= Field recording workshops in Hong Kong 香港田野錄音工作坊 =
2014.11.14-15

2014.11.15@Tung Ping Chau 東平洲

Choosing the clip is… the beautiful ‘bubbling’ sound when the seawave diminish on the shore was one of the reason, while the texture also reflect the geography property of the shore.. quite special like the shore having a subtle persona, and this remind me of this place we were.

我所選擇的聲檔是……那優美的「泡沫」聲音，其中一個原因就是當海浪在岸邊漸漸退卻的時候，這些依附在岩石表面上的「泡沫」，從肌理中正正反映出海岸屬於什麼地質，就像海岸上細膩的角色，它讓我們意識我們身處的是個怎樣的地方。

:: Afterthought 再思 ::

I enjoyed the trip to the remote border, and the workshop followed the day is quite important too as the discussion help me to re-think.. whats the purpose of field recording.. and there could be many different reasons to do recordings. it could be solely for personal purpose where one recordings only having meaning to someone/ it could be hard to say this specific sound belongs to specific place/ re-presenting the objective world or creating some sound that we would heard normally/ using the recording to further do something else.. umm

我很享受到邊陲的地方旅行，而這次工作坊最重要的是透過不同的討論，讓我反思實地採聲的目的。我們為了不同的原因而錄音：一些聲音對某些人來說有特定意義，便可以單純地為了個人目的而錄音／我們難以明狀一條特定的錄音中屬於那個特定的地方／我們透過聲音重新展現一個客觀的世界，創作一些我們正常聽到的聲音／利用這些錄音再做些什麼東西……大概是這樣

= Taiwan’s Field Trip and Creation 台灣考察及創作  =
2015.4.3-7 ＠ Taipei, Kaohsiung, Meinung 台北, 高雄, 美濃

About artwork 關於作品

Taipei Night Train 台北晚車 (4”58’)

Cijin Morning Hill 旗津破曉 (5”04’)

:: Afterthought 再思 ::

Some Thoughts .. from Recording to Creations

It would be different for I have exactly the same materials given than I have actually being in the recording process myself to produce the result soundwork. Obviously. The act of recording and the experience across the trip – the place and the people – is actually the where’s the creation process begin. Its core and fundamental. Precisely, my memory and anticipation is more important than the recorded material. May I have the initiative to make the soundwork without the recorded material, but not without my memory.

When the standpoint above is clear I am more interested in the process from Recording to Creation, which is totally open for the ways as well the the purpose. The process is a question to me.

I have asked myself the purpose the soundwork before I started anything – and the question eventually turn around the word Reality. This question makes sense because we are talking about from field recording – we are taking something from the Real World for our sound creation. So I would ask should the soundworks be a representation of an environment with limited manipulation just like editing/ layering? Is it important for the audience to know the place where I record? Is it appropriate if I heavily colorize the material and turn it into something unreconize?

Later on I realized the Reality is my story and experience and showing ALL the reality out there is not the reality. I have make a comparison between composing soundwork with other mediums – like literature, dramas, even documentation, and the logic is the same. Different mediums is using their own language/methods/style to convey their message. Soundworks has its own language too and this is why we should manipulate and add in our expression towards what’s the reality inside our mind.

and.. I walked through a big circle just to justified the appropriation of manipulation and expression.

And I think the “Meat” of the process from Recording to Creation lies on the “Way(s)”. In comparison its like how do we use sound to tell different stories when we could use “simile ( 比喻)” or “personification (擬人)” in writing.

The simplest yet a crucial “Way” is by editing, cutting and choosing what’s sounds meaningful to me. And layering the tracks also is an effective, complexing the listening experience way for me.

Yet the above ways seems limited for me and I want to explore more “Ways” for expression.

For example when I was making the soundtrack for the metro journey, I was eager to have some control over when the train start making the break, when the train door open, the pitch.. the loudless.. I wanted to turn these into parameters for my expression like different keys on the keyboard… and these just needs more technical knowledge towards the “ways” I could imagine.

從採聲到創作中的一些思考

在創作聲音作品時，親身錄取一些聲音素材比起挪用類近的聲檔，兩者其實有分別的。在這次行程的經驗與錄音中，經歷過的地方與人，都是創作的核心與基礎。更準確來說，我的記憶比那些已錄的聲檔更為重要。我可以製作一個聲音作品沒有錄音素材在內，但不能沒有我的記憶。

然而，採聲到創作中的過程應該是怎樣的？

當我落手創作前，都會反問自己—-做聲音作品目的為何，而問題最終轉化成我對真實的叩問。這條終極的問題，對於從現實世界中抽取了一些東西作為創作素材的我們，尤其重要。 因此，當作品作為環境的再現時，它應否受到如剪接／分層等操作所規限？觀眾知道我在哪裡採聲是否重要？如果我將素材不斷加工而令這些素材面見目全非又是否洽當？

後來我領悟到將所有真實的元素展示出來反而並不真實。不同的媒介，像是文學、戲劇、甚至是記錄片，都有它們的言語／方法／風格來傳達訊息。聲音作品也自有它一套的語言，亦因此為何我們應該處理加上自己的表達存在於我們意識中的真實。

認為由錄音到創作的過程中。其「核心」取決於「方法」。我們利用聲音陳說不同的故事，就好比我們書寫中會用「比喻」或「擬人」的手法。

通過剪接、選取對自己有意義的聲音，然後使聲軌有效地變得有層次成為了最簡單又關鍵的「方法」。

然而，以上方法也許對我構成限制，因此我仍想探索更多「方式」來表達。

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personal website 個人網站：https://vimeo.com/user9026430