劇院共製作品是由葉于瑄、鄭
制室內樂團搭以環繞電聲音場設計，音樂隨著影像跌宕起伏、緊扣視覺情緒，樂音隨影片中道元及蕭育禮共創的《逆斷口》，將肢體、聲響與裝置視為相互依附的載體，相互制衡、交
多處隱喻的澎湃思潮，以及⾯對各種機械⽂明的到來而提警人類珍貴的意識覺醒。臺灣茱莉疊、重組。此外，謝賢德、蕭景馨、葉廷皓依據新場地重製的《潘朵拉幻象 - 無限穿梭》結合
亞音樂學院校友組成的「六六樂集」演奏前衛多變、積極跨界的德國當代作曲家亞歷山大・現場擊樂、多聲道聲響及音像互動藝術，打造新的影音感官，蕭景馨的《無人知曉—System
舒伯特（Alexander Schubert）之《Hello》曲作。
「三個人」國樂團將演奏新銳當代音樂作曲 Tandm》則運用全身動態捕捉設備，使聲光結構與街舞舞者的肢體動能緊密交織。
家林芝良、郭靖沐、潘宜彤的作品，呈現傳統樂器結合影像電聲跨世代的音像演出新貌。此外，本屆聲響藝術節亦邀集多件當代藝術、科媒作品，包括屢屢受邀於重要國際大展與機
笙演奏家李俐錦的《地平線上的新笙景：雙城記》古器新奏，演繹多國作曲家新創的樂曲，構展出的陳界仁最新錄像作品《風摧肉身》，陳乂主創的《鎏/》則特別與臺灣科學節策略聯
以光、環繞電聲、現場器樂，引領聽眾漫遊古今聲樂沉浸迴繞之旅。小號演奏家鄧詩屏演奏盟，將雷射光與動態捕捉融入表演藝術。張晏慈的《誰的手術刀 2.0》影音裝置及聲音表演
作品基於醫學圖像處理技術，展開關於身體、科學和⽂化意象的科幻旅程。法國視覺藝術
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家季勇（Guillaume Hébert）與作曲家亞歷山大・李維的原創作品《消逝的靈光：政戰大樓 2023 C-LAB Sound Art Festival: DIVERSONICS
影音繞響》則以獨特視角及影像後製，由臺灣聲響實驗室團隊製作剪輯影片及聲音設計，重
新回望空總園區政戰大樓（現稱「未來廣場」）的歷史軌跡。其他作品包括機械媒材藝術家徐
Contemporary Cultural Structure & Aesthetic Evolution Shaped by Technology
瑞憲攜手台北市立交響樂團及 AI 工程師等跨域專業人士合作的《之間 I》、藝術家及科學家
An unprecedent rate of change has brought massive evolution and revolt through abnormalities
劉辰岫創製的《大地回音》互動裝置、張欣語的聲音裝置作品《Sound Installation : Myst & in nature, energy, regional politics and economics, religious spirituality, culture, technology, and
Soul》、管瀞雅的雙頻道錄像《灰屋》、由法國藝術家朱迪特・德尚（Judith Deschamps） interactions between people and the living environment. With waves of technological evolution,
intervention and application of new technologies have become necessities of human life, reshaping
與法國 IRCAM 團隊及盧森堡卡西諾當代藝術中心（Casino Luxembourg）共製的《an·other
the structural system at the cultural and artistic level. This is an irresistible trend regardless of our
voice》展覽計畫以古典樂音為⽂本，探討人機存亡關係。蕭景馨於聲響工作站創作的《共鳴 unpreparedness. New technologies enlarge creators’ imagination and also bring challenges. In the
記憶：我響你》及融合預製聲響與即時調變處理的《共鳴記憶：聲體糾纏》則以聲音處理記憶 aesthetic context and dialectics impacted by new ideas, long-existing technological inventions and
applications are so accelerated that human science and technology now advance at a much faster
議題。此外，亞歷山大・李維和歌唱家伊莉絲・達布羅斯基（Élise Dabrowski）將率先呈獻 speed, bringing an impact that leaves no room for respite. More intense and frequent ideological
創作中的《Miedka：野性⾯容》歌劇小品中的音樂和聲樂作品，該劇作也將以互動裝置型態 changes have disabled thorough reflection. How to steer safely amid the tides?
展出，以聲音描摹半人半獸的生存樣態。多件作品賦予音樂聲響多樣、可調變詮釋、辯證的 Philosopher on technology, Bernard Stiegler (former director of IRCAM, from 2002 to 2005)
充沛量能。 explained a state of “pharmakon” (ancient Greek): like an antidote and also a poison, technology
contains an energy of creative destruction (destruction créatrice). In the tangible/intangible
or virtual/real spaces, technology has become a cultural condition built into our daily lives and
聲響與音樂不僅運用在視覺、電影、戲劇、舞蹈等領域，也作為轉化⽂字的感知媒介。今年
thoughts. Thus, human beings feel constrained but also liberated. Ultimately, creativity and art
特邀詩人暨導演鴻鴻策畫的「詩與聲響」單元將呈現王榆鈞、幽法樂團、黃苓瑄以及區若思 must be led by consciousness to break through constraints and norms, opening a new path for
（Ross Aftel）分別基於鴻鴻、羅智成、阿米、謝旭昇、林亨泰等詩人的⽂體，在當代聲響藝 aesthetic expression.
術和現代詩的領域之間，激盪出對詩樂交融的新領悟。
Human-Machine Coexistence, Sci-Fi Becomes Tomorrow’s Reality?
「校際單元」將是藝術節孕育新秀的重要舞台，今年持續合作的校系除了國立臺北藝術大學、 In an adventurous and exciting process of unknowns, new and unpredictable art is created
國立臺灣師範大學、國際陽明交通大學的音樂與科技類系所，更往下紮根至臺中市立清水高 through formal languages (langages formels) in this age of data. With new technologies, hybrid
productions and blurred boundaries are constantly reorganized, re-classified and re-sequenced.
中音樂班，並往外延伸到香港演藝學院，展現以新科技藝術孵育新生代創作者的驗證與實踐 Human-machine interaction, collaboration and integration are no longer sci-fi fantasy. Continuously
成果。 mastering new skills, and using emerging digital technologies and tools for understanding
and communication, integration, creation through different fields of knowledge have become
indispensable skills. The 2023 C-LAB Sound Art Festival: DIVERSONICS continues to match,
IRCAM 國際論壇與工作坊，隨著趨勢變動思考 / 實作 graft and inspire various creative collaborations. The programme comprises "Contemporary Music
& Sounds", "VR: New Soundscape", "Dance & Sounds", "Inter-Artistic Expressions", "Poetry &
國際論壇與工作坊，邀請來自 IRCAM 團隊的班諾瓦・亞里希（Benoît Alary）及皮耶・吉 Sounds" and "Academy". In the new performance works with different creative forms and contents
involving music and sound, science fiction gradually becomes an extension of reality, and the
雍（Pierre Guillot）介紹 3D 聲響沉浸、空間技術及 AI 人工智慧化等的創意應用，分享新興 man-machine coexistence becomes the norm. “Contemporary Music & Sounds” features IRCAM
科技思維與實踐；IRCAM 教育與資料部主任菲利浦・朗格洛瓦（Philippe Langois）將分享 Metropolis Cine-Concert. The texture of the old film by German director Fritz LANG in 1927 still
seems filled with contemporary phenomena, and the issues presented are full of prophetic and
IRCAM 的跨機構合作與聲音科技教育的新趨勢。同時，與工業技術研究院合作，邀請專精
thought-provoking meanings for today. IRCAM invited contemporary composer Martin MATALON
肢體和新媒體融合應用的法國 Orbe 創辦人夏維爾・布瓦薩瑞（Xavier Boissarie）及藝術總 to re-arrange music for this film. He combines jazz, contemporary music, and electronic music, and
監托梅克・雅羅利姆（Tomek Jarolim）分享過去於舞蹈演出中運用聲音體感裝置之創作。 progressive rock. With a chamber ensemble of 16 musicians and a surrounding design of electronic
sound field, the music rises and falls with the images, closely following the visual mood, along with
音樂聲音藝術歷經不同⽂化、時代更迭演變，20 世紀業已歷經各種不同音樂派別之流變演 the surging thoughts and metaphors in the film, which involve a precious awakening of awareness
for mankind in the face of the arrival of civilizations based on machines. 66 Musica composed
繹，經典仍留存人心，至今，音樂聲響續充滿感染力地透過各種渠道進入大眾的意識與感官 of Taiwanese alumni of Juilliard School perform Hello by Alexander Schubert, an avant-garde,
層⾯，而繼持為一項⽂化表徵，各類創作常反叛推翻前朝論述再拋出新觀點，數位機械性精 versatile interdisciplinary contemporary composer from Germany. 3PEOPLEMUSIC (Chinese music
ensemble) performs works by cutting-edge contemporary music composers LIN Chih-Liang, KUO
準演算的機制如何再創迷心動人的藝術，人（創作者）需建構更強的判研及創造能力，與科 Jing-Mu and PAN I-Tung, showing fresh cross-generational audiovisual performances combining
技技術相依共存，強化自身操握自由意識及開創性思維能力，期許音樂聲響藝術於 21 世紀 traditional instruments with images and electronic sounds.
的美感、新形式內容探索之路能繼續輝映當下、耀爍未來！ Sheng performer LI Li-Chin’s Landscape on the New Horizon of Sheng: A Tale of Two Cities is a
new interpretation of the ancient instrument and features new works by composers from many
countries; light, surround electronic sound, and live instrumental music are integrated, leading
黃意芝 on an immersive journey of ancient and modern music and sound. Trumpeter DENG Hsei-Ping
performs the human-computer interaction-based experimental work Capriccio ∞ ExTpt by TSENG
計畫統籌 Yu-Chung, a pioneering Taiwanese electronic music composer. Digit(s) - Initial // start from 1 by
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晟 SHENG, Allen WU and CHEN Liang combines real-time images to show the long evolution of a unique perspective through video post-production, along with editing and sound design by the
percussion from simplicity to complexity. LAI Tsung-Yun’s The Ancestors: Illusory Vision is based TSL team, revisiting the historical route of the Political Warfare Building (now known as "Future
on historical photos on Taiwanese aboriginals processed using machine learning, and WU Ping- Square") on the former Air Force Command Headquarters. Other works include Between I (a
Sheng's Aileron of Soul: Exhalation combines brass instruments with electroacoustic and real- collaboration between mechanical media artist SHYU Ruey-Shiann, Taipei Symphony Orchestra and
time generated images. In addition, Ensemble KNM Berlin invited jointly by One More Festival AI engineers), Echoes of the Land interactive installation by artist and scientist Ivan LIU, CHANG
perform their new work Listening Cities: Taipei, A Sound Magazine. The Interface Poetry by French Hsin-Yu’s Sound Installation: Myst & Soul, and KUAN Ching-Ya’s two-channel video The Middle
contemporary music artist SKYGGE ("shadow" in Danish) combines his experimental pop songs Room In an·other voice co-produced by artist Judith Deschamps, the IRCAM team and Casino
with 3D animations by digital art group OYÉ, both based on AI. French composer Alexandre Lévy's Luxembourg, classical music serves as a text to explore the fatal relationship between man and
Vibration Forest installation contains recurring echoes, and artist Olivier Pasquet specializing in machine. HSIAO Ching-Shin presents Resonant Memory: Echoes between You and Me created at
computer music presents the international premiere of Impossible Trilemma, where real and virtual Studio 3 and Resonant Memory: Acoustic Volume of Entanglement, which combines preproduced
sounds are blended through an amplified synthetic audio field. Besides, electronic music groups sound and real-time modulation; both works deploy sound to address issues of memory. Alexandre
are invited to collaborate with independent bands and sound artists across genres, such as VSL Lévy' and singer Élise Dabrowski hold the world premiere of music from the operette Miedka,
Feat. Sonic Deadhorse, Elephant Gym and sound artist CHANG Hsin-Yu, as well as cross-genre Faces of the Wild currently being created. The operette also involves an interactive installation and
composer and singer Leaf YEH, and the electronic music group “ufa”, infinitely expanding sound art exhibited in various forms, using sound to describe the half-man, half-animal existence. Multiple
through the acoustic fusion and application technology in C-LAB Taiwan Sound Lab (TSL), along works represent music sounds that are diverse, modifiable and interpretable, and full of dialectical
with works by Taiwanese creators who have participated in IRCAM workshops. energy.
“VR: New Soundscape” features OOBE co-produced with the National Taichung Theater
and co-created by new media artist HSIEH Wen-Yee, body movement artist ZHAO Ting-Ting Sound and music are not only used in visual art, film, drama, or dance, but also serve as
and composer HUANG Chi-Yen; the unknown experience after the soul leaves the body is perceptional media for transforming words. “Poetry & Sounds” curated by poet and director Hung
represented through the Ambisonics immersive multi-channel system in TSL’s spatial audio field. Hung features works by WANG Yu-Jun, ufa, HUANG Ling-Hsuan and Ross Aftel, which are based
LIMBOTOPIA – Impermanence co-created by contemporary music composer HUANG Ling-Hsuan on poems by Hung Hung, LO Chih-Cheng, Ami, HSIEH Hsu-Sheng, and Lin Heng-Tai, respectively,
and artist HSIEH Wen-Yee is a commissioned work; it creates an oscillation between the real stirring up a new understanding of poetry-music integration between contemporary sound art and
world and illusion in terms of auditory perception. New technologies and devices provide creators modern poetry.
with more opportunities, widening and freeing their imagination, and expanding the audience's “Academy’’ is a main stage for nurturing talents. This year’s festival continues to collaborate with
perceptional space. music or technology departments of the National Taipei University of the Arts, National Taiwan
Normal University, and National Yang Ming Chiao Tung University, while also rooting in the Music
Cross-Domain Intertextual Creation: Foundation of Art Gifted Class of Taichung Municipal Cingshuei Senior High School and extending to Hong Kong
Academy for Performing Arts, showing proofs and results of incubating a new generation of
In Taiwan, there were strict divisions between liberal arts education and science education, various
creators using new technology and art..
fields, and industrial development. Therefore, "cross-field" initiatives have been actively promoted
in recent years. However, cross-disciplinary and cross-category thinking and collaborative practice
in contemporary creation have long been practiced in the West. Igor Stravinsky, the musical genius IRCAM Forum and Workshops: Thinking/Practice Evolving with Trends
known as the chameleon and whose life spanned across the 19th and 20th centuries, was a IRCAM Forum and Workshops features Benoît Alary and Pierre Guillot from the IRCAM team. They
pioneering composer and musician with a strong visual sense. During his wandering life, he created present creative applications of 3D sound immersion, spatialization and AI technologies as well as
many works of new forms that were difficult to define at the time. His music is closely linked to emerging thinking and practice about technology. Philippe Langois (IRCAM Education Department
theatrical forms, such as rituals, recitations, dances, operas, etc. Similarly, the festival hopes to Director) presents IRCAM’s cross-institutional collaborations and trends in sound technology
promote exchanges and collisions of different creative ideas and artistic vocabularies, without education. In the lecture jointly organized by the Industrial Technology Research Institute, Xavier
being limited to the discussion and interpretation of limited artistic viewpoints. Exploration of music Boissarie (founder) and Tomek Jarolim (creative director) of Orbe, which specializes in integrating
sounds is deeply intertwined with other arts and complements each other. "Dance & Sounds" applications related to body and new media, present examples of context-based music generation
presents R, the second co-production between TSL and IRCAM. It was created by choreographers/ using AI in dance performances.
dancers LIN Yu-Ju, TIEN Hsiao-Tzu and contemporary composer LIN Mei-Fang. It is composed
through body-based vision and hearing, showing various movement lines, reflecting the readiness The art of music and sound has evolved through cultures and eras. The 20th century has seen
for "restart" after the "stagnation" during the pandemic, and retriggering the energy of life through the evolution and interpretation of various music schools. The classics remain in people’s hearts.
musical and body. Today, musical sounds still enter in our consciousness and senses through various channels, with
Another work co-produced by TSL and the National Taichung Theater is Re-Fracture co-created by strong inspiration, persisting as a cultural representation. Various creators rebel and overthrow
YEH Yu-Hsuan, CHENG Dao-Yuan and HSIAO Yu-Li. The body, sound and installation are regarded previous discussions through new perspectives. How to recreate fascinating art through the digital,
as interdependent vehicles, balancing, overlapping and reorganizing each other. HSIEH Hsien-Te, mechanical mechanism based on precise calculation? People (creators) need to build stronger
HSIAO Ching-Hsin and YEH Ting-Hao recreated Pandora Illusion - Infinite Odyssey based on the abilities of judgment, research, and creation in a coexistence with science and technology,
new venue, combining live percussion, multi-channel sound and audio-visual interaction. HSIAO’s enhancing their sense of freedom and innovative thinking. Hope the exploration of beauty as well
System Tandm uses a full-body motion capture device to interweave sound and light structure as new content and forms of music and sound art in the 21st century continues to shine out at
with the kinetic energy of hip-hop dancers. The festival also includes contemporary art works present and in the future!
and artworks using scientific media, including internationally renowned CHEN Chieh-Jen’s latest
video work Worn Away. Current/y created by CHEN Yi is produced especially through an strategic
alliance with the Taiwan Science Festival, integrating laser light and motion capture into performing
arts. CHANG Yen-Tzu’s Whose Scalpel 2.0 installation and sound performance is a sci-fi trip about
body, science and cultural imagery. The original work Lost Aura: Lingering Sound and Image of the
Cécile HUANG
Political Warfare Building by visual artist Guillaume Hébert and composer Alexandre Lévy takes Head of Programming
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園區地圖
立體聲場
102共享吧聲響工作站3
Ｅ棟宿舍Ｃ棟宿舍
SITE MAP
街角廣場
Ⓑ Ⓗ通信分隊
展演空間
通信分隊前
廣場
圖書館
展演空間
CREATORS 空間北草坪
Ⓙ 多功能廳
CREATORS C-LAB 臺灣聲響
廣場營運中心 Ⓐ 實驗室
Ⓓ 灰盒子
迎風舞台
Ⓘ 旁草坪
面會吧 Ⓒ 聯合餐廳展演空間
Ⓕ
迎風舞台
A 臺灣聲響實驗室
（立體聲場、聲響工作站 3）
聯合餐廳前廣場 Taiwan Sound Lab
圖書館前廣場 (Spatial Audio Field & Studio 3)
服務中心
未來廣場
B 102 共享吧
R102 Coworking Space
C 聯合餐廳展演空間
Art Space I
加油站
248廣場
Ｄ聯合餐廳展演空間灰盒子
美援大樓展演空間
Art Space I｜Gray Box

通信處辦公室
Ⓖ 舊辦公大樓
Ｅ FUTURE VISION LAB
美援小廣場
2023
IP內容
Ｆ
戰情大樓圖書館前廣場
實驗室
Square II
Ｇ美援大樓展演空間
Art Space IV
劇場前戰情大樓前
空總劇場西草坪
廣場廣場 Ⓔ 東草坪
休憩站Ｈ通信分隊展演空間
Art Space III
FUTURE VISION LAB
2023
榕樹廣場
Ｉ迎風舞台旁草坪
Grassland by the Wind Stage
社會創新實驗中心
J 多功能廳
Multi-function Space
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█ 當代音樂／聲響 Contemporary Music & Sounds █ VR 新聲境 VR: New Soundscape
節目日程
█ 展演跨域 Inter-Artistic Expressions █ 校際單元 Academy
Schedule of Programs
Date Time 節目｜Program 場地｜Venue Date Time 節目｜Program 場地｜Venue
10.6 19:00 皿樂隊 Feat. 音速死馬 VSL Feat. Sonic Deadhorse｜

FRI. 20:30 10.14 自然的脈動 Nature’s Pulse｜Digit(s) - Initial // start 圖書館前廣場
18:30
立體聲場 SAT. from 1｜大象體操 × 張欣語 Elephant Gym x CHANG Square II
NTT × C-LAB 出體 OOBE Hsin-Yu
14:00 Spatial Audio Field
10.7
16:30
SAT.
19:30
10.14 香港演藝學院電子音樂會立體聲場
19:00
SAT. Electronic Music from the HKAPA Spatial Audio Field
共鳴記憶：我響你｜展覽
14:00
Resonant Memory: Echoes between You and Me
19:30 外部場館｜extramural
(exhibition) IRCAM 大都會電影音樂會
10.7 聲響工作站 3 14:30 衛武營國家藝術⽂化中心
IRCAM Metropolis Cine-Concert
SAT. Studio 3 10.15 歌劇院
15:00 共鳴記憶：我響你｜演出 SUN. Opera House
16:30 Resonant Memory: Echoes between You and Me National Kaohsiung Center
17:30 演後座談╱ Post-concert Talk
20:00 (performance) for the Arts (Weiwuying)
14:00 10.18 IRCAM 論壇及工作坊 102 共享吧

10.8 立體聲場 10:00
16:30 NTT × C-LAB 出體 OOBE WED. IRCAM Forum & Workshops R102 Coworking Space
SUN. Spatial Audio Field
19:30
共鳴記憶：我響你｜展覽 10.19 IRCAM 論壇及工作坊 102 共享吧

14:00 Resonant Memory: Echoes between You and Me 10:00
THU. IRCAM Forum & Workshops R102 Coworking Space
(exhibition)
10.8 聲響工作站 3
SUN. Studio 3 聲響藝術展｜Sound Art Exhibition (p. 92-105)
共鳴記憶：我響你｜演出
15:00 Resonant Memory: Echoes between You and Me 10.19 THU.- 誰的手術刀 2.0（演出）通信分隊展演空間 1, 2 樓
(performance) 11.12 SUN. Whose Scalpel 2.0 (performance) Art Space III 1F & 2F
11.19 19:30, 10.21 15:00, 10.22 15:00
開幕式 Grand Opening
10.12 Hello｜聲響 Sounds｜綺想 ∞ 奇響 Capriccio 圖書館前廣場 15:00
19:00 10.21 共鳴記憶：聲體糾纏立體聲場
THU. ExTpt｜Digit(s) - Initial // start from 1｜介⾯詩學 Square II 17:00
SAT. Resonant Memory: Acoustic Volume of Entanglement Spatial Audio Field
Interface Poetry 20:00
遷 Migration｜先祖：虛視 The Ancestors: Illusory 10.21 專場講座：夏維爾・布瓦薩瑞、托梅克・雅羅利姆多功能廳

10.13 圖書館前廣場 16:00
18:30 Vision｜靈魂的副翼：呼吸 Aileron of Soul: Exhala- SAT. Lecture: Xavier Boissarie & Tomek Jarolim Multi-function Space
FRI. Square II
tion｜介⾯詩學 Interface Poetry
森聲不息（演出）
16:00
Vibration Forest (performance) 迎風舞台旁草坪
10.14 專場講座：SKYGGE、朱迪特・德尚多功能廳 10.21 17:30
15:00 （展覽｜Exhibition 10.21-11.5 p. 20） Grassland
SAT. Lecture: SKYGGE & Judith Deschamps (p.132) Multi-function Space SAT.
by the Wind Stage
18:00 演後座談｜Talk
10.14 啌啷啪咔咻聯合餐廳展演空間灰盒子 10.21

16:00 17:00 人造星系｜Artificial Galaxy
聯合餐廳展演空間灰盒子
SAT. Clang-Puff-Achoo Art Space I｜Gray Box SAT. Art Space I｜Gray Box
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█ 當代音樂／聲響 Contemporary Music & Sounds █ VR 新聲境 VR: New Soundscape
節目日程
█ 舞蹈聲響 Dance & Sounds █ 展演跨域 Inter-Artistic Expressions
Schedule of Programs █ 校際單元 Academy █ 詩與聲響 Poetry & Sounds
NTTxC-LAB 逆斷口 11.5 即視旅行聯合餐廳展演空間 2F、灰盒子

19:30 11:00
10.21 NTTxC-LAB Re-Fracture SUN. Ad hoc voyages Art Space I 2F & Gray Box
SAT.
美援大樓展演空間一樓
20:10 演後座談｜Talk Art Space V 1F 外部場館｜extramural
11.5 14:30 鎏（/ 現場演出版）國立臺灣科學教育館小黑盒

10.22 NTTxC-LAB 逆斷口 The Black Box
19:30 SUN. 16:30 Current/y (live performance version)
SUN. NTTxC-LAB Re-Fracture National Taiwan Science
Education Center
10.22 共鳴記憶：聲體糾纏立體聲場

15:00 16:00
SUN. Resonant Memory: Acoustic Volume of Entanglement Spatial Audio Field
11.5 17:00 彼岸－－無常之聲立體聲場
SUN. 19:00 LIMBOTOPIA – Impermanence Spatial Audio Field
19:30 《R》 20:00
10.27 聯合餐廳展演空間 1 樓
FRI. Art Space I 1F
20:10 演後座談╱ Talk
不可能的三難困境｜展覽
13:00
Impossible Trilemma (exhibition)
Miedka：野性⾯容 11.10 聯合餐廳展演空間 2F
20:30
10.27 Miedka Faces of the Wild 聯合餐廳展演空間灰盒子 FRI Art Space I, 2F
FRI. Art Space I｜Gray Box 不可能的三難困境｜演出
20:30
20:55 演後座談╱ Talk Impossible Trilemma (performance)
10.29 13:30 聯合餐廳展演空間 1 樓 13:30

《R》
SUN. 16:30 Art Space I 1F 11.9 15:00 「詩與聲響」（播放版）立體聲場
THU 16:30 Poetry and Sounds (projection version)* Spatial Audio Field
19:00
IRCAM 工作坊精選作品
10.29 立體聲場
19:30 IRCAM Workshop: Selected Works
SUN. Spatial Audio Field 13:30
（最新資訊╱ Updated info: https://clab.org.tw/）
11.10 15:00 「詩與聲響」（播放版）立體聲場
FRI 16:30 Poetry and Sounds (projection version)* Spatial Audio Field
11.3 19:00 彼岸－－無常之聲立體聲場 19:00
FRI. 20:00 LIMBOTOPIA – Impermanence Spatial Audio Field
「詩與聲響」｜超譯新詩學：Be ⁷記得
11.10 美援大樓展演空間一樓
11.4 即視旅行聯合餐廳展演空間 2F、灰盒子 19:00 Reflections on Modernist Poetry: Be⁷ 記得 “Forgot-
11:00 FRI Art Space V 1F
SAT. Ad hoc voyages Art Space I 2F & Gray Box ten” (Poetry and Sounds)
外部場館｜extramural
13:30
11.4 14:30 鎏（/ 現場演出版）國立臺灣科學教育館小黑盒 11.11 15:00 「詩與聲響」（播放版）立體聲場
SAT. 16:30 Current/y (live performance version) The Black Box SAT 16:30 Poetry and Sounds (projection version)* Spatial Audio Field
National Taiwan Science 19:00
Education Center
16:00
11.4 17:00 彼岸－－無常之聲立體聲場 11.11 14:30 地平線上的新笙景：雙城記 FUTURE VISION LAB
SAT. 19:00 LIMBOTOPIA – Impermanence Spatial Audio Field SAT 19:00 Landscape on the New Horizon of Sheng: A Tale 2023
20:00
-016- -017-
█ 當代音樂／聲響 Contemporary Music & Sounds █ 舞蹈聲響 Dance & Sounds
節目日程
█ 展演跨域 Inter-Artistic Expressions █ 校際單元 Academy █ 詩與聲響 Poetry & Sounds
Schedule of Programs
聆聽城市：臺北＿一本聲音的雜誌
11.11 14:30 潘朵拉幻象－－無限穿梭臺北表演藝術中心 19:30
11.14 Listening Cities: Taipei A Sound Magazine 立體聲場
SAT 19:30 Pandora Illusion - Infinite Odyssey Taipei Performing Arts
THU. Spatial Audio Field
Center
20:20 演後座談｜Post-concert talk
11.11 美援大樓展演空間一樓 11.17
19:00 Reflections on Modernist Poetry: Be⁷ 記得 “Forgot- （VR 放映版）
鎏/ 聲響工作站 3
SAT Art Space V, 1F 13:00
ten” (Poetry and Sounds) FRI. Current/y (VR projection version) ★ Studio 3
不可能的三難困境｜展覽 11.18 鎏/（VR 放映版）聲響工作站 3

13:00 13:00
Impossible Trilemma (exhibition) SAT. Current/y (VR projection version) ★ Studio 3
11.11 聯合餐廳展演空間 2F 外部場館｜extramural

不可能的三難困境｜演出 11.18 無人知曉—System Tandm
SAT 20:30 Art Space I, 2F 14:30 桃園展演中心
Impossible Trilemma (performance) SAT. System Tandm
Taoyuan Arts Center
21:00 演後座談╱ Talk
11.18 道生九思立體聲場
15:30
11.12 「詩與聲響」｜它們從不存在。立體聲場 SAT. Birth of Channels Spatial Audio Field
11:10
SUN They never existed. (Poetry and Sounds) Spatial Audio Field
11.18 耳朵劇院：返響聯合餐廳展演空間灰盒子

11.12 「詩與聲響」｜飄浮立體聲場 19:00
14:10 SAT. Cinema for the Ear: “Reverberation” Art Space I｜Gray Box
SUN Floating (Poetry and Sounds) Spatial Audio Field
外部場館｜extramural 11.19
鎏/（VR 放映版）聲響工作站 3
11.12 14:30 潘朵拉幻象－－無限穿梭臺北表演藝術中心 SUN. 13:00
Current/y (VR projection version) ★ Studio 3
SUN 17:00 Pandora Illusion - Infinite Odyssey Taipei Performing Arts
Center
11.19 外部場館｜extramural
無人知曉—System Tandm
SUN. 14:30 桃園展演中心
11.12 「詩與聲響」｜降聲立體聲場 System Tandm
16:10 Taoyuan Arts Center
SUN Sound of Becoming (Poetry and Sounds) Spatial Audio Field
11.12 「詩與聲響」座談立體聲場

16:45
SUN Poetry and Sounds (Artist talk)* Spatial Audio Field
11.12 美援大樓展演空間一樓
19:00 Reflections on Modernist Poetry: Be⁷ 記得
SUN Art Space V 1F
“Forgotten” (Poetry and Sounds)
不可能的三難困境｜展覽
13:00
Impossible Trilemma (exhibition) *「詩與聲響」播放版包含《降聲》、《飄浮》、《它們從不存在。》，本單元策展人鴻鴻與這三件作品的創作者將出席座談。
11.12 聯合餐廳展演空間 2F The projection version of Poetry and Sounds, includes Sound of Becoming, Floating, and They never existed.
SUN Art Space I, 2F The artist talk features Hung Hung (the curator of Poetry and Sounds) and the creators of the three works.
不可能的三難困境｜演出
20:30
Impossible Trilemma (performance) ★《鎏 /》VR 放映版（15 mins）：13:00 起，每半小時播映一場；最後一場於 19:30 開始。
Current/y (VR projection 15 mins): Each screening lasts for 30 mins; the last session starts at 19:30.
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展覽 Exhibitions
當代音樂 / 聲響
CONTEMPORARY MUSIC & SOUNDS

Dates 展覽｜ Exhibition 場地｜ Venue
誰的手術刀 2.0｜Whose Scalpel 2.0
（演出｜Performance 10/19 19:30 10/21 15:00 10/22 15:00）
通信分隊展演空間 1 樓
灰屋｜The Middle Room Art Space III 1F
大地回音｜Echoes of the Land
10/19-11/12
消逝的靈光 : 政戰大樓影音繞響｜Lost Aura: Lingering Sound
and Image of the Political Warfare Building
Sound Installation: Myst & Soul
Art Space III 2F
an·other voice
（專場講座｜Lecture｜多功能廳｜Multi-function Space 10/14 15:00）
迎⾵舞台旁草坪
森聲不息｜Vibration Forest
10/21-11/5 Grassland by the Wind
（演出｜Performance 10/21 16:00 17:30）
Stage
11/9-12 ⾵摧肉身｜Worn Away
Art Space I ｜ Gray Box
不可能的三難困境｜Impossible Trilemma
11/10-11/12 聯合餐廳展演空間 2F
（演出｜Performance 11/10 11/11 11/12 20:30
Art Space I 2F
演後座談｜Artist Talk 11/11 20:55）
10/28-12/7 之間 I｜Between I 双方藝廊
Double Square Gallery
開放時間｜Open Hours
• 通信分隊展演空間 1、2 樓及聯合餐廳展演空間 2F、灰盒子、迎風舞台旁草坪：13:00-19:00（週一不開放）
Art Space III 1 2 F; Art Space 2F Gray Box Grassland by the Wind Stage: 13:00-19:00 (closed on Monday)
• 双方藝廊：12:00-18:00 （週日、一不開放）（臺北市北安路 770 巷 28 號）
Double Square Gallery: 12:00-18:00 (closed on Sunday Monday; No.28 Lane 770 Bei-An Road Taipei)
票券資訊 Ticket info.

1. Accupass 索票或購票
Free or priced tickets on Accupass
2. 下列節目之購票資訊，詳見節目介紹頁：法國 IRCAM《大都會》電影音
樂會（p.44）、《聆聽城市：臺北＿一本聲音的雜誌》（p.58）、《潘朵拉幻
象 - 無限穿梭》（p.72）、《無人知曉》（p.74）、《鎏/》（現場演出版，p.81）
For the following programs see detailed ticket information
on respective pages: IRCAM Metropolis Cine-Concert (p.44)
Listening Cities: Taipei A Sound Magazine (p.58) Pandora Illusion
- Infinite Odyssey (p.72) System Tandm (p.74) and Current/y (live
performance version p.81)
主辦單位保有對所有節目、展覽與活動之異動權利最新資訊請見
For Updated Info
The organizer reserves the right to make changes
to the programs exhibitions and events. https://clab.org.tw/
-020-
當代音樂／聲響
Hello
六六樂集
LIN Wei-Chieh ● Special Thanks: KHS Musical Instruments (Fuxing Branch)

HUNG Yu-Wen ● Violin: HUANG Yung-Yu ● Contrabass: CHANG Kai-Ting ● Performance Coordinator:
66 Musica ● Clarinet: CHU Yu-Fang ● Pipa: SU Yun-Han ● Piano: HUANG Kai-Yin ● Percussion:
庭●演出統籌：林煒傑●特別感謝：功學社復興樂器門市
六六樂集●豎笛：朱昱芳●琵琶：蘇筠涵●鋼琴：黃凱盈●打擊：洪于雯●小提琴：黃詠雩●低音提琴：張愷
創製團隊 Creation & Production Team

《Hello》
（2014）結合聲音與影像，其中的投影畫⾯即為樂團
66 Musica
Contemporary Music & Sounds

演奏所依照的樂譜。其中的影像呈現本樂曲作曲家亞歷山大
・舒伯特（Alexander Schubert）在客廳比出的手勢。本作
品包含八種動作，邀請觀眾進入作曲者的個人世界。
六六樂集是由台灣茱莉亞音樂學院的校友所成立的表演藝術
團隊，團隊每一位音樂家都致力於追求卓越的音樂成就、創
新與培養優秀的後進。亞歷山大・舒伯特的創作融合多種音
樂風格（硬芯舞曲、自由爵士、流行電子音樂），並與當代
古典概念結合。他的表演作品特⾊包括將肢體運用在電子音
樂中，並以手勢傳達更豐富的內容。他的部分作品可以被
理解為高度結構化的即興創作，質疑記譜音樂和即興音樂的
界限。他的作品曾於 35 多個國家演奏，包括位於巴黎的聲
響與音樂研究統合中心（IRCAM）和德國卡斯魯媒體藝術中
心（ZKM Karlsruhe）等著名機構。他亦屢屢獲獎，包括於
2021 林茲電子藝術節（Ars Electronica Festival, Linz）獲
頒金尼卡獎（Golden Nica）。
Hello(2014) is an audio-visual piece in which the projection

serves as a score to be interpreted by the ensemble. The video
consists of gestures performed by the composer Alexander
Schuber t in his living room. The piece comes in eight
movements and is an invitation into the personal world of the
composer.
66 Musica is a performing arts group formed by alumni of the

Juilliard School in Taiwan. Each musician in the ensemble is
dedicated to pursuing excellence in music, innovation, and
cultivating outstanding future talents. Alexander Schubert
combines diverse musical styles (hardcore, free jazz, popular
electronic music) with contemporary classical concepts. His
performance pieces are characterized by his use of the body
in electronic music and transportation of additional content
through gestures. Some of his works can be understood as
highly structured improvisations, questioning the border
圖書館前廣場 between notated and improvised music. His works have been
performed in in over 35 countries, including renowned venues
Square II
like Institute for Research and Coordination in Acoustics/
- 票券資訊 Ticket info. Music, IRCAM in Paris and ZKM (Center for Art and Media) in
10/12 ㊃ 19:00 Karlsruhe. He has won multiple awards, including the Golden
12 mins 亞歷山大・舒伯特（Alexander Schubert）自由入場╱ Free entry Nica at the 2021 Ars Electronica Festival in Linz.
-022- -023-
由三位國樂音樂家 —— 郭靖沐 ( 箏 )、潘宜彤 ( 中阮 ) 及任
聲響重 ( 笛簫 ) 組成的「三個人」是一⽀兼具古典底蘊與當代思維
Sounds 的創作型室內樂團，演出作品類型橫跨多種樂風，並掌握多
元演出型態。此次音樂節帶來多首「三個人」經典作品，以及

與新銳現代音樂作曲家林芝良合作、量身打造的原創新曲《演
三個人奏指法》，展現傳統樂器跨越⽂化世代的絕妙新樣。本場演出
3PEOPLEMUSIC 將從不同⾯向出發，發展聲音的各種可能，在聲響中與觀眾
互動，讓演出不再曲高和寡，而能帶來溫暖、零距離的親切
感，為國樂另闢新徑，也以獨特方式界定「三個人」的音樂。
作曲家：林芝良
LIN Chih-Liang (composer) 林芝良近來結合劇場概念性結構與跨領域合作，並著重聲音
張力的表現、噪音美學的應用。其作品歷年來於亞洲、美
洲、歐洲的音樂節演出，她並屢屢和知名現代樂團合作，包
TSAI Dong-Han
Liang ● Sound Engineer：PAN Hua-Yen ● Video:
● Di & Xiao：JEN Chung ● Composer：LIN Chih-
● Guzheng：KUO Jing-Mu ● Zhongruan：PAN I-Tung
芝良●電聲技術協助：潘華嚴●影像設計：蔡東翰
●箏：郭靖沐●中阮：潘宜彤●笛簫：任重●作曲家：林

括台北中央 C 室內樂團、朱宗慶打擊樂團、高雄薪傳打擊
樂團、德國摩登樂集（Ensemble Modern）、澳洲 ELISION
合奏團（ELISION Ensemble）及法國的特定瞬間（Instant
Donné）樂團、多邊樂集（Ensemble Multilatérale）和轉變
（Les Métaboles）人聲樂團。
3PEOPLEMUSIC is a chamber ensemble that composes their own

songs and consists of three traditional Chinese music artists: KUO
Jing-Mu (guzheng), PAN I-Tung (zhongruan), and JEN Chung (di
and xiao). Characterized by classical essence and contemporary
thinking, the ensemble interprets compositions of diverse styles and
masters various types of performance. In the 2023 C-LAB Sound
Festival, the ensemble performs their iconic works as well as Finger
Movement, a new original composition tailored for the ensemble
by emerging contemporary composer LIN Chih-Liang, showing
amazing cross-cultural and cross-generational facets of traditional
instruments. The audience are invited to interact with the sounds
through the acoustic possibilities derived from multiple aspects of
the performance which is no longer inaccessible but brings warmth
and intimacy, opening a new path for traditional Chinese music and
embodying a unique definition of 3PEOPLEMUSIC.
演出曲目 Concert Program
With a focus on expressing the tension of sounds and the
application of aesthetics of noise, LIN recently integrated the
林芝良：《演奏指法》、郭靖沐：《鴨
三聊聊》、潘宜彤：《酒中仙》
structural conceptualization in theatre into her work and engaged
F i n g e r M o ve m e nt ( L I N C h i h -
in interdisciplinary collaborations. Her compositions have been
Liang), Three Chattering featured in music festivals in Asia, America, and Europe. She has
Cormorants (KUO Jing-Mu), The
圖書館前廣場 Drinking God (PAN I-Tung)
collaborated with renowned contemporary ensembles, including
Square II 「三個人」成員（左至右）：任重（笛簫）、郭靖沐（箏）、潘宜彤（中阮） C-Camerata and Ju Percussion Group (Taipei), Succession
3PEOPLEMUSIC consists of JEN Chung (di and xiao), KUO Percussion Group (Kaohsiung), Ensemble Modern (Germany),
- Jing-Mu (guzheng), and PAN I-Tung (zhongruan) (from left to 票券資訊 Ticket info. ELISION Ensemble (Australia), as well as the ensembles Instant
10/12 ㊃ 19:00 right)
Donné and Ensemble Multilatérale and the vocal ensemble Les
25 mins © 趨勢教育基金會 (Trend Education Foundation) 自由入場╱ Free entry Métaboles (France).
-024- -025-
《綺想 ∞ 奇響》由四個不同個性、特徵之段落組成，屬於創
綺想 ∞ 奇響
CHEN I-Ju ● Electronic Music Performance:CHENG Yung-Hsin

● Composer:TSENG Yu-Chung ● Trumpeter:DENG Hsei-Ping ● Percussionist:
●作曲家 : 曾毓忠●小號演奏家 : 鄧詩屏●打擊演奏家 : 陳薏如●電子音樂操作 : 鄭詠心

作者的一系列人機互動（HCI）實驗中，結合樂器與電子音
Capriccio ∞ ExTpt 樂的作品之一。樂曲創作核心想法包含：如帕格尼尼《綺想

曲》（Capriccio）之炫技手法，本樂曲試圖表現小號演奏之

炫技性（virtuosity）；以輔助角⾊的鼓類打擊樂與小號主奏
曾毓忠、鄧詩屏、陳薏如
樂器進行節奏之對話與互動，同時烘托作品所需的氛圍；運
TSENG Yu-Chung, DENG Hsei-Ping, CHEN I-Ju 用電腦音樂程式 Max 與數位訊號工作站 DAW，擴展小號既
有之演奏技巧與語彙，並在科技輔助下，透過想像力，無限
延伸小號在形⾊聲譜表現上之所有可能；營造「原始小號」
原聲與「數位小號」（ExTpt）延伸音⾊之間，虛實交替的「綺
麗奇響」世界。
《綺想 ∞ 奇響》是由 C-LAB 臺灣聲響實驗室委託創作，將

圖書館前廣場於 2023C-LAB 聲響藝術節之開幕音樂會首演，由傑出小號
Square II 演奏家鄧詩屏與打擊樂家陳薏如擔綱，並由鄭詠心操作電子
（左至右）曾毓忠（作曲家）、鄧詩屏（小號演奏家）、
- 陳薏如（打擊演奏家）音樂。
10/12 ㊃ 19:00 TSENG Yu-Chung (composer), DENG Hsei-Ping
(Trumpeter), and CHEN I-Ju (percussionist) (from Capriccio ∞ ExTpt consists of four sections with different
15 mins left to right)
characteristics. As one of the composer’s works combining
musical instruments and electronic music in a series of human-
computer interaction (HCI) experiments, the work is based
on four core ideas. First, as Paganini’s Capriccio with a fast,
compact, and virtuosic style, this piece intends to express
the virtuosity of the solo instrument (trumpet). Second, the
percussion with an auxiliary role complements the work by
interacting with the rhythm of the trumpet. Third, the music
technology and interactive programming software Max/MSP
from IRCAM are employed to expand the existing trumpet
skills; the gamut of the trumpet performance on the spectrum
of shape and sound is expanded through the composer’s
imagination. Fourth, a world of “fantasy” alternating between
the virtual and the real is created through the contrasts
between the “digitally transformed trumpet sound” and the
“original trumpet sound”.
Capriccio ∞ ExTpt represents a free and casual style. In terms

of aesthetic expression, the great contrast between electronic
music and the original trumpet sound and the alternation
between abstract and concrete sounds create a kind of virtual
or real beauty, which is mainly inspired by the concept of yin
and yang in Chinese philosophy.
Commissioned by C-LAB Taiwan Sound Lab, this work will

premiere at the opening concert of the 2023 C-LAB Sound
票券資訊 Ticket info. Festival, featuring outstanding trumpeter DENG Hsei-Ping,
percussionist CHEN I-Ju, and electronic musician CHENG
自由入場╱ Free entry Yung-Hsin.
-026- -027-
Digit(s) - Initial // start from 1
吳沛奕、晟 SHENG、陳亮
Allen WU, 晟 SHENG, CHEN Liang

《Digit(s) - Initial // start from 1》標題取自「數字」（digit）
● Percussionist: Allen WU ● Sound Artist: 晟 SHENG ● Visual Artist: CHEN Liang

●擊樂演奏家：吳沛奕●聲響藝術家：晟 SHENG ●視覺藝術家：陳亮

的字義演變，基於從 0 到 9 的十進位法，衍生為創作主體，
作品的每一階段各象徵一個數字。時序而言，表達了從虛無
到複雜；以個體而言，從一人（人）、兩人（从）、三人（众）
圖書館前廣場
到聚落、⽂化、群眾，從單純至混亂。
Square II
- 本作品的展演以擊樂家為主幹，呈現擊樂的漫長演化：從遠
10/12 ㊃ 19:00 古時期的身體即是樂器，從而漸漸發展成自然界取物，再到
15mins 聲響藝術家代表的人造樂器、數位樂器等，並加入不同風格
10/14 ㊅ 18:30 之編曲，建構出從單純、有趣、好玩，到複雜、疑惑、混亂
30mins 的複雜度。
《Digit(s) - Initial // start from 1》結合藝術、科技、實時影

像，將觀眾拉進一段衝擊的旅程。穿越時間與空間、磅礡與
孤獨，穿越了自身、也看到彼此。
Inspired by the semantic evolution of “digit,” Digit(s) - Initial

// start from 1 is based on the decimal system comprising the
digits from 0 to 9. Each of the stages in this work symbolizes
a digit. Chronologically, the work represents an evolution from
nothingness to complexity. In terms of individuals, it evolves
from one, two, to three people and further to settlements,
cultures, and masses, embodying a process from simplicity to
chaos.
With the percussionist as the backbone, the performance of

this work represents the long evolution of percussion music,
starting from the body as an instrument in ancient times,
gradually evolving toward natural things as instruments, and
then to artificial and digital instruments represented by sound
artists, along with arrangements of different styles, achieving
an elaboration ranging from simplicity and fun to complexity,
confusion, and chaos.
A fusion of art, technologies, and real-time images, Digit(s)

票券資訊 Ticket info. - Initial // start from 1 plunges the audience into a shocking
（左至右）陳亮（視覺藝術家）、吳沛奕（擊樂演奏家）、晟 SHENG（聲響藝術家）
CHEN Liang (visual artist), Allen WU (percussionist), journey that traverses time and space, immensity and solitude,
and 晟 SHENG (sound artist) (from left to right) 自由入場╱ Free entry as well as one’s self, achieving a mutual transparency.
-028- -029-
《介⾯詩學》結合 S K Y G G E 的最新專輯《憂鬱》
介面詩學
● Lead Vocal, Synthesizers & Keyboards: SKYGGE ● Vocals & Push Ableton: Lozange ● Videos: OYÉ Label
●主唱、合成器、鍵盤：SKYGGE ●和聲、Push Ableton：Lozange ●影像：OYÉ Label
Creation & Production Team

創製團隊
（Melancholia, 2022）中的實驗流行歌曲及數位藝術團體
Interface Poetry OYÉ 的 3D 動畫，均以人工智能（AI）創作。這項演出和

SKYGGE 的歌曲都受安徒生童話《影子》啟發，該童話描述
一位詩人學者的影子，在他於城市散步時脫離身體。OYÉ 的

SKYGGE 影像即引領觀眾在超大的虛擬城市空間追隨「影子」。
SKYGGE 演奏 AI 生成的和聲及聲音，與舞台搭檔 Lozange

在 OYÉ 的影像圍繞的舞台上具現歌曲內容。舞台上的人機平
衡也存在於原本的歌曲，生成的聲音與預錄的器樂和人聲相
混合。AI 技術也用於錄像創作，就像 OYÉ 為《黑海》（Océan
Noir）形塑的貝殼，並吹入演算法造成的波動。
SKYGGE 並在台上向觀眾重現用 AI 創作的過程：人聲轉換

為薩克斯管聲音，用舒伯特的賦格曲和巴西樂器 Cuica 創造
獨特聲音。AI 也用於以動作捕捉系統捕捉肢體動作、形成紋
理，並連結聲音、音樂表現力和動態。
（SKYGGE 本名為班瓦・加雷〔Benoît Carré〕

；丹麥⽂
“skygge” 意指「影子」
。）
The stage project Interface Poetry comprises 3D animations

by the French digital art collective OYÉ and experimental pop
tracks from SKYGGE’s latest album, Melancholia (2022), both
using A.I. tools for creation. The show and all of SKYGGE's
songs are inspired by Andersen's fairy tale The Shadow about
the emancipation of the shadow from a poet-savant during
a long wander through the city. The videos created by OYÉ
invite the audience to follow the Shadow in virtual spaces of
this super-large city.
SKYGGE plays AI-generated harmonies and sounds, while
embodying the songs with his stage partner, Lozange, in a
setting accompanied by images created by OYÉ. The same man-
machine balance can be found on stage as on the original tracks
comprising generated sounds mixed with pre-recorded sounds
of instruments and voices. A.I. technologies are also used in
圖書館前廣場 image-making, like the seashell modeled by OYÉ for Océan Noir,
Square II which is imbued with algorithmic movement of waves.
- At several points in the set, SKYGGE demonstrated the creation
10/12 ㊃ 19:00 15mins 票券資訊 Ticket info. process by reproducing specific AI-based creation processes:
transfer of voice transferred into sounds of a saxophone or a
10/13 ㊄ 18:30 45mins unique sound created by employing a Schubert fugue and a
- 演出：自由入場｜專場講座： Cuica (Brazilian instrument). A.I. is also present in the movement
請透過 Accupass 平台索票 of bodies with motion capture systems manipulated by SKYGGE
專場講座╱ Lecture （詳見 p. 20） and his partner to create textures and associate sound, musical
10/14 ㊅ 15:00-16:30 Performance: Free entry｜ expressiveness, and movement.
Lecture：Free tickets
多功能廳 available on Accupass (About SKYGGE: a.k.a. Benoît Carré; “skygge” means “shadow”
Multi-function Space Photo by Axel Fried (details p. 20) in Danish.)
-030- -031-
漫漫長路，終有盡頭嗎？家的光芒，總在思念的熱淚中，忽
遷
● Vocal: Leaf YEH ● Handpan & Percussion: AngusLEE ● Keyboards & Programmer:Chun HO
●主唱：葉穎●手碟、打擊樂：李承宇●鍵盤、程式設計：何俊葦

明忽暗。家是什麼？是語言、家人，或是土地——？生命的
Migration 一路遷移，催生出家的千百種可能性。葉穎的尋家版圖，落
下溫暖的答案。

葉穎「唱歌的時候，我感覺回家了。」心之所向，靈魂所愛，那便
是家。當愛顯露流瀉，人們就能安在身體的家，回歸宇宙的
Leaf YEH 家。含納靈魂與自我，經過遷徙，整合一體。
身兼音樂製作人、配樂編曲家的歌手葉穎，其創作橫跨音
樂、⽂學、電影、劇場、時尚場域，並受邀至海内外音樂節
演出。其作品常加入台灣少有的世界音樂元素及澳洲木管、
西塔琴、手碟、杜讀管等特⾊樂器。
專精手碟的李承宇透過持續與各領域合作與衝撞，快速累積
圖書館前廣場經驗，其非學院派的背景造就跳脫古典風格與制式音樂製作
Square II 的思維。他常與舞蹈或視覺演出合作，不侷限於節奏類型的
- 手碟音樂。何俊葦擅長使用模組合成器及各式合成器創造聲
10/13 ㊄ 18:30 音，大量使用聲音取樣做調整及扭曲，塑造出令人意想不到
30 mins 的聽覺體驗。
Is there an end to the long road? The light of home keeps on

shimmering in the warm tears of longing. What is home? Is it
language, family, or land? A thousand possibilities of home
rise throughout migration in life. A warm response resides in
the map for Leaf YEH’s search for a home.
“Singing makes me feel like I’m home.” Home is where the

heart longs for and the soul aspires to be. When love is
revealed and released, one can dwell in one’s body and the
universe, Homes that contain the soul and the self, which are
integrated after migration.
Leaf YEH is a singer, music producer, and arranger across

the fields of music, literature, film, theater, and fashion, who
has been invited to perform at music festivals at home and
abroad. She often incorporates elements of world music
rarely heard in Taiwan as well as exotic instruments like
Australian woodwind instruments, sitar, handspan, and
duduk.
A n gu s L E E i s a p r ofe s s i o na l ha n d p a n p l aye r. H e ha s
accumulated experience through constant collaborations and
collisions in various fields. With a non-academic background,
he goes beyond the classical style and conventional music
production and expands the handpan music beyond rhythm
through frequent collaborations with dancers or visual
artists. Chun HO specializes in generating distinct sounds
using modular and other types of synthesizers and creating
unexpected aural experiences through modulations and
自由入場╱ Free entry distortions based on abundant sampled sounds.
-032- -033-
《先祖：虛視》是基於從十九世紀台灣日治時期原住民人類
先祖：虛視學攝影⽂獻中蒐集、以凝視抵抗消亡的⾯容影像。透過機
The Ancestors: Illusory Vision 器學習技術，將收集到的原民⽂⾯影像結合到人體解剖學

圖片，讓電腦程式自動生成它所想像的虛擬數位原住民。

本作品試圖讓消逝的原民⽂化以不同的形式和空間持續存
賴宗昀
在，並結合實驗聲響、電子合成器等，呈現聽覺的可視性
LAI Tsung-Yun 表現。
賴宗昀現為「失聲祭」聲音藝術活動策展人。其創作以音像
為始，對於生命狀態意義的追尋。近年大量接觸聲響表演
後，展開個人演出計劃。自行摸索混音器反饋噪音與環境
錄音，進行融合影像與聲音的表演。
擔任本節目的嗩吶樂手黃雅農是跨領域藝術家，其創作奠
圖書館前廣場嗩吶：黃雅農
Suona: HUANG Ya-Nung 基於社會觀察，並強調「現地創作」與「地方感」。她受過
Square II
多年傳統音樂訓練，但更積極將傳統予以當代轉化，並融
-
合噪音藝術等音樂類型，發展結合影音、物件及肢體的即
10/13 ㊄ 18:30
興創作模式。
30 mins
The Ancestors: Illusory Vision comprises images drawn
● Artist: LAI Tsung-Yun ● Suona: HUANG Ya-Nung

●創作者：賴宗昀●嗩吶：黃雅農

from photographic archives on indigenous people in Taiwan
during the 19th-century Japanese Rule, featuring their gaze
as a resistance to annihilation. These images featuring face
tattoos are combined with anatomical images through machine
learning-based technology, and images of virtual indigenous
people imagined by the computer is automatically generated
through programs, perpetuating disappearing aboriginal
cultures in different forms and spaces. The audio is visualized
using creative techniques involving experimental sounds and
synthesizers.
LAI Tsung-Yun is the curator of the Lacking Sound Festival. In

his audio-visual work, the artist quests for the meanings and
states of life. Following his involvement in sound performances
in recent years, he explored the feedback noise through the
mixer and recording of environmental sounds and carried out
personal performance projects featuring fusions of images and
sounds.
The suona player HUANG Ya-Nung is an interdisciplinary artist.

Her art practice is “site-specific” and based on sociological
observation and a “sense of place.” Besides years of traditional
music training, she is dedicated to transforming traditions
創作者：賴宗昀 in contemporary context and developing improvisations by
Artist: LAI Tsung-Yun integrating genres like noise music with image, sound, objects,
© 臺北市立美術館 (Taipei Fine Arts Museum) 自由入場╱ Free entry and body movement.
-034- -035-
《靈魂的副翼：呼吸》是由吳秉聖全新系列作品《靈魂的副
靈魂的副翼：呼吸翼》的延伸創作，作品聚焦於呼吸和聲音創作之間的共鳴。
Aileron of Soul: Exhalation 呼吸是人體少數可以在意識控制下進行，同時也可以在無意

識中進行的功能之一。藝術家將「意識與無意識地呼吸在聲

音的介入後，會如何被擾動與變化」這項提問轉化為觀察的
吳秉聖
對象。這項創作即是探索「氣」在吹奏樂器中的性質與交換
WU Ping-Sheng 狀態，以及如何與電子聲響相互聯結。
《靈魂的副翼：呼吸》的現場演出是以音像藝術的形式，
由銅管樂器結合電子聲響與即時生成的影像畫⾯，並搭
配現場聲音取樣，與空間音訊的聲音設計內容。
Aileron of Soul: Exhalation is extended from WU Ping-Sheng’s

latest series Aileron of Soul and focuses on the resonance
between breathing and creation of sounds. Breathing is among
the few body functions that can be controlled consciously
or performed unconsciously. By turning the question about
how acoustic interventions disturb and alter conscious and
unconscious breathing into a subject of observation, the artist
explores the nature and exchange of “breath” in playing a wind
instrument and their possible connections to electronic sounds.
In a form of audiovisual art, the live performance of Aileron of

Soul: Exhalation combines a brass instrument with electronic
sounds and images generated in real time, along with sounds
sampled on-site and designed spatial audio content.
● Audiovisual Artist: WU Ping-Sheng ● Tuba: HUANG Jing-Kai

●音像藝術家：吳秉聖●低音號：黃靖凱

圖書館前廣場
Square II
- 票券資訊 Ticket info.
10/13 ㊄ 18:30 照片提供：臺灣當代⽂化實驗場；攝影：林軒朗
Photo Credit: Taiwan Contemporary Culture Lab;
30 mins photographer: LIN Hsuan-Lang 自由入場╱ Free entry
-036- -037-
自然的脈動
Nature's Pulse

幽法
ufa 自然界的循環與神秘，在萬物生靈的呼吸中不斷變化。時而
● Creation & Performance: CHENG Wen, JHANG Su-Lin

●創作及演出 : 成⽂、章素琳

劇烈，時而緩慢。
策略聯盟：臺東聲音藝術節生命之間一場場的儀式不斷發生，顯化出大自然中隱藏的
Strategic Alliance: Taitung Sound Art Festival 「魔法」，這種魔法不是傳統意義上的巫術或是超自然的力
量，而是生命本身、我們與大自然相互連結的細節網絡。
《自然的脈動》以 Ambisonics 技術⽀持，探討人與自然的關

係，內在、有機地融合自然、萬物和民族與科技。沉浸在意
識、靈性、迷幻與平和之中探索，引領一趟旅程，進入自我
和整個存在之間的深度對話。其中也反映⾯對自然、他人和
自我之間的矛盾和衝突，不僅揭示與大自然和他人之間，也
是對自己的困惑和尋求。儘管可能感受到傷害，但是大自然
的力量總能帶來新的希望和機會。可以從這些自然的變化中
獲得力量，最終將外部及自己的內在相連結。更希望透過音
樂喚醒人們對自然、和平的追求與對戰爭的反思。這是一種
信念，一種對和平世界的熱切期望。
The cycles and mysteries in nature evolve constantly in the

breaths of all creatures, sometimes violently, sometimes slowly.
Rituals between lives unfold constantly, manifesting the hidden

"magic" in nature, a magic that is not witchcraft or supernatural
power in the traditional sense, but life itself, the intricate
network connecting humans with nature.
Nat ure's Pulse suppor ted by Ambisonics explores the

relationship between humans and nature. Nature, all things,
nations, and technology are integrated internally and
organically. Through an exploration immersed in consciousness,
spirituality, psychedelics, and peace, one is led into a profound
dialogue between one's self and the Being, reflecting the
confusion and searching about as well as the contradictions
and conflicts between nature, others, and the self. As hurtful
圖書館前廣場 as it may be, the forces of nature always bring new hopes
and opportunities. One can gain strength from these changes
Square II
in nature, finally connecting the outside with the within. The
- 票券資訊 Ticket info. music is also an attempt to inspire the awareness of nature,
10/14 ㊅ 18:30 攝影：陳長志 pursuit of peace, and reflection on war, embodying a belief and
30 mins Photo by CHEN Chang-Zhi 自由入場╱ Free entry an aspiration for a peaceful world.
-038- -039-
皿樂隊 Feat. 音速死馬
VSL Feat. Sonic Deadhorse 皿樂隊為一廣泛融合當代各種樂風之樂團，音速死馬為台灣
電子音樂實驗先驅，多年在台灣的獨立創作場景中探索現場
即興與電子音樂互動之可能。此次演出中，音速死馬不僅演

繹現場互動畫⾯，也與皿樂隊嘗試在現場實驗編程與即興的
有機對話。
雙方創作者都擅長於融合各種樂風，但切入的狀態不盡相
同。音速死馬的音樂以繁複的⽂本取樣、切碎、變形等手
法，加上實作即興主義的音速死馬賽博格形式表現。皿樂隊
則透過消融風格表⾯的框架，試圖在音樂的底蘊深處，探求
音速死馬（鄭各均）讓各種風格彼此溝通的連接點。
Sonic Deadhorse
(CHENG Ko-Chun)
此次演出將首次利用臺灣聲響實驗室特有之環繞喇叭場域特
性，透過環繞的四聲道喇叭，找尋聲景與當代音樂的交融畫
⾯，穿梭在沉浸經驗的聲響環境與營造身體動能的舞蹈節奏
Sonic Deadhorse (CHENG Ko-Chun)

Xun ● Trumpet: HE Zheng-Rong ● Programmer/Synthesizer:
Ying- Ren ● Bass: SHI Zhe -An ● Electric Guitar: LIAO Pin-
● Keyboards: LI N Ge -Wei, LI N Ming -Xue ● Drums: WAN G
●小號：何政融●編程╱合成器：音速死馬（鄭各均）
●鍵盤：林格維、林明學●鼓：王英任●貝斯：石哲安●電吉他：廖品勳

之間。
The VS L is a band that extensively integrates diver se

contemporar y music st yles. Sonic Deadhorse is an
indie artist and a senior pioneer in electronic music
e x p e r i m e n t a t i o n i n Ta i w a n . H e h a s b e e n e x p l o r i n g
possibilities of interaction between live improvisation and
electronic music. In this performance, Sonic Deadhorse
carries out live visual interactions and, jointly with the
VSL, creates organic exchanges between experimental
programming and improvisation.
The VSL and Sonic Deadhorse both specialize in fusing

mu s i c of d i ve r s e s t y l e s , b ut i n d if fe r e nt ways . S o n i c
Deadhorse employs complicated techniques of sampling,
fragmentation, and morphing along with musical
expres sions in the form of “ S onic D eadhor se cyborg ”
based on hands - on improvisation. The VSL dismantles
the frame on the surface of styles, attempting to find the
connections that enables communication between these
styles, which underly the essence of music.
I n t h i s p e r f o r m a n c e , t h e m u s i c i a n s f i r s t e m p l oy t h e
圖書館前廣場 unique properties of the Ambisonic system in the Taiwan
Sound Lab to seek the intersection of soundscape and
Square II
contemporar y music through the surround sound from
- 票券資訊 Ticket info. the four loudspeakers, unfolding a journey amid rhythms
皿樂隊
10/14 ㊅ 18:30 The VSL of dance that generate corporeal kinetic energy in an
30 mins © 陳藝堂╱ CHEN Yi-Tang 自由入場╱ Free entry acoustic environment for immersive experience.
-040- -041-
大象體操 × 張欣語
● FOH Sound Design: CIOU J-Jyun ● Sound & Visual Artist: CHANG Hsin-Yu
● Guitarist: Tell CHANG ● Bassist: KT CHANG ● Drummer: TU Chia-Chin
●吉他手 : 張凱翔 ●貝斯手 : 張凱婷 ●鼓手 : 涂嘉欽●音響設計 : 邱建鈞 ●聲音藝術家、影像設計 : 張欣語

Elephant Gym × CHANG Hsin-Yu

藝術家：張欣語
Artist: CHANG Hsin-Yu
由兄妹檔－－吉他手張凱翔、貝斯手張凱婷與鼓手涂嘉欽組成的
大象體操是台灣少見的數學搖滾（Math Rock）樂團，近年受日
本富士搖滾音樂祭（Fuji Rock）、英國 ArcTanGent 音樂節等國
際重要音樂節邀演，並於 2023 年入圍金曲獎最佳編曲獎、最佳
樂團獎；於 2019 年獲金音獎最佳樂團獎。
關注實驗聲響的藝術家張欣語，其裝置作品包含互動與聲音，其
中探討聲音的空間性、發生機制及訊號的轉譯，注重聲音生成的
方法，同時透過運作的規則呼應生活中的經驗、感受及議題。其
音像表演中，往往利用編寫程式創作，自己探索並合成不同的聲
音，並從聲音與影像相互觸發的關係中，碰撞出各種可能性
Elephant Gym consists of a brother and sister duo, Tell CHANG

(guitarist) and KT CHANG (bassist), and TU Chia-Chin (drummer)
and is among the rare Math Rock bands in Taiwan. In recent years,
the band has been invited to perform at major international festivals
such as Fuji Rock Festival in Japan and ArcTanGent Festival in the
U.K. The band was shortlisted for the 2023 Golden Melody Awards
for Best Arranger and Best Band and won the Best Band award at
the 2019 Golden Indie Music Awards.
Ar tist CHANG Hsin-Yu engages in sound experimentation.

His interactive sound installations explore the spatiality and
generation mechanism of sound and the translation of sound
signals. Focusing on the methods of sound generation, the
artist’s works reflect issues, experiences, and feelings about life
圖書館前廣場
through specific rules of sound operation. In his visual and sound
Square II performances, he explores and synthesizes new sounds through
（左至右）大象體操樂團成員：
- 涂嘉欽（鼓手）、張凱翔（吉他手）、張凱婷（貝斯手）票券資訊 Ticket info. programming, creating possibilities through the relationship and
10/14 ㊅ 18:30 Elephant Gym consists of mutual triggering between sound and image.
TU Chia-Chin (drummer), Tell CHANG (guitarist),
45 mins and KT CHANG (bassist) (from left to right) 自由入場╱ Free entry
-042- -043-
IRCAM《大都會》電影音樂會
IRCAM Metropolis Cine-Concert

時間藝術工作室、國立臺北藝術大學音樂學系、台北打擊樂團
TimeArt Studio, Department of Music of
Taipei National University of the Arts, Taipei Percussion
衛武營國家藝術文化中心歌劇院
Opera House, National Kaohsiung Center for the Arts (Weiwuying)
10/15 ㊐ 14:30-17:30
170 mins（中場休息╱ Intermission ｜ 20 mins）
-
演後座談｜ Post-concert talk
10/15 ㊐ 17:30（歌劇院舞台╱ Opera House Stage）
影片以德語字卡、中⽂字幕呈現；片中包含裸露畫⾯，建議觀眾酌情觀賞（適合 12 歲以上觀眾）
With German intertitles and Mandarin subtitles © Fritz Lang /
The film contains nude scenes; viewer discretion is advised (suitable for persons aged 12 years or more). Friedrich Wilhelm Murnau Foundation
-044- -045-
法國 IRCAM《大都會》電影音樂會中，以結合 16 位音樂
● Organizers: C - L AB Taiwan Sound Lab (Planning Coordinator: Cécile Huang ● Planning Manager: Katherine KUO, LIN Ying- Chen, Sarah TU ● Sound
●《大都會》電影修復與授權：Friedrich Wilhelm Murnau Foundation

室●指導單位：文化部●執行舞監：陳百彥●樂團舞監：劉冠伶●舞監助理：鄭學豊、周仁慈●燈光執行：陳潤豐、林家均●音響工程：唐宋企業有限公司
德穆蘭●聲音工程：西爾凡．卡達爾●專案經理：奧荷莉亞．歐珍娜）●協辦單位：衛武營國家藝術文化中心、國立臺北藝術大學音樂學系、台北打擊樂團●合辦單位：時間藝術工作
●策劃單位：C-LAB 臺灣聲響實驗室（計畫統籌：黃意芝●計畫執行：郭玲孜、林映辰、杜佳舫●聲音工程：謝賢德）、龐畢度聲響與音樂研究統合中心（電腦音樂設計：艾蒂安．

● Metropolis Film Restoration and Authorization: Friedrich Wilhelm Murnau Foundation, Wiesbaden
CHENG Hsueh-Li, CHOU Ren-Tsz ● Lighting Techniques: CHEN Ruen-Feng, LIN Jia-Jyun ● Sound Engineer: TOPSOUND CO., LTD
Percussion ● Collaborator: TimeArt Studio ● Deputy Stage Manager: CHEN Bai-Yen ● Orchestra Stage Manager: LIU Kuan-Ling ● Assistant Stage Manager:
Aurèlia Ongena) ● Co-organizers: National Kaohsiung Center for the Arts (Weiwuying), Department of Music of Taipei National University of the Arts, Taipei
Engineering: HSIEH Hsien-Te), IRCAM-Centre Pompidou (Computer Music Design : Etienne Démoulin ● Sound Diffusion: Sylvain Cadars ● Project Manager:
家編制的室內樂團、電子音樂以及沉浸式環繞聲場版本，
演繹佛列茲 ‧ 朗（Fritz Lang）執導的經典科幻電影《大都
會》
（Metropolis）的音樂。對作曲家馬丁 ‧ 馬塔隆（Martin

Matalon）而言，音樂不是為了襯托電影而存在的角⾊，音
樂本身即自成一格。
在音樂的引領下，觀眾透過聽覺感受到故事內容與環環相扣
的動態影像流動性。馬塔隆拓展音樂與聽覺維度，除了樂團
現場演出，也加入電子音樂以及聲音和多聲道音場設計，動
用電腦工程師、聲場設計師、音響工程人員等專業，繁複的
電腦工程技術搭配精細的環繞聲場設計與調校，將聆聽者包
覆在來自四⾯八方流淌的多層次樂音，擴大聽覺感知，並賦
予觀看電影的新感受。
這場音樂會是法國聲響與音樂研究統合中心（IRCAM）聲音
工程團隊專為高雄衛武營做現地聲場設計的版本，是電影、 © Fritz Lang /Friedrich Wilhelm Murnau Foundation
音樂、聲響愛好者或想拓展聆聽體驗者不可錯過的史詩級電
影音樂會作品演出。
演出曲目 Concert Program 演出場地 Venue
IRCAM Metropolis Cine-Concert presents a film score composed

《大都會》音樂（2010）衛武營國家藝術⽂化中心歌劇院
by Martin Matalon for the classic sci-fi movie Metropolis directed
作曲家：馬丁 ‧ 馬塔隆（高雄市鳳山區三多一路 1 號）
by Fritz Lang. This cine-concert is performed by an ensemble
指揮：張尹芳 Opera House, National
comprising 16 instrumentalists and accompanied by electronic
樂團：時間藝術工作室、國立臺北藝術大學音樂學系、台北打擊 Kaohsiung Center for the Arts
music in a specifically designed immersive acoustic field.
樂團 (Weiwuying, No. 1, Sanduo
For Matalon, the music stands on its own and does not play a
1st Road, Fengshan District,
complementary role for enhancing the visual experience.
《大都會》電影（1927）｜德國 Kaohsiung City)
The music leads the audience to aurally perceive the story and 導演：佛列茲・朗
the fluidity of the interlocked motion pictures. In addition to the 規格：黑白，數位修復版（2010）票券資訊 Ticket Info.
live music played by the ensemble, Matalon expands the musical 長度：150 分鐘
and auditory dimensions by incorporating electronic music 電影修復：Friedrich Wilhelm Murnau Foundation, Wiesbaden
請透過 OpenTix 售票平台購票
and a specific multi-channel sound field design. Techniques （票價：300，600，900，
of computerized pre-production, recording, and mixing are Metropolis (music, 2010)
1200，1600，2000）
applied along with a painstaking acoustic design to ensure that Composer: Martin MATALON
Tickets available on the
listeners feel like being surrounded by music from all directions, Conductor: CHANG Yin-Fang
OpenTix platform
enlarging and renewing their experiences of musical and viewing Ensemble: TimeArt Studio, Department of Music of Taipei
(prices: NT$300, 600, 900,
experience. National University of the Arts, Taipei Percussion
1200, 1600, 2000)
With its acoustic design conceived by the Institute for Research Metropolis (film, 1927)｜Germany
and Coordination in Acoustics/Music (IRCAM) specifically Director: Fritz LANG
for the Opera House in the National Kaohsiung Center for the Format: Black and white, digital restoration (2010)
Arts (Weiwuying), this concert based on an epic movie is not to Running time: 150 minutes
be missed by cinephiles, music lovers, and those who want to Restoration: Friedrich Wilhelm Murnau Foundation,
broaden their listening experiences. Wiesbaden
-046- -047-
近期科學⽂獻顯示植物之間透過複雜的互動網絡而聯結，網
森聲不息
(DRAC Centre Val de loire), la Maison de la Musique Contemporaine (MMC), l’ADAMI

the supports of the French Bureau of Taipei, Institut Français, La région Centre Val de Loire, le ministère de la culture
●合製單位╱ Co-production: aKousthéa Cie, National Kaohsiung Center for the Arts Weiwuying, Tendrum Taïnan. WIth
Lecomte ● Drums: KUO Yu-Shi ● Live Electronics: WANG Pin-Shin
● Creation: aKousthea company ● Composition & Conception: Alexandre Lévy ● Visual Artist: Sophie
●創製：aKousthea 公司●作曲及概念：亞歷山大．李維●視覺藝術：蘇菲・勒孔特●鼓手：郭羽芝●現場電子音樂：王品心

絡中捕捉並傳遞人耳往往無法察覺的聲音振動。作曲家亞歷
Vibration Forest 山大・李維受這種天生智慧所啟發，基於植物的聯繫振動而

構思了《森生不息》互動和聲音裝置作品，由周而復始的聲
音振動構成。該作品和由此衍生的表演共同構成一個詩意天

亞歷山大·李維地，邀請人們透過互動來聆聽周遭世界。
Alexandre Lévy
李維創作的魅惑有機音樂側重對聲音振動的親身體驗，音
樂透過觀眾與裝置結構的互動而體現。作品由八個含有導
電塗料的模板構成，其上刻著藝術家蘇菲・勒孔特（Sophie
Lecomte）的圖畫。當觀者觸摸或將臉貼在作為感應器的模
板，音樂聲波將產生變化並傳遞到其他模塊，引發回聲和返
響。這種龐大的反饋效應，產生出不可預知的動人聲響。其
中的圖畫讓人聯想植物和人類的網絡，邀請觀者透過親身近
距離互動和對振動的感知，進入作品的觸覺維度。
基於本作品的振動循環所衍生的表演中，打擊樂演奏家郭羽
芝的現場演奏透過王品心製作的模板播送。
Recent science articles show connection among vegetals in

a complex interaction network, catching and relaying sounds
vibrations largely undetectable by human ears. Inspired by
this inherent intelligence, composer Alexandre Lévy imagined
Vibration Forest, an interactive and sound installation
comprising cycles of sound vibrations based on communicative
vibes of plants. From the installation and performance derived
from it, a poetical universe emerges, suggesting to listen to the
surrounding world through interaction.
The incantatory and organic music composed by Lévy focuses

on physical experience of sound vibration. It is incarnated
through the audience’s interaction with structures of the
installation. Drawings by artist Sophie Lecomte are engraved on
8 modules containing electrically conductive paint, which serve
as sensors. Waves generated by music are modified when one
touches or puts one’s face on one of the modules. Modifications
迎風舞台旁草坪
are relayed to other modules which react through echoes and
Grassland by the Wind Stage rebounds, creating unpredictable and moving sounds through
- 票券資訊 Ticket info. the huge feedback effect. The drawings recalls networks of both
展覽 Exhibition plants and humans, inviting the audience to enter the tactile
10/21 ㊅ -11/5 ㊄展覽：自由入場｜演出：請透 dimension of the work through physical, intimate interaction and
過 Accupass 平台購票 perception of vibrations.
- （票價：200，詳見 p. 20）
演出 Performance Exhibition: Free entry ｜ In the performance based on cycles of vibrations injected in
Performance: Tickets this work, live music played by percussionist KUO Yu-Shi is
10/21 ㊅ 16:00, 17:30 available on Accupass
broadcasted through modules made by WANG Pin-Shin.
30 mins (NT$200, details p. 20)
-048- -049-
IRCAM 工作坊精選作品
IRCAM Workshop: Selected Works

黃祈諺、徐笠馨、練雯嘉、張譽馨、
馮志銘、王智德、劉蕙雯
HUANG Chi-Yen, SHYU Li-Hsin, LIEN Wen-Chia, 沉浸式聲場的崛起，已連帶在各領域掀起波潮，尤其在藝術
CHANG Yu-Hsin, Feng Zi-Ming, WANG Chih-Te, 創作的界域，多元音樂展演已然突破既有框架。站在科技與
LIU Hui-Wen 藝術的交匯處，當代聲音創作者亟欲探索的關鍵問題是：如
何在科技、創意以及身臨其境的聲場之間巧妙交融？
C-LAB 臺灣聲響實驗室與法國「聲響與音樂研究統合中心」
（Institute for Research and Coordination in Acoustics/
Music, IRCAM）自 2020 年起聯合舉辦「IRCAM 工作坊」
學習計畫，透過理論學習、實際操作和創作展演，孕育臺灣
聲音創作和聲音工程人才。本工作坊聚焦於當代電腦音樂聲
響藝術，期能為國內科技藝術創作開創豐富多彩的能量。在
本屆聲響藝術節中，兩個單位從三屆工作坊作品中精選七件
作品，並由學員再創呈獻，期為聽眾呈現這股蓬勃的音樂聲
響新創力量。
The rise of immer sive sound fields has brought waves

in various fields, especially in ar tistic creation, where
diverse musical performances have surpassed the existing
framework. At the intersection of technology and art, the
key question explored by contemporary sound artists is:
how to cleverly blend technology, creativity and immersive
audio fields?
Since 2020, C -LAB Taiwan Sound Lab and the Institute

for Research and Coordination in Acoustics/Music
(I RCAM) in France have jointly organized the learning
p ro gr a m titl e d I R CA M Wor ks hop, nur tur ing t a l e nt s in
sound creation and sound engineering through theoretical
training, practical operations, creation, and performance.
This workshop focuses on computer-based contemporary
music sound art as an attempt to create opulent and vivid
dynamism for domestic scientific and technological art
立體聲場票券資訊 Ticket info.
creation. For the 2023 C-LAB Sound Art Festival, the two
Spatial Audio Field organizations selected seven works from the workshops
- 請透過 Accupass 平台索票
╱ Free tickets available on of the past three year s, which were re - created by the
練雯嘉（LIEN Wen-Chia），
10.29 ㊐ 19:30 In Our Stomachs (2023) Accupass trainees, hoping to present this vigorous new force of
（最新資訊╱ Updated info: https://clab.org.tw/） for 37-reed Sheng and Electronics （詳見╱ details p. 20） musical sound to the audience.
-050- -051-
In Our Stomachs (2023)
for 37-reed Sheng and Electronics
練雯嘉 (LIEN Wen-Chia)
此首作品以濫捕鯨魚為啟發，延伸至人類對於自

然萬物資源的消耗及貪婪，大規模的重複利用、
強烈剝削、及改造重組，以達到自身的利益。然而，
並沒有無盡的資源，最終慾望將會成為我們對向
自身的武器。
This piece takes inspiration from the excessive

hunting of whales, extending to humanity’s
consumption and greed for the resources
of the natural beings. It portrays large-scale
exploitation, relentless reuse, and transformation
for self-interest. However, resources are not 黃祈諺（HUANG Chi-Yen），
《帕涅洛佩》（Penelope）
infinite, and ultimately, our desires may become
weapons pointed toward ourselves.
《帕涅洛佩》(Penelope)
SUR.VEIL.LANCE 黃祈諺 (HUANG Chi-Yen)
張譽馨 (CHANG Yu-Hsin)
以詹姆斯・喬伊斯（James Joyce）的著作《尤
SUR.VEIL.LANCE 以解構「監控」概念為出發點，利西斯》（Ulysess）最終章中「莫莉的內心獨白」
試圖使用立體聲場將聲音羅織成牢籠，讓出於自（Molly’s Monologue）為主要⽂本，透過人聲
由意志前來的聽眾體驗聽覺的窘迫、超載與不自以及環境聲響的錄製，作為全曲的聲音素材。
由。本作品的電聲部分主要包括中提琴演奏取樣、 The work is based on the text of Molly's
監獄監聽系統與環境聲的擬音。 Monologue from the final chapter of Ulysess
As an attempt to deconstructing the concept of by James Joyce, with vocals and recorded
“surveillance”, the spatial audio field is employed ambient sounds as the acoustic material.
to weave sounds into a cage, allowing listeners
who come out of free will to experience auditory
embarrassment, overload and lack of freedom. 《漂根》(Drifting Roots)
The electronic sounds primarily comprises
sampled viola performances, recordings from
劉蕙雯 (LIU Hui-Wen)
馮志銘（Feng Zi-Ming）， prison surveillance systems, and recreated
《漂根》的啟發來自 2021 年與舞者兼發起人周
《蟲洞裝置》（Wormhole Device） environmental sounds.
穎欣參與在台港人協會的「搭台」計畫。透過周
穎欣長期採集的田野故事，期望透過時事議題切
入，邀請觀眾思考移民、自我認同、全球化與自
《意志的姿態》(Gesture of Will) 身故事的連結。聲響⾯向上，大量實驗真實錄音
《蟲洞裝置》(Wormhole Device) 《城市速寫》(Sketch of City) 徐笠馨 (SHYU Li-Hsin) 與預置音樂、電聲的重量平衡，視角穿梭於抽象

與現實之間。
馮志銘 (Feng Zi-Ming) 王智德 (WANG Chih-Te) 藝術家認為「意志」是人類生活與創造之動力與
Drifting Roots was inspired by the “ Daap
指引。在本作品中，她嘗試挖掘薩克斯風不同聲
作曲家在一次偶然的機會下，看了關於城市速寫 Toi" project in which the dancer and initiator,
聲音從波到粒子到波到粒子到波之間，這是一台響背後蘊含的意義，描繪不同型態的意志，並利
的展覽，因而受到啟發，思考聲音是否也可作為 CHAO Weng-Ian, participated in 2021 at the
進入混沌時間的聲音加速器。用 49 聲道進行空間創作，邀請觀眾沉浸式地進
乘載城市景象的工具。在本作品中，中提琴家如 Taiwan-Hong Kong People's Association.
入「意志」的世界來探索。
畫筆般勾勒出城市聲景，探索聲音的可能性。 Field studies collected by CHAO form an
Sound goes from wave to particle to wave
For the artist, “will” is the force and guidance inspiration to reflection on issues related
to par ticle and to wave. This is a sound
By chance, the composer saw an exhibition on of human life and creativity. In this work, she to immigration and self-identity. In terms
accelerator that leads into chaotic time.
urban sketching, and was inspired to consider tried to discover different meanings behind of sound, a large number of experimental
whether sound could also be a tool to create the sounds of the Saxophone and depict real-life recordings are balanced with
the soundscape of city. The viola player multiple states of “will”. Through the immersive preset music and electronic sounds. The
explores the possibilities of sound by sketching space with 49 speakers, the audience are perspective shuttles between abstraction
the soundscape like with a paintbrush. invited to discover the world of “will”. and reality.
-052- -053-
《不可能的三難困境》旨在「創造不可能的事物」，透過表達或製造而將其具體化。這個生成
不可能的三難困境性表演裝置由一組以精準角度和位置設置的揚聲器構成，展現在一個「擴增合成聲場」裡，
Impossible Trilemma 其中的擴散空間從聽覺上被感知為擴增實境工具，將真實和虛擬的音響彼此融混。具有反射

的擴散空間猶如一項建築設計，既作為合成器，也作為形式生成器。散置的昏暗霓虹燈構成

的極簡設計與周圍的透明窗戶相映成趣。
奧利維耶・帕斯奎特
Olivier Pasquet 我極為關注思想、其具體化及感知到的結果之間的關聯。這可能是由於我往往⾯臨相對的表
達困難。因此，本作品探討了自身、社會和想像力帶來的限制。至於我之前的作品《輕推》
（The Nudge）則仍是對情境的抽象描繪，任由觀眾選擇個人的解讀方式和驅力，可視之為某
種戲劇音樂的型態和風格。
在作品中鋪展不可能的三難困境，這似乎天馬行空。然而，作品中不一定要運用真實事物，
而可能性的範圍會隨著想像力而拓寬，在運用機緣或不確定性、演算法等發掘工具之下尤
聯合餐廳展演空間 2 樓演出 Performance
然。然而，僅僅將其展現出來，則可能顯露它的無法實現。威爾第（Giuseppe Verdi）基於
Art Space I, 2F 11/10 ㊄ 20:30
（La Traviata）即是絕佳的例子，它展現出該
小仲馬的十九世紀小說改編成的歌劇《茶花女》
- 11/11 ㊅ 20:30（舉辦演後座談╱ Followed by artist talk）
年代的歐洲，攀升到其他社會階層所遭遇的障礙。
（⽂╱奧利維耶·帕斯奎特）
展覽 Exhibition 11/12 ㊐ 20:30
11/10 ㊄ -11/12 ㊐ 30-35 mins
The Impossible Trilemma aims at “making the impossible”; materializing it by expression or
13:00-19:00 fabrication. This generative performative installation is showcased in an “augmented synthetic
acoustic space” where the diffusion space is aurally perceived as an augmented-reality instrument;
mixing real and virtual acoustics together. The setup consists of a set of speakers oriented in very
precise angles and positions. The diffusion space with its reflections is used both as a synthesizer
and a form generator as if it was an architecture design object. A minimal design with scattered dim
neon lights plays with the transparency of the surrounding windows.
The correlation between thoughts, their materialization, and perceived outcomes indefinitely
intrigues me. Probably because of the relative expression difficulties I often encounter. The
Impossible Trilemma thus explores several questions about the limits given by oneself, by society,
and by imagination. As for the previous piece The Nudge, it is intended to remain an abstract
depiction of a situation and thus leaves the listener any choice of intimate interpretation and drive.
One could see that as a theatre-music manner, and style.
Playing with an impossible trilemma in a piece may seem fanciful. However, there is no necessity
to use reality in a piece, the spectrum of possibilities is as wide as imagination goes. The width of
possibilities obviously stretches even more when using serendipity or any other tool for discovery
such as indeterminacy or algorithms. Just expressing it could nevertheless expose unattainability.
Giuseppe Verdi’s La Traviata is the ideal example showing obstacles in accessing other social
classes in Europe at the time of The Lady of the Camellias. Verdi’s opera comes straight from
Alexander Dumas’ 19th-century novel. (text by Olivier Pasquet)
展覽：自由入場｜表演：請透過 Accupass 平台購票（票價：200）

Exhibition: Free entry｜Performance: Tickets available on Accupass (NT$200)
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近年備受國際當代表演藝術界矚目的笙演奏家李俐錦，
地平線上的新笙景：雙城記
Francisco Uberto ● Stage Designer: CHEN Guan-Lin ● Sponsor: National Culture and Art Foundation
Chin ● Visual Designer: CHIU Chih-Chun ● Musicians: LI Li-Chin (Sheng) ● Composers: CHEN Heng, LIU Jia-Lin, Samuel Taylor,
● Producer: LI Li-Chin ● Project Coordinator: CHEN Heng ● Program Planner: CHEN Heng, LI Li-Chin ● Art coordinator: LI Li-
劉家麟、塞繆爾・泰勒、弗蘭西斯科・烏貝托●舞台設計 : 陳冠霖●贊助單位：國家⽂化藝術基金會
●製作人 : 李俐錦●國際媒合 : 陳珩●節目策劃 : 陳珩、李俐錦●藝術統籌 : 李俐錦●視覺設計 : 邱智群●音樂家 : 李俐錦（笙）●作曲家 : 陳珩、

受 C-LAB 臺灣聲響實驗室之邀，於 2023 年秋天帶來的
互動多媒體笙劇場最新製作《地平線上的新笙景：雙城記》互動多媒體笙劇
場，邀集四位分別來自臺灣、中國、阿根廷、澳洲的作曲
Landscape on the New Horizon of 家，並與視覺藝術家邱智群及舞台設計師陳冠霖合作，打


造涵蓋電子聲響、視覺投影和燈光造景且⾯向開放舞台的
Sheng: A Tale of Two Cities 沉浸之旅。
– An Interactive Multimedia-based 這場互動多媒體笙劇場包含四個篇章。《樂園》重現巴黎及

台北的巷弄景致，展現這兩座隔海萬里的城市人⽂的互⽂
Musical for Sheng 襯比。《導火線》則是以笙的固定音律調製成特定微分音調
性作為全曲概念。《聲 II》透過拆解樂器、回溯到其最小單
位，展開一場微型內觀的減法旅途。而《懷舊歌曲》則以程
李俐錦
式代碼重構了身體動態、樂器、空間的互動方式，誘使觀
LI Li-Chin 眾的五感重新接續上《雙城記》題旨中，那咫尺天涯卻「遙
亦可觸」的中心概念。
Landscape on the New Horizon of Sheng: A Tale of Two Cities

– An Interactive Multimedia-based Musical for Sheng is a new
oeuvre by internationally recognized sheng performer LI Li-Chin
in collaboration with four composers respectively from Taiwan,
China, Argentina, and Australia, visual artist CHIU Chih-Chun,
and stage designer CHEN Guan-Lin. Launched in the fall of
2023 at the invitation of C-LAB Taiwan Sound Lab, the work is
an immersive trip, involving electronic sounds, video projection,
and stage design.
The musical comprises four chapters. P. A .R. A .D.I.S .E.

represents recreated alleys of Paris and Taipei and conveys an
intertextual contrast of urban culture between these two distant
cities. The concept in Fuse is using sheng's microtuning to
achieve a specific effect. Vox II is a microscopic introspection
and a trip toward simplification through dissecting an instrument
into its minimal units. For Chants Pour Cyber Nostalgie,
interactions between body motion, musical instrument,
and space are reconstructed through acoustic space and
programming and coding, luring the audience’s five senses to
reconnect with the central idea of A Tale of Two Cities: “so far
away yet so approachable.”
FUTURE VISION LAB 2023 票券資訊 Ticket info.

-
11/11 ㊅ 14:30、19:00 請透過 Accupass 平台購票╱
Priced tickets available on 《樂園》、《導火線》、《聲 II》、《懷舊歌曲》
50 min Accupass （NT$200; details p. 20） P.A.R.A.D.I.S.E, Fuse, Vox II, Chants Pour Cyber Nostalgie
-056- -057-
《聆聽城市：臺北＿一本聲音的雜誌》是柏林新音樂室內樂
聆聽城市：臺北＿一本聲音的雜誌
National Culture and Arts Foundation (Taiwan)

Commissioner for Culture and the Media (Germany), Goethe-Institut,
and FAHRBEREITSCHAFT ● Supported by the Federal Government
Collaboration: Kyiv Contemporary Music Days, Kultur Büro Elisabeth,
● Performance: Ensemble KNM Berlin ● Production: Studio Acht ● Intl'
傳媒委員會、台北歌德學院、國家文化藝術基金會
伊莉莎白文化事務處、FAHRBEREITSCHAFT ●贊助單位：德國聯邦政府文化與
●樂團：柏林新音樂室內樂團●製作團隊：捌號會所●國際共製：基輔現代音樂節、

團於 2023 年推出的新製作，以「聲音雜誌」的概念，報
Listening Cities: Taipei, A Sound Magazine 導來自三個截然不同的大都會城市：基輔、利馬與台北。
聆聽一座城市，並不僅僅在於感知它的聲響特徵，更因為

柏林新音樂室內樂團城市是一個由人類活動和社會⽂化所組成的有機體。基
Ensemble KNM Berlin 輔、利馬和台北目前成為媒體報導的焦點，無論是俄羅斯
在烏克蘭的戰爭、秘魯境內因對農村住民的社會歧視而引
策略聯盟 : 再壹波藝術節
發的暴力騷亂、還是中國對臺灣主權的種種威脅，都與⽂
Strategic Alliance: One More Festival
化身份的侵犯、拒絕和抹殺有關。
因此，
《聆聽城市：臺北＿一本聲音的雜誌》向這三個城市的
當代作曲家與藝術家提問，探索他們藝術作品中的地理、社
立體聲場會、政治和歷史背景等。
Spatial Audio Field
《聆聽城市：臺北＿一本聲音的雜誌》由柏林新音樂
-
室內樂團與基輔現代音樂節、伊莉莎白⽂化事務處、
11/14 ㊁ 19:30
50 mins（無中場休息╱ Without intermission） FAHRBEREITSCHAFT 以及再壹波藝術節共同製作，並
舉行演後座談╱ Post-concert talk 由德國聯邦政府⽂化與傳媒委員會及歌德學院贊助。
再壹波藝術節由國家⽂化藝術基金會贊助。
Listening Cities is the name of KNM Berlin's new sound

magazine, dedicated in 2023 to music from three very different
metropolitan regions of the world: Kyiv, Lima and Taipei.
Listening to a city does not only mean perceiving its acoustic

Ana Maria RODRIQUES：《自然即 signatures. The city is first and foremost an organism of human
形式：給古箏、低音豎笛、中提琴》
（世界首演）、林芳宜：《異托邦的素 activities and social-cultural agreements. Listening Cities
描本 III：給小提琴、低音大提琴、擊 therefore asks current composers and artists from the above-
樂》（世界首演）
mentioned metropolises about the geographical, social, political
In Nature Alone Are Forms|for
Guzheng, Bass clarinet and Viola
and historical context of their art. Kyiv, Lima and Taipei are
(Ana Maria RODRIQUES) (World currently in the media spotlight. Whether the Russian war in
Premiere), Heterotopia Sketch
Ukraine, the violent unrest in Peru, which is primarily based on
III|for Double Bass, Violin, and
Percussion (LIN Fang-Yi) (World the social discrimination of the indigenous rural population,
Premiere) or the threatened invasion of Mainland China in Taiwan - it is
always also about the violation, rejection and erasure of cultural
售票和活動細節 identities.
Details & Admission
Listening Cities is a project of Ensemble KNM Berlin in
cooperation with One More Festival Taipei, Kyiv Contemporary
Music Days, Kultur Büro Elisabeth, and FAHRBEREITSCHAFT.
Supported by Musikfonds e. V. with project funds from the
Federal Government Commissioner for Culture and the Media.
With the kind support of the Goethe-Institut.
-058- -059-
VR 新聲境 NTT × C-LAB 出體 OOBE
VR: NEW SOUNDSCAPE
VR
新聲境
趙亭婷、謝文毅、黃祈諺
VR: New Soundscape

ZHAO Ting-Ting, HSIEH Wen-Yee, HUANG Chi-Yen
立體聲場
Spatial Audio Field
-
10/6 ㊄ 19:00, 20:30
10/7 ㊅ 14:00. 16:30, 19:30
10/8 ㊐ 14:00. 16:30, 19:30
30 mins
-061-
彼岸 —— 無常之聲
VR
VR
新聲境
新聲境
LIMBOTOPIA - Impermanence
VR: New Soundscape
VR: New Soundscape

黃苓瑄、謝文毅
HUANG Ling-Hsuan, HSIEH Wen-Yee
《出體》，靈魂離開肉體後，在身體外活動的一切未知經驗
● Creative Consultant: HSIEH Chieh-Hua
Ting-Ting , YU Ming-Ting ● Producer: Angelina JIAN ● Executive Producer: Liz YU
& Stage Manager: CHEN Da-Zai ● Technical Art: Denny WANG ● Dancers: ZHAO
HUANG Chi-Yen ● Technical Art & System Engineer: Tim SUE ● Lighting Designer
● VR Artist: HSIEH Wen-Yee ● Choreographer: ZHAO Ting-Ting ● Composer:
敏婷●製作統籌：簡姵伽●執行製作：虞淮●創作顧問：謝杰樺
系統工程師：蘇詠庭●燈光設計暨技術統籌：陳大再●技術美術：王峻彥●舞者：趙亭婷、喻
●主創暨 VR 設計：謝⽂毅●主創暨肢體設計：趙亭婷●主創暨聲音設計：黃祈諺●技術美術暨
三位藝術家，三種語言，三種場
基於出體後的未知，交由觀眾探索
本次作品圍繞台灣聲響實驗室立體聲場空間展開。
藝術家們以出體為題，邀請觀眾走進人造虛擬。
三個宇宙在對撞後，場域坍縮，實驗場失序。
將三種語言碰撞後坍縮的場域，擬作觀眾步入的的出體經驗。
新媒體藝術家謝⽂毅、肢體藝術家趙亭婷及作曲家黃祈諺聯
合開發之共創作品《出體》，為 VR 虛擬實境藝術創作，融
合舞蹈肢體、視覺藝術、科技藝術、電子聲響等多方領域，
並結合 C-LAB 臺灣聲響實驗室立體聲場 Ambisonics 沉浸
式多聲道系統呈現。
OOBE, all the unknown out-of-body experiences of the soul.

Three artists, three languages, three fields.
The work is based on the unknown after the soul leaves the body,
which is left for the audience to explore.
OOBE unfolds in the Spatial Audio Field of

共同製作｜ Co-prodution:
C-LAB Taiwan Sound Lab.
With OOBE as the theme, the artists invite the audience into an
artificial virtual world.
After three universes collide, the field collapses and diminished,
and the experimental field falls into chaos.
This field that underwent the collision between the three
languages incarnate the out-of-body experience for the audience. 立體聲場
Spatial Audio Field
票券資訊 Ticket info. OOBE is a VR work developed and created by new media artist -
HSIEH Wen-Yee, body movement artist ZHAO Ting-Ting, and
11/3 ㊄ 19:00, 20:00
sound artist HUANG Chi-Yen. Encompassing choreography,
請透過 Accupass 平台購票 11/4 ㊅ 16:00, 17:00, 19:00, 20:00
（票價：200） visual and technology-based art, and electronic sounds, the
Tickets available on Accupass work is shown through the Ambisonics immersive multi-channel 11/5 ㊐ 16:00, 17:00, 19:00, 20:00
(price: NT$200) audio system in the Spatial Audio Field. 25 mins
-062- -063-
舞蹈聲響
VR
DANCE & SOUNDS

新聲境
VR: New Soundscape
《彼岸 —— 無常之聲》源自謝⽂毅、鄭鈞聯根據
Lab Wen-E Studio.
of the Original LIMBOTOPIA: Aaron WU ● Production: C-LAB Taiwan Sound
● Sound Design: HUANG Ling-Hsuan ● Director: HSIEH Wen-Yee ● Creator

● This experience is adapted from the VR film LIMBOTOPIA in VR
吳威翰●出品：C-LAB 臺灣聲響實驗室、Wen-E Studio
●聲音設計：黃苓瑄●導演：謝⽂毅●原作創作者：謝⽂毅、鄭鈞聯●原作音樂家：
●本聲響節目改編自 VR 電影《彼岸》

of the Original LIMBOTOPIA: HSIEH Wen-Yee, CHENG Chun-Lien ● Composer
LIMBOTOPIA 這份建築設計所改編、發想與創作之 VR 作
品《彼岸》。原著建築設計 LIMBOTOPIA 描寫一則虛構故
事，關於一個真實存在於台灣的地理位置，數年後受環境
侵蝕而消失，並想像整個空間的消亡，以此意味在彼方的
重生。
音樂創作者黃苓瑄基於《彼岸》中關於虛實交錯、重心錯置
之題材，以聽覺感知的「真實世界」與「恍惚幻象」之模糊
地帶為創作重心，為《彼岸》重新設計頭戴式裝置，並結合
C-LAB 臺灣聲響實驗室立體聲場的表現，打造全新音樂與
聲場創作——《彼岸—— 無常之聲》，其中，聲響將成為幻滅
與重生之路上的黑白無常，與彼岸之光一同引領行者，於虛
實狹縫中前行。
LIMBOTOPIA - Impermanence is derived from the VR work

LIMBOTOPIA by HSIEH Wen-Yee and CHENG Chun-Lien.
This VR work is an adaptation of the architectural design
LIMBOTOPIA based on the fictional story about an actual
geographical location in Taiwan that disappears after years
of erosion, implying a rebirth on the other side through
imagination of the decline of the entire space.
With the head-mounted display designed by composer HUANG

Ling-Hsuan inspired by the auditory interzone between reality
and hallucination based on the interlacing of the virtual and
the real as well as gravitation dislocation in LIMBOTOPIA,
LIMBOTOPIA evolves into the musical and acoustic work
票券資訊 Ticket info. LIMBOTOPIA – Impermanence. In the new piece supported by
technologies in the Spatial Audio Field of the Taiwan Sound
Lab, sounds become ghosts of impermanence on the path of
請透過 Accupass 平台購票
（票價：150） disillusionment and rebirth, leading travelers to proceed in the
Tickets available on Accupass narrow gap between reality and virtuality under the light at the
(price: NT$150) other side.
-064-
舞蹈聲響
舞蹈聲響
Dance & Sounds
Dance & Sounds

R
林祐如、田孝慈、林梅芳
LIN Yu-Ju, TIEN Hsiao-Tzu,
LIN Mei-Fang
聯合餐廳展演空間 1 樓
Art Space I, 1F
-
10/27 ㊄ 19:30
（舉行演後座談╱ Followed by artist talk）
10/29 ㊐ 13:30, 16:30
40 mins
-066- -067-
舞蹈聲響
舞蹈聲響
疫情的低迷和奧運與世足的亢奮，特寫了「停滯」與「重
NTT x C-LAB 逆斷口
Shiuan●Coproduction: C-LAB Taiwan Sound Lab, IRCAM-Centre Pompidou ●Music commissioned by IRCAM-Centre Pompidou
Taiwan Sound Lab●Planning Coordinator: Cécile HUANG●Planning Manager: LEE Hua, LIN Ying-Chen●Sound Engineering: Hsieh Hsien-Te, TSANG Jing-
Wei●IRCAM Centre Pompidou●Computer Music Design: Etienne Démoulin●Sound Diffusion: Sylvain Cadars●Projet Manager: Aurèlia Ongena●C-LAB
Producer: CHIANG Yi-Hsuan●Main Visual: TSAI Chia-Hao●Photo Credit: publicloooooop (no. 1), Taipei Performing Arts Center●Photographer: CHEN You-
WANG Cheng-Yuan●Costume Design: TSAI Hao-Tien●Rehearsal Assistant: Chen Ya-Chu●Stage Manager: SUN Wei-Chen●Producer: Ann WU●Executive
Hsiao-Tzu,LEE Yin-Ying●Composer: LIN Mei-Fang●Dramaturg: LEE Ming-Chen●Space Design: LUO Jr-Shin●Lighting Design: CHEN Guan-Lin●Video Design:
●Concept: LIN Yu-Ju, TIEN Hsiao-Tzu●●Creator: LIN Yu-Ju, TIEN Hsiao-Tzu, LIN Mei-Fang●Choreographer: LIN Yu-Ju, TIEN Hsiao-Tzu●Performer:TIEN
龐畢度聲響與音樂研究統合中心委託創作
● C-LAB 臺灣聲響實驗室●計畫統籌：黃意芝●計畫執行：李樺、林映辰●聲音工程：謝賢德、曾靖軒●共製單位：C-LAB 臺灣聲響實驗室、龐畢度聲響與音樂研究統合中心 ●音樂由
《publicloooooop 回路》創刊號●攝影：陳又維●龐畢度聲響與音樂研究統合中心●電腦音樂設計：艾蒂安・德穆蘭●聲音工程：西爾凡・卡達爾●專案經理：奧荷莉亞・歐珍娜
陳冠霖●影像設計：王正源●服裝設計：蔡浩天●排練助理：陳雅筑●舞台監督：孫唯真●製作人：吳可雲●執行製作：江怡璇●主視覺設計：蔡佳豪●照片授權：臺北表演藝術中心
●概念：林祐如、田孝慈●共同創作：林祐如、田孝慈、林梅芳●編舞：林祐如、田孝慈●演出：田孝慈、李尹櫻●作曲：林梅芳●創作顧問：李銘宸●空間設計：羅智信●燈光設計：
啟」，類似生命中不可預期的那些留在原地、無法前進與
動彈不得卻又急欲離開僵局的時刻。我們似乎一直在與
NTT x C-LAB Re-Fracture
Dance & Sounds
Dance & Sounds

自己較量的跑道上，在長時間的訓練過程中，一次次重
新⾯對自己，想要更強、突破限制。如同一個運動員、
葉于瑄、鄭道元、蕭育禮
一個跑者、一個舞者、一個音樂家，或是生活中的任何
一個角⾊，超越的對象從來都不是他者，而是自己。只
YEH Yu-Hsuan, CHENG Dao-Yuan, HSIAO Yu-Li
要邁開步伐就好，只要離開原地，就能看見其他的風景。
在本作品中，擅長以肢體表達生命感受與情緒的兩位獨
立肢體藝術工作者林祐如與田孝慈，攜手以戲劇性張力
釋放與能量帶動為風格的音樂家林梅芳，藉由身體與聲
音談論限制、動彈不得，也談論終於可動，透過視覺與
聽覺，共構出各式運動線條。
“ Stagnation” and “restar t ” are foregrounded in the

depression of the pandemic and the enthusiasm for the
2020 Summer Olympics and the 2022 FIFA World Cup,
like at the unpredictable moments in life when one is
eager to escape the deadlock but remains stationar y,
stays in place, and cannot proceed. We seem to be in
constant self-confrontation during extended training on
a runway for self-competition, wanting to be stronger and
surpass the limits. Like for an athlete, a runner, a dancer,
a musician, or any role in life, it is the self that should be
surpassed, not the other. Just take a stride from where
you are, your perspective will change.
R features LIN Yu-Ju and TIEN Hsiao-Tzu, body movement

artists specializing in expressing feelings through body
language, and composer LIN Mei-Fang whose style is driven
by energy and characterized by dramatic tension release.
This work is about limitations, immobility, and also about
finally being able to move, spinning various lines of motion
created corporeally and aurally through vision and hearing.
美援大樓展演空間 1 樓
Art Space V, 1F
-
票券資訊 Ticket info. 10/21 ㊅ 19:30
（演後座談／Followed by Artist Talk）
請透過 Accupass 平台索票╱ 10/22 ㊐ 19:30
Free tickets available on
Accupass
40 mins
（詳見╱details p. 20）無中場休息╱ Without intermission Photo by Yo
-068- -069-
舞蹈聲響
舞蹈聲響
Dance & Sounds
Dance & Sounds

我們成了時間的殘骸，在剝離的過程，追尋、幻想完整。
Yun ● Special Thanks to Artexpected CO., LTD, LEE Hua, LIAO Wen-Yu, TSOU Ying-Lin, HSIEH Kuang-Yu, and HualienArt
Chih ● Production Consultation: Neo WU ● Sound Engineering Consultation: DEAN Chi-You ● Executive Producer: HSIEH Ya-
Coordinator: Tinghaotsu Lighting Design Studio ● Installation Assistant: LIN Wei-Ting ● Artistic Consultation: CHOW Ling-
CHIU ● Stage Manager: CHEN Pin-Hsaun ● Sound Engineering Coordinator: C-LAB Taiwan Sound Lab ● Lighting Technology
Li ● Performers: LAI Yu-Feng, TSENG Yu-Ting, CHAN Pei-Hsuan ● Lighting Designer: TING Hao-Tsu ● Costume Designer: Juby
● Choreographer: YEH Yu-Hsuan ● Sound Creation & Performance: CHENG Dao-Yuan ● Installation & Performance: HSIAO Yu-
蓮日出藝文基地
周伶芝●製作顧問：吳季娟●聲音工程顧問：丁啟祐●執行製作：謝亞芸●特別感謝：藝外創意有限公司、李樺、廖玟淯、鄒瑩霖、謝光俞、花
邱娉勻●舞台監督：陳品璇●聲音工程統籌：C-LAB 臺灣聲響實驗室●燈光技術統籌：丁浩祖燈光設計工作室●裝置協力：林煒庭●創作顧問：
●肢體編排：葉于瑄●聲響創作暨演出：鄭道元●裝置設計暨演出：蕭育禮●表演者：賴有豐、曾淯婷、詹佩瑄●燈光設計：丁浩祖●服裝設計：

斷裂面（fracture）作為曾經在場的證據，亦是事件或力
的作用後的遺跡。但它並非只是靜止的斷口，而是把事
件發生的過程紀錄在我們所能看見的物體上。當原初的
事件以及作用力已不復存在，我們處在斷裂、殘缺中，
試圖修補、還原，卻也不斷創造斷裂與質變⋯⋯
由葉于瑄、鄭道元及蕭育禮共同創作的《逆斷口》（Re-
Fracture），由「斷裂面」為始進行探索。肢體、聲響與裝
置被視為相互依附的載體，在往返斷口之間相互制衡、
交錯、疊加、重組，探究破裂的殘缺、變異與虛實。
We become remnants of time, seeking and imagining

completeness in a process of dissection.
As evidence of a presence, a fracture is also the remnant after

an event or of an exerted force. More than a static break, a
fracture incarnates the record of an occurrence inscribed
on a visible object. Once the event terminates or the force
no longer exists, we seek to mend and restore amid breaks
and fragments, while continuously creating fractures and
heterogeneities.
Co-created by YEH Yu-Hsuan, CHENG Dao-Yuan, and HSIAO

Yu-Li, NTT X C-LAB Re-Fracture based on “fracture” is an
exploration of the incompleteness, variation, the virtual, and
the real of a rupture through the mutual check and balance,
interlacing superimposition, and reorganization of the
physical movements, sounds, and installations regarded as
interdependent vehicles.
共同製作｜ Co-prodution:
請透過 Accupass 平台購票╱
Priced tickets available on
Accupass
Photo by Yo （NT$200; details p. xx）
-070- -071-
舞蹈聲響
舞蹈聲響
《潘朵拉幻象 - 無限穿梭》結合現場擊樂、多聲道聲響和
潘朵拉幻象 - 無限穿梭
Taipei Performing Arts Center

Performing Arts Center ● Planner: Ju Percussion Group Foundation ● The 2023 version is commissioned by the
Design and Execution | C-LAB Taiwan Sound Lab ● Production Cooperation: Artexpected CO. ● Organizer: Taipei
Jo-Hao ● Audio Engineer: LAI Wei-Yu ● Producer: WU Chi-ChuanAdministrator: YU Ting-Yu ● Immersive Sound
YEH Ting-Hao ● Stage Designer: CHANG Hui-Ming ● Lighting ● Designer: WANG Yu-Chun ● Stage Manager: LEI
● Immersive Sound Design/Artistic: HSIEH Hsien-Te ● Director: HSIAO Ching-Hsin ● Immersive Visual Designer:
●主辦單位：臺北表演藝術中心●策劃單位：財團法人擊樂⽂教基金會● 2023 版本由臺北表演藝術中心委託創作
響實驗室●製作協力：藝外創意
舞台監督：雷若豪●音響硬體工程：賴韋佑●製作人：吳季娟●執行製作：余庭語●沉浸式聲場設計與執行：C-LAB 臺灣聲
●音樂暨空間聲響設計統籌：謝賢德●導演：蕭景馨●沉浸式視覺設計：葉廷皓 ●空間設計：張暉明●燈光設計：王宥珺●

音像互動藝術。觀眾將置身於一個充滿聲音和影像的多
Pandora Illusion - Infinite Odyssey 層次意識空間，透過聲音在空間中穿越、反彈和疊加的

Dance & Sounds
Dance & Sounds

過程，逐漸累積自我的記憶地層，體驗不同的意識的形
貌。為一齣充滿視聽饗宴的科技表演藝術作品。
謝賢德、蕭景馨、葉廷皓
HSIEH Hsien-Te, HSIAO Ching-Hsin, YEH Ting-Hao 無意識的偽裝成一無所知，是躲避我們全知的恐懼，多
聲道與影像的繁複環繞，探索自我創建的多層意識。
演出以「穿越」為核心。「穿越」代表聲音與影像在時空中
的無限延伸，挑戰了我們對現實與虛擬的邊界、內心與
外在的認知；觀眾將透過豐富的聲光表現帶領我們突破
自我，探索更廣闊的無限穿梭世界，體驗每位觀眾內在
獨一無二的潘朵拉幻象！
Pandora Illusion - Infinite Odyssey combines live percussion,

multi-channel soundscapes, and audiovisual interactive
ar t. The audience will be immer sed in a multi - layered
consciousness space filled with sound and imagery. Through
the process of sound traversing, bouncing, and layering in
space, they will gradually accumulate layers of personal
memories, experiencing various forms of consciousness. It is
a captivating technological performance art offering a feast
for the senses.
Unconsciously disguised as the unknowing/We evade the

fear of knowing it all/In the complexity of multi-channel
a n d i m a g e r y s u r r o u n d / We ex p l o r e t h e m u l t i - l aye r e d
consciousness we create.
The performance revolves around the theme of

"transcendence." "Transcendence" represents the infinite
ex t e n s i o n of s o u n d a n d i m a g e r y i n t i m e a n d s p a c e ,
票券資訊 Ticket Info.
challenging the boundaries of reality and virtuality, and
our perception of inner and outer worlds. Through rich
請透過 OpenTix 售票平台購票 audiovisual expressions, the audience will be guided to
（票價：800, 1000） transcend themselves, exploring a broader world of infinite
Tickets available on the transcendence, and experiencing each individual's unique
臺北表演藝術中心藍盒子
OpenTix platform (prices: Pandora's Illusion.
Taipei Performing Arts Center Blue Box NT$800, 1000)
-
11/11 ㊅ 14:30 演出場地 Venue
11/11 ㊅ 19:30
11/12 ㊐ 14:30 臺北表演藝術中心藍盒子（臺北市士林區劍潭路 1 號）
11/12 ㊐ 17:00 Taipei Performing Arts Center Blue Box (No. 1, Jian-Tan Rd.,
50 mins Shilin Dist., Taipei)
-072- -073-
舞蹈聲響
舞蹈聲響
Dance & Sounds
Dance & Sounds

無人知曉 — System Tandm
System Tandm
蕭景馨 × C-LAB 臺灣聲響實驗室 × 製作循環工作室桃園展演中心
HSIAO Ching-Shin × C-LAB Taiwan Sound Lab × Taoyuan Arts Center
PROJECT ZERO -
10/18 ㊅ 14:30
策略聯盟：桃園鐵玫瑰藝術節 10/19 ㊐ 14:30
攝影：林育全
Strategic Alliance: Taoyuan Iron Rose Festival 45 mins Photo by LIN Yu-Chuan
-074- -075-
舞蹈聲響
展演跨域
個體與看不見的系統如何牽動著彼此？而系統究竟所指何方？
Animators
Project 0 Studio, C-LAB Taiwan Sound Lab ● Venue and Technical Cooperation: C-LAB Technology Media Platform & C-LAB Taiwan Sound Lab, C-LAB Creative Base for
Engineering: WU Ang-Lin ● Lighting Consultant: LIN Ying-Chen ● Producer: HSIAO Yi-Hsuan ● Assistant Producer/Rehearsal Assistant: LIN Li-Yu ● Co-Production:
●導演／空間設計 : 蕭景馨 ●聲響空間設計／音樂設計 : 謝賢德●編舞／舞者 : 洪翊博●互動程式設計 : 葉雅婷●舞者／創作協力 : 陳群翰●燈光設計 : 林翰生●服裝設計 : 楊妤徳 ●舞台監督：
INTER-ARTISTIC EXPRESSIONS
Ya-Ting ● Performer & Creative Assistance: CHEN Chun-Han ● Lighting Design: LIN Han-Sheng ● Costume Design: Yang Yu-Te ● Stage Manager: Wang Min ● Sound
● Director ／ Space Designer: HSIAO Ching-Shin ● Sound, Space & Music : HSIEH Hsien-Te ● Choreographer & Performer: HONG Yi-Bo ● Interaction Programmer: YEH
體實驗平台／ C-LAB 臺灣聲響實驗室、C-LAB 動畫創作者基地
王敏●音響工程 : 吳昂霖●燈光技術指導 : 林映辰●製作統籌：蕭藝萱●製作／排練助理：林俐瑜●共同製作 : 製作循環工作室、C-LAB 臺灣聲響實驗室●場地與技術合作 : C-LAB 科技媒
《無人知曉》以街舞舞者的身體動能為核心，透過全身動態捕捉
Dance & Sounds
設備器串連起「聲響科技系統」與「燈光系統」，使聲光結構與
舞者緊密交織，塑造出「移動」的具體感受與表演性。
透過創造聲音獨特的感官經驗和細膩的空間感，聲響、舞者、
光線彷彿成為獨立個體，不斷對抗與對話，呈現這項永恆提
問：人類能否在訊息龐雜且相互糾纏的數位時代中，全然掌控
自身的命運。
How do the individual and the invisible system relate to each

other? Which direction does the system point to?
In System Tandem based on the kinetic energy of the street

dancers’ bodies, the sound system is connected to the lighting
system through a full-body motion capture device. The acoustic
and lighting structures are closely intertwined with the dancers,
shaping a specific feeling and performativity of “motion”.
Through the unique sensory experience of sounds and a

delicate sense of space, sounds, dancers, and light seem to
become independent entities in a constant confrontation and
dialogue, representing the eternal questioning about whether
human beings can fully control their destinies in the digital age
of complex and intertwined information.
演出場地 Venue
桃園展演中心：桃園市桃園區中正路
1188 號
Taoyuan Arts Center: No. 1188,
Zhongzheng Rd., Taoyuan Dist.,
Taoyuan City
票券資訊 Ticketing Info.
請至 OPENTIX 平台購票╱
Priced tickets on OPENTIX
-076-
展演跨域
展演跨域
Inter-Artistic Expressions
風摧肉身
Worn Away 聯合餐廳展演空間灰盒子
69.5 min
陳界仁 11/9 ㊃ -11/12 ㊐ 13:00-19:00
CHEN Chieh-Jen
-078- -079-
展演跨域
展演跨域
陳界仁的錄像作品《風摧肉身》中，跨國金融資本集團、軍工複
鎏/
HUANg Hsin-Hui ● Recording Engineer: Jason HSU ● Suona: CHEN Hung-Yu ● Recording Engineer (suona): Kylin LEE
● Worn Away (song) ● Lyrics by: CHEN Chieh-Jen, Tung Hsu-Fang ● Composed by: TUNG Hsu-Fang ● Singer: TUNG Hsu-Fang ● Vocal Producer:
●《風摧肉身》
Book CHIEN, CHEN Chieh-Jen ● Electronic Music: CHEN Mao-Chang
CHEN Chieh-Yi ● Director of Photography: CHIEN Ming-Chi ● Gaffer: WEI Chia-Ching ● Sound Recordist: LI Yu-Chih ● Sound Designer:
● Director & Scriptwriter: CHEN Chieh-Jen ● Production: Taiwan Public Television Service, Chen Chieh-jen Studio ● Executive Producer:
電子音樂：陳懋璋
●導演、編劇：陳界仁●出品：公共電視、陳界仁工作室●監製：陳介一●攝影指導：簡銘岐●燈光師：魏嘉慶●錄音師：李育智●聲音設計：簡豐書、陳界仁●

合體、數位與生物科技巨頭等公司王國所共構的帝國，藉由在全
球各地製造各種地緣衝突、族群衝突，以及扶植各地代理人等模
Current/y
式，成功將新自由主義植入絕大多數的國家與地區，同時，通過
（歌曲）●詞：陳界仁、董旭芳・●曲：董旭芳●唱：董旭芳●・配唱監製：黃欣慧・●錄音師：徐振程・●嗩吶：陳泓宇・●錄音師（嗩吶）
掌控全球互聯網系統，操控絕大多數人感知世界的途徑與管道，
並在全域式操控技術的誘導下，將人們引入各種迷向空間內，而陳乂
異議之聲幾乎被驅逐至可被觸及的範圍之外。 CHEN Yi
至 2023 年，掌控公司王國的前 81 名富豪所佔有之財富，已超
過全球一半人口所擁有的財產總和。至今，貧富懸殊問題仍在持策略聯盟：臺灣科學節
續擴大。被迫成為難民、遊民、棄民與有心理健康問題者的人數 Strategic Alliance: Taiwan Science Festival
不斷攀升，達到已無法確實統計的失控狀態。
在人類社會進入具有絢麗外殼的新黑暗時代後，失業且無法申辦
信貸者只能申辦由帝國規劃的「協助優化生物功能貸款專案」
……
陳界仁曾受邀於維也納分離宮、盧森堡現代美術館、馬德里蘇菲
雅皇后國家美術館、巴黎網球場國家畫廊舉行個展，並於第十三
屆卡塞爾⽂件大展、巴黎龐畢度藝術中心、倫敦泰德當代美術館
等機構之電影單元，舉辦個人錄像專題展映。
In the video work Worn Away by CHEN Chieh-Jen, a corporatocratic

empire has been formed by multinational financial- capital
corporations, military-industrial complexes, and digital and biotech
giants. By manufacturing various geopolitical and ethnic conflicts
and cultivating local agents around the world, the empire has
successfully implanted neoliberalism in the vast majority of countries
and regions.
The empire controls the Internet, thereby manipulating global
perceptions through various channels. Influenced by these
pervasive control technologies, many people around the world are
drawn into various spaces of disorientation, and dissenting voices
are almost entirely driven to the margins.
As of 2023, the world’s top 81 billionaires—the rulers of the
corporatocracy—control more wealth than 50% of the world
combined, and wealth inequality continues to rise today.
The number of people with mental health problems, who have been
forced into refugee status, vagrancy, or discarded, is incalculable,
rising, and out of control.
After humanity enters the new, superficially resplendent dark
：李奇霖
age, the unemployed and uncreditworthy will have no choice but

to apply for the Optimization of Biological Function Assistance
Program run by the corporatocracy.
CHEN Chieh-Jen has held solo exhibitions at the Secession
(Vienna), the Contemporary Art Museum (Luxembourg), the Museo
Nacional Centro de Arte Reina Sofía (Madrid), the Jeu de Paume
(Paris). His video works have been shown in the 13th Documenta
(Kassel), the Pompidou Center (Paris), and the Tate Modern
自由入場╱ Free entry (London), among others.
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展演跨域
展演跨域
「鎏」
（音同「流」）原意為⾊澤狀態好的金子，以此作為映射創製團隊 Creation & Production Team
價值的象徵。Current/y 複合 Current(流動)、Currency
(貨幣) 與 Currently(目前的) 之意，藉此表示「當下價值的現場演出版
流變」狀態。 ●導演：陳乂●新媒體與影像創作暨執行團隊：XTRUX（蘇柏瑞、黃詠仁、邱晨恩、李畯
玨）●編舞創作：周寬柔●聲音設計：晟 SHENG ●表演者：凃立葦●影音訊號整合與執行：
陳智彦、吳承儒●雷射裝置訊號整合與執行：陳智彦●舞台監督：陳思涵●專案經理：吳伯山、
《鎏/》
（Current/y）探討人的價值意識在科技迭代中的轉林映辰（C-LAB 臺灣聲響實驗室團隊）●聲場設計：C-LAB 臺灣聲響實驗室團隊（曾靖軒、
變。本作品由導演陳乂與聲音藝術家晟 SHENG、新媒體藝陳書煌）●舞台道具設計製作：步里赫森 ●雷射裝置製作與執行：華麗邏輯有限公司
術團隊 XTRUX、編舞周寬柔、舞者凃立葦共同創作，透過雷射裝置執行團隊●機構設計與整合：黃彥翔 ●程式撰寫與編程：鄭任翔 ●控制系統設
計整合：鄭任翔、吳羿璉 ●製作經理：吳羿璉 ●電控盒設計：洪羕喆 ●電子電路顧問：
動作捕捉技術結合沉浸式音場，演繹一處線上與線下的虛吳碩恩 ●技術執行：許瑋庭、林意翔、黃育晨、侯思齊、王學淵、趙苓絜
實群像。 ●協力製作：鋒瑩鐵材有限公司、秝橋精密工業股份有限公司、德鑫雷射切割股份有限公
司、敏石系統有限公司、永欣電料有限公司、谷吉創意有限公司
關鍵字：流量 / 虛擬分身 / 加密貨幣 / 網路霸凌 / 匿名 / 數 ●演出製作單位：陳乂工作室●聲音合作共製單位：C-LAB 臺灣聲響實驗室●補助單位：
⽂化部（科技藝術創作發展補助）
位話語權 / 演算法 / 假資訊 / 監控 / 網路癮 / 輿論風向 /
KOL / 隱私權 Live Performance Version
●Director: CHEN Yi ●New Media & Video Creation & Execution: XTRUX (SU Po-
“ 鎏 ” is pronounced as “ 流 ” (“flow”) and designates gold with Jui, LI Jyun-Jyue, CHIU Chen-En, HUANG Yung-Jen)●Choreography: CHOU Kuan-
Jou●Sound Design: 晟SHENG●Performer: Livier TU● A/V Signal Integration:
fine luster, implying value based on reflection. “Current/y”
CHAN Chi-Yin (HuginnC.), WU Cheng-Ru● Laser Installation Signal Integration:
combines the meanings of current, currency, and currently, CHAN Chi-Yin (HuginnC.)●Stage Manager: CHEN Ssu-Han●Project Manager: WU
representing a state of “flow of current value”. Po-Shan, LIN Ying-Chen (C-LAB Taiwan Sound Lab)●Sound Field Design: C-LAB
Taiwan Sound Lab (TSENG Ching-Hsuan, CHEN Shu-Huang)●Stage Props Design
Current/y explores the shifts in our awareness about value & Production: Hozen studio●Laser Installation Production & Execution: Luxury
in an age of technological change. In this work co-created Logi Co., Ltd.
by director CHEN Yi, sound artist 晟 SHENG, new media art Laser Installation Production●Mechanical Design and Integration: HUANG Yen-
collective XTRUX, choreographer CHOU Kuan- Jou, and Hsiang ●Programming & Coding: CHENG Jen-Hsiang●Production Manager: WU
dancer Livier TU, online and offline virtual and real facets Yi-Lian ●Control System Design & Integration: CHENG Jen-Hsiang, WU Yi-Lian
●Electric Control Box Design: HONG Yang-Che ●Electronic Circuit Consultant: WU
unfold in an immersive soundscape through motion capture
Shuo-En●Technical Execution: SYU Wei-Ting, LIN Yi-Hsiang, HUANG Yu-Chen,
technology. HOU Ssu-Chi, WANG Hsueh-Yuan, CHAO Lin-Jay●Collaborative Production: FENG
YING IRON MATERIALS CO., LTD., LI QIAO PRECISION INDUSTRY CO., LTD., DER
Keywords: traffic / virtual doppelganger / cryptocurrency /
SHIN LASER CUTTING CO., LTD., MONTROL SYSTEMS CO., LTD.
cyberbullying / anonymity / right of speech on the Internet /
●Performance Production: Chen Yi Studio ●Sound Co-production: C-LAB Taiwan
algorithm / disinformation / monitoring / Internet addiction /
Sound Lab●Supported by: Ministry of Culture (Technology and Arts Creative
public opinion trend / KOL / right to privacy Development Subsidization Program)
VR 放映版
●導演：陳乂●動畫設計與製作：XTRUX（蘇柏瑞、李畯玨、邱晨恩、黃詠仁）●動
現場演出版╱ Live Performance Version 作捕捉、VR 技術整合開發：XTRUX（蘇柏瑞、李畯玨、邱晨恩、黃詠仁）●編舞創作：
現場版：請透過科教館服務整國立臺灣科學教育館小黑盒周寬柔●聲音設計：晟 SHENG ●動作捕捉表演：凃立葦● VR 連播系統技術統籌：陳
合網購票（票價：300）｜放映智彦 ●技術協力：陳思涵●聲場設計：C-LAB 臺灣聲響實驗室團隊（曾靖軒、陳書煌）
The Black Box, ●專案經理：吳伯山、林映辰（C-LAB 臺灣聲響實驗室團隊）
版：請透過 Accupass 平台購
票（票價：100；詳見 p. 20） National Taiwan Science Education Center ●製作單位：陳乂工作室●聲音合作共製單位：C-LAB 臺灣聲響實驗室●合作單位：
Live: Tickets available on 臺灣當代⽂化實驗場（C-LAB） ●補助單位：⽂化部（科技藝術創作發展補助）●感
11/4 ㊅ 14:30, 16:30 謝單位：國立科學教育館
NTSEC website (NT$300) ｜
V R : T i c ket s ava i l a b l e o n 11/5 ㊐ 14:30, 16:30
VR Projection Version
Accupass (NT$200; details p. 30 mins（無中場休息╱ Without intermission）
20） ●Director: CHEN Yi ●Animation Design & Production: XTRUX (SU Po-Jui, LI
Jyun-Jyue, CHIU Chen-En, HUANG Yung-Jen)●Mocap & VR Integration &
VR 放映版╱ VR Projection Version Development: XTRUX (SU Po-Jui, LI Jyun-Jyue, CHIU Chen-En, HUANG Yung-
C-LAB 臺灣聲響實驗室聲響工作站 3 Jen)●Choreography : CHOU Kuan-Jou●Sound Design: 晟 SHENG●Mocap
Performer: Livier TU●VR Broadcasting System Integration: CHAN Chi Yin
Studio 3, C-LAB Taiwan Sound Lab (HuginnC.)●Technician: CHEN Ssu-Han●Sound Field Design: C-LAB Taiwan
Sound Lab (TSENG Ching-Hsuan, CHEN Shu-Huang )●Project Manager: WU
11/17 ㊄ -11/19 ㊐ Po-Shan, LIN Ying-Chen (C-LAB Taiwan Sound Lab)
13:00, 13:30, 14:00, 14:30, 15:00, 15:30, 16:00, 16:30, 17:00, ●Production: Chen Yi Studio ●Sound Co-production: C-LAB Taiwan Sound
17:30, 18:00, 18:30, 19:00, 19:30 Lab ●Support: Ministry of Culture (Technology and Arts Creative Development
15 mins Subsidization Program)●Special thanks to: National Taiwan Science Education Center
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展演跨域
展演跨域
之間 I 《之間 I》以極具張力的「垃圾桶與古典音樂」兩種反差極大
grant of the National Culture and Arts Foundation

Engineer: LIN Chao-Yu ● Funding: Act for the Future project
Ting ● Audio Engineering: LAI Wei-Yu ● Automatic Control
Wei ● Recording, Mixing & Production: SUN Shao-
Shiann ● Sound Recording & Direction: LIN Ge-
● Hsu Studio ● Kinetic Art Creation: SHYU Ruey-
案」
程：林昭宇●贊助單位：國家文化藝術基金會「藝術未來行動專
格維●錄音混音製作：孫紹庭●音響工程：賴韋佑●自動控制工
●徐氏工作室●機械動力藝術創作：徐瑞憲●聲音錄製統籌：林

的元素為主軸，將予人精神慰藉的古典音樂置入收納穢物的
Between I 垃圾桶，打破對兩者的刻版印象。以垃圾桶作為視覺主體，
予人一種意外與特殊感，也蘊含社會與環境意識。觀者踩垃
徐瑞憲圾桶踏板，就像音樂家腳踏鋼琴踏板，音樂隨之啟動，音樂
SHYU Ruey-Shiann 的旋律節奏將隨著觀者的互動而變化，打破古典音樂原有的
嚴謹結構性，卻仍保有美好的音樂本質與意外性。
透過機械動力與聲響、音樂、多媒體互動的結合，這些平凡
的日常物件被重新賦予功能與意義，在元素、語彙與意涵
上，帶給觀者意外、幽默、新奇而深刻的感官經驗。
徐瑞憲基於長年累積的機械媒材創作能量，與 C-LAB 臺灣
聲響實驗室以及作曲家林格維、錄音師孫紹庭、音響工程師
賴韋佑及 AI 工程師林昭宇等專業人士跨域合作，營造一個
聲音藝術場域，並藉由觀者的參與，使作品更生動完整。
Bet ween I is ba s ed on t wo contra sting element s with

great tension, namely a trash bin and classical music. The
stereotypical ideas about them are broken by inserting
spiritually comforting classical music into a bin for dirt. With
a trash bin as the visual axis, the work conveys a sense of
surprise and peculiarity and connotes social and environmental
awareness. Like a musician stepping on piano pedals, the
viewer steps on the pedal of the bin and generates melodies
尚亦精密工業有限公司 and rhythms changing through human-machine interactions,
S H A N GY E E P R E C I S I O N
INDUSTRIAL CO., LTD. breaking the inherent structural rigor of classical music while
preserving the aesthetic essence and unexpectedness of
music.
Through a combination of kinetics with sounds, music, and

multimedia-based interaction, ordinary objects are endowed
with new functions and meanings . With the elements,
vocabulary, and meanings in this work, the viewer undergoes
profound sensory experiences of surprise, humor, and novelty.
With his creative energy for kinetic art accumulated over the
展覽地點 Venue years, SHYU Ruey-Shiann creates a soundscape in Between
双方藝廊 I through a collaboration with C-LAB Taiwan Sound Lab,
Double Square Gallery 双方藝廊（臺北市北安路 770 composer LIN Ge-Wei, sound recorder and producer SUN
巷 28 號）
10/28 ㊅ - 12/7 ㊃ 12:00-18:00 Shao-Ting, sound engineer LAI Wei-Yu, and AI engineer LIN
Double Square Gallery
週日、一不開放 (No.28, Lane 770, Bei-An Chao-Yu. The work is further animated and completed through
Closed on Sunday and Monday Road, Taipei) the participation of viewers.
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展演跨域
展演跨域
Miedka：野性面容《M iedka：野性⾯容》基於娜塔斯佳・馬汀（N a st a s s ja
Abbaye de Beauport (AGRAB), MMC Maison de la Musique Contemporaine

Ministery of culture DRAC CVDL, city of Orléans, GRAME, Muse en Circuit, Abbaye de Noirlac (CCER),
●資助單位╱ Sponsors：French Office in Taipei, French Institute and Region Centre Val de Loire, French
Kaohsiung Center for the Arts (Weiwuying）
(CNCM), Muse en Circuit (CNCM), Abbaye de Noirlac (CCER), Abbaye de Beauport (AGRAB), National
●合製單位╱ Co-producers：aKousthéa Cie, Villa Yourcenar, Festival ARS Musica (Belgique), GRAME
● Singer: Élise Dabrowski ● Composer and Electronic Live: Alexandre Lévy

●歌手：伊莉絲・達布羅斯基●作曲家和現場電子音樂：亞歷山大．李維

Martin）所撰的《相信野獸》（Croire aux fauves），描述她
Miedka, 在俄羅斯極地遭熊襲擊的經歷，她顏⾯受傷且轉變為半人
半熊的女人（“miedka”）。故事中，聲音構成她混種的聲
Faces of the Wild 音劇場，動物歌聲和人聲交會。當代作曲家亞歷山大・李
維（Alexandre Lévy）和抒情歌唱家伊莉絲・達布羅斯基
亞歷山大・李維、（Élise Dabrowski）合作的原創歌劇小品《Miedka：野性
伊莉絲・達布羅斯基⾯容》即涵蓋人類、萬物和地景之聲，描繪兩個相對世界
Alexandre Lévy & 的交集。
Élise Dabrowski 這齣歌劇以戶外裝置作品形式在觀眾之間展開。隨著三幕

戲，它從內部空間逐漸具有生命，益加充盈並幻化。其中
亦包含聽覺互動，觀眾透過聆聽設備而進入神奇的交集之
地，當下之聲與往昔回憶交織。在本屆聲響藝術節，尚未
完成的《Miedka：野性⾯容》歌劇的音樂和聲樂作品將舉
辦世界首演。
Miedka, Faces of the Wild is based on Croire aux fauves

by Nastassja Martin, which recounts her experience of
being attacked by a bear in the subarctic areas of Russia.
Her face was wounded and she became a half-woman,
h a l f - b e a r… a s “ m i e d k a ”. Vo i c e r e p r e s e n t s t h e s o u n d
theater of her hybridization; the animal’s song and the
human voice meet. The original operette Miedka, Faces
of the Wild is precisely dedicated to voices, the human
one, the living ones and those of the landscape, depicting
聯合餐廳展演空間灰盒子 the intersection of two opposed universes by associating
contemporary composer Alexandre Lévy and lyrical singer
Art Space I｜Gray Box
Élise Dabrowski.
-
10/27 ( 五 ) 20:30 This opera unfolds in the form of an outdoor installation
25 mins amid the audience. From an internal space, it becomes
（演後座談╱ Followed by artist talk｜ alive and inhabited, being transformed along the three
30 mins） acts. Through aural interaction via a hearing device, the
audience enter the magical meeting place, with present
sounds mixed with reminiscences.
The 2023 Sound Festival presents the premiere show of

the operette before its completion.
↑亞歷山大・李維（Alexandre Lévy）
請透過 Accupass 平台索票╱
© aKousthéa
→伊莉絲・達布羅斯基（Élise Dabrowski） Accupass
© Sylvain Gripoix （詳見╱ details p. xx）
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展演跨域
展演跨域
《共鳴記憶：我響你》是一個結合聲音和影像的「沈浸式互動
共鳴記憶：我響你
Thanks: LEE Yi-Hsuan

Consultant: HSIEH Hsien-Te ● Stage Manager: SHEN Jhe-Hong ● Executive Producer: LIN Li-Yu ● Special
● Director & Conceptor: HSIAO Ching-Shin ● Sound & Sound Interaction Programmer: CHEN Yi-Nuo ● Image
響顧問：謝賢德●舞台監督：沈哲弘●執行製作：林俐瑜●特別感謝：李怡萱
／表演者：陳昱清（舞蹈）、陳宥任（肢體喜劇）●空間設計：林昭安●燈光設計：林翰生●平⾯設計：呂坤彧●環繞聲
●導演／創作概念：蕭景馨●聲響創作暨聲音互動程式設計：陳以諾●影像創作暨影像互動程式設計：呂坤彧●創作發展

Designer: LIN Jhao-An ● Lighting Designer: LIN Han-Sheng ● Graphic Designer: LU Kuan-Yu ● Surround Sound
Designer: LU Kuan-Yu ● Ideators & Performers: CHEN Yu-Chin (dance), CHEN Yu- Jen (physical comedy) ● Space
體驗空間」，融合了演出和展覽的參與模式。仿佛置身於能
Resonant Memory: 夠反映出多重「自我意識的音樂盒」。

Echoes between You and Me 這個空間不僅會播放預先編排的環繞聲響和影像，還會即時
捕捉參與者當下的聲音和影像，而這些「痕跡」將會與其他
參與者過去的體驗交織在一起，營造出一種窺探集體記憶中
蕭景馨
不同自我的感受。本作品展現了真實和虛擬意識的結合，顯
HSIAO Ching-Shin 露了內心深處多重的自我形貌。
蕭景馨具有國立臺北藝術大學劇場藝術創作研究所碩士 ( 主
修導演 )，及國立陽明交通大學應用藝術研究所碩士 ( 主修
藝術跨域 )。
擅長於表演者與不同媒介的構成關係，探詢最適合當代觀眾
的「感官配置」，並於觀者的意識中，產生多重感知聯繫的
敘事方式。導演作品《無人知曉—System Tandm》曾獲桃
園科技表演藝術獎「新秀首獎」與「⽂策院特別獎」。作品遍
佈於劇場、美術館、立體聲場和各種非典型空間。
Based on sounds and images, Resonant Memory: Echoes

between You and Me is a space for immersive and interactive
experience. It combines performance and exhibition as the forms
of participation. The audience feel like being in a “music box that
reflects multiple self-awareness”.
The space involves pre-programmed surround sounds and

images, along with the participants’ sounds and images
captured in real time. These “traces” are interwoven with the
past experiences of other participants, which feels like peeking
聲響工作站 3 into the different selves in the collective memory. This work
Studio 3 represents a combination of real and virtual consciousness,
- revealing the multiple facets of the self that are deep within.
展覽 Exhibition HSIAO Ching-Shin obtained a master’s degree in theatre arts

10/7 ㊅ 14:00-18:00、19:30-21:30 (major: directing) from Taipei National University of the Arts and a
master’s degree in transdisciplinary art from Institute of Applied
10/8 ㊐ 14:00-17:00 展覽：自由入場 Arts of National Yang Ming Chiao Tung University. His work
- Free admission during the
features deployment of the constituent relationship between
exhibition hours
演出 Performance performers and various media. He explores the most appropriate
10/7 ㊅演出：開演前半小時於現場開放 “sensory configurations” for contemporary audiences and
免費索票；每場 20 人，無座席 creates narratives that generate multiple perceptual connections
15:00（舞蹈｜dance）、16:30（肢體喜劇｜physical comedy）、20:00（舞蹈｜dance）
Free tickets for the in the viewer’s consciousness. His directorial works include
10/8 ㊐ performances (available
System Tandm (Taoyuan Technology Performing Arts Award).
15:00（肢體喜劇｜ physical comedy） on-site 30 mins before the
performance starts; limited His works are shown in theaters, museums, ambisonics theaters,
20 mins 20 tickets; no seats) and unconventional venues.
-088- -089-
展演跨域
展演跨域
「的咯」、「的咯」、「的咯」，是個穿高跟鞋的女人。從巷子那
共鳴記憶：聲體糾纏
● Graphic Designer: YANG Ho-Ying ● Stage Manager: SHEN Jhe-Hong ● Executive Producer: LIN Li-Yu
● Ideator & Performer: TSENG Hsin-Yen ● Space Designer: LIN Jhao-An ● Lighting Designer: LIN Han-Sheng
● Director & Conceptor: HSIAO Ching-Shin ● Sound Creation: HSIEH Hsien-Te ● Text: LU Ai-Ling
●平⾯設計 : 楊和穎●舞台監督 : 沈哲弘●執行製作 : 林俐瑜
●導演／創作概念 : 蕭景馨●聲響創作 : 謝賢德●⽂字創作 : 陸愛玲●創作發展／演員 : 曾歆雁●空間設計 : 林昭安●燈光設計 : 林翰生

一頭「的咯」過來……
Resonant Memory:
以⽂字引導和聲響創作介⾯的混用，在表演者的帶引中企圖
Entanglement of Sound and Body 讓當下時空產生糾纏，使閱聽者恍若進入表演者所映射出的

記憶與意識當中。
蕭景馨《共鳴記憶：聲體糾纏》融合了劇場藝術的創作思維，以不同
姿態開展出全新的「具象音樂」取材過程，以及樂音處理的
HSIAO Ching-Shin 概念。演出當下，預製聲響與即時調變的交錯處理，以及不
同屬性的收音器材於立體聲場中疊構出多重的時間維度，形
塑出如樂音般綿延不絕的「真實感受」
。
蕭景馨具有國立臺北藝術大學劇場藝術創作研究所碩士 ( 主
修導演 )，及國立陽明交通大學應用藝術研究所碩士 ( 主修
藝術跨域 )。他擅長於表演者與不同媒介的構成關係，探詢
最適合當代觀眾的「感官配置」，並於觀者的意識中，產生多
重感知聯繫的敘事方式。導演作品遍佈於劇場、美術館、立
體聲場和各種非典型空間。
Click-clack, click-clack… Here comes a woman in high heels click-

clacking from the other end of the alley…
In Resonant Memory: Acoustic Volume of Entanglement

intended for entanglement in the present spacetime by means of
text and the sound-creation interface, the audience is led by the
performer and enters a state comparable to the individual and
collective memory and consciousness reflected by the performer.
Through distinct gestures, a new sound collection process for

“musique concrete” and different concepts of musical sound
processing are derived from this work integrated with creative
thinking of theater arts.During the performance, multiple
temporalities are superimposed in the Spatial Audio Field
with pre-generated sounds and real-time modulations being
processed alternately using various types of equipment, creating
a “real feeling” that extends endlessly like sounds.
HSIAO Ching-Shin obtained a master’s degree (major: directing)

from Graduate Institute of Theatre Arts of Taipei National
University of the Arts and a master’s degree in transdisciplinary
art from Institute of Applied Arts of National Yang Ming Chiao
Tung University. His work features deployment of the constituent
relationship between performers and various media. He explores
立體聲場票券資訊 Ticket info.
the most appropriate “sensory configurations” for contemporary
Spatial Audio Field audiences and creates narratives that generate multiple
35 mins 請透過 Accupass 平台索票╱ perceptual connections in the viewer’s consciousness. His
10/21 ㊅ 15:00、17:00、20:00 Accupass directorial works are shown in theaters, museums, ambisonics
10/22 ㊐ 15:00 （詳見╱ details p. 20） theaters, and unconventional venues.
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展演跨域
展演跨域
誰的手術刀 2.0
Whose Scalpel 2.0
張晏慈
CHANG Yen-Tzu
Art Space III, 1F
-
展覽 Exhibition
10/19 ㊃ -11/12 ㊐
13:00-19:00
（週一不開放╱closed on Monday）
-
演出 Performance
10/19 ㊃ 19:30
10/21 ㊅ 15:00
10/22 ㊐ 15:00
30 mins
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展演跨域
展演跨域
《誰的手術刀 2.0》是結合視覺、裝置和聲音表演的作品，以醫
消逝的靈光：政戰大樓影音繞響
outcome of the residency STEAM Imaging, hosted by Fraunhofer MEVIS and Ars Electronica.
C-LAB Taiwan Sound Lab ● Supervisor: ITRI - SSTC - Cultural and Sports Technology Services Division ● Whose Scalpel 2.0 is an extended version of Whose Scalpel, the
- Cultural and Sports Technology Services Division ● Sound Performance: CHANG Yen-Tzu ● Choreographer/Dance Performance: CHAO Ting-Ting ● Co-Production:
Sound Lab ● Installation Structure Design: TSAI Ning ● Sensor Technology: Industrial Technology Research Institute (ITRI) - Service Systems Technology Center (SSTC)
● Artist & Sound & Visual Production: Yen-Tzu CHANG ● Medical Image Processing Guidance: Fraunhofer MEVIS ● Surround Sound Technical Guidance: C-LAB Taiwan
辦的 STEAM Imaging 駐村計畫孕育而出。
技中心⽂化與運動科技服務組●《誰的手術刀 2.0》是《誰的手術刀》的延伸版本，是由德國 Fraunhofer MEVIS 醫療影像運算機構和林茲（Linz）電子藝術節（Ars Electronica）主
工業技術研究院服務系統科技中心⽂化與運動科技服務組●聲音演出 : 張晏慈●編舞 / 舞蹈演出：趙亭婷●共製單位 : C-LAB 臺灣聲響實驗室●指導單位 : 工業技術研究院服務系統科
●藝術家、主創、聲音與影像製作 : 張晏慈●醫療影像處理指導 : Fraunhofer MEVIS 醫療影像運算機構●環繞聲響技術指導 : C-LAB 臺灣聲響實驗室●裝置結構設計 : 蔡寧●感測器技術 :

學圖像處理的框架為基礎，通過藝術創作探討當今我們如何以
不同的視角觀看身體，展開一段關於身體、科學和⽂化意象的
Lost Aura: Lingering Sound and Image of
科幻旅程。作品探討人們如何使用科技工具來擴大感官的範
圍，將感官延伸到身體內部，並透過科技產品建立感官與數據 the Political Warfare Building
呈現之間的聯繫。作品也進一步探討醫學發展與⽂化意涵，以
及人們對自身肉體的看法和認識的轉變。 C-LAB 臺灣聲響實驗室
作品裝置象徵了收集身體數據時被巨大醫療機器包覆，其中的 C-LAB Taiwan Sound Lab
影像呈現藝術家透過 MRI 掃描獲得的心臟資料。作品的演出融
合了舞者、藝術家和現場觀眾的心率數據，這些數據被感測器
捕捉並串聯起來，進一步影響著影像和聲音的表現與體驗。透
過感測之互動設計，作品呈現出身體的多重觀看層⾯，並引發
對身體認識和科技應用的反思。
Whose Scalpel 2.0 is an image-based installation and a sound

art performance. A sci-fi trip comprising physical, scientific,
and cultural imageries unfolds in this work based on medical
image processing, exploring contemporary views about the
body and inward extension of the senses through technology-
based sensual expansion. The senses are connected to data
representation using technological devices, penetrating the
development of medicine and its cultural implications as well as
the evolving views about and understanding of the body.
The installation signifies the wrapping of huge medical

equipment during body data collection. The images show the
artist’s cardiac MRI data. The performance comprises the heart
rate data of the dancer, artist, and audience captured and
connected through a sensor, which affects the representation
and experience of the images and sounds. The sensor-based
interaction design enables the multiple-level perception of
the body, inciting reflection on body concepts and technology
applications.
票券資訊 Ticket info. Art Space III, 2F
-
請透過 Accupass 平台索票╱ 10/19 ㊃ -11/12 ㊐
Accupass 13:00-19:00
（詳見╱ details p. 20）（週一不開放╱ Closed on Monday）
-094- -095-
展演跨域
展演跨域
基於空總園區政戰大樓（現稱「未來廣場」）的影音裝置作品
Sound Lab
(CHEN Chia-Hui, TSANG Jing-Shiuan) ● Image Creation & Editing: CHEN Shu-Huang ● Production: C-LAB Taiwan
● Original Images : Guillaume Hébert ● Sound Recording : Alexandre Lévy ● Sound Design: C-LAB Taiwan Sound Lab
陳書煌●製作：C-LAB 臺灣聲響實驗室
●影像原創：季勇●聲音素材錄音：亞歷山大・李維●聲音設計：C-LAB 臺灣聲響實驗室（陳家輝、曾靖軒）●影片創作與剪輯：

《消逝的靈光：政戰大樓影音繞響》邀請法國視覺藝術家季
勇（Guillaume Hébert）與法國當代作曲家亞歷山大・李維
（Alexandre Lévy）先行拍攝紀錄、後製及錄音，由 C-LAB
臺灣聲響實驗室製作執行聲音設計、影片編創製作及聲場設
計。昔日的政戰大樓作為維繫軍紀的單位所在，且在中、美
的隱然對峙中發揮關鍵的軍事情報站功能。
這座乘載特殊政治歷史與集體記憶的歷史建物拆遷之前，季
勇及李維捕捉、攝錄實體建物內外的畫⾯及空間聲響，畫⾯
經過精心設計，⾊彩遊走於抽象、具象之間，並予以古今繪
畫素材拼貼的構圖處理，李維則於有形的建物空間內外製造
無形聲響。這些音像素材由 C-LAB 臺灣聲響實驗室剪輯影
像及編創音樂聲響，統整構築對這棟歷史建物的致意與未來
展望，實體有形的消逝以無形⽂化保存意圖由此被賦予當代
技術與創作再現新作的感官意涵，虛實交織，呼應了我們所
存在的當下現實。
The audio-visual installation Lost Aura: Lingering Sound

and Image of the Political Warfare Building by visual artist
Guillaume Hébert and composer Alexandre Lévy is based
on the former Political Warfare Building (today’s “Future
Square”) in the former Ministry of National Defense’s Air Force
Command Headquarters, the location of the department
of military discipline which functioned as a crucial military
intelligence station in the implicit opposition between China
and the United States.
Before the demolition of this monument with a particular

political history and collective memory, Hébert captured
images of the physical building, which involve careful
composition and a color processing wavering between the
abstract and the figurative, the classic and the modern.
Lévy produced invisible sounds in the physical space. The
audiovisual materials evolved into a tribute to and outlook
on this historical building through the editing and acoustic
creation by C-LAB Taiwan Sound Lab. Through contemporary
technologies and creation, sensory implications are imbued
into the physical disappearance along with an intention of
preserving formless cultural heritage. The physical and the
formless are interwoven, echoing the contemporary reality of
our existence.
自由入場╱ Free entry
-096- -097-
展演跨域
展演跨域
Sound Installation: Myst & Soul 許多影視作品對神祕生物的描繪中，最引人遐想的往往不是牠們的具象形體，而是現身前的
旁敲側擊，是牠們引發的現象、身體的震動、氣味、聲音 ...... 聲音裝置作品 Myst 製造了一
種無形體生物的幻象，利用聲音，將狀態停留在怪物具現前的想像，同時探索對水霧的控
張欣語制，及其作為聲響介質的可能性。
CHANG Hsin-Yu
在電子雙狹縫干涉實驗中，科學家發現電子會與自身產生干涉作用，但在他們試圖觀測
時，干涉現象就會消失，彷彿電子知道本身是否正在被觀測。這樣的發現引發了對於電子
是否具有意識的討論，儘管這個說法尚未被證實，卻拓展了人們對意識、靈魂與電子的關
係的想像空間。聲音裝置作品 Soul 即將電子視為靈魂存在的表徵之一，並試圖讓電子演
奏出器樂聲響。
Depictions of mystery creatures in films and television series mainly incite imagination
through the stealth before they appear as well as the phenomena they bring about as well
as their vibrations, smells, and sounds, rather than their concrete shapes. In the sound
installation Myst representing the illusion of a bodiless creature, the artist employs sounds to
retain the viewer in an imagined state before the monster’s incarnation and also explores the
manipulation of mist and its possibilities as an acoustic medium.
Mutual interferences between electrons were demonstrated in the double-slit experiment

electrons, but these interferences disappeared when being observed as if the electrons
perceived themselves to be observed. Although the subsequent presumptions about whether
electrons have consciousness remain to be verified, the observations have expanded our
imagination about the relationship between consciousness, soul, and electrons. The sound
installation Soul is an attempt to generate instrumental sounds from electrons regarded as a
sign of the existence of the soul.
Art Space III, 2F
-
10/19 ㊃ -11/12 ㊐票券資訊 Ticket info.
Myst
13:00-19:00 攝影：林彥翔攝影：張欣語
（週一不開放╱ closed on Monday） Photo by LIN Yen-Hsiang 自由入場╱ Free entry Photo by CHANG Hsin-Yu
-098- -099-
展演跨域
展演跨域
an·other voice 《an·other voice》展覽是法國藝術家朱迪
Gabrielle Savelli ● Artistic Consultant & Composer: António Sá-Dantas ● Computer Programming: Frederik Bous &
team, IRCAM); with the voices of Marco Angioloni, Vincent Candalot, Elsa, Judith Fa, Arthur Guivarch, Angéline Moizard,

Paul Guilbert ● Co-production: Casino Luxembourg
● Scenography: Gaëtan Rusquet ● AI Voice Generation: Frederik Bous & Axel Roebel (Sound Analysis & Synthesis
製作：盧森堡卡西諾當代藝術中心
里耶・薩維利的聲音●藝術顧問、作曲：安東尼奧・薩 - 丹塔斯●電腦程式設計：弗雷德里克・布斯、保羅・吉爾伯特●共同
與合成研究員），基於馬可・安吉奧洛尼、⽂森 - 坎達洛特、艾爾莎、朱迪特・法、亞瑟・吉瓦克、安潔琳・莫伊札爾、加布
●場景設計：蓋亞坦・盧斯奎● AI 聲音生成：弗雷德里克・布斯、阿克塞爾・侯貝爾（聲響與音樂研究統合中心的聲音分析
特・德尚與巴黎「聲響與音樂研究統合中
心」（ I R C A M ）合作的長期研究計畫的成
朱迪特・德尚果，合作者包括研究人員弗雷德里克・布
Judith Deschamps 斯（Frederik Bous）和阿克塞爾・侯貝爾
（Axel Roebel）、不同年齡和音域的歌唱家
以及作曲家安東尼奧・薩 - 丹塔斯（António
S á - D a n t a s ）。他們試圖透過深度神經網
絡，重塑十八世紀義大利閹人歌手法里內利
（Farinelli）每晚為撫慰憂傷的西班牙國王而
獻唱的詠嘆調。
本展覽靈感源自圍繞著這位歌手聲音的神
話、他兒時在閹割背景下產生的幻想，以及
如何以人工智能⾯對人的有限性。展覽匯集
了聲音、錄像和雕塑等素材，為新的聲音和
敘事交匯展開新的可能。（影片為法語發音、
英⽂字幕）
The exhibition “an·other voice” is the result

of a long research project carried out
by French a r tist J udith D es champs with
the Institut de recherche et coordination
acoustique/musique (I RCA M) in Paris in
collaboration with the researchers Frederik
Bous and Axel Roebel, singers of different
ages and tessituras, and composer
António Sá-Dantas. Together they sought
to reinvent, by means of deep neural
net wor ks , a n 18th - ce ntur y a r ia that the
Italian castrato Farinelli used to sing every
night to the King of S pain to soothe his
通信分隊展演空間 2 樓 melancholy.
Art Space III, 2F Inspired by the my ths surrounding the

- singer ’s voice, the fantasies conjured
10/19 ㊃ -11/12 ㊐ up regarding childhood in the context of
castration, as well as artificial intelligence
13:00-19:00
when it comes to coping with human
（週一不開放╱ closed on Monday）展覽：自由入場｜講座：請
f i n it u d e, t h e ex h i b it i o n b r i n g s to g et h e r
透過 Accupass 平台索票
- （詳見 p. 20） s o u n d , v i d e o, a n d s c u l pt u r a l m ate r i a l s ,
專場講座｜Lecture Exhibition: Free entry｜ p av i n g t h e way f o r a n e nt a n g l e m e nt of
Artist talk: Free tickets new sounds and narratives. (The film is in
10/14 ㊅ 15:00-16:30 available on Accupass French with English subtitles.)
多功能廳╱ Multi-function Space (p. 132) ©Judith Deschamps (details p.20)
-100- -101-
展演跨域
展演跨域
There is nothing but everything here.
灰屋
CHANG Yen-Tzu ● Editor: HUANG Sheng-Ming

Photography: HSU Po-Yen●Sound Production: C-LAB Taiwan Sound Lab●Sound Designer:
●Performers: HUANG Yu-Mien, TSENG Shao-Tung●Director: KUAN Ching-Ya●Director of
●聲音設計 : 張晏慈●剪接 : 黃晟銘
●演出者 : 黃渝棉、曾少彤●導演 : 管瀞雅●攝影 : 許博彥●聲音製作、聲場設計 : C-LAB 臺灣聲響實驗室

「這裡空無一物，卻也無所不有。」
The Middle Room

（The Middle Room）由雙頻道錄像構成，鏡頭捕捉
《灰屋》
了樣品屋般的灰白房間裡，兩個穿著相似淺⾊洋裝人物的
管瀞雅互動。他們⾯無表情地凝視、模仿，無神地搬動另一人的身
KUAN Ching-Ya 軀，並在狹小的房間內追趕、扭動，時而捕獵，時而成為另
一方的庇護，彼此之間看似存在威脅，卻總在臨界點變得輕
柔和緩，令觀者對兩人的關係抱有疑惑。
兩個畫⾯提供了不同視角的線索，使觀者得以窺視全局；其
配樂以電子音效合成，由間距較長且高頻的尖銳單音，逐步
進入節奏感明確的中段，由此加強兩人之間稍顯詭異、準備
迎向「事件」的氛圍。
標題中的 “Middle” 暗示了故事的高潮，同時也是一個狹窄

且令人窒息的間隙，將人捲入迷宮的中段，使其無法看見
故事的盡頭，正如同童話故事《藍鬍子》中那扇不可打開的
門，因不能打開而極富魅力。
There is nothing but everything here.
The Middle Room is a two-channel video installation that

captures the interaction between two figures in similarly
light-colored dresses in a gray and white showroom-like cell.
They stare blankly, imitate, and move the other person's body
insensitively. They also chase and wriggle in the narrow cell,
alternately hunting and sheltering each other. Despite the
seeming threats in between, they always become softened and
gentle on the threshold, making the viewer doubts about their
relationship.
Clues from different perspectives provided in two videos

enable the viewer to see the overall situation. The soundtrack
consists of synthesized electronic sound effects, with high-
frequency sharp monophonic sounds at long inter vals
gradually evolving into the middle section with distinct
rhythms, intensifying the somewhat weird ambience between
the two persons, where an “event” is about to take place.
The “Middle” in the title implies the climax of the story and also
Art Space III, 1F a narrow and suffocating gap that draws people into the middle
10/19 ㊃ -11/12 ㊐票券資訊 Ticket info. of a maze, blinding the viewer to the ending of the story, just
13:00-19:00 攝影：許博彥
like the door in the fairy tale Bluebeard that intrigues because
（週一不開放╱ closed on Monday） Photo by HSU Po-Yen 自由入場╱ Free entry it cannot be opened.
-102- -103-
展演跨域
展演跨域
隨著工業時代的興起和科技的進步，人類的強大力量已足以改
大地回音
● Artists: Ivan LIU and Future Narratives Lab ● Collaboration: Institute of Applied Arts, National Yang Ming Chiao Tung University
●藝術家：劉辰岫、未來敘事實驗室●合作單位：國立陽明交通大學應用藝術研究所

變自然生態，逆轉人類與大地的關係。近十年的研究證據顯
Echoes of the Land 示，人類為了追求舒適和便利的生活進行的地表和地底工程，

包括高樓建築、採礦、廢水注入、石油勘探等活動成為引發地
震的因素，導致極端氣候並危及人類及其他生物的生存。
劉辰岫、未來敘事實驗室
Ivan LIU & Future Narratives Lab 《大地回音》互動裝置結合動力與聲音，通過觀者參與和即時
反饋，使感官遊走於真實與虛擬的自然之間，創造出一種「異
自然」，同時隱喻了人類世中、重新被定義的人與大地的關係。
本作品基於地震學中模擬地震的彈簧盒塊模型（spring-
block model）
，建構出推演真實地震運動的機械動力裝置，
並透過即時動態偵測技術及音樂科技「微粒合成法」，將微小
動態即時轉換成極為擬真的地震聲響。觀者透過推動，使盒
塊累積能量直至臨界值，從而釋放動能，產生一系列的連鎖
動態，伴隨一連串的聲響。
（特別感謝：Dr. Diemo Schwarz (IRCAM) 在微粒合成法上
提供的寶貴建議。）
Following the advent of the industrial age and technological

advancements, humanit y has managed to alter natural
ecosystems through their formidable power, reversing the
relationship between humans and the Earth. According to
research evidence from the past decade, human activities of
surface and subsurface constructions, including construction
of high-rise buildings, mining, wastewater injection, and oil
exploration, have become triggers for earthquakes, resulting
in extreme climates, and endangering the survival of humans
and other species. Echo of the Land is an interactive installation
that combines movement and sound, allowing the senses to
wander between the real and the virtual, the macroscopic and
the microscopic, through the active participation of viewers
and immediate feedback from the artwork. It creates a sense of
"alternative nature" while redefining the relationship between
humans and the Earth within the human-dominated world.
The artwork uses the Spring-Block Model in seismology as a
creative basis to construct a mechanical kinetic device capable
of simulating real earthquake movements. Through real-time
motion detection and the sound technology "granular synthesis",
通信分隊展演空間 1 樓《大地回音》
minute movements can be converted into highly realistic
Echoes of the Land
Art Space III, 1F earthquake sounds. By exerting external forces, the viewer
2023 accumulates energy within the blocks until a critical threshold
- 150 × 100 × 150 cm is reached, releasing kinetic energy and generating a series
10/19 ㊃ -11/12 ㊐木材、金屬、客製互動機電系統、電
of interconnected movements accompanied by a sequence of
腦、音響
13:00-19:00 wood, metal, customized 票券資訊 Ticket info. sounds.
（週一不開放╱ closed on Monday） interactive electromechanical
system, computer, (Special thanks to Dr. Diemo Schwarz (IRCAM) for his helpful
audio system 自由入場╱ Free entry advices on granular synthesis.)
-104- -105-
校際單元
校際單元啌啷啪咔咻器樂與電子聲響音樂會
Clang-Puff-Achoo Instrumental,
Academy
Electroacoustic, and Electronics Concert
ACADEMY
臺中市立清水高中音樂班
Music Gifted Class,
Taichung Municipal Cingshuei Senior High School
-
10/14 ㊅ 16:00
50 mins
-107-
校際單元
校際單元
從樂音到噪音，挖掘多樣貌的聲音是音樂創作旅程中孜孜矻矻
香港演藝學院電子音樂會
High School (TCFSH) for creating the visual installations and images.
Yao-Hong, and HUANG Bo-Zhi (alumni of CSHS Music Gifted Class) for technological support; students of Art Class of Taichung Municipal Taichung First Senior
Music: LAI Chi-Hsia ● Administrative Coordinators: LEE Chi-Tien, DU Shwei-Fen, HSU Ya-Tang ● Special thanks to HSIAO Ray-Cheng, HUANG Yun-Yun, HUANG
CHEN Liang-Yu, WEN Xin-Ying, YANG Xin-Ying, HUANG Zhen ● Live Visual Performance (TCFSH Art Class): Li Yi-Lun, CHEN Yu-Hsi ● Director for Computer
● Installation Art: (electroacoustic and sound design) LIN Tong-Yun, HUANG Yung-Ai, JI Kai-Sin, LIN Fang-Yu; (visual design/Art Class of TCFSH) CHEN Yu-Zhen,
Ho ● Flute: LIN Ji-Yan ● Violin: LIN You-Wei ● Cello: CHANG Yun-Hsin ● Trombone: GUO Yi-Yun ● Vocal: CHANG Ying-Shan, CHUAN Bo-Syu, HE Pei-Jhen
● Sheng: LIN Tong-Yun ● Tuba: JI Kai-Sin ● Percussion: YAN Zhi-Zi, LIN Yun-Shan, WANG Shih-Syuan, XU Yu-Han, HONG Sheng-Yi ● Di & Xiao: LAI Chen-
臺中一中美術班學生的視覺裝置和影像創作
一中美術班）：李翊綸、陳宥羲●電腦音樂指導：賴奇霞●行政統籌：李綺恬、杜雪芬、許雅棠特別感謝清水高中音樂班校友蕭睿程、黃筠芸、黃耀鋐、黃博智的技術協助；臺中市立
姍、全柏旭、何佩臻●裝置藝術：（電子、聲音設計）林彤芸、黃永愛、紀凱欣、林芳妤；（視覺設計╱臺中一中美術班）陳語臻、陳亮妤、溫昕穎、楊欣穎、黃媜●現場視覺演出（臺中
●笙：林彤芸●低音號：紀凱欣●打擊：顏芷旎、林筠珊、王詩璿、徐羽函、洪順意●笛簫：賴晨禾●長笛：林季妍●小提琴：林宥衛●大提琴：張云馨●長號：郭易昀●人聲：張穎

追尋的目標。立基於「實驗」和「創意」的教育意涵，本次音樂
會節目從發想、設計、創作、到演出，皆由清水高中學生擔綱
Electronic Music from the HKAPA
Academy
Academy
製作。音樂會內容包含電子原聲創作，以及現場樂器與即時互
動電子聲響，展現學生對於新音⾊和新創作媒材的探索，遊暢
青少年對音樂和聲響的想像維度。香港演藝學院作曲及電子音樂系
From music to noise: exploration of acoustic diversity is the main
Composition and Electronic Music Department,
purpose sought in the journey of music creation. On the basis of Hong Kong Academy for Performing Arts
the "experimentation" and "creativity" implied in music education,
this concert is entirely by students of Music Gifted Class of the
Taichung Municipal Cingshuei Senior High School (CSHS) in terms
of ideation, conception, creation, and performance. It features
original electroacoustic compositions as well as live instruments and
interactive real-time electroacoustic sounds, demonstrating their
exploration of new sounds and media, leading on an exuberant trip
through youthful imagination about music and sound.
陳仕和、賴晨禾、王思茜、林筠珊、林季妍、張云馨：《思路：為大提琴、打
擊、笛簫、長笛與即時電聲》；林宥衛、郭濬瑀、陳宥蓉、陳湘穎、張穎姍：
《光》（電聲創作）；林彤芸：《風笙海：為笙與即時電聲》；賴晨禾、陳仕和、
林筠珊、潘雅菁：《休息日》（電聲創作）；紀凱欣：《燥熱：為低音號與即時電
聲》；何宇庭、黃永愛、林彤芸：《生命之物》（電聲創作）；郭易昀、曹瑄庭、廖
芯妤、王詩璿、魏家淳：《幻音：為長號、鐵琴與即時電聲》；陳覺夫：《日月星
辰》（電聲創作）；林宥衛、郭濬瑀、沈博慶、蔡濬翔：《原地 shot 到 boom 琴：
為小提琴與即時電聲》；陳宥蓉、陳湘穎、張穎姍、全柏旭、何佩臻：《Hello》
（電聲創作）；蕭睿程、黃筠芸、顏芷旎：《淒日：為打擊五重奏與即時電聲》
CHEN Shih-Ho, LAI Chen-Ho, WANG Sz-Chian, LIN Yun-Shan, LIN Ji-
Yan, CHANG Yun-Hsin: Thoughts: For Cello, Percussion, Di & Xiao,
Flute, and Real-Time Electroacoustic Music; LIN You-Wei, KUO Chin-Yu,
CHEN You-Rong, CHANG Ying-Shan: Light (electroacoustic music); LIN
Tong-Yun: Wind, Sheng, Sea: For Sheng and Real-Time Electroacoustic
Music; LAI Chen-Ho, CHEN Shih-Ho, LIN Yun-Shan, PAN Ya-Jing: Day
Off (electroacoustic music); JI Kai-Sin: Hot & Dry: For Tuba & Real-Time
Electroacoustic Music; Ho Yu-Ting, HUANG Yung-Ai, LIN Tong-Yun:
Beings (electroacoustic music); GUO Yi-Yun, CAO Xuan-Ting, LIAO Sin-
Yu, WANG Shih-Syuan, WEI Jia-Chun, Mirage Sounds: for Trombone,
Vibraphone & Real-Time (Electroacoustic Music); CHEN Jyue-Fu: Sun,
Moon & Stars (electroacoustic music); LIN You-Wei, KUO Chin-Yu,
SHEN Bo-Ching, TSAI Juan-Shiang, In-situ Shot to Boom: For Violin &
Real-Time Electroacoustic Music; CHEN You-Rong, CHEN Hsiang-Ying,
CHANG Ying-Shan, CHUAN Bo-Syu, HE Pei-Jhen: Hello (electroacoustic
music); HSIAO Ray-Cheng, HUANG Yun-Yun, YAN Zhi-Zi: Bleak Sun: For
Percussion Quintet and Real-Time Electroacoustic Music
票券資訊 Ticket info. 立體聲場

Spatial Audio Field
請透過 Accupass 平台索票╱ -
Accupass 10/14 ㊅ 19:00
（詳見╱ details p. 20） 60 mins
-108- -109-
校際單元
校際單元
這是香港演藝學院（HKAPA）作曲及電子音樂系帶來的電子
音樂之夜，學院的學生與老師一同展示他們最新電子音樂作人造星系
品。音樂會以伍昕靈、滕鎧晴和金柏思其多種形式（人聲、
Artificial Galaxy
Academy
Academy
塑料材料與電子）的作品開始，接下來是教職員許敖山（別
稱：Nerve）的多聲道環境音樂演奏。許敖山自 2010 年以
國立臺北藝術大學新媒體藝術學系及音樂學系
來，一直在學院教授作曲及電子音樂。
Department of New Media Art and Department of Music,
香港演藝學院於 1984 年根據香港政府條例成立，是亞洲首
Taipei National University of the Arts
屈一指的表演藝術高等學府。演藝學院提供學士課程與基於
實踐的碩士課程，專業範疇包括中國戲曲、舞蹈、戲劇、電
影與電視、音樂與舞台及製作藝術。
作曲及電子音樂系積極鼓勵學生試驗、表達及發揮具個人風
格的新意念。從創作中、西樂及電子音樂等多類型的作品，
到參與作品的排練和發表的過程中，學生汲取相關的知識技
巧和實踐經驗。學生有許多發表作品的機會，包括公開音樂
會、管弦樂工作坊以及與舞蹈學院、電影電視學院、舞台及
製作藝術學院等合作的多媒體演出等等。
An evening of electronic music will be presented by the

Composition and Electronic Music Department of the Hong Kong
Academy for Performing Arts (HKAPA). The students and faculty
members of the academy will showcase their latest electronic
music works. The concert will open with the works in a variety of
formats, including voices, plastic materials and electronics, by
KAM Pak Sze, NG Yan Ling Illuminatius and TaANG Hoi Ching
Katie, followed by faculty member HUI Ngo Shan Steve (a.k.a.
Nerve) performing multichannel ambient music. HUI has been
teaching composition and electronic music at the HKAPA since
2010.
The HKAPA was established according to the Hong Kong
Academy for Performing Arts Ordinance in 1984. It is a leading
伍昕靈：《幻？》、金柏思：《蠱》、 tertiary institution in the performing arts in Asia. It provides
滕鎧晴：PLASTIC、許敖山：THF
100 professional undergraduate education and practice-based
postgraduate studies. The study encompasses Chinese Opera,
Delusion? (NG Yan Ling Dance, Drama, Film and Television, Music, and Theatre and
Illuminatius),Gu (KAM Pak Sze),
PLASTIC (TANG Hoi Ching
Entertainment Arts.
Katie), THF 100 (HUI Ngo Shan
Steve)
Students in the Department of Composition and Electronic
Music are encouraged to experiment and express their creative
ideas in a personal style. They gain knowledge and facility in
票券資訊 Ticket info. working with Western and Chinese music resources as well as 聯合餐廳展演空間灰盒子
in electro-acoustic composition. There are many opportunities Art Space I ｜ Gray Box
請透過 Accupass 平台索票╱ for performances of students' compositions in public concerts,
-
Free tickets available on orchestral workshops, and for multi - media projects in
Accupass collaboration with the other Schools such as Dance, Film and 10/21 ㊅ 17:00
（詳見╱ details p. 20） Television, and Theatre and Entertainment Arts. 60 mins
-110- -111-
校際單元
校際單元
《人造星系》是一場結合新媒體藝術與音樂的跨領域展演。其創
即視旅行
CHANG Kai-Ting, SUN Ming-Chu, PING Cheng-Lin, CHANG Yu-Han ● Artificial Galaxy is part of the TNUA’s Higher Education Sprout Project
Chi ● Musicians: LIU Hsin-Hua, CHEN Hsien-Jen, LIAO Tzu-Yun, Kiwa Takihusungan, LI Chi, LEE Chia-Hao, PENG Li-Xian, SU Wei-Chuan,
WANG Tammy ● Composers: WANG Li-Chieh, WEN Hung-Kai, PAN Wen-En, WANG Po-Ting, HSIAO Yu-Tung, YANG Kuang-Yung, LIN Shao-
Zhi, NIEN Ya-Wen, HUANG Kuan-Jui, HO Yu-Jou, HSU Chiao-Ai, HUANG Kuan-Hsun, CHEN Chieh-Hsi, CHEN Yi-Quan, WENG Chen-Bin,
CHEN Chia-Hui, Jean Geoffroy ● New Media Artists: HO Hsin-Yuan, HO Shu-Hsien, LIN Fang-Chi, HSIEH Bing-Yo, LIU Ting-An, CHEN Yun-
Coordinator: DAY Jia-Ming, WU Shih-San ● New Media Art Director: WANG Lien-Cheng, LIN Shu-Yu ● Music Director: WU Shih-San,
● Post Garden Lab (Department of New Media Art and Department of Music, Taipei National University of the Arts/TNUA) ● Production
農、李祈、李家豪、彭立賢、蘇威銓、張愷庭、孫明珠、兵承霖、張宇涵●《人造星系》屬於國立臺北藝術大學高教深耕計畫之聲音跨域科技教學計畫
奕銓、翁晨斌、王翊萱●音樂作曲團隊 : 王莉潔、溫泓凱、潘汶恩、王柏婷、蕭宇彤、楊光詠、林劭奇●器樂演奏團隊 : 劉昕樺、陳咸任、廖子云、白雨
陳家輝、讓．喬瓦里●新媒體藝術團隊 : 何芯源、何書賢、林邡旂、謝秉祐、劉庭安、陳韻至、粘雅⽂、黃冠睿、何雨柔、許巧嬡、黃冠勛、陳婕希、陳
●後花園實驗場──國立臺北藝術大學新媒體藝術學系和音樂學系●製作統籌 : 戴嘉明、吳思珊●新媒體藝術指導 : 王連晟、林書瑜●音樂指導 : 吳思珊、
作團隊成員來自「後花園實驗場」──國立臺北藝術大學新媒
體藝術學系和音樂學系。演出過程中，將呈現許多自製樂器與
Ad hoc voyages
Academy
Academy
實體樂器的結合，其代表各種不同的星球。類地行星、類木行
星、恆星等組成元素，代表不同的特性及能量的流動，猶如星
國立臺灣師範大學
系的運轉。
音樂學院、民族音樂研究所、
透過本次主題，希望提出一個宏觀的概念，試圖挑戰人造系統音樂學系音樂科技跨域合作組、
下的極大值，將實驗的聲響與樂音比擬成宇宙間難以感知與測
量的暗能量、暗物質、甚至虛粒子等。《人造星系》的展演不只
資訊工程學系
是一場音樂會，也是一場當代藝術的探索，一場對宇宙無窮遠 National Taiwan Normal University
的憧憬。舞台就像宇宙空間，演奏者和藝術家即是新星球的創 College of Music, Graduate Institute of Ethnomusicology,
建者，而人造物也在其中探究新的發聲可能。基於此一概念， Interdisciplinary Studies in Music and Technology,
聲響成為實現對宇宙無窮遠的想像和探索的工具。 Department of Computer Science and Information
Engineering
Artificial Galaxy is a cross-disciplinary artistic performance
based on new media and music. It is created by Post Garden Lab
comprising students of the Department of New Media Art and
Department of Music, Taipei National University of the Arts.
The performance involves combinations of various homemade
instruments and physical instruments, which represent different
planets. The diverse elements such as terrestrial planets, gas
giants, and stars represent different characteristics and energy
flows, which rotate like in a galaxy.
The work is intended to incarnate macro - concepts and

challenge the optimal value of the artificial system. The sounds
and music in the experiment are compared to the imperceptible
and unfathomable dark energy, dark matter, and even virtual
particles in the universe. More than a concert, Artificial Galaxy
is also an exploration through contemporary art and a vision of
the infinite universe. The stage is like a cosmic space, and the
performers and artists are builders of new planets, who explore
new acoustic possibilities by means of artifacts. Sounds become
a tool for imagining and exploring the infinite universe.”
聯合餐廳展演空間 2 樓、灰盒子
Art Space I, 2F & Gray Box
-
11/4 ㊅ 11:00-17:30
11/5 ㊐ 11:00-17:30
《越過星雲閃爍之處》、《無限宇宙》、《蝕》、《風風語語》、《宇閃宇傘亮晶晶》、 6.5 hr
請透過 Accupass 平台索票╱ 《彗星》、《克里特》、PARA.__life__(para) 6.5 小時（結合錄像、展覽式音樂演出。可隨時進場，建議待 1 至 1.5 小時）
Free tickets available on 6.5 hours. Admission anytime, recommended stay of 1 to 1.5 hours.
Accupass Beyond the Nebula's Twinkle, To Infinity and Beyond, Eclipse, Wind (Music performance presented in the form of exhibits and videos;
（詳見╱ details p.20） Whisper, Twinklebrella, Comet ISON, Crete, PARA.__life__(para) live performance taking place occasionally.)
-112- -113-
校際單元
校際單元
⾯對網路影音的競爭，百年來音樂展演的形式，有著什麼樣
耳朵劇院：返響
Higher Education Sprout Project
Qalavangan, HUANG Yu-Chien, HUANG Yu-Nung, HUANG Chieh-Ling, HSIEH Chia-Chi ● Supported by National Taiwan Normal University
WANG Ya-Chi, LI Nai-Shiuan, LI Liang-Ju, LI Yun-Lun, SHEN Hung-Hsuan, LIN Shuo-chun, CHEN Fu-Sheng, PENG Zih-Rong, Kaying Kainga
Design: VIPLab of NTNU-CSIE ● Direction of Cinematography: 7th Day Film ● Composer & Performer: WANG Wen-Ching, WANG Hsiang-En,
LIN Jhao-An ● Lighting Design: HSIAO Ya-Ting ● Acoustics Coordinator: Jeremy HO ● Technical Consultant: Steph LO ● Data Interaction
LEE ● Video Director: CHEN Yu-Sheng ● Stage Manager: LUO Da-Yo ● Video Technical Coordinator: LUO Da-Yo ● Exhibition Space Design:
● Producer: LIAO Chia-Hong ● Artistic Director & Concept Creator: CHAO Ching-Wen ● Chief Technology Director: Greg Chung-Mou
翎、謝家綺●指導：國立臺灣師範大學高等教育深耕計畫
演團隊：王玟晴、王翔恩、王雅娸、李乃亘、李亮儒、李蘊倫、沈宏軒、林碩俊、陳福笙、彭子榮、凱茵．卡納．喀勒芳安、黃宇謙、黃雨農、黃捷
昭安●燈光設計：蕭雅庭●音響統籌：何錦勳●技術顧問：盧胤沂●科技技術團隊：臺師大資工系 VIPLab ●影像拍攝指導：七日印象電影公司●創
●製作人：廖嘉弘●藝術總監暨概念設計：趙菁文●科技技術總監：李忠謀●影像導演：陳譽陞●舞台監督暨技術統籌：羅大有●展場空間設計：林

的未來？呈現演奏，傳遞聲音，還有什麼可能？如果一場
音樂會，像是在博物館中的展覽，你不需要速餐趕場 7 點
器樂、互動科技、現場多聲道電子音樂會
Academy
Academy
半，你可以隨時進場，自然感受、觀察，不受干擾。
如果「同一首」音樂作品，會因為你的旅行站點，所聽到 Cinema for the Ear:“Reverberation＂

Instrument, Interactive Technology, and
的、看到的都不同？
多錄像，多聲音點，聽覺與視覺、時間與空間的錯位，還
有觀眾們參與這場「旅行」所累積出的數據，形成了許多未 Multi-Channel Electroacoustic Music Concert
知。這是一趟即興的旅行（Ad hoc voyages），就像在旅程
中的一段導覽說明：「你可以決定到哪，或是要停多久。每國立陽明交通大學音樂研究所創作與科技組 - 電子科技音樂
到整點，你可能會看到一些現場表演……。右前方的螢幕實
Composition and Technology
時地顯示你們當下的……，左後方的表示現在的時間，或
是，不是現在的時間。所以你看到的，不一定是你看到的。 Electronic Technology Music Institute of Music,
只有聲音，才是最誠實的。」 National Yang Ming Chiao Tung University
Facing the competition of online audiovisual content, what lies in the
future for the century-old forms of music performance? Presenting 聯合餐廳展演空間灰盒子
music, conveying sounds—what other possibilities exist? If a musical Art Space I ｜ Gray Box
concert were akin to an exhibit in a museum, you wouldn't need fast
-
food or rush to be there by 7:30pm; if you could enter at any time,
contemplatively experiencing and observing without instruction. 11/18 ㊅ 19:00
90 mins
If a single music piece could yield different presentations/
experiences based on your travel locations, what you hear and see
might diverge?
Multiple videos, numerous sound “points,” the misalignment of

auditory and visual elements, the interplay of time and space,
along with the data accumulated from the audience's participation
in this journey, have given rise to many unknowns. This is an
improvisational journey (Ad hoc voyages), much like a guided tour
video which depicts, "You can decide where to go or how long to
stay. At every hour, you might witness some live performances...
The screen to your right displays your current state in real time,
while the one at the left rear indicates the present time—or maybe,
not the present time. Hence, here what you see may not be what
you're seeing. Only sound remains the most honest.
南管《風打梨》、實時跨國共演、史托克豪森《麥克風 I》與即時攝影、全台雨量
數據化聲音作品、甘美朗與特雷門琴的交會、觀眾旅行數據 ...... 等，以環繞聲
場與多「聲」點，以及多錄像形式呈現
Nanguan Hoanphahlai, Internet Concert via JACKTRIP, Mikrophonie I
(Karlheinz Stockhausen) with real-time video, Sonification work based
請透過 Accupass 平台索票╱ on Taiwan-wide Precipitation Data, Je-Jiu for Gamelan instruments and
Free tickets available on theremins, Real-time Interactive Visualization via Audience “Travel”
Accupass Data, etc. All presented through surround soundscapes, multiple sound
（詳見╱ details p.20） locations and videos
-114- -115-
校際單元
校際單元
這場音樂會試圖將器樂、現場電子音樂、互動科技裝置整合
道生九思：
CHEN Mu-Hsi ● Administrative Coordinator: CHEN Yi-Xuan ● Stage Manager: CHENG Yung-Hsin
● Artistic Director: TSENG Yu-Chung ● Technology Coordinator: TU Yen-Hao ● PR Coordinator:
●藝術總監 : 曾毓忠●技術統籌 : 杜彥豪●⽂宣統籌 : 陳慕曦●行政統籌 : 陳翌軒●舞台監督 : 鄭詠心

於多聲道沉浸式系統中，帶來全新的空間音樂聽覺饗宴。
沉浸式多聲道影音互動音樂會
Academy
Academy
本音樂會是會由國立陽明交通大學音樂研究所創作與科技組
Birth of Channels Concert Based on

的電子科技音樂專業師生聯手策劃，並由藝術總監曾毓忠教
授帶領團隊，以及特邀作曲家本所作曲組羅芳偉教授共同演
出。電子科技音樂創作者嘗試將音樂與科技連結，並運用各
式新興電子科技，進行音樂與聲音藝術的跨域創作實驗、研
Multi-Channel Immersive Audio-Visual
究以及創意表現。 Interaction
本音樂會的演出曲目多元而豐富，包含以聲音藝術為主要聆
聽訴求的電聲作品（acousmatic music）、透過先進科技儀器國立陽明交通大學音樂研究所創作與科技組 - 多媒體新音樂
例如感應器、MIDI 控制器、繪圖板進行現場半即興式創演的 Composition and Technology
現場互動電聲音樂（live electro-acoustics）
、以及藉由 Max/ Multimedia New Music, Institute of Music,
MSP 電腦程式與傳統東西方樂器結合之混合類電子音樂作品
National Yang Ming Chiao Tung University
（mixed works），上述各式音樂形式透過多聲道之沉浸式空
間，構成豐富生動的聽覺盛宴。
As an auditory feast of brand-new spatial music, this multi-

channel electronic music concert is an attempt to integrate
instrumental music, live electronic music, and technological
devices through a multi-channel immersive system.
Led by the artistic director, Professor TSENG Yu-Chung, the

concert is conceived and performed by a team of teachers,
the invited composer LUO Fang-Wei, and students specializing
in electronic and technology-based music from the Creative
Technology division of the Institute of Music, National Yang
Ming Chiao Tung University. The compositions incarnate
interdisciplinary experiments, investigations, and creative
expressions of music and sound art achieved by integrating
music with technologies and applying emerging electronic
technologies.
曾毓忠：《絲的綺想》（演奏者：蕭奕飛）、羅芳偉：《星辰的十一個迴響》（演
奏者：楊宜樺）、杜彥豪：《光譜性》（演奏者：李柔）、鄭詠心：《共鳴》、陳慕
曦：《聲階》、李安庭：《虛・實》；陳翌軒《陌聲》、吳嘉峻：《喚起》、陳以諾：
《受難記》
票券資訊 Ticket info. 立體聲場
Capriccio of Silk (TSENG Yu-Chung; performed by XIAO Yi-Fe), Eleven Spatial Audio Field
Resonances of Galaxies (LUO Fang-Wei; performed by YANG I-Hua),
請透過 Accupass 平台索票 BLUR (TU Yen-Hao Tu; performed by Jou LEE), Resonance (CHENG Yung- -
╱ Free tickets available on Hsin), Voice Ladders (CHEN Mu-Hsi Chen), False and Real (LEE An-Ting),
Accupass
11/18 ㊅ 15:30
Sound of Interior (l CHEN Yi-Xuan), Evocation (WU Jia-Jiun), Paschein
（詳見╱ details p.20） (CHEN Yi-No) 60 mins
-116- -117-
校際單元
詩與聲響
國立陽明交通大學音樂研究所的「創作與科技組：多媒體新音
● On-site Director: KAO Chun-Yang ● Live Acoustics: HUANG Jyun-Wei ● Front Stage Manager: Jenny CHIANG
● Advisor: TUNG Chao-Ming ● Executive Producer: LIN Chiao ● Stage Manager: Jeff HUANG ● Lighting: Joy HSU
●前台經理：江宜蓁
●指導教授：董昭民●執行製作：林巧●舞台監督：黃靖芳●燈光執行：許佳穎●現場導播：高君揚●聲響執行：黃俊維
POETRY AND SOUNDS

樂」以音樂創作回應當代社會現象，批判主流⽂化思潮，建
立個人創作思維，確保新型態的藝術綿延不斷。「多媒體新音
Academy
樂」組從當代音樂的創作手法，延伸到跨領域的多媒體應用，
並涵蓋當代各種新型態的展演形式，例如音樂劇場、環境劇
場、舞蹈劇場、無人劇場、超越時間限制的影音互動裝置展以
及沉浸式音樂會等。
呼應當代社會科技與人⽂現象的跨領域創作，尋找藝術與社
會關係及價值是「多媒體新音樂」組藝術創作的初衷。
《道生九
思》沉浸式多聲道影音互動音樂會以空間和聲音的關係探索科
技和人⽂的連結，配以影像的陳述，重建封閉性場域的開放
性，尋找更多原創的可能性。
Composition and Technology: Multimedia New Music of Institute

of Music, National Yang Ming Chiao Tung University responds to
contemporary social phenomena through musical creation, criticism
of mainstream thinking about cultural issues, and development of
individual creative thinking, ensuring the enduring development of
new forms of art. On the basis of contemporary music compositional
techniques, multimedia are applied across diverse disciplines,
involving new forms of contemporary performances such as
musical theater, environmental theater, dance theater, theater
without actors, atemporal audio-visual installation works involving
interaction, and immersive concerts.
The faculty's artistic practice is intended to probe the relationship

between and values of art and society through cross-disciplinary
creations that respond to phenomena involving technology and
humanities in contemporary society. In this concert, connections
between technology and humanities are explored through the
relationship between space and sound accompanied by visual
narration, retrieving the openness of the closed field as an attempt
to seek more creative possibilities

江宜蓁：《彼岸》、林巧：《畫》、黃靖芳：《石心寂靜》、黃俊維：《字。形》、許
佳穎：《覺醒》、高君揚：《數位單擺》、董昭民：《泛返梵》
請透過 Accupass 平台索票
╱ Free tickets available on Other Side (Jenny CHIANG), Painting (LIN Chiao), Stone Serenity (Jeff
Accupass HUANG), Font (HUANG Jyun-Wei), Awake (Joy HSU), Digital Pendulum
（詳見╱ details p. 20） (KAO Chun-Yang), Overholy (TUNG Chao-Ming)
-118-
詩與聲響
詩與聲響
詩與聲響：感官的意義 Poetry and Sounds: The
Meaning of the Senses
Poetry & Sounds
Poetry & Sounds

鴻鴻
「詩與聲響」策展人
Hung Hung
Curator of Poetry and Sounds
詩和音樂都是抽象不可捉摸，又足以和人類潛意識溝通的藝 Although poetry and music are abstract and elusive artistic
mediums, they enable communication with the human
術媒介。詩中有節奏、旋律、和聲與停頓，本身就是以語言
subconscious. With rhythms, melodies, harmonies, and pauses,
構築的樂音。詩往往依附音樂而存在，卻也往往被音樂綁 poems are musical sounds constructed with words. Poetry often
架，故現代詩對於聲音的一大革命，便是「詩與歌分家」
。 depends on music for its existence, but it is also often constrained
by music. Therefore, a major revolution on sound in modern poetry
當代聲響藝術，和現代詩的使命卻彷彿殊途同歸。擺脫（或 is the “separation of poetry from music”.
擴大）音樂的定義，聆聽、重組、創造聲響的世界，一如現
Through different paths, the missions of contemporary sound art
代詩在口語與內在的聆聽、重組、創造工程，尋找自己的聲
seems to coincide with that of modern poetry. The escape from (or
音。「詩」與「聲響」在此的相逢，可以說是「重逢」，卻帶著 expansion of) the definition of music as well as the listening to and
各自不馴的軌跡，碰撞出新的可能。 reorganization, creation of worlds of sounds are similar to the verbal
and internal listening, reorganization, and creation in modern poetry,
「詩與聲響」單元中，長期以詩⽂本作為對話對象的王榆鈞， all of which is an attempt to seek a unique voice. Here, "poetry" and
以鴻鴻詩作回望白⾊恐怖歷史，嘗試「現象音樂」的領域；鴻鴻（Hung Hung） "sound" encounter, or rather reunite. In their respective untamed
黃苓瑄採用謝旭昇的破格⽂本《詩人手記》，進行一場為天攝影╱ Photo by Terry LIN manners, their collision give rise to new possibilities.
空織網的實驗；原民團隊幽法，選用羅智成、阿米等人的詩 In the Poetry and Sounds section, WANG Yu-Jun, whose songs
作，構造一齣聲音劇場；而當代音樂作曲家區若思（Ross are largely based on poetic texts, looks back at history of the
、渡边愛、徐儀的《超譯新詩學：Be7 記得》則以光線
Aftel） White Terror and attempts at "phenomenal music" through an
與聲音演繹林亨泰的前衛詩篇。這些脫離「母體」的⽂字， adaptation of poems by Hung Hung (鴻鴻). HUANG Ling-Hsuan
makes an experiment by weaving a net for the sky through an
將被重新懷胎誕生，成為新的異形、新的生命，把「意義」
adaptation of “The Notebooks of Poets”, an unconventional
再度帶回感官人間。 text by HSIEH Hsu-Sheng (謝旭昇). Indigenous band “ufa”
constructs a sound theater based on poems by LO Chih-Cheng
(羅智成) and Ami (阿米). In New Poetry Beyond Translation: Be
⁷ Remembered by contemporary music composers Ross Aftel,
Watanabe Ai, and XU Yi, avant-garde poems by Lin Heng-Tai (林
亨泰) are re-interpreted through lights and sounds. Separated
from the matrix, these texts are born anew to become new
aliens and beings, bringing “meanings” back to the world of
senses.
-120- -121-
詩與聲響
詩與聲響
降聲從霜降到清明，又一代人。諸眾以降，眾聲，它沒有伴奏，
● Stage Manager: CHEN Hsuan-Miao

● Production, Performance and Sound Design: Wang Yu-Jun ● Lighting Design: WANG Fang-Ning
●製作、演出、聲響設計：王榆鈞●燈光設計：王芳寧●舞台監督：陳宣妙

以濾波共振諸眾聲。在音與聲響的缺口處，能聽見什麼？在
Sound of Becoming 詩與語境的空白地，能駐留什麼？霜降到清明，噤聲多年。

Poetry & Sounds
Poetry & Sounds

聲的暗面，接走我們。雨響雲動，以聲音融化霜凍。一代
人，集體悲鳴。一代人，黑暗且凝視。一代人，誰的影又成
王榆鈞
為誰的光？
WANG Yu-Jun
劃過數個音頻的分割，撲向火柴的時間。聽見，爾後我們重
生。在顯現與潛伏之間，我們交換著無法言說。但，誰也不
在域外？
打開黑色的耳朵，那些即將到來的，是降聲。
王榆鈞是音樂藝術家、電影配樂、劇場音樂及歌者，橫跨音
樂、電影、劇場及表演等領域。她近年關注實驗聲響與⽂學
而延展出「實驗詩性」、對話影像所擴延出的「多維聲像」空
間、音樂聲響與歷史人⽂的「複聲關係」，以及採集環境與
人聲融合的「共振聲響」。
From Frost’s Descent to Qingming Festival, another generation has

passed. Along with previous generations are their voices, without
countermelodies, but resonate through filtering. In the gap between
voice and sound, what else can be heard? In the blank between
poetry and context, what can still reside?
From Frost’s Descent to Qingming Festival, a silence for long years.

立體聲場 The dark side of voice takes us away. The rain resounds and the cloud
moves, melting the frost amid sounds. One generation, collective
Spatial Audio Field
mourning. One generation, darkness and staring. One generation,
- whose shadow becomes whose light?
現場演出 Live Performance 演出詩作 Poems Performed
A slash across divisions of several audios. Time to pounce on a
11/12 ㊐ 16:10 match. Hear, and we are reborn. Between appearance and lurking.
鴻鴻，《跳浪》詩集
20 mins We exchange the unspeakable. But no one is beyond.
Hung Hung, Jumping Waves
(collection of poems)
- Open the black ears: it is the sounds of becoming that will descend.
演後座談 Artist talk WANG Yu-Jun is a sound artist, a film scorer, a theatre composer,
11/12 ㊐ 16:45 and a singer. Her interdisciplinary work encompasses music, film,
theatre, and performance. With her new interest in experimental
- 現場演出：請透過 Accupass 平台索票 sound and literature, she has developed the “experimental poetic”
（詳見 p. 20）
播放版 Projection Version 播放版：自由入場 and images in dialogue, which evolves into “multi-dimensional
Live Performance: Free tickets audio-visual” space and the “polyphonic relationship” between
11/9 ㊃ - 11/11 ㊅ available on Accupass
攝影：黃宏錡 (details p. 20)
music, sound, history, and humanities, as well as the "resonant
13:30, 15:00, 16:30, 19:00 Photo by HUANG Hung-Chi Projection Version: Free entry sounds” based on collected soundscapes and vocals in fusion.
-122- -123-
詩與聲響
詩與聲響
飄浮
Floating
Poetry & Sounds
Poetry & Sounds

《飄浮》的靈感來自三首詩，我們從中感受到的共通點是灰
WANG Fang-Ning ● Stage Manager：CHEN Hsuan-Miao

● Sound Design, Production & Performance：ufa ● Lighting Design：
●聲響設計、製作、演出：幽法 ●燈光設計：王芳寧 ●舞台監督：陳宣妙

幽法⾊的、無奈的及邊緣的，也帶有⼀絲微弱的希望。我們想
ufa 製造⼀個巨⼤光亮的圓，圈起和⽀撐詩中的破碎、緊迫和無
奈，製造⼀種溫柔有⼒量的圓，讓這些沉重的事物飄浮起
來，被籠罩。
意識的自由可以帶領我們企及想像不到的境地，但願某一
刻，會有一道光穿透、包覆所有低谷的黑暗。期望透過
Ambisonic 技術⽀援的《飄浮》，讓我們的音樂、聲響與詩
形成這樣的融合包覆，一個圓。
電⼦⾳樂團體「幽法」由音樂製作⼈成⽂和歌者章素琳組
成，其作品融合世界⾳樂、實驗⾳樂、電⼦⾳樂和迷幻⾳樂
元素。主唱章素琳以澄澈儀式感的民族迷靈聲線，結合深沉
迷幻的電⼦⾳樂，創造神秘深邃、豐富情感的意識畫⾯。幽
法曾入圍兩屆⾦音獎最佳電子音樂專輯獎項，並與視覺藝術
家、舞團、劇團進⾏跨界合作。
Floating is inspired by three poems we chose. The

commonalities we perceived in them are grayness,
hopelessness, and being marginal, but also a dim glimmer of
hope. We wanted to create a large circle of light to encircle
and bear the fragmentation, urgency, and hopelessness in
these poems. A circle of tenderness and strength that keeps
演出詩作 Pomes Performed the heaviness afloat and embraces it.
立體聲場 The freedom of consciousness can lead us to attain the

鴻鴻《飲酒歌－－兼懷湯英伸》
Spatial Audio Field 羅智成《春天》 unimaginable. Hopefully, at a cer tain point, a light will
阿米《撿東西》 penetrate and embrace the darkness in every trough. With
-
Hung Hung, Drinking Song: In Floating supported by Ambisonic's technology, we hope to
現場演出 Live Performance Memory of Tang Ying-Shen attain such an integration, a circle, through our music, sound,
LO Chih-Cheng, Spring
11/12 ㊐ 14:10 Ami, Pick Up Things and poetry. (text by ufa)
20 mins
The electronic music band “ufa” consists of music producer
- 票券資訊 Ticket info. CHENG Wen and singer JHANG Su-Lin. Their work combines
演後座談 Artist talk world, experimental, electronic, and psychedelic music. The
11/12 ㊐ 16:45 現場演出：請透過 Accupass vocalist’s ethereal psychedelic voice with a clear ritualistic
平台索票（詳見 p. 20） sound is fused with deep psychedelic electronic music,
- 播放版：自由入場
creating mysterious, profound and emotionally rich visions.
播放版 Projection Version Live Performance: Free
The band was shortlisted twice for Best Electronic Album at
tickets available on Accupass
11/9 ㊃ - 11/11 ㊅ (details p. 20) Golden Indie Music Awards and often collaborates with visual
13:30, 15:00, 16:30, 19:00 Projection Version: Free entry artists, dancers, and theatrical troupes.
-124- -125-
詩與聲響
詩與聲響
本作品受謝旭昇的《詩人手記》既為小說又為詩，亦是反小
Ning ● Stage Manager: CHEN Hsuan-Miao ● Special Thanks to Hung Hung and Nanako LIU
● Sound Design/Production/Performance: HUANG Ling-Hsuan ● Lighting Design: WANG Fang-
●聲響設計、製作、演出：黃苓瑄●燈光設計：王芳寧●舞台監督：陳宣妙●特別感謝：鴻鴻、劉冠妏

說、反詩的形式與內容所啟發。《它們從不存在。》中，詩
無處不在，但詩為何物？「誰」不存在？是詩？詩人？抑或
Poetry & Sounds
Poetry & Sounds

他者？
本作品是音樂、亦非音樂，是詩、也非詩。筆者想傳達，我
們以詩的眼光在日常中看待社會、內心、一切，在社會人的
表⾯身份底下，我們皆是社會的隱身者、替身者，也是詩
人。本作品的語言⽂字、現象、作為、實物、虛無或真實的
意義，皆來自《詩人手記》。創作過程中，筆者試圖找尋也
許從未存在於吾身內心的詩人之眼耳，將《詩人手記》化為
聲音、空間、情境，而發現《它們從不存在。》裡，一切皆
是虛無，也是真實。
作曲家黃苓瑄的音樂從多⾯維度思考並探討聲音與感官、規
律性與衝擊。她近期嘗試將音樂與儀式元素結合，與自然共
它們從不存在。振的人工式詮釋，作品包含獨奏、室內樂、管弦樂、電子音
They never existed. 樂、裝置、音樂劇場等形式。
黃苓瑄
HUANG Ling-Hsuan
They never existed. is inspired by The Notebooks of Poets
by HSIEH Hsu-Sheng, a novel and an antinovel, a book of
poems and also of antipoetry. In They never existed., poetry
pervades, but what is it about? “Who/what” does not exist?
Poetry? The poet? Or an other?
They never existed. is and is not music. It is and is not poetry.

The author attempts to represent a poetic perspective of
looking at society, our mind, and everything in ordinary
立體聲場 life; under the surface of our social identity, we are all
演出詩作 Poems Performed
Spatial Audio Field invisibles and substitutes in society, and also poets. The text,
phenomena, actions, things, empty or real meanings in this
- 謝旭昇《詩人手記》 work are entirely drawn from The Notebooks. In creating this
現場演出 Live Performance HSIEH Hsu-Sheng work, the author sought the eyes and ears of the poet that
11/12 ㊐ 11:10 The Notebooks of Poets may never have existed within us or our mind. By turning The
15 mins Notebooks into sounds, space, and scenarios, it turns out that
- 票券資訊 Ticket info. everything in They never existed. is empty but also real.
演後座談 Artist talk Composer HUANG Ling-Hsuan reflects on and explores
11/12 ㊐ 16:45 現場演出：請透過 Accupass sounds, senses, regularity, and collision through multiple
平台索票（詳見 p. 20） angles. Her recent work combines music and ritualistic
- 播放版：自由入場 elements, along with artificial interpretation and natural
播放版 Projection Version Live Performance: Free
tickets available on Accupass resonance. The forms of her work include solo, chamber
11/9 ㊃ -11/11 ㊅ music, orchestral music, electronic music, installation, and
(details p. 20)
13:30, 15:00, 16:30, 19:00 Projection Version: Free entry music theater.
-126- -127-
詩與聲響
詩與聲響
超譯新詩學：Be7 記得
Reflections on Modernist Poetry:
Poetry & Sounds
Poetry & Sounds

Be7 記得 “Forgotten”
以臺灣新詩學代表林亨泰為創作靈感，取其「詩的音樂性」
Project Zero ● Sponsor: National Culture and Arts Foundation

Technology: Nicholas Nelson, Alex Smith ● Technical Support & Venue: C-LAB Taiwan Sound Lab ● Production:
Chen ● Visual Artist: Nubbin Dai ● Cellist: J. P. Norpoth ● Consultants for Electronic Sounds & Sound
● Composers: Ross Aftel, Ai Watanabe, XU Yi ● Percussionist: Ross Aftel ● Installation Artist: LIN Ying-
製作單位：製作循環工作室●贊助單位：國家⽂化藝術基金會
●作曲：區若思、渡边愛、徐儀●擊樂家：區若思●燈光／裝置藝術家：林映辰●視覺藝術家：納賓●大提琴家：J.P.・

諾爾波斯●電聲及音響技術諮詢：尼可拉斯・尼爾森、艾利克斯・史密斯●場地及技術協力：C-LAB 臺灣聲響實驗室●
區若思、林映辰、納賓使⽂字脫離平⾯成為立體，創作者以詩詞作為⽂本，取其特
Ross Aftel, LIN Ying-Chen & Nubbin DAI 殊的⽂法結構帶來詩意的空間，以聲音與光兩種抽象且稍縱
即逝的媒材，探尋隱藏在字與字之間隙縫中的想像，在字⾯
上不可見，卻透過人類感知的串連而變得可見的情感，並以
繪畫作為過程記錄，呼應當⽂字脫離平⾯，與空間交融後的
美援大樓展演空間 1 樓狀態。
Art Space V, 1F
創作者專注於聲音與光交互關係所帶來的時間感，藉由物件
-
擺置，聲光的類比／數位生成，如何在聽／視覺上造成並置
11/10 ㊄ 19:00
與錯置，重新串聯觀眾的感知，形成更加立體的想像。本演
11/11 ㊅ 19:00
出包含燈光即時互動裝置、現場擊樂演奏、即時調變及預製
11/12 ㊐ 19:00
電聲、多聲道環繞聲場系統及繪畫。（⽂╱林映辰）
50 mins
註：「Be⁷」為臺灣閩南語音標，意為「不」。
Through light, painting, and music, this show explores the

boundaries between visible/invisible. The show is created
as a single large-scale work, consisting of 3 pieces. Most
of the show is inspired by the poetry of modernist Taiwan
poet, LIN Heng-Tai (林亨泰). The first and third pieces, Be ⁷
Remembered by Aï Watanabe, and Tui (《兑》) by XU Yi, are
solely electronic:. The second piece The Garden of Hope
Studies created by Ross Aftel between 2021-2023 acts as
a companion piece to XU Yi's Tui. The entire performance
combines a light installation by LIN Ying- Chen. Nubbin
Dai uses paintings to integrate various elements in the
performance, and leads the audience to explore between the
lines of the poems.
After creating the work, we often get asked for explanations

and program notes to this show. Perhaps from an academic
standpoint, this piece appears loaded with careful, sensitive
artistic decisions intended to be criticized from any number
票券資訊 Ticket info. of analytical devices. However, an anecdote comes to mind
about the composer George Crumb in his own text setting
of the poet Federico Garcia Lorca. At a talk many years ago
請透過 Accupass 平台索票╱
Free tickets available on at Indiana University, when asked by a student about the
Accupass relationship of the piano to the words, he replied, “Damnit, I
（詳見╱ details p. 20） don’t know…I thought it sounded good.” (text by Ross Aftel)
-128- -129-
102 共享吧
IRCAM
IRCAM
R102 Coworking Space
國際論壇與工作坊
國際論壇與工作坊
-
10.18 ㊂ -10.19 ㊃
工作坊地點及整體活動細節，請見 https://clab.org.tw/
For venues of workshops and the detailed programme: https://clab.org.tw/
IRCAM Forum & Workshops

享有國際盛譽的法國「聲響與音樂研究 The internationally renowned Institute for
統合中心」（Institute for Research and Research and Coordination in Acoustics/
Music (IRCAM) in France has been committed
C o o r d i n at i o n i n Ac o u s t i c s / M u s i c ,
to cross-disciplinary practices in scientific
IRCAM）長期致力於科學研究、科技發展 research, technological development and
與當代音樂創作的跨域交流。「智慧聲響新 contemporary music creation. In AI & New
聲景：IRCAM 國際論與工作坊」邀請該機 Soundscape: IRCAM Forum & Workshops,
構的班諾瓦・亞里希（Benoît Alary）和皮 Benoît Alary and Pierre Guillot from IRCAM
耶・吉雍（Pierre Guillot）講述人工智慧、 will elaborate on creative applications of
artificial intelligence, immersion technology,
沉浸技術、聲音空間化的創意應用，並透
and sound spatialization, and give
過工作坊演示相關操作。此外，教育部主任 demonstrations in workshops. In addition,
菲利浦・朗格洛瓦（Philippe Langois）將於 Philippe Langois will present IRCAM’s cross-
演說中，介紹該單位的跨機構合作。 institutional collaboration.
班諾瓦・亞里希將回顧創造沉浸式混響的 Benoît Alary will review some of the methods

for creating immersive reverberation, such as
方法，如虛擬聲學（virtual acoustics）和人
virtual acoustics and artificial reverberation.
工混響（artificial reverberation），並在工 H i s wor ks hop revolve s a round re cently
作坊中，針對最近開發的 Max 的 SPAT 外 developed SPAT externals for Max and its use
掛程式，探討如何用它們在現場表演中創 for creating complex spatial reverberation
建複雜的空間混響。 during a live performance.
Pierre Guillot will talk about ASAP, a collection

皮耶・吉雍將介紹 ASAP 音頻插件的開發 of audio plug - ins that ena bles creative
之藝術及研究背景、歷史傳承。這套插件可 transformation of sound, including its historical
用於配置聲音的呈現與合成參數，以生成 heritage as well as the artistic and research
新的聲音，亦可用於校正聲音的缺陷並改 context of its development. He will also
present the challenges and innovative nature
善音頻渲染。吉雍也將介紹其中蘊含的挑
of the project, along with a presentation of its
戰和創新性，及 ASAP 套件提供的功能， functionalities.
智慧聲響新聲景：菲利浦・朗格洛瓦將全⾯介紹 I R C A M Philippe Langlois will give a general
IRCAM 國際論壇與工作坊機構及其最新研究進展，並談論該機
構教育計畫的實際案例，以及與巴黎國
presentation of I RCAM and its recent
developments in its research work, examples
AI & New Soundscape:

of IRCAM education programs, and
立高等美術學院和法國國立當代藝術 collaboration with National School of Fine
工作室（Le Fresnoy - Studio national
Arts, Paris and Le Fresnoy - Studio national
©Philippe Barbosa d e s a r t s c o n t e m p o r a i n s）的合作。 des arts contemporains.
-130- -131-
專場講座
專場講座 Lectures 臺灣當代文化實驗場 C-LAB

指導單位：⽂化部
Lectures
主辦單位：臺灣當代⽂化實驗場 C-LAB
托梅克・雅羅利姆、夏維爾・布瓦薩瑞 SKYGGE、朱迪特・德尚董事長：彭俊亨
Tomek Jarolim & Xavier Boissarie SKYGGE & Judith Deschamps 執行長：謝翠玉
策展團隊：C-LAB 臺灣聲響實驗室、法國聲響與音樂研究統合中心
體感情境音樂 AI 即時生成、藝術家講談跨機構合作：盧森堡當代藝術中心、衛武營國家藝術⽂化中心、臺中國家歌劇院、
無程式碼人機互動學習介面：案例分享 Artists’Talks 國立臺灣科學教育館、臺北表演藝術中心、臺東縣政府、桃園展演中心、台北打
擊樂團、財團法人工業技術研究院、双方藝廊
Context-Based Music Generation 協辦單位：國立臺灣師範大學、國立臺北藝術大學、國立陽明交通大學、香港演藝
Using AI: Case Review 學院、臺中市立清水高級中等學校
- - 共製單位：法國聲響與音樂研究統合中心、盧森堡當代藝術中心、臺中國家歌劇院
贊助合作單位：法國在台協會
10/21 ㊅ 16:00-17:30 10/14 ㊅ 15:00-16:30
策略聯盟：再壹波藝術節、桃園鐵玫瑰藝術節、臺灣科學節、臺東聲音藝術節
多功能廳｜ Multi-function Space 多功能廳｜ Multi-function Space 指定住宿：和苑三井花園飯店台北忠孝
Orbe 長期與數位藝術家、編舞家及科學家合本屆 C-LAB 聲響藝術節中，音樂家 SKYGGE 計畫統籌：黃意芝

作，研發與身體和新媒體相關的創新應用，（本名為班瓦・加雷〔Benoît Carré〕）在《介⾯計畫執行：黃意芝、郭玲孜、林映辰、黃薏倫、鄭詠心、林心如、蘇冠華
硬體技術統籌：陳星奎、賴韋佑
並持續與法國「聲響與音樂研究統合中心」詩學》（Interface Poetry）影音表演中，融
音響工程：唐宋音響、鐵吹製作、黑米創意工作室
（Institute for Research and Coordination 入人工智能產生的和聲及聲音，並透過動作聲音執行總規劃：謝賢德
in Acoustics/Music, IRCAM）、巴黎高等裝捕捉系統構成紋理，聯結起聲音、音樂表聲音設計：謝賢德、潘華嚴、曾靖軒、陳書煌
飾藝術學院多媒體實驗室（ENSADLAB）合現力和動態。此外，朱迪特・德尚（Judith 音樂諮詢：陳家輝
作。本次專場講座中，Orbe 創辦人夏維爾・ Deschamps）的 an·other voice 裝置展（陳百彥）
舞台監督及技術人力統籌：聚光工作坊股份有限公司
技術協力：鐵吹製作、黑米創意工作室
布瓦薩瑞（Xavier Boissarie）及藝術總監托覽則透過深度神經網絡，重塑十八世紀義
聲音藝術展團隊：王仁薇、無名小鎮工作室、林瑜亮、華宮室內裝修工程有限公司
梅克・雅羅利姆（Tomek Jarolim）將透過具體大利閹人歌手法里內利（Farinelli）每晚為活動人力支援：余孟菱
案例，演繹如何於現場生成基於特定情境的語撫慰憂傷的西班牙國王而獻唱的詠嘆調。視覺設計：莊騰翔
音指示，提供給台上舞者，以及在舞蹈演出現兩位藝術家將在專場講座中分享其創作概翻譯：林心如
場生成基於特定情境的音樂。行銷推廣：劉郁青、黃孟琦、林孟華、陳姵⽂、黃琪茗
念與歷程。
行政協力：周亞澄、吳達坤、陳國政、王雲玉、林志鳴、王惠娟、王仁薇、蔡奇宏、
Orbe has been collaborating with digital The 2023 C-LAB Sound Art Festival features 謝威儀、許鈁雯、余孟菱、施孟君、謝雨利、李後奇、蔡承杰、袁茵、江苓、賴宗
聖、潘昱琇
media artists, choreographers, and scientists Interface Poetry, an audio-visual concert
to develop innovative applications related to by musician SKYGGE (real name: Benoît
body and new media. They also continues Carré), which involves harmonies and sounds 法國聲響與音樂研究統合中心
to work with the Institute for Research and generated by the A.I., along with a motion
執行長：Frank Madlener
Coordination in Acoustics/Music (IRCAM) and capture system generating textures and
ENSADLAB of École nationale supérieure des 節目部藝術統籌：Suzanne Berthy
associating sound, musical expressiveness,
Arts Décoratifs in Paris. In this lecture, Orbe and movement. In addition, in an·other voice 製作部主任：Cyril Béros
founder Xavier Boissarie and artistic director installation exhibition by Judith Deschamps, 行銷與合作部主任：Marine Nicodeau
Tomek Jarolim will present specific cases to deep neural networks were employed to 行銷經理：Emilie Boissonnade
demonstrate the live generation of context- recreate, an 18th-century aria that the Italian IRCAM 論壇之活動與行銷經理：Paola Palumbo
based vocal instructions for dance performers castrato Farinelli used to sing every night to 「聲學與感知空間」博士╱研究員：Benoît Alary
and that of context-based music during dance the King of Spain to soothe his melancholy. 專案經理╱「創新與研究資源」主持人：Pierre Guillot
performances . The two ar tists will share their creative 教育部主任：Philippe Langlois
concepts and processes in this lecture.
教育講師：Johannes Régnier
電腦音樂設計：Etienne Démoulin
聲音工程：Sylvain Cadars
票券資訊 Ticket info. 技術執行：Aline Morel
專案經理：Aurèlia Ongena
請透過 Accupass 平台索票╱ Free tickets available on Accupass（詳見╱ details p. 20）
-132- -133-
Taiwan Contemporary Culture Lab (C-LAB)
Advisor: Ministry of Culture
Organizer: Taiwan Contemporary Culture Lab (C-LAB)
Chairperson: PENG Chun-Heng
Executive Director: HSIEH Tsui-Yu
Curatorial Team: C-LAB Taiwan Sound Lab, Institute for Research and Coordination
in Acoustics/Music (IRCAM)
Collaborating Institution: Casino Luxembourg, National Kaohsiung Center for the Arts
(Weiwuying), National Taichung Theater, National Taiwan Science Education Center,
Taipei Performing Arts Center, Taitung County Government, Taoyuan Arts Center, 指導單位主辦單位執行單位
Taipei Percussion, Industrial Technology Research Institute, Double Square Gallery Advisor Organizer Executive Organizer
Co-organizer: National Taiwan Normal University, Taipei National University of the
Arts, National Yang Ming Chiao Tung University, Hong Kong Academy for Performing
Arts, Taichung Municipal Cingshuei Senior High School
Co-producer: IRCAM, Casino Luxembourg, National Taichung Theater
Sponsor: Bureau français de Taipei
Strategic Alliance: One More Festival, Taoyuan Iron Rose Festival, Taiwan Science
Festival, Taitung Sound Art Festival 共製單位贊助合作單位
策展團隊
Designated Hotel: MGH Mitsui Garden Hotel Taipei Zhongxiao Curatorial Team Co-producer Sponsor
Head of Programming: Cécile HUANG

Project Manager: Cécile HUANG, Katherine KUO, LIN Ying-Chen, HUNAG Yi-Lun,
CHENG Yung-Hsin, Sylvie LIN, SU Guan-Hua
Technical Director: CHEN Hsin-Kuei, LAI Wei-Yu
Audio Engineering: Topsound, Feb Production, Blackrice Creative Studio
Master Planner for Sound: HSIEH Hsien-Te 跨機構合作
Sound Design: HSIEH Hsien-Te, PAN Hua-Yen, TSANG Jing-Shiuan, CHEN Shu-Huang Collaborating Institution
Music Consultant: CHEN Chia-Hui

Stage Manager & Technician Coordination: HiSPOT Workshop Inc. (CHEN Bai-Yen)
Technical Support: Feb Production, Blackrice Creative Studio
Sound Art Exhibition Team: Viviane ROI, THE MIDDLE OF NOWHERE, LIN Yu-Liang,
Hua Kung Engineering Co. Ltd., CWS
Event Assistant: YU Meng-Ling
Visual Design: CHUANG Teng-Hsiang
Translation: Sylvie LIN
Marketing: LIU Yu-Ching, Kiki HUANG, Joy LIN, Peggy CHEN, Stacey HUANG
Administration: ZHOU Ya-Chen, WU Dar-Kuen, CHEN Kou-Cheng, WANG Yun-Yuh,
LIN Jhih-Ming, Cynthia WANG, Viviane ROI, TSAI Chi-Hung, Sally XIE, HSU Fang-
Wen, YU Meng-Ling, SHIH Meng-Chun, HSIEH Yu-Li, LEE Hou-Chi, TSAI Cheng-
Chieh, YUAN Yin, Cheryl CHIANG, Sam LAI, PAN Yu-Hsiu
IRCAM Centre-Pompidou 策略聯盟

Strategic Alliance
Director: Frank Madlener

Artistic Programming Deputy Director: Suzanne Berthy
Production Director: Cyril Béros
Communication & Partnership Director: Marine Nicodeau
Communication Manager: Emilie Boissonnade
Events & Marketing Manager of IRCAM Forum: Paola Palumbo
PhD / Researcher, Acoustic and Cognitive Spaces (EAC): Benoît Alary 指定住宿
Designated Hotel
Project Manager / Lead Developer (Innovation & Research Ressources): Pierre Guillot
Education Department Director: Philippe Langlois
Educational Advisor: Johannes Régnier
Computer Music Designer: Etienne Démoulin
Sound Engineer: Sylvain Cadars
Technical Manager: Aline Morel
Project Manager: Aurèlia Ongena
-134- -135-

2023聲響藝術節 節目手冊

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2023聲響藝術節 節目手冊

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目錄 Contents

當代音樂 聲響 VR 新聲境 098 Sound Installation: Myst &

130 IRCAM 國際論壇與工作坊｜ 132 專場講座｜Lectures 133 製作團隊｜Production Team

謝翠玉 HSIEH Tsui-Yu

In 2018 the Ministry of Culture Taiwan and the Institute for

Art Space I｜Gray Box

Date Time 節目｜Program 場地｜Venue Date Time 節目｜Program 場地｜Venue

10.6 19:00 皿樂隊 Feat. 音速死馬 VSL Feat. Sonic Deadhorse｜

14:00 10.18 IRCAM 論壇及工作坊 102 共享吧

共鳴記憶：我響你｜展覽 10.19 IRCAM 論壇及工作坊 102 共享吧

遷 Migration｜先祖：虛視 The Ancestors: Illusory 10.21 專場講座：夏維爾・布瓦薩瑞、托梅克・雅羅利姆 多功能廳

10.14 啌啷啪咔咻 聯合餐廳展演空間 灰盒子 10.21

Date Time 節目｜Program 場地｜Venue Date Time 節目｜Program 場地｜Venue

NTTxC-LAB 逆斷口 11.5 即視旅行 聯合餐廳展演空間 2F、灰盒子

11.5 14:30 鎏（/ 現場演出版） 國立臺灣科學教育館 小黑盒

10.22 共鳴記憶：聲體糾纏 立體聲場

10.29 13:30 聯合餐廳展演空間 1 樓 13:30

Date Time 節目｜Program 場地｜Venue Date Time 節目｜Program 場地｜Venue

不可能的三難困境｜展覽 11.18 鎏/（VR 放映版） 聲響工作站 3

11.11 聯合餐廳展演空間 2F 外部場館｜extramural

11.18 耳朵劇院：返響 聯合餐廳展演空間 灰盒子

11.12 「詩與聲響」座談 立體聲場

CONTEMPORARY MUSIC & SOUNDS

票券資訊 Ticket info.

LIN Wei-Chieh ● Special Thanks: KHS Musical Instruments (Fuxing Branch)

創製團隊 Creation & Production Team

Contemporary Music & Sounds

Hello(2014) is an audio-visual piece in which the projection

66 Musica is a performing arts group formed by alumni of the

Contemporary Music & Sounds

創製團隊 Creation & Production Team

3PEOPLEMUSIC is a chamber ensemble that composes their own

CHEN I-Ju ● Electronic Music Performance:CHENG Yung-Hsin

創製團隊 Creation & Production Team

Capriccio ∞ ExTpt 樂的作品之一。樂曲創作核心想法包含：如帕格尼尼《綺想

Contemporary Music & Sounds

《綺想 ∞ 奇響》是由 C-LAB 臺灣聲響實驗室委託創作，將

Capriccio ∞ ExTpt represents a free and casual style. In terms

Commissioned by C-LAB Taiwan Sound Lab, this work will

Contemporary Music & Sounds

● Percussionist: Allen WU ● Sound Artist: 晟 SHENG ● Visual Artist: CHEN Liang

創製團隊 Creation & Production Team

《Digit(s) - Initial // start from 1》結合藝術、科技、實時影

Inspired by the semantic evolution of “digit,” Digit(s) - Initial

With the percussionist as the backbone, the performance of

A fusion of art, technologies, and real-time images, Digit(s)

Creation & Production Team

Interface Poetry OYÉ 的 3D 動畫，均以人工智能（AI）創作。這項演出和

Contemporary Music & Sounds

SKYGGE 演奏 AI 生成的和聲及聲音，與舞台搭檔 Lozange

SKYGGE 並在台上向觀眾重現用 AI 創作的過程：人聲轉換

（SKYGGE 本 名 為 班 瓦・ 加 雷〔Benoît Carré〕

The stage project Interface Poetry comprises 3D animations

創製團隊 Creation & Production Team

Contemporary Music & Sounds

Is there an end to the long road? The light of home keeps on

“Singing makes me feel like I’m home.” Home is where the

Leaf YEH is a singer, music producer, and arranger across

The Ancestors: Illusory Vision 器學習技術，將收集到的原民⽂⾯影像結合到人體解剖學

Contemporary Music & Sounds

The Ancestors: Illusory Vision comprises images drawn

● Artist: LAI Tsung-Yun ● Suona: HUANG Ya-Nung

創製團隊 Creation & Production Team

2023聲響藝術節節目手冊

2023聲響藝術節節目手冊

當代音樂聲響 VR 新聲境 098 Sound Installation: Myst &

遷 Migration｜先祖：虛視 The Ancestors: Illusory 10.21 專場講座：夏維爾・布瓦薩瑞、托梅克・雅羅利姆多功能廳

10.14 啌啷啪咔咻聯合餐廳展演空間灰盒子 10.21

NTTxC-LAB 逆斷口 11.5 即視旅行聯合餐廳展演空間 2F、灰盒子

11.5 14:30 鎏（/ 現場演出版）國立臺灣科學教育館小黑盒

10.22 共鳴記憶：聲體糾纏立體聲場

不可能的三難困境｜展覽 11.18 鎏/（VR 放映版）聲響工作站 3

11.18 耳朵劇院：返響聯合餐廳展演空間灰盒子

11.12 「詩與聲響」座談立體聲場

（SKYGGE 本名為班瓦・加雷〔Benoît Carré〕