= Reflection 感想 =

This year’s Mentorship Programme invited Catherine Clover and Chan Sai-lok to guide us through a venture in sound and writing.

I was intrigued by this theme; while I used to pay more attention to the visual arts than the sound arts, I often wondered what the sounds would be like for the happenings and contexts on the screen.

The soundwalk led by Catherine made me aware of the difficulty of recording sounds with words and not audio. I only recorded the bird calls with onomatopoeia; but I found that different birds sounded rather similar but had different acoustic sources. I couldn’t even identify some of the species I heard … In retrospect, I think that mark-making with words would have been easier.

Our sharing was very interesting and showed different ways to record sound, not only the sounds of birds, but also the sounds of the environment, and the conversations between humans … Our sharing has added another dimension to the recording of sounds.

Chan Sai-lok also shared a lot of work relating to writing and sound, including paintings and plenty of literary works, like poetry and prose. I am always drawn to typesetting, because the gaps between words and lines give a rhythm to reading. To be honest, reading or comprehension were never my strengths and I always got an F for reading comprehension at school. Our different interpretations and discussions of poetry and prose helped me better understand the content of the texts and the intentions of the authors, as well as the possibilities for textual and audible expression. The surreal tranquillity of the bowl breaking in Yank Wong’s Cracks of Borscht left me in awe.

In the “In One Ear and Write Out the Other” workshop I felt more like one of the participants than an artist-mentee. Each of us had to design an exercise with sound in relation to the areas we were familiar with. We discussed how these areas that were seemingly unrelated to sound or writing (e.g. the body, space, the visual) could complement the listening and creative experience as a whole.

I have learnt so much from the other fellows throughout the whole programme and workshop series, and the responses from the participants motivated me to keep exploring approaches to and possibilities of writing sounds.

今年的Mentorship Programme邀請了Catherine Clover和阿三(陳世樂)帶領,探索聲音與文字的關係。


記得Catherine帶領的soundwalk讓我感受到以文字(而非錄音)的形式記錄聲音有一定的難度。當要寫下雀鳥的聲音時,我只能用擬聲字詞記錄,但不同雀鳥發出的聲音也很相似,聲源也不同,更甚是我不認識雀鳥的品種…這時想起用痕跡記錄(Mark Making)配合文字,才比較輕鬆一點。