• Interview 採訪:Law Yuk-mui/ 羅玉梅, Liza Chan/ 陳曉盈
    Editing 編輯、整理:Law Yuk-mui/ 羅玉梅
    English Translation 英譯 : Winnie Chau/ 周潁榆
    Transcription 謄錄: Janie Chan Tsang/ 陳錚

  • 02/04/2015

  • Hong Kong/ 香港

  • , , ,

Tse Chun-sing  works with various media. His inspirations come from as wide a range of life  as the means of transportation and water sprinklers.

http://www.jantzen-is-shrun.com/

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The Library: During the Umbrella Movement, where did you go for the recordings?

Tse Chun-sing: I think Occupy Central or the Umbrella Movement wasn’t something that took place only in Admiralty, Causeway Bay and Mong Kok. It happened even in Tuen Mun, like [1]Chow Yung’s booth in the street. I had been recording the things he broadcasted. There was a time when I came across it and I recorded it immediately.

Chow Yung’s Street Booth
02:00PM, 11/01/2014, Tuen Mun

  

The Library: Why would you want to record these sounds?

Tse Chun-sing: Mainly because of what they broadcasted, which I found too absurd and too ridiculous. Social problems take place in the street every second. Sometimes, when I overhear conversations among people in the neighbourhood, I want to record them spontaneously. Besides, there were already many people documenting the Umbrella Movement in different ways. I don’t think what I did was very important. Rather, I find what happened in my community much more important.

The Library: Compared to Sea Dog (Wong Chun-hoi) and Lee Wing-shan, the amount of your recordings is rather large.

Tse Chun-sing: I started recording with my audio recorder at the later stage of the Umbrella Movement. Purely due to operational issues, it would be hard for me to carry a recorder going around under such a chaotic condition. Moreover, at the beginning, we didn’t know what would happen subsequently. Therefore, I started recording with my mobile phone. I only used a recorder later on.

The Library: Is it your recording habit to match a photograph with a recording clip?

Tse Chun-sing: Whenever I make a recording of a long duration, I try, if possible, to take a photograph with my mobile phone to capture the recording environment and the recorder. The clips without matching photographs were usually recorded by my mobile phone. In my experience, I must take at least one photograph for the recording. Since after a period of time, when I listen to the clips again, I would forget certain details. These photographs can facilitate my recollection of the whole event. For instance, when reoccupying Lung Wo Road, a row of uniformed policemen dashed towards me. At that time, I wasn’t yet aware that the police was in the state of repressing riots. At that moment, I was taking photographs. Of course, the police didn’t permit photograph taking. Though they didn’t come and clamp down on me, they kept shouting ‘No photography’. If I were making audio recording at that moment, their reaction wouldn’t have been that strong. And I think the tension and emotion the moment they dashed towards us can be conveyed more easily through sound. At last, I turned to audio recording. They even shouted at me, saying ‘Get lost!’, ‘Go home quickly!’ and ‘We’re going to arrest you!’

After Reoccupying Lung Wo Road
02:47AM, 10/15/2014, International Finance Centre

  

The Library: What do you think is the relationship between audio recording and social movements?

Tse Chun-sing: Recording is a way to record an event as it is. After I have recorded something and taken it out in the future, I would think these events are real and that they have happened. I once joined a sound workshop on the June 4th Incident hosted by Lo Lok-him. This collaboration was brought about by a sound clip, which was recorded by a reporter called ‘Sister Cai’ at Tiananmen Square. She used a low quality recorder pen to record the public announcement. One can feel on-the-spot even the clip is heard now. We used it as a material for the workshop, but not for persuading others to vindicate the June 4th Incident. Rather, it was to see how we would feel, at the moment, while re-listening to the clip and what the Incident means to people of our generation.

Public Announcement at Tiananmen Square
1989, Beijing

  

[1] Robert Chow Yung, spokesperson of the Alliance for Peace and Democracy (Chinese: 保普選反佔中大聯盟)who set up street-side booths to collect signatures  in support of the government’s political-reform package.

 

謝振聲遊走於不同類型的藝術媒介,常受到不同事物衝擊,例如交通工具和花灑的噴水。 http://www.jantzen-is-shrun.com/

聲音圖書館: 雨傘運動期間,你去了哪些地方錄音?

謝振聲: 我覺得佔中或雨傘運動這件事不只在金鐘、銅鑼灣和旺角發生,即使屯門也在發生,例如周融擺街站,他播放的東西,我一直都有錄的,有次遇到就即時錄下來了。

周融擺街站
02:00PM, 11/01/2014, 屯門

  

聲音圖書館: 為什麼你想錄這些聲音?

謝振聲:最主要是他們播的東西,我覺得太荒謬,太可笑了。在街上,到處都是社會問題,每一秒都在發生,有時候我聽到一些街坊的說話,都會想即興錄下來。況且已經有很多人為雨傘運動做了不同形式的記錄,我不覺得自己的東西有多重要,反而在自己社區發生的事,我覺得更重要。 聲音圖書館: 對比海狗(王鎮海)和李穎姍,你的錄音量也挺多的 。 謝振聲:我是雨傘運動後期才開始拿著錄音機去錄音的。純粹是操作上問題,我很難拿著錄音機在這麼混亂的情況下走來走去,而且開始的時候,大家都不知道往後會發生什麼事,所以一開始我是用手提電話錄音,到後期才用錄音機。

聲音圖書館: 一段錄音配上一張照片, 這是你的錄音習慣?

one photo one recordiing

謝振聲:每當我做長時間錄音時,我都會盡可能用手提電話拍一張包含當時錄音環境與錄音機的照片。那些沒有配上照片的聲帶通常是用手提電話錄的。我自己的經驗是錄音一定最少要拍一張照,因為隔一段時間再重聽這些聲帶時,我會忘記了一些細節的東西。這些照片有助我回想整件事。例如在重佔領龍和道時,一排軍裝向我衝過來,當時我還未意識到警察要進入鎮壓暴動那種狀態,那一刻,我在拍照。當然拍照這個動作警察是不允許的,雖然他們沒有衝過來按著你,但卻不斷大叫「不要拍照」。如果那一刻是在錄音,他們的反應可能沒有這麼大,而他們衝過來那一刻的張力和情緒我覺得聲音比較容易表達到。最後,我換成了錄音,他們更加叫我「走呀!」「快點回家!」「拉你呀!」 。

重佔龍和道
02:47AM, 10/15/2014, 國際金融中心

  

聲音圖書館: 你覺得錄音與社會運動的關係是什麼?

謝振聲: 錄音是一樣可以真實地記錄事情的方法。我錄了一些東西,將來拿出來,我會覺得這些事情是真的,是有發生過的。我曾經參與過一個由盧樂謙主持,關於六四事件的聲音工作坊。促成這次合作的契機是一條聲帶,這聲帶是一名叫蔡姐姐的記者在天安門廣場錄的,她用很低質素的錄音筆錄下了廣場的公共廣播。這聲帶於現在聽來仍然充滿現場感,我們用它作為工作坊的材料,不是要告訴大家我們要平反六四,反而是這一刻我們重聽這段聲帶會有什麼感覺,六四對於我們這一代人的意義又是什麼。

天安門廣場的公共廣播
1989, 北京

  

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一架從天上掉下來的航拍機/ A Aerial Camera Falling from the Sky
12:25AM, 10/02/2014, Lung Wo Road / 龍和道