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

2014.11.14@Chai Wan 柴灣工業區

The reason of choosing the first track should be the interesting conversation (and also story) between me and the truck driver. He noticed me doing recording and not feeling offense, and ask if the truck engine sounded noisy. I told him it sounded really great as if hearing a R-1 formula through a professional mic, then he rushed into the truck and accelerated the engine several times. Not so soon the officer came and ask for our leaving.

選擇第一首聲檔的原因應該跟我和貨車司機之間的有趣的對話開始(當然還有當中的故事)。他留意到我錄音時感到不太對勁,因此,他問是否貨車引擎聲太嘈吵。我告訴他,在專業的麥克風的收音下,貨車引擎的聲音便彷彿像R-1方程式賽車般清脆。然後,他上到貨車內連踩了幾下油門,把引擎加速了好幾次,不久便有人員走來要求我們離開。

  

2014.11.15@Tung Ping Chau 東平洲

The sound I choose on second day is captured with left-channel a condenser mic and right-channel a under water hydrophone. I intended to do a synchronize recording both on top of and under the seashore, pretending I have dropped half of my head into the water, enjoying two kind of listening together.

第二日我錄音時設置了左聲道為電容式麥克風,右聲道則是水底聽音器,因此所採的聲音同時收錄了兩種不同的聲音。我打算錄一條在海岸上下兩端同步的錄音,想像自己半個頭浸到水裡,同時享受著兩種不同的聆聽經驗。

  

:: Afterthought 再思 ::

It’s really a great idea to learn from Yannick. Before I have been doing field-recording on my own for several years, yet I found a really different attitude on doing recording. I not saying something about comparison, but it should be always grateful to hear how the thoughts, also techniques built from another artist, that makes mind-blowing. But i need to be honest, I should explore more on my own equipment, a undiscovered treasure.

可以跟澎葉生學習是個很好的機會。我已有好幾年田野錄音的經驗,但這次採聲在取態上卻有一點不同。我不是指跟其他藝術家作比較,而是能聽取他們的想法與技術交流,使我嘆為觀止。而亦需肯定的是,我應該多加理解自己的裝備,去探索這個有待發現的寶藏。

= 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

The pulse I hear from Kaohsiung 在高雄我聽到的脈絡 (10”)

  

The sound what I’m talking about

Remembered a day when we touring at the busy Chai Wan pier, as well as another day at the perfect isolated oasis Tung Pink Chau, we listened where we are; Then we visited the similar industrial pier and fairyland at Kaoshung, we recorded similar sound in different mood.

I used to do field recording without monitoring, with the believe I could have different kind of experience replaying the tracks. I wanted to pay the greatest loyalty to the actual story behind the sound, only to find the loss of details in memory.

After the journey, I categorized the sound clips in kinds of human sound, nature sound, machine and weird sound, and unrecognized but attractive sound. “The sound clips combination that can form a story”—this is what I want to achieve once I listened to the conversation recorded with a police at the pier—the chatting I try to explain what we want to do with field recording, and why. The police hesitated, which triggering me to work on a sound that can well present. Then I started mixing several narrative elements from different clips. I would like listener to hear what I have chatted with the police, follow with the sound, then fill up the imaginary landscape and tale.

你知道我在說的那聲音

在香港,由繁忙的柴灣碼頭走到梟無人煙東坪洲,像是溫故知新的方式重新認識了我們身邊的聲音環境;然後走到700公里外的高雄市,找到相似的貨櫃碼頭碼頭,旗後外灘,然後把錄音珍而重之帶回香港做作品。

經過親身親耳體驗,到在耳機下重聽,一部分的記憶流失,填補了更多的想像,我隨想像把不同聲景剪成一條歷時的聲音,去表達我經過的地方。

關於把不同聲音環境混合的選取方式,我更開放的跳過了錄音地點的背景歷史關聯。畢竟有很多當時當刻我覺得有意義的地點未必能在錄音中充分表達,在此我反而回歸至每段錄音自身,我在每段錄音反覆聽幾遍,記下能聽出什麼,作基本的分類,如人,物,機器和環境聲,還有奇怪的聲效。我對用聲音去說故事顯然比較著迷,所以我選取了我跟一位警衛解釋錄音行為的交談錄音作引旨,穿插不同分類剪接後的聲音,製造了幾個新的空間場景,而聆聽者藉聲音想像出不同的地方和故事。


personal website 個人網站:http://cargocollective.com/jantzenisshrun