MoNTUE造音翻土 by MoNTUE

國藝會2012視覺藝術策展專案

策展 Curator ｜何東洪 HO Tung-hung、羅悅全 Jeph LO、鄭慧華 Amy CHENG 協力策展 Co-Curator ｜范揚坤 FAN Yang-kun、游崴 YU Wei、黃國超 HUANG Kuo-chao、鍾仁嫻 CHUNG Ah-han 展覽研究顧問 Exhibition Consultant ｜黃孫權 HUANG Sun-quan 地下社會聆聽區設計觀念 Underworld Sound Bar Concept ｜劉國滄 LIU Kuo-chang 展場設計 Exhibition Space Designer ｜懋 Mao 研究助理 Assistant Researcher ｜王淳眉 WANG Chun-may、梁以妮 LIANG I-ni 展覽助理 Exhibition Assistant ｜林怡君 LIN Yi-chun、董淑婷 Dale DONG 展場技術 Technical Support ｜藝術戰爭公司 Art War Company 美術設計 Graphic Designer ｜瀑布工作室 Waterfall Studio 翻譯 Translator ｜張至維 Eric CHANG、陳靜文 Christine CHAN

台北聯合主辦 Orgainzer ｜協辦 Co-organizer ｜

靜宜大學台灣文學系

媒體協力 Media Support ｜台北場活動協力 Event Support ｜ ( 2012 視覺藝術策展專案 )

贊助 Sponsor ｜

( 教育推廣贊助 ) ( 空間升級贊助 ) ( 耳機獨家贊助 )

MoNTUE 北師美術館 Museum of National Taipei University of Education 林曼麗教授 Professor LIN Mun-lee 執行總監 Executive Director ｜藍恭旭 LAN Kung-hsu 行政專員 Administration Executive ｜黃議霆 HUANG Yi-ting、顏亦慈 YEN Yi-tzu 美感教育專任助理 Project Assistant of Aesthetic Education ｜王奕文 WANG Yi-wen、吳家祺 WU Jia-chi、趙宜恬 CHAO Yi-tien 實習 Intern ｜邱珮瑗 CIOU Pei-yuan 台北市和平東路二段 134 號 No.134, Sec. 2, Ho-Ping East Rd., Taipei City 開放時間 Open Hours 10:00~17:00 （週一休館 Closed on Monday） Tel: 02-27321104 轉 83401、63492 montue.ntue.edu.tw

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控管與隙縫 Governance and Gaps

聲響翻土 Sound Excavation

III 另翼造音 Alter-native Sound IV 另逸造音 Alter-native Flight V

另藝造音 Alter-native Art

陳界仁 CHEN Chieh-jen

姚瑞中 YAO Jui-chung

鄧兆旻 TENG Chao-ming

（聲音於戶外播放 sound played outdoor）

張照堂 CHANG Chao-tang

澎葉生 Yannick DAUBY

Floaty

朱約信 CHU Yueh-hsin

洪東祿 HUNG Tung-lu

王福瑞 WANG Fujui

10 黃明川 HUANG Ming-chuan 11 王明輝 WANG Ming-hui 12 黃大旺 HUANG Dawang 13 失聲祭 Lacking Sound Festival 14 旃陀羅公社 Kandala Commune 15 在地實驗 Etat Lab 1

造音翻土－戰後台灣聲響文化的探索讓大眾遺忘，讓大眾相信，讓大眾沈寂。在這三種情形中，音樂都是權力的工具⋯⋯。今天，在重複之外，有一種自由——不僅僅是一種新的音樂，可以說是第四種音樂的實踐。它預示了新的社會關係的來臨。音樂正演變為作曲。 ——賈克·阿達利（Jacques Attali）* 自盧梭羅於 1913 年發表《噪音宣言》以來，越來越多的現

找，以系譜學的方法爬梳聲響「本土化」的軌跡，並思考

代聲響創作實踐裡，傳統音樂美學與構成方法已不再適用，

它再一次被「造音」轉化的可能——我們稱這些過程為「翻

取而代之的是透過科技、媒介、身體的諸多領域去「處理」

土」。

聲響，並且把聲響作為整體生活的組成部分。換句話說，現代聲響創作實踐已非古典意義上的作曲、吟唱、演奏所能描述，這種實踐我們先且稱之為「造音」。本展所說的「造音」，指的是對聲響的處理（management），但無論其所產生的聲響是音樂或非音樂，「造音」仍然具備了基本的溝通性，除了個體的滿足，也總是同時關乎於與他人（也包括設想的聽眾）的社會連結。

本土化，像民族主義一樣，在特定脈絡下可以是進步的，也可能是保守的。基於在地文化或是政治主體的必要，本土化被提為問題意識可以追溯到 1930 年代的日治時期，歷經 1977 年戛然而止的「鄉土文學論戰」，直到 1980 年代以降，才在黨外與社會／政治運動撐起的各式各樣論述空間，被台灣社會各種領域廣泛地意識到。反應在聲響運動的軌跡裡，例如 1960 年代中的民歌採集運動，歷經 1970 年代的「唱

例如 1997 年水晶唱片出版的一張專輯《浪來了：傾聽台

自己的歌」的民歌運動，到 1980 年代末 1990 年代初的「新

灣的話》，內容為錄製於花蓮吉安鄉的 47 分鐘海浪拍岸聲，

台語歌謠」風潮的更迭。但是，關於本土性的討論很容易落

它是自然、非人造的聲音，但這聲音經過錄製後發行，標以

入一種文化本質論的框架中。若將「本土化」簡單理解為對

「台灣的話」，即是具有特定政治意涵宣稱的聲響，一種「造

於「外來」的抵抗，彷彿「本土性」有著一種純粹、原真、

音」。又例如約翰·凱吉著名的〈4 分 33 秒〉，寂靜無聲，

去歷史，未曾遭受外來「污染」的本質，就有將「台灣文化」

但在一場與觀眾互動的表演裡，演奏者刻意留白，讓人們靜

與「日本／西方／中國文化」二元對立化的危險。

默聆聽周遭的聲音，則使寂靜轉變成一件聲響事件。從製造到聆聽，聲響被社會性地體驗、賦予意義，在其中，社會關係得以維持與鞏固、協商與逃逸、反叛與顛覆。

「土的味道，哪裡是芬芳的？都是充滿農藥的味道！」音樂創作人鍾永豐曾如此說道。土地的芬芳對比刺鼻的農藥味，正可以作為本展思索「造音翻土」的恰當隱喻。如果我們同

「造音」的提法有一部份來自阿達利（Jacques Attali），

意阿達利所說的：音樂是「一個戰場」，應該要從中找出「一

他把音樂視為真實世界的隱喻，是結構社群、集體的工具；

個可能的新的政治與文化秩序的宣示」，那麼，如何從我們

為了鞏固權力，噪音必須被控管與壓制。阿達利也提出了一

自身的聲響土壤裡，考掘出非民族主義，甚至是揚棄狹義本

種自由自在、創造差異、不為資本累積、不為權力服務的「作

土主義的本土性，則可能是一種造音的另翼出路，也就是去

曲」想像，一種預示未來的，從規訓與秩序解放出來的新的

「翻土」——翻轉或鬆動「本土」的意涵。「翻土」在本展

社會關係。在此我們擴大同時也縮限阿達利的說法，以「造

中有雙重意義：一是本展的假設——台灣造音歷程中，不斷

音」回應他所論述的「噪音」與「作曲」。「造音」是「作

對「本土性」的重新指認、宣稱與推翻；二是本展的方法——

曲」的擴張，作曲關於音樂，造音則包涵了聲響的可能組織

試圖重新回憶與轉譯這段台灣通俗音樂／聲響本土化歷程，

的處理；也就是說，我們以「造音」來跨越「音樂類型」的

審視本土的文化紋理。

分析藩籬，重新聆聽不同時空脈絡裡，「造音人」與權力在消音、規訓、閃躲、協商、拮抗與顛覆的可能交鋒下所展開的文化與政治意義。本展覽試圖從上述觀點出發，反思與重構戰後台灣社會的「造音」運動。換句話說，本展目的不在於清查與盤點台灣的聲響文化，也非試圖重述前人業已發表、整理的通俗音樂編年史。我們更關注以聲響作為社會感知內核，反思或挑戰既有秩序的文化運動。

「本土性」的造音重構我們以「本土化」這個台灣現代性形塑歷程下（歷經殖民統治、威權統治、西式現代國家）難以迴避的課題作為串連這次展覽的主線索，從歷史的社會土壤裡著手，重新翻、掘、

另翼想像的系譜學展開欲往歷史的土壤裡翻、轉，尋找台灣的造音如何去翻、轉本土性，我們作了「本土性系譜學」的考察，也就是說，將每一個階段中的聲響實踐的類型分野打破，以問題意識——造音的社會屬性與能動性——取而代之，展開「本土性」的另翼想像。「另翼」這個詞彙雖然是從 alternative 翻譯而來的，但本展並不單取其原意，而將其拆解為「翻轉（alter）」與「本土（native）」，並進一步在中文裡演繹出「另逸／藝」等多重意涵：另逸，身體的逃逸、逾越與愉悅；另藝，另一種藝術取徑。這種系譜學的構成，一方面將歷史重新問題化，另一方面，也將這些聲響文化所對應／表達的方式視為本土化過程中，一種歷史性的變種與混雜之物。

依據以上演繹，我們將戰後台灣的聲響文化區分為數個造音敘事，於展覽中以五個區塊作為動線來展陳：

另藝造音 2000 年前後，「聲音藝術」一詞的被運用，讓造音的可能性不斷被擴張與辯證，並且以多種方式實踐，成為另一

控管與隙縫

種專注於聲響實驗與討論的藝術形式的取徑。本區展出於 1990 年代至跨世紀之交，集中關注台灣聲響實驗發展過程

此區交代台灣的聲響文化的現實政治背景。戒嚴時期，當

且擁有完整紀錄的組織「在地實驗」，以及目前致力於聲

權者對於台灣通俗音樂實施了嚴格的文化治理，包括歌曲

響思考、開發與表演形式的活躍團體／藝術家參展，包括

審查、電波管制與出版管制。不過，隨著美軍協防而進入

「失聲祭」、「旃陀羅公社」、黃大旺。

台灣的美國流行音樂卻避開審查，形成一個治理隙縫。於是，相較於本土音樂的治理與規訓，美國熱門音樂成為一種對於現代聲響的想像。

聲響翻土 1966 年由許常惠、史惟亮發起的民歌採集運動是當時對於「我們需不需要有自己的音樂？」之提問的行動。此運動的餘波是恆春民謠歌手陳達被台北知識圈發掘，雖受到文化論述的重視與討論，但當時國語唱片工業鮮少回應，直

除了歷史文件的陳列之外，本展同時邀請數位藝術家／聲響創作者及組織以影音、裝置、繪畫作品參展，包括陳界仁、鄧兆旻、張照堂、姚瑞中、王明輝、王福瑞、朱約信、洪東祿、Floaty、澎葉生、黃明川、黃大旺、「失聲祭」、「旃陀羅公社」及「在地實驗」，他們在展中的作品並不只是歷史述事的證據或附和，相反的，它們的角色更像是對這些歷史述事的意涵拓展，並且，他們就是以不同形式去「翻土」的「造音人」。

到解嚴之後，新一波的本土反思運動才開始試圖連結到陳達，並以另一種方式重新回應了許常惠、史惟亮的提問。

另翼造音

本展所提的「造音」系譜與每個「翻土」的契機，既是現實的，也是想像的。雖然我們參照了阿達利對於噪音與權力之關係的提法，但不完全認同他從西方歷史所考查出的

當李雙澤於 1976 年於演唱會中公開質問「我們自己的歌

進程，畢竟，依附於西方的脈絡來理解自身文化是一種虛

在哪裡？」之時，就已正式宣告「唱歌」有時並非純音樂

妄，我們希望從自己的歷史裡，重新整編這些造音的社會

行為，還可以是社會行動與政治造音。本區描述了李雙澤、

關係。此外，本展所欲提出的，並非一套完整的台灣聲響

楊祖珺到解嚴後的左翼政治行動樂團的歷史，以及 Live

文化歷史，而是一種「聆聽與解釋台灣聲音的態度」，如

House「地下社會」遭到排除的事件。此外，原住民如何

同音樂文化研究者何怡穎在《台灣的聲音》的發刊詞裡所

在漢人主流音樂脈絡之外唱自己的歌，也是本區的子題之

說的：「這個態度是，我們相信聲音是歷史的一環，而歷

一。

史的書寫可以是以人民為主體的，裡面揉浸了聲音與生活、

另逸造音自戒嚴的規訓身體叛逃出來的行動，在 1980 年代初即開

聲音與人民、聲音與社會的多層互動。」本展覽承接這樣的態度，嘗試透過聽覺感知進入歷史之中作翻轉，並且期待它可以是邀請討論的起點。（何東洪、羅悅全、鄭慧華）

始在行為藝術、小劇場領域中醞釀。解嚴之後，造音的身體叛亂、逃逸逐漸走上高峰，包括後來被總稱為「噪音運動」的一連串公開表演，以及演變為社會事件與文化現象的「瑞舞運動」。

* 賈克·阿達利，《噪音：音樂的政治經濟學》，時報文化，1995，頁 25。

Altering Nativism: Sound Cultures in Post-war Taiwan Make people Forget, make them Believe, Silence them. In all three cases, music is a tool of power. [...] Today, in embryonic form, beyond repetition, lies freedom: more than a new music, a fourth kind of musical practice. It heralds the arrival of new social relations. Music is becoming composition. --Jacques Attali* Luigi Russolo’s 1913 manifesto The Art of Noises contributed to the rise of modern sound art practices that rely less on the aesthetics and compositions of traditional music. Instead, these practices rely more on technology, new media and the human body to manage sound, and see sound as a constitutive element of our living environments. Modern sound art practices do not conform to composition, singing or musical instrument performances in the traditional sense, and therefore can be referred to as sound making. For this exhibition, sound making refers to the practice of sound management, and regardless of whether music or something other than music is produced, we believe they possess an essentially expressive, or communicative, quality. Furthermore, these practices both gratify the sound maker and are aimed at society as a whole. In 1997 Crystal Records produced Lang laile: Qingting, Taiwan de hua (waves are coming: listen carefully, Taiwan is speaking), a 47 minute recording of waves crashing on the shore in Ji'an Township in Hualien, Taiwan. The sound is natural rather than man made, but in the marketing process was titled “Taiwan is speaking,” which suggests the sound, or this sound making, has a definitive political implication. Another example is John Cage's completely silent composition 4'33” . When performed in a public venue, where the musicians deliberately abstain from playing, the audience must focus attention on ambient sounds, thus turning silence into a sound event. In these two examples, from sound making to close listening, significance is imparted or a social experience is created allowing the subversion, mediation, avoidance, maintenance or strengthening of social relations. The term sound making also refers, to a certain extent, to French economist and scholar Jacques Attali's book Noise: The Political Economy of Music . Attali considers music a metaphor for the real world and a tool that forms community. He claims that in order to consolidate power, noise must be controlled or suppressed. Attali also put forth a notion of carefree and diversifying composition not in service to capital accumulation or power; a kind of composition, he claims, that can betoken social relations liberated from discipline and order. Here, we both expand and narrow Attali's concepts with our own of sound production, which responds to both noise and composition as they appear in his book. Sound production, as an expansion of music-based composition, also includes the management of possible sound combinations and therefore transcends the analytic barriers set by the category of music. By closely re-listening in different contexts, we investigate the cultural and political significance of sound makers as they crossed swords with authority, and thereby, evaded, negotiated, resisted or subverted sound discipline. This was our point of departure for the exhibition Altering Nativism , and suggests re-investigation and reconstruction of Taiwan's postwar sound making movement. Our main concern for this exhibition is not merely to inventory sound culture or chronicle the history of popular music in Taiwan, but rather

to present sound as a core perception in society and as the basis for a cultural movement that considers or challenges the existing order.

Altering Nativism: Constructing Indigenality with Sound Making The exhibition's common thread is the reconsideration of local culture in various sound production practices. Issues of cultural identity are an unavoidable topic in light of Taiwan's history of modernization, which includes colonial domination, authoritarian rule and contending with modern western countries. We set to work in the soil of Taiwan's social history, digging, sifting through, and searching to ultimately put together a genealogical record of sound and indigenality, and then explored the possibility of transforming this record with our notion of sound making. We gave this process the name excavation . Like nationalism, nativism can be either progressive or conservative depending upon the conditions under which it manifests. Discussions about nativism easily fall into the trap of cultural essentialism; if we take nativism to mean resistance to outside culture, then we apparently see local culture as pure, authentic and ahistorical, having never been polluted by outside influences. This is a dangerous position that promotes binary antagonism and has pitted Taiwanese culture against Japanese, western or Chinese cultures. The process of excavation undertaken here aims at exposing the myth of a single root culture in Taiwan, and can point the way to cultural plurality in discussions about nativism. Historically, the need for a localized cultural subject as a form of social consciousness in Taiwan can be traced back to the 1930s under Japanese colonial rule, which at the time was suppressed by Japanization, and then in the postwar period, by the Nationalist regime (KMT). But it was not until a fierce debate arose between modernism and realism in the literary field in the mid 1970s that issues of cultural identity were at stake. Then later in the 1980s the Tangwai movement (opposition to the ruling KMT party), as well as other social and political movements, rose up and formed a more varied discursive landscape. Afterwards nativism/indigenization was widely acknowledged and debated by Taiwan's various social spheres. Response from the sound movement was varied and included the creation of archives by The Folksong Collection Movement in the mid 1960s, The Sing Our Own Songs folk song movement in the 1970s, and The New Taiwanese Song Movement in the late 1980s and early 90s. The musician Chung Yung-fung once said, “Where is the sweet fragrance of the land? Every place reeks of pesticide.” This contrast between land’s sweet fragrance and pesticide’s sharp smell is an apt metaphor for the concept of excavating sound making in this exhibition. If we are to accept Attali's idea that music is a battlefield from which a “prophecy of the potential for a new political and cultural order” is found, then we should

excavate something non-nationalistic from our sound site, or perhaps discard nativism’s narrow, essentialist sense. To find a different kind of sound making, we must excavate, loosen and sift through the native land. Excavating has a dual significance for this exhibition: the first, the exhibition's premise, is that nativism has been repeatedly identified, asserted and repudiated over the course of Taiwan's sound making history; the second, the exhibition's method, is an attempt to revise Taiwan's indigenizing popular music or sound history while examining the nature of local culture.

Re-imagining the Genealogy of Sound Making To investigate how sound making may have affected nativism in Taiwan, we conducted a genealogical study, breaking down boundaries demarcating categories of sound practice in each phase of history. With a critical awareness of the social attributes and dynamism of sound making, we envisioned altering nativism. Our intention was not to merely posit an alternative to the nativism to which we are accustomed, but rather to transform it, and to suggest the multiple meanings by engaging in battle: alter-native flight, and alter-native art. Alter-native flight is bodily escape, transcendence and enjoyment; and alter-native art is non-mainstream art. Our genealogical construct problematizes history while deeming modes of expression and correspondence in sound culture as a result of historical variation and hybridity in the localization process. Relying on this strategy, we have categorized postwar Taiwanese sound culture under several sound making narratives, which are reflected by five areas in the exhibition venue.

and political sound making. In this area of the exhibition, we narrate the history of Li Shuang-tze and Yang Tsu-chuen, leftist political movements and bands during the post martial law period, and the forced closure of the livehouse music performance venue called Underworld. A sub-theme in this area is about aboriginal people singing their own songs in the context of Taiwan's mainstream Han Chinese culture.

Alter-native Flight The idea of bodily escape from martial law discipline had already begun brewing in the early 1980s with the ﬁrst instances of performance art and Taiwan's fringe theater movement. After abrogation of martial law, physical rebellion and escape gradually reached its acme, and included a series of public demonstrations by the Noise Movement and raves, which were seen as social events or cultural phenomena marking evolution.

Alter-native Art Around the year 2000, the term sound art started being used in Taiwan, which expanded possibilities and dialectics regarding sound making. Variety within sound practice increased and became an alternate art form with respect to discourses and sound experiments. This area introduces Etat Lab, who had focused and comprehensively documented the development of experimental Taiwanese sound art from the 1990s to after the turn of the century, as well as dynamic art collectives and artists currently dedicated to sound concepts, development and performance such as Lacking Sound Festival, Kandala Commune and Huang Dawang.

Governance and Gaps The political background of Taiwan's sound culture is introduced in this area. During the martial law period, the power elite implemented strict cultural governance of Taiwanese popular music, which included censoring and monitoring songs and regulating radio frequencies and publishing. Anglo-American popular music escaped censors, which was due in part to the presence of the United States Taiwan Defense Command and also the fact that the KMT endorsed the connotation of modern life that was inherent in this globally popular music. This gap in cultural governance contributed to the establishment of popular American music as the image of modern sound for Taiwanese youths.

Sound Excavation In 1966 Hsu Tsang-houei and Shih Wei-liang started the Folksong Collection Movement, which was a response to the oft heard question at the time: Do we need our own music? One repercussion of the movement was that Taipei intellectual circles became interested in the work of Chen Da, a folksinger from Hengchun in southern Taiwan. Even though Chen became an important topic of cultural discourse, Taiwan's record industry, which promoted mostly songs sung in Mandarin Chinese, paid little attention to this singer from the grassroot. It was not until martial law ended in 1987 that a new wave of nativist/indigenizing movements tried to associate themselves with Chen Da and address concerns raised by Hsu Tsang-houei and Shih Wei-liang.

Alter-native Sound When Li Shuang-tze asked, “Where are our songs?” during a concert in 1976, it was already clear that singing is not purely a question of music. Songs can also be about social movements

In addition to historical documentation, the exhibition also presents the video, sound art, installation art and paintings of Chang Chao-tang, Chen Chieh-jen, Chu Yueh-hsin, Yannick Dauby, Floaty, Huang Dawang, Huang Ming-chuan, Hung Tung-lu, Teng Chao-ming, Wang Ming-hui, Wang Fujui, Yao Jui-chung, Etat Lab, Kandala Commune and Lacking Sound Festival. More than merely testifying to, or supplementing the history presented, the works expand the significance of these historical narratives, and the artists are all sound creators who have themselves excavated different art forms. The sound making genealogy and each turning point in excavation presented in the exhibition are both real and imaginary. Although we are making reference to Attali's concepts of noise and power here, we do not completely identify with the course he mapped out from examining western history. After all, it would be unrealistic to try and understand our own culture through a western context, and we hope to revise the social relations we identified in sound making from looking at our own history. Furthermore, we do not wish to suggest that the exhibition is comprehensive in its presentation of Taiwanese sound culture history, but rather an attitude for listening carefully to and interpreting Taiwanese sound. As the researcher of music culture Ho Ying-yi has written in her preface to the first issue of Taiwan Sound , “This attitude is a belief that sound is a part of history. The people can be the writers of history, which is a record imbued with many interwoven levels of sound and life, sound and people, and sound and society.” We hope this exhibition carries forward this attitude transforms what history has taught us through the perception of sound, and serves as a starting point for some lively discussions. (HO Tung-hung, Jeph LO, Amy CHENG)

* Jacques Attali, Noise: The Political Economy of Music , Manchester University Press: 1985, p19-20.

子展區簡介

一、控管與縫隙所謂「現代化」者，就是要「科學化」、「組織化」和「紀律化」，概括的說，就是「軍事化」。 ——蔣介石，《新生活運動第二期目的和工作要旨》，1936 台灣戰後通俗音樂在長達近四十年戒嚴威權統治（1949-

有時候反倒成為一種免費宣傳。換言之，隙縫就在這些「天

1987）與全球冷戰結構的雙重主導力量下，發展出與統治

羅地網」之中。

政權在意識型態上糾結的面貌。

戰後另一個通俗音樂逃脫控管的出路，是朝向美國通俗文

「禁歌」是國家機器干預人民娛樂、休閒的文化治理手段，

化。在冷戰結構的現代化發展模式的導引下，美國戰後的青

是權力的附屬物。台灣第一首禁歌為日治時期「泰平唱片」

年消費文化合理地引進了台灣。1960 年代中期至 1970 年

所出版的〈街頭的流浪〉（1934）。同一時期，國民黨在

代初，因越戰後勤需要，在台美軍最多人數達十七萬名，美

中國推行「新生活運動」，在全國人民生活軍事化的目標下，

國通俗音樂得以在台灣主要城市風行。搭配加上盜版唱片產

治理手段亦包含查禁流行歌曲。1949 年國民黨政府遷台，

業的發達，台灣的通俗音樂聲音地景裡有了一個「本土」的

開始一連串越來越嚴厲的歌曲審查制度。在治理技術上，另

對應面——「熱門音樂」。

方面又配合著鼓勵／欽定「優良歌曲」的公開甄選、「政戰系統」的專業寫歌，並與特定唱片公司合作，塑造了解嚴前的通俗音樂的主導文化政治。在此政治控管情形下，日常生活中的各種社會人文議題，要麼噤聲，要麼必須迂迴尋找出路——雖然官方可以控制傳播媒體，卻無法禁絕唱片的非法

「美國因素」就在這樣的條件下，在我們的社會聲響軌跡裡留下讓人又愛又質疑的曖昧感。直到 1970 年代中的民歌運動，這種曖昧感揉合進了新的聲響，並產生了新的爭議：什麼是「我們的」？什麼是「外來的」？（何東洪、黃國超）

生產與地下流通管道。甚至由於民眾好奇的心理，查禁動作展品：《查禁手冊》、遭禁唱片、「熱門音樂」唱片、書寫「熱門音樂」的書刊、「陽光合唱團」演唱照片、《帝國邊界 II －西方公司》（陳界仁）、《萬歲》（姚瑞中）

二、聲響翻土我們今天正處於一個西樂大量東來、而本身又無音樂信心的時代，從音樂學術到音樂教育，從音樂創作到音樂演奏，我們失去了自我。⋯⋯想在音樂上恢復自我，首先要拿出自己的音樂來。 ——史惟亮，《民族音樂文化的保衛與發揚》，1967 「自我」的建構總是牽涉到歷史的自我書寫，書寫可以是文

川。這些具有「學術味道」的田野調查錄音於 1970 年代陸

字，也可以是影像、聲響的紀錄。雖然日治時代的台灣總督

續發行唱片，由於當時台灣在冷戰結構位置的改變，使本土

府曾於 1943 年支持音樂學者黑澤隆朝到台灣從事全島性調

性在文化位階的爭辯得以藉由這些民族音樂／民歌的採集成

查，建立包括原住民諸族和漢人音樂影音和文字紀錄，但其

果而被提出，經過 1977 年的「鄉土文學論戰」，爭論主題

主要目的畢竟屬於對「他者」的知識建構。

演變為把「台灣／中國」的政治意涵推到「鄉土／現代主義」

以田野錄音作為自我建構方法，直到 1967 年由史惟亮、許常惠所發起「民歌採集運動」才開始。同時期進行原住民傳統音樂採集的，還包括於日本深造回國的民族音樂學者呂炳

的文化霸權的爭奪。而在此歷程中被「發掘」至台北演唱的恆春民謠歌手陳達，看似「民歌採集運動」的插曲，實質上卻對解嚴後的音樂文化有著暗流般的影響力。

解嚴之後，雖然政治上的文化控管力量逐漸減弱，但國語唱

音、布袋戲、牽亡陣、⋯⋯等俚俗的民間聲響，發表為《來

片工業的建制化卻大大消解了「鄉土 vs 現代」、「傳統 vs

自台灣底層的聲音》與《台灣有聲資料庫》兩系列出版品。

商業」對偶關係裡「人民的音樂」的爭辯所引發的議題。 1986 年成立，現已結束營業的「水晶唱片」是解嚴後的十年裡，少數企圖突破音樂商品體制，另闢新徑的唱片公司之一，他們除了製作出多張反思「本土化」刻板印象（懷舊、悲情）的通俗音樂作品，同時也進行了不同於過去的學術性

本展區以陳達為歷史中繼，透過聆聽其前後的相關採集行動、錄音出版品，重新理解「本土」意涵的演變，在這個過程中，「我們－人民」如何被召喚？又是如何被建構？（何東洪、范揚坤、羅悅全）

民歌採集的田野錄音，將範圍擴展至酒家歪歌、地下電台錄

展品：《紀念陳達》（張照堂）、《高砂族的音樂》（黑澤隆朝）、《南進台灣》紀錄片、許常惠著作、史惟亮著作、呂炳川著作、 1970 年代民歌採集唱片、《來自台灣底層的聲音》、《台灣有聲資料庫》、水晶唱片海報、《唱還是不唱？》（鄧兆旻）、《台北聽三遍》（澎葉生）

三、另翼造音「另類音樂」只是多種不同的商品之一，但「另翼音樂」不只是不同而已，它還具有一種政治的意涵。 ——黃孫權，於電台節目「音樂靠邊站」，1995 「本土」不應被視為集體一致的圖像，相反地，從「民族」、

唱會」、「出版自己的唱片」等操演方式來創造自己的社群

「自己」的指認，到「人民」、「群眾」、「底層」的宣稱，

與網絡，成為 1990 年代眾聲喧嘩的特色。

每一次「翻土」都存在著撩動既有社會權力關係的異見與噪音。1970 年代中，「唱自己的歌」雖是現代民歌運動的集體意念，但其中以李雙澤與楊祖珺為代表的左翼路線，主張音樂反映社會現實，將「底層人民」作為連結現代與本土的對象，試圖把民歌運動帶出校園，朝向以現實主義為美學與思想基礎的社會動員。這種異於主流民歌運動的路線踰越了當時政權所圈限的範圍，旋即遭到全面封殺。遲來的現實主義美學與社會參與跳接至 1980 年代末的新台語歌曲運動以及 1990 年代末之後出現社運樂團，如黑名單工作室、黑手那卡西、交工與農村武裝青年。平行於社運聲響美學的，是 1990 年代圍繞著搖滾類型的地下音樂場景。當市場機制成為另一股聲響秩序的建構力量時，踰越主流音樂商品生產的秩序則成為新一波造音運動所欲朝向的目標。「唱自己的歌」已是共識，造音者進一步地以「辦自己的演

若上述脈絡為 1990 年代至今的另翼造音，那麼自 1960 年代起流傳於原住民部落的通俗音樂就必須以外於漢人社會的另翼來理解。流傳於部落的黑膠、卡帶，甚至是伴唱帶影音，承載著原住民傳統歌謠的流傳與創新。在主流與都會化的通俗音樂文化外，他們毫不保留地挪用通俗歌曲的聲響，大膽、風趣與自我調侃的基調，延續至今到新一波原住民的抗議歌手的聲響裡。然而，異質聲響依舊是「和諧社會」所欲排除的「噪音」。此展區建構了近似 live house 的氛圍與聆聽空間，通過近年發生在台北的「地下社會」事件作為切入點，以其抗爭和抵抗的失敗，來探討現今社會、都市發展在士紳化與中產化的過程中，對異質聲響及其空間所進行的排除與治理。（何東洪、羅悅全）

展品：《楊祖珺與青草地慈善演唱會》（張照堂）、山地流行歌曲出版品、李雙澤與楊祖珺相關文件、「黑名單工作室」專輯、「黑手那卡西工人樂隊」專輯、「交工樂隊」專輯、「農村武裝青年」專輯、1990 年代地下音樂文件與紀錄片、「地下社會事件」文件與紀錄片、《望花補夜》（朱約信）

四、另逸造音音樂是一個幌子，它不該以現在這種型態存在現在這個社會體系中，因為這根本不對。 ——蔡海恩，濁水溪公社創始團員，1991 造音，不僅關乎聲響傳達了什麼內容，更包括何種聲響被聽

貫穿聲響、身體與體制的異質空間打造行動，在 1995 年以

見？被什麼方式聽見？在解嚴後的第一個十年，「噪音運

降的瑞舞運動得到轉進——電子音樂愛好者進入河堤、山區

動」與「瑞舞運動」從舊秩序崩解所暫時形成的治理隙縫中

裡的曠廢場所自力舉辦僅有一晚的游擊式派對，多數未經合

奔竄而出，「聲響」從音樂內部的語境中掙脫，進一步連結

法許可，參與者從知識分子、外籍人士逐漸滲透到社會各階

了身體踰越與空間解放的實踐。這個趨向在解嚴前夕已見端

層。此外，專門播放電音的舞廳也紛紛成立，大大小小的電

倪，街頭政治抗爭的激烈身體衝突、前衛藝術家與小劇場表

音派對逐漸流行開來，規模日益擴大。瑞舞的游擊性格與解

演者在公共場所上演未預先報備的偶發行動等均為此埋下伏

放精神，突穿了主流社會場域的邊界，然而，其與管制藥物

筆，並在「三月學運」之後爆發出巨大能量。

使用的緊密關聯，卻隨後引發了社會道德恐慌，其相關活動

1990 年代前半興起的噪音運動不僅關於實驗聲響，更混雜了工業音樂、搖滾樂、小劇場、實驗電影、地下刊物、垃圾藝術與現成物裝置，以一種接近總體藝術的狀態興起。學運後在大學校園內蓬勃發展的左傾社團，以及另類空間如「甜

與場地開始遭到「零容忍」政策的掃蕩與清除——包括被稱作「搖頭店」的電音舞廳。約在 2003 年之後，具有自由精神但碰觸社會容忍底線的戶外瑞舞逐漸消聲匿跡，或被收編於法律規範下的商業舞廳文化中。

蜜蜜」等則提供了主要的平台。這是實驗聲響尚未體制化的

1990 年代的噪音運動與瑞舞運動，儘管在社會體制完備之

混沌時期，兩個重要團體「濁水溪公社」和「零與聲音解放

際相繼衰微，不過，前者為繼之而起的創作提供了思辨歷史

組織」以搖滾樂、噪音與小劇場的操演形式挑釁現場觀眾，

經驗中關於聲響／聆聽、身體／精神、空間／社會場域、鄉

衝撞表演倫理的底線。這群噪音運動參與者多致力於解構體

土／現代的線索；後者則以另一條路徑潛入底層的常民文

制、挑戰規範，但他們並非缺乏社會想像的虛無主義者——

化，交融演變出廟會活動中的「電音三太子」，成為另一種

1990 年代中期他們以自主精神籌劃的「破爛生活節」、「空

台灣本土表徵。（羅悅全、游崴、鄭慧華）

中破裂節」與「後工業藝術祭」等三場結合了烏托邦理想與無政府主義的展演活動即是對此的最好明証。

展品：《聲泡》（王福瑞）、《機能喪失第三號》（陳界仁）、三月學運紀錄片（綠色小組）、《大便報》、《爛頭殼》紀錄片（陳德政）、《淡水河上的風起雲湧》（黃明川）、「甜蜜蜜」咖啡館傳單、「濁水溪公社」樂團文件、「零與聲音解放組織」文件、噪音廠牌「Noise」文件、1994 年「破爛生活節」傳單、1995 年「空中破裂節」文件、1995 年「後工業藝術祭」傳單、《台北國際後工業藝術祭》（黃明川）、瑞舞運動文件、「和 Party」文件、《跑》／《涅槃》（洪東祿）、《不在場證明》（王明輝）、第一個電音三太子錄影（Google video）

五、另藝造音「小馬達」越來越多，便可帶動群眾的「大馬達」，並加速陣線的形成，取得勝利。 ——雷吉斯·德布雷（Régis Debray），1967 台灣自 1980 年代以來，已逐步發展成為一個新自由主義經

本展區邀請了三個聲音藝術組織，以及聲音創作者黃大旺以

濟邏輯主導下的消費社會，在其構築的資訊、影音景觀之

展中展的方式呈現他們本身作為媒介、平台的特質。1995

中，「自由自在地發聲」只是表相，因為能夠被廣泛聆聽的

年成立「在地實驗」在台灣寬頻網路尚未普及時便建立了網

往往只有少數可消費的聲音。如何穿透市場與媒體建構出的

路電視台，製播線上節目，為當時的聲音展演留下重要紀

景觀，另行打造從生產、傳播到聆聽的新網絡？是一個至為

錄。2000 年，在地實驗進一步成立了媒體實驗室，以團隊

重要的問題。在聲音創作領域中，自王福瑞於 1993 年創辦

工作的方式進行媒體藝術創作。具備獨立精神的文化生產方

專門噪音刊物與唱片廠牌「NOISE」，以及 1995 年「台北

式，在 2000 年之後繼續延續。2007 年，一群藝術大學學

國際後工業藝術祭」讓台灣接上國際地下噪音網絡之後，經

生因不滿被藝評家描述為「頓挫世代」而組織「失聲祭」團

過十多年來頻繁的國際交流與在地實踐，「聲音」在藝術領

隊，串聯全台灣實驗聲響創作者，每月舉辦一場表演，至今

域中被探討的意義與範圍也越來越豐富，台灣於 2002 年之

不輟，而「失聲祭」網站所累積的資料與影音紀錄，也儼然

後開始使用「聲音藝術」一詞來涵括創作中對「聲響」的諸

是個完整的台灣實驗聲響藝術家圖譜。成立於 2009 年的「旃

多討論，也在近年成為跨域藝術的取徑中一個重要的探討課

陀羅公社」由非藝術學院背景的實驗音樂愛好者組成，除了

題。

舉辦展演，並且將聲響創作中「自由即興」的概念擴大演繹，

從 1990 年代噪音運動到現今聲音藝術，儘管二者的時代處境、對美學形式與身體性的追求，以及對工具與科技的依賴

邀請使用非電子器材的音樂家參與演出，同時執著於將聲響化為實體出版品。

程度皆有著不小的差異，但他們所面臨的根本問題並未改

對於上述的社群來說，他們的藝術作為已不限於單純的發展

變：若不循著市場建制，聲音如何開創它的網絡？為尋找出

異質聲響，還包括自我媒介化，相互連結，合作爭奪聆聽場

路，類似的精神一貫地傳承於某些主要的推動者身上：「發

域，就這個面向來說，他們延續並推進了 1990 年代噪音場

聲」不僅是「發出聲音」，還代表要成為意念的擴音器——

景中的自我組織精神。更重要的是，這個由分散的節點結合

成為媒介，他們有意識地以社群的組織形式共同發展創作、

而成的網絡似是一種把聆聽場域裡的消費者改造為創作者、

出版、表演，形成一套具高度自主性的生產系統。

生產者的文化生產方式，如同黃大旺一人樂隊，有著有機且自由生長的旺盛生命力。（羅悅全、游崴、鄭慧華）

展品：「失聲祭」文件、「旃陀羅公社」文件、《有聲塗鴉室》（黃大旺）、「在地實驗」紀錄影片、《聲碟》（王福瑞）

Introduction to the Exhibition Areas

I. Governance and Gaps Modernization calls for science, organization and discipline—or more broadly, militarization. -- Chiang Kai-shek , "Objectives and Guidelines for Phase Two of the New Life Movement", 1936

Over the course of nearly forty years of martial law's authoritarian rule and the Cold War's world order, popular music in Taiwan formed a complex tie to the ideology of political power. Music censorship in Taiwan has been a mechanism of cultural governance, or an appendage of power, used to intervene on the leisure and recreation of the people. The ﬁrst song banned in Taiwan was Jietoude liulang (vagrants), which was issued by the Taihei Gramophone Company in 1934 during the Japanese colonial period. Around the same time, the Nationalist (KMT) Government in China was implementing its New Life Movement, which was an administrative strategy aimed at militarizing life throughout all of China and included music censorship. Following the Nationalist retreat to Taiwan in 1949, a series of increasingly strict music censorship systems were implemented as part of martial law. During this period, administrative technologies, such as public ratings systems that promoted “good music” and the General Political Warfare Bureau System's professional songwriting activity, worked with certain record companies to form the politics of dominant music culture. Under these conditions, certain social issues, or even seemingly non-political ones closer to the lives of the general population, were either completely silenced or found alternate routes of expression. These routes included the production and underground distribution of illegal recordings,

which, unlike the media, were beyond the government’s complete control. Interestingly, censorship sometimes provided free advertising for banned items due to people's natural curiosity. In other words, we see that this tightly constructed system contained gaps. Censorship of local music encouraged people, especially urban youth, to escape into popular American culture during the postwar period. In the Cold War construct of modern development, consumer youth culture was naturally brought into Taiwan from America. From the mid-1960s to early 1970s, nearly 170 thousand US soldiers were quartered in Taiwan due to logistical requirements of the Vietnam War, thus resulting in an urban fad for American popular music. Furthermore, Taiwan’s ﬂourishing bootleg recording market contributed to the rise of this “hot music” genre, which was a counterpart to local pop music in the Taiwanese sound scene. However, people were left with feelings of both love and doubt regarding the American culture that found its way into the Taiwanese soundscape under these conditions. This ambivalence continued into the mid 1970s, which is when it combined with a new sound, the Folksong Movement, and also led to the much debated and controversial question of the time: What is ours and what is foreign? (HO Tung-hung, HUANG Kuo-chao)

Exhibited items: Censored Songs Handbook , censored records, American-inﬂuenced records, photos of the Sun Shine, Empire's Borders II – Western Enterprises Inc. by Chen Chieh-jen, Wansui by Yao Jui-chung

II. Sound Excavation We are living in a time when a vast amount of western music has come into the East, yet we have no faith in music anymore. From musicology to music education, from music creation to music performance, we have lost ourselves. [...] To renew ourselves musically, we must ﬁrst take out our own music. -- Shih Wei-liang, "The Safeguarding and Carrying forward of National Music Culture", 1967

Constructing the self always involves writing one's own history, and writing can entail words, images or the recording of sound. During the Japanese colonial period in 1943, the musicologist Kurosawa Takatomo made a complete survey of Taiwan's music upon the invitation of the Governor-General of Taiwan, thus establishing a musical record composed of writing, sound and images, and documenting music by all aboriginal tribes and Han Chinese people. The Japanese government's motivation,

however, was the establishment of knowledge about the Other . Self construction through fieldwork did not start until 1967, when Shih Wei-liang and Hsu Tsang-houei began their Folksong Collection Movement. Around the same time, Lu Bing-chuan, an ethnomusicology expert who had studied in Japan, started collecting traditional aboriginal music. These fieldwork projects, which carried an academic flavor, were issued as series of records in the 1970s. The recordings, along

with changes in Taiwan's position in the global Cold War composition, contributed to debates in the Nativist movement about cultural hierarchy. Following the 1977 Nativist Literature Movement debate, the topic of controversy changed from politics regarding Taiwan and China to the relative cultural hegemony of localism and modernism. At some point in this process, Chen Da, the folksinger from Hengchung in southern Taiwan, came to Taipei and joined the music scene upon being discovered by Shih Wei-liang and Hsu Tsang-houei. His appearance seemed like a small part of the Folksong Collection Movement, but actually Chen Da was to create an invisible impact on post martial law period music scene. After martial law ended, governmental restrictions on culture were relaxed, but the music industry, which has been through institutionalization by incorporating music genres and commodiﬁcations since the late 1970s was dominated by Mandarin pop in the 1980s. Popular taste, which also downplayed serious social issues, therefore rendered important issues surrounding debates over "people's music", such as localism versus modernism, traditional versus commercial insigniﬁcant, if not obsolete. Yet, Crystal Records, which was established in 1986 though is no longer in business, tried to break into the music industry over the course of the decade

following the lift of martial law. As an independent record label, they issued many records of popular music subverting nativist impressions from the past, which had been uncritically thought of as sentimental and nostalgic, and also issued many ﬁeld recordings that were inheriting from and expanding of the academically oriented Folksong Collection Movement in the 1960s to 1970s periods. In this way they created repertoire by reissuing old recordings, new ﬁeld research recordings from already existing popular sounds which were neglected by mainstream market. These recordings included bawdy barroom songs, underground radio stations, puppet theater and performances by funeral singers, and indigenous people’s folksongs. Among their products were Sounds from the Lower Rungs of Taiwan and The Taiwan Sound Archive . This exhibition area presents the emergence of Chen Da as a turning point in history. Visitors are invited to listen closely to sounds of the different music collection projects and published records. The area expects to revise our understanding of the evolution of nativism. By raising questions of how we as the people are interpellated and constructed, we would develop, from sound experience, a rather open mentality of cultural indigenality. (HO Tung-hung, FAN Yang-kun, Jeph LO)

Exhibited items: Homage to Chen Da by Chang Chao-tang, The Music of Takasago Tribe by Kurosawa Takatomo, documentary ﬁlm Southward to Expansion to Taiwan , books by Shih Wei-liang, Hsu Tsang-houei and Lu Bing-chuan, records of Folksong Collection Movement in 1970s, Sounds from the Lower Rungs of Taiwan and The Taiwan Sound Archive by Crystal Records, promo posters of Crystal Records, To Sing or Not to Sing? by Teng Chao-ming, Taî-Pak Thia n San Piàn by Yannick Dauby

III. Alter-native Sound While "ling-lei (alternative) music" is merely one of various commodities, "ling-yi" (alter-native) music is not just different, but it also carries political implications. -- Huang Sun-quan on a radio programme, 1995

"Indigenality" should not be seen as the equivalent of uniformity. On the contrary, from the identiﬁcation of the "nation" and the "self", to the proclamation of "the people", "the masses" and "the grassroots", each act of excavation involves dissidence and noise that disrupt the existing power relations in society. While the “Sing Our Own Songs” folk song movement in the 1970s was the collective will of the modern folk song movement, the left-wing school led by Li Shuangtze and Yang Tsu-chuen advocated that music should reﬂect/ refract social realities. Linking "the grassroots" with modernism and localism, they attempted to take the folk song movement out of the campus to bring about the mobilization of society with modernism as its aesthetic and philosophical foundation. Deviating from the mainstream folk song movement, this school exceeded the boundary set by the authorities and was immediately suppressed.

The late arrival of modernist aesthetics and social participation was followed by the New Taiwanese Folk Song Movement in the late 1980s and the appearance of social activist bands in the late 90s, such as Blacklist Studio, Black Hand Nakasi, the Labor Exchange Band and the Village Armed Youth Band. Alongside the sound aesthetics of the social activists was the underground rock music scene of the 1990s. While the market mechanism became another force forming the sound order, the new wave of sound making movement aimed at going beyond the production of mainstream music products. “Sing our own songs” was already a consensus. The sound makers went one step further, creating their own communities and networks by “holding their own concerts” and “releasing their own albums”, which became the characteristic of the multiple sounds in the 1990s.

If the above context accounts for “ling-yi” sound making from the 1990s to the present, the pop music handed down by the aboriginal tribes from the 1960s must be understood as “ling-yi” music that exists outside Han Chinese society. The vinyl records, cassette tapes or even karaoke tapes circulating within the tribes represent the tradition of aboriginal songs and innovations upon these songs. Occupying a position outside the mainstream and urban pop music culture, they appropriated the sounds of pop songs without hesitation, and adopted a bold, humorous and self-mocking style, which is perpetuated in the sounds of the new aboriginal protest singers today.

However, alternative sound is still noise that a harmonious society wants to eliminate. This exhibition area creates an atmosphere and a listening space that resembles that of a livehouse. By narrating the forced closure of the Underworld music venue in Taipei in 2013 and examining its resistance and failure, this area explores how the city eliminates and deals with alternative sound and its spaces as it becomes more gentriﬁed and bourgeois. (HO Tung-hung, Jeph LO)

Exhibited items: Documentary ﬁlm Yang Tsu-chuen and the Green Field Charity Concert by Chang Chao-tang; records and cassettes of aboriginal tribes, documents related to Li Shuang-tze and Yang Tsu-chuen; albums of Blacklist Studio, Black Hand Nakasi, the Labor Exchange and the Village Armed Youth; documentary ﬁlm and documents of underground music scene in 1990s and Underworld Live House; Wang Hua Bu Yie MV by Chu Yueh-hsin

IV. Alter-native Flight Music is a façade. It should not exist under the present social system in this form, because it is not right. --Tsai Hai-en, former member of L.T.K. Commune, 1991

Sound making involves not just the message conveyed by the sounds, but also what kinds of sound are being heard, and how they are being heard. In the first decade after the lifting of martial law, the Noise Movement and raves emerged from the cracks that temporarily appeared after the collapse of the old order. Having escaped from the context of music, sound making was further associated with the idea of bodily rebellion and the liberation of space. This tendency first manifested itself on the eve of the lifting of martial law, foreshadowed by the violent physical clashes in street protests, and the happenings in public places staged by avant-garde artists and fringe theater performers. Eventually it intensified after the Wild Lily student movement in March 1990. The Noise Movement that rose in the first half of the 1990s was not just about sound experiments. Combining industrial music, rock music, fringe theater, experimental film, underground publications, junk art and readymade installations, it emerged as a kind of total art. After the student movement, the leftwing societies that prospered on university campuses and alternative spaces such as Tian-mi-mi Café provided the main platforms. This was a time before the institutionalization of experimental sound. L.T.K. Commune and Z.S.L.O. (Zero and Sound Liberation Organization), two major organizations, provoked the live audience and broke with the rules of performance through the forms of rock music, noise and fringe theater. While these participants in the Noise Movement tried to subvert the establishment and challenge the rules, they were by no means nihilists without social imagination, as shown by the Broken Life Festival, the Bursting in the Air Festival and the International Post Industrial Art Festival which they organized

in an autonomous spirit in the mid-1990s, integrating utopian ideals and anarchism. The making of alternative space that subverted the establishment through sound and the body was carried on by the raves from 1995 – techno music lovers went to embankments and abandoned mines in the mountains to hold one-night guerilla parties, most of which were unauthorized. Apart from intellectuals and foreigners, they gradually attracted participants from all walks of society. Clubs specializing in techno music also sprang up. All kinds of techno parties were held and became increasingly large-scale. The guerilla character and liberal spirit of raves breached the walls of mainstream social fields. However, their close association with controlled drugs later caused a moral panic from general public. Related activities and venues began to be banned under a zero tolerance policy, including the techno clubs. From about 2003, outdoor raves that showed a liberal spirit but went beyond what was tolerated by the government gradually disappeared, or became regulated by the law as part of the commercial club culture. While the Noise Movement and raves went into decline when the social establishment became complete, the former provided clues for reflections about sound/listening, body/ spirit, space/social fields, localism/modernism by later artists. As for the latter, they seeped into the folk culture of the grassroots, and evolved into the Techno Prince Nazha performances in temple festivals, which have become another Taiwanese native icon. (Jeph LO, YU Wei)

Exhibited items: Sound Bulb by Wang Fujui; Dysfunction No.3 by Chen Chieh-jen; documentaries of Wild Lily student movement filmed by Green Team; Da-bien zine; documentary L. T. K. by Chen Te-cheng; documentaries Resurgence on the Tanshui River and Taipei International Post Industrial Art Festival by Huang Ming-chuan; flyers of Tian-mi-mi Café; documents of L. T. K., Z. S. L. O. and the label NOISE; flyers of the Broken Life Festival, the Bursting in the Air Festival and the International Post Industrial Art Festival; documents of Rave culture and Her Party, Run / Nirvana by Hung Tung-lu, Alibi by Wang Ming-hui, the first video of Techno Prince Nazha (Google video)

V. Alter-native Art It is the "small motor" that sets the "big motor" of the masses in motion and precipitates the formation of a front, as the victories won by the small motor increase. --Régis Debray, 1967

From the 1980s, Taiwan has gradually evolved into a consumer society dominated by the doctrine of economic neoliberalism. Within informational audiovisual spectacle that neoliberalism has constructed, there is only nominal “freedom of expression”, since only very few consumable sounds can be widely heard. So what is at issue is finding ways to go beyond the landscape constructed by the market and the media by creating a new network for production, dissemination and listening. The founding of the zine and record label NOISE by Wang Fujui in 1993 and the founding of the International Post Industrial Art Festival in 1995, which connected Taiwan with the international underground noise network, were to be followed by more than a decade of vibrant international exchange and local practices. The exploration of “sound” in the artistic realm has grown richer both in scope and significance. From 2002 onward, Taiwan began using the term “sound art” to cover the various discourses on “sound” in art, and it has become an important topic in interdisciplinary art in recent years. From the Noise Movement in the 1990s to sound art today, despite the differences in times and situations, in the quest for aesthetic forms and embodiment, as well as in the reliance on equipment and technology, the fundamental questions sound makers face are pertinent: how to develop a sound network without following the market mechanism. To find a way out, some main advocators subscribe to a similar thinking: “expression” does not just mean “making sounds”, but also implies becoming a medium for ideas. Working in communities, they consciously develop works, publications and performances, forming a highly self-autonomous production system. In this exhibition area, three sound art groups and sound artist Huang Dawang are invited to showcase themselves as mediums and platforms. Founded in 1995, Etat Lab set up

an internet TV station to produce on-line programs before the widespread use of broadband network in Taiwan, leaving behind important documentations of sound art performances at the time. In 2000, Etat further set up a media lab to create new media art as a group, and has continued to apply its method of independent cultural production thereafter. In 2007, reacting against being labelled as “the frustrated generation” by art critics, a group of university art students formed a Lacking Sound Festival team to join together experimental sound artists in Taiwan by staging a performance every month up to now. The data and audiovisual documentaries collected on the Lacking Sound Festival website can be seen as a map of Taiwanese experimental sound artists. Founded in 2009, Kandala Commune consists of experimental music lovers without academic art backgrounds. In addition to organizing performances and expanding the concept of free improvisation in sound works, it also invites musicians using non-electronic instruments to participate in the performances, and releases these sound works in CDs. For the aforementioned groups, their artistic practices are no longer merely to develop alternative sound, but essentially, they attempt to use their practices as mediums, allying themselves by working together so as to struggle in obtaining venues in listening ﬁeld. In this respect, they are perpetuating and promoting the ethos of self-organization of the noise scene in the 1990s. More important, this network which consists of separate nodes is taken as an alternative method of cultural production that in turn would change the consumers in the listening ﬁeld into sound makers. The result, to take Huang Dawang’s one-man band for instance, are sound and embodied practices that are organic, dynamic and full of energy. (Jeph LO, Amy CHENG, YU Wei)

Exhibited items: documents of Sound Lacking Festival, Kandala Commune, documentaries of Etat; Audio Grafﬁti / LUANTAN by Huang Dawang, Sound Disc by Wang Fujui

1 陳界仁 CHEN Chieh-jen Empire's Borders II – Western Enterprises Inc. 35mm transferred to Blu-ray Disc, black and white, sound, 70'12", 2010

帝國邊界 II ─西方公司 35mm 轉藍光 DVD、黑白、有聲、單頻道錄像，70 分 12 秒，2010

近年來台灣大量出現以「歷史回溯」之名，將 1950 至 1979 年美國宰制／改造台灣政治、經濟、文化結構的時期，描述為台灣之所以能邁入「現代化」和「經濟高度成長」的核心原因，這些由美國在台協會、台灣政府和大學研究中心主導的宣傳活動，藉由精心選擇過的「實證式」史料、數據、文物，以及美國在台灣代理階層的口述歷史和溫馨、感人的小故事，廣泛通過電視、報紙、書籍、紀錄片、展覽等宣傳媒介，將美國宰制／改造台灣的時期，塑造為一個充滿「美好回憶」的時代。如同每次帝國／國家機器對歷史記憶進行「再編碼」和「再植入」的治理工程時，都不僅是藉由掌控歷史解釋權，以建構其統治權力的合法性，同時亦是一次對當代個體生命的思維、慾望與想像進行新的「再改造」運動。《帝國邊界 ─西方公司》的構想源起自陳界仁父親的經歷，他的父親曾是反共救國軍的一員，2006 年初他父親過世後，留下了一本半虛構的自傳、一份反共救國軍突擊中國大陸時，突擊艦在海上被解放軍擊沉的陣亡名單，還有一件老舊軍服和一本空的相簿，相簿上曾經貼有反共救國軍接受「西方公司」訓練時的照片，這些照片後來被陳界仁的父親燒掉。影片中，陳界仁以詩性辯證的形式，將「西方公司」這個具帝國寓意的大樓，凝塑為台灣戰後 60 年歷史縮影的迷宮般空間，以及一個失去人民記憶的荒蕪場所。影片以父親忌日時，兒子藉由重新審視父親的遺物──無法見證歷史現場的空白相簿、真實卻又無從考據的陣亡名單、在自我審查下所寫的半虛構自傳，以及父親肉體消亡後所遺留的老舊軍服──於焚燒銀紙煙霧繚繞的家中，兒子穿上父親的軍服，在恍若與父親合為一體的想像中，開始一場重回「西方公司」的旅程。（陳界仁）

In recent years a large amount of propaganda has been produced in Taiwan in the name of revisiting history. Generated by the American Institute in Taiwan, the Taiwan Government and research centers at major universities, this propaganda has focused on repackaging the United States domination of political, economic and cultural structures in Taiwan from 1950 to 1979 as a central enabling factor in Taiwan's path to modernization and economic maturity. Using television, newspapers, books, documentaries and art exhibitions, these organizations have presented carefully selected historical data, nostalgic artifacts, stories and warmhearted testimonials told by Taiwanese local supporters of the U.S. during this period of domination to refashion it as a fondly remembered era. When imperial and state apparatuses administer projects recoding or re-embedding historical memories, they not only secure the right of historical revision to construct the legitimacy of their ruling authority, but also remake the thoughts, desires and imagination of individuals. The inspiration for Empire's Borders II – Western Enterprises Inc. came from the experiences of Chen Chieh-jen's father, who was a member of NSA (National Salvation Army). When he passed away in 2006, he left behind a partially fictionalized autobiography, a paper listing NSA soldiers lost at sea in a raid on the Mainland, an old military uniform and an empty photo album. This photo album had once contained pictures of Chen's father and NSA soldiers being trained by Western Enterprises, but at some point Chen’s father had burned them. In this video Chen Chieh-jen uses a poetic dialectic to transform the building that housed Western Enterprises—a place full of imperialistic overtones—into a symbolic labyrinth embodying sixty years of post-war Taiwanese history, and a wasteland reflecting the amnesia of the Taiwanese people. In the video, a son reexamines items like those Chen's father left behind: an empty photo album which cannot testify to history, a real but impossible to verify list of NSA soldiers lost at sea, a partially fictionalized autobiography written as self examination, and an old military uniform. The son marks the anniversary of his father's death by burning spirit money and then putting on the uniform amidst the drifting and curling smoke—unifying his image with that of his father's—to make the journey back to Western Enterprises. (CHEN Chieh-jen)

Dysfunction No. 3 Action art by Chen Chieh-jen, performed October 30, 1983, 8mm video transferred to DVD, color, approximately 20 minutes

In 1983, Chen Chieh-jen, acting at a politically sensitive moment when elections for Taiwan's Legislative Yuan were being held,* organized some of his friends and carried out a guerrilla-style art action on Wuchang Street, a regularly monitored public space in Taipei's entertainment district Ximending. Chen's motivation was to disrupt the elections, as they were held in the context of the Kuomintang Government's martial law period and therefore neither free nor democratic. (CHEN Chieh-jen)

機能喪失第三號行為藝術、8mm 影片轉 DVD、彩色，約 20 分鐘，1983 年 10 月 30 日

在戒嚴時期的 1983 年，陳界仁曾組織周圍的年輕朋友，利用「增額立法委員改選」（註）的政治敏感時刻，在禁止集會、遊行，並且隨時都有警察與情治單位監控的「公共空間」〔西門町武昌街〕，以游擊式的行為藝術，干擾當時戒嚴體制下的偽民主選舉。（陳界仁）

註：國共內戰時期〔 1945-1949 〕，國民黨政府於 1947 年訂定「動員戡亂時期臨時條款」，凍結憲法的部分條文。1949 年國民黨敗退至台灣後，因無法進行國會改選，乃透過大法官

* In 1947, during the last phase of the Chinese Civil War (1945 – 1949), the Nationalist Government in Nanjing drafted the Temporary Provisions Effective During the Period of Communist Rebellion, effectively freezing key parts of the constitution. After retreating to Taiwan in 1949, the Nationalist Constitutional Court reasoned that the ﬁrst session of the National Assembly, including members of the Legislative and Control Yuans, would continue to exercise authority since it was impossible to hold elections. This arrangement remained in effect until 1972 when the ﬁrst supplemental elections were held to compensate for attrition in the assembly. However, because the number of new members was so small in comparison to the size of the entire assembly, the elections were ineffective in the true sense of parliamentary systems of democratic governance. (Extracted from the article Elections for Supplementary Seats in the Legislative Yuan written by Li Hsiao-feng for the Encyclopedia of Taiwan. View the entire article at: http://taiwanpedia.culture. tw/en/content?ID=3888.)

釋憲的方式，賦予第一屆立法委員、監察委員、國大代表繼續行使職權。直至 1972 年才局部開放立法委員改選，但因改選名額佔全體立委的比例極為有限，因此並無法有效發揮議會政治的意義。〔此註解節錄自「台灣大百科全書」，李筱峰教授撰寫的「增額立法委員選舉」一文，詳細原文請參閱：http:// taiwanpedia.culture.tw/web/fprint?ID=3888 〕

陳界仁台灣當代藝術家，高職美工科畢業，其創作方式主要與來自不同背景的諸眾合作，通過集體搭建場景的工作過程，將拍片現場轉換成被原子化後的不同個體可以相互認識的臨時社群，並在此場域內完成詩學辯證式的影片。作品曾個展於：台北市立美術館、洛杉磯 REDCAT 藝術中心、馬德里蘇菲雅皇后國家美術館、紐約亞洲協會美術館、巴黎網球場國家畫廊等機構。參加過的聯展包括：威尼斯、聖保羅、伊斯坦堡、利物浦、里昂、雪梨、上海、光州、台北等當代藝術雙年展。 CHEN Chieh-jen Contemporary artist from Taiwan. Graduated in Fine-arts and Craft from the vocational school system. His creative method tends to involve collaborations with people (multitudes) from different backgrounds. Through the process of building a film set together, the filming site becomes a temporary community where atomized individuals can get to know one another and together they complete the poetic dialectics film in this field. Chen has held solo exhibitions at the Taipei Fine Arts Museum, Redcat Art Center in Los Angeles, the Museo Nacional Centro de Arte Reina Sofia in Madrid, Asia Society and Museum in New York; and the Galerie nationale du Jeu de Paume in Paris. He has also participated in art biennales in Venice, São Paulo, Istanbul, Liverpool, Lyon, Sydney, Shanghai, Gwangju, Taipei, etc.

2 姚瑞中 YAO Jui-chung 萬歲單頻道錄像，5 分 30 秒，2011

時逢辛亥革命一百年，冷戰早已結束，新自由主義席捲全球，政治強人紛紛被廣大民眾丟入歷史餘燼中，極權統治接連垮台，跨國資本主義的運轉邏輯已然成為普世價值；但什麼是亙古不變的歷史法則？什麼又是國族主義的萬世千秋？在建國一百年之際，台灣是否已然金蟬脫殼，還是堅守法統、黨國復辟，仍服膺以各種形態還魂的歷史幽靈？本片以冷戰前線的金門為切入點，圍繞著海岸邊的軌條簪，在潮起潮落中逐漸被浪濤侵蝕，充滿著肅殺氛圍的古寧頭三角堡地雷滿佈，蕞爾小島下的地底隧道綿密交織，全球最大的北山

Wansui (Long Live)

心戰播音塔不斷地朝大陸發出「萬歲！」之聲；穿透喇叭，

Single channel video, 5'30", 2011

只見陽明山中山樓旁廢棄的青邸營區介壽堂內，獨裁者（姚瑞中扮演）不斷地對著空無一人的禮堂高喊著「萬歲！」，平板的低沉嗓聲迴盪在滿目瘡痍的空間內，昔日歌功頌德的標語掉落滿地；隨著高舉的手臂與不絕於耳的萬歲聲，鏡頭逐漸拉遠，場景慢慢地轉換到廢棄的金門金沙電影院內，電影螢光幕上正播映著這場荒謬的獨白劇，獨裁者喊完「萬萬歲！」之後踢正步離場，在夕陽餘暉的照射下，空蕩的電影院只留下飄盪著灰塵的觀眾席，萬壽無疆的口號，似乎已成為歷史宿命的永劫輪迴⋯⋯。（姚瑞中）

It has been the centenary of Hsinhai Revolution; the Cold War was long ended, neoliberalism conquered the world, the logic of global capitalism became universal currency. But what is the transcendental rule of history? Could there be a Nationalism’s everlasting dynasty? This video begins in Kinmen, the frontier of the frontiers of Cold War. Not a single soul in sight on the chilling battleﬁeld, all we hear is ‘Wansui [literally ‘ten thousand years’]!’ repeatedly coming through the most powerful loudspeakers of all psychological wayfarers’. Beyond the speakers, the Generalissimo is also calling for ‘Wansui!’ in the derelict Chieh-shou [literally ‘long live Chiang Kai-shek] Hall next to the Chungshan Building in Yangmingshan. At the end the camera takes to a disused cinema, the propaganda of an eternal empire echoes an eternal repetition of history… (YAO Jui-chung)

姚瑞中 1969 年生於台灣台北，1994 年台北藝術大學美術系畢業。曾受邀參加威尼斯雙年展、橫濱三年展、布里斯班亞太三年展、台北雙年展聯動計劃、上海雙年展、紐約網路雙年展、北京攝影雙年展、曼徹斯特亞洲藝術三年展、⋯⋯等國際大展，2013 年獲首屆集群藝術獎。曾擔任楊德昌電影《獨立時代》美術指導、「非常廟」藝文空間執行長等工作。其作品涉獵層面廣泛，主要探討人類歷史命運的荒謬處境。著有《台灣裝置藝術》、《台灣當代攝影新潮流》、《台灣廢墟迷走》、《台灣行為藝術狀況》、《流浪在前衛的國度》、《廢島》、《姚瑞中》、《人外人》、《幽暗微光》、《逛前衛》（合著）、《恨纏綿》、《萬歲山水》、《萬萬歲》、《小幻影》、《海市蜃樓 I & II & III》（編著）等書。作品廣受國內外單位及私人典藏。 YAO Jui-chung was born in 1969 in Taipei. Graduated from The Taipei National University of the Arts. He represented Taiwan at the Venice Biennale and took part in the International Triennale of Contemporary Art Yokohama, APT6, Taipei Biennial, Shanghai Biennial, Biennale Online, Beijing Photo Biennial and Asia Triennial Manchester. Win The Multitude Art Prize on 2013. Used to be the Art director of Edward Yang's ﬁlm and VT Artsalon's Director. The themes of his works are varied, but most importantly they examine the absurdity of the human condition. His essays have been published in many specialist publications. He has also published books Installation Art in Taiwan , The New Wave of Contemporary Taiwan Photography , Roam The Ruins of Taiwan , Performance Art in Taiwan , Ruined Islands , Yao Jui-chung , Beyond Humanity , Nebulous Light , Biennial-Hop , Mirage I & II & III, Something Blue . His works have been collected by many museums and private collectors.

3 鄧兆旻 TENG Chao-ming To Sing or Not to Sing? CD Player, outdoor speakers, archival inkjet prints, 2014

唱還是不唱？ CD 播放器、戶外喇叭、高品質噴墨輸出，2014

〈雨夜花〉從 1934 年由古倫美亞唱片發行至今整整八十年，其登場的面貌與目的持續地變化。這是一首拒絕死去的流行歌曲，一個長壽的台灣文化符號。尤其這首曲子能夠在不同時代動員橫跨各個領域的人物團體機構，連結不同時代的社經政治氣氛以獲得其台灣民謠代表權的地位，引起了我的興趣。儘管似乎近年來屢遭背叛，但仍從未消失，蠢蠢欲動。〈唱還是不唱？〉於是從這個問題開始：「我們還唱不唱這首歌呢？我們有得選嗎？」以〈雨夜花〉為本，這件作品分為兩個部分：（1）透過揚聲器往美術館的戶外空間播放的音樂。這段音樂由〈雨夜花〉的前奏與一段不定間隔的無聲段落組合而成 , 投入美術館周遭既有的聲響網絡（該段前奏以最初發行的版本為基礎 , 與長榮交響樂團團員合作重新編寫錄製而成）；（2）一組由歷史敘述所構成的圖表。我先將所能收集到關於〈雨夜花〉的相關資料 , 組合編寫成一段依照時序的〈雨夜花〉流變，再將這段文字拆解成不同的圖表：一系列待填補的空白，一系列可用以再閱讀或表演的歷史稿件，一系列由檔案轉化而成的檔案。（鄧兆旻）

“Rainy Night Flower”, a song describing the unfortunate conditions of a discarded and depressed woman by using the metaphor of a delicate ﬂower, was released by Columbia in Taiwan in 1934, during the burgeoning (and short-lived) period of Taiwanese-language pop songs under Japan's colonization. Since then it has come up to the stage again and again with different faces and purposes. This is a song that resists to die, and it has become a long-lived cultural symbol of Taiwan. What interests me about this song is its ability to mobilize people and institutions from all sectors for such a long period of time, allies with the socio-political- economic environments and thoughts of different periods, and raises itself to the status as the representative of Taiwanese folk songs. Even though recently it was betrayed or rejected by some, it never really leaves, and it seems to be always ready to make another move.

To Sing or Not to Sing? thus starts with this question: "Are we still singing this song? Do we have a choice?" Based on “Rainy Night Flower”, the work To Sing or Not to Sing? consists of two parts: (1) a piece of music that is broadcast in the outdoor space of the museum. This piece of music is composed of a rearranged prelude of “Rainy Night Flower” (based on the original version) and different lengths of silent segments, so it joins the existing network of sounds around the museum; (2) a series of "diagrams" designed out of the historical narrative of the song, displayed in the exhibition space. I researched and collected information and histories about this song, compiled and edited them into a chronological transformations of “Rainy Night Flower”, then separate this text onto different sheets of paper. This series of diagrams are blank spaces waiting to be ﬁlled out, historical scripts to be read and performed again, and archives emerged out of archives. (TENG Chao-ming) 製作團隊錄音／長笛：許佑佳小提琴：簡紹宇中提琴：謝婷妤鋼琴：莊文貞平面設計：游知澔

Production Credits Recording/Flute: Koh Yew-kia Violin: Chien Shao-yu Viola: Hsieh Ting-yu Piano: Chuang Wen-chen Graphic Design: Yu Chi-hao

鄧兆旻 2007 年畢業於美國麻省理工學院建築與規劃學院媒體藝術與科學碩士。近期展覽包括 2011 年紐約皇后美術館雙年展「Queens International: Three Points Make a Triangle」、2012 年台北雙年展「現代怪獸：想像的死亡與復生」、2013 年堂島川雙年展「Little Water」、2013 年台北 TKG+ 畫廊「NG 的羅曼史」群展等。 TENG Chao-ming Graduated from the Masters program of Media Arts and Sciences, School of Architecture and Planning at Massachusetts Institute of Technology in 2007. His recent shows include Queens International: Three Points Make a Triangle , Queens Museum, New York (2011); Modern Monster: The Death and Life of Fiction , Taipei Biennial, Taipei (2012); Little Water , Dojima River Biennial, Osaka (2013) and The Romance of NG , TKG+ Gallery, Taipei (2013).

4 張照堂 CHANG Chao-tang Homage to Chen Da Documatry ﬁlm, 20'47", 2000

When Chang Chao-Tang met Chen Da in impoverished, rural Hengchun in 1972, the folk singer was 67 years old, yet still possessed a powerful voice. Deftly grabbing the moon lute at his side, he began to pluck it, and the old, weathered voice seemed to be the last of its kind in the world. Solid, unique and expansive, Chen Da is deservedly known as a true troubadour, storyteller and archetype of Taiwanese folk music.

紀念陳達紀錄片，20 分 47 秒，2000

1972 年在窮鄉僻壤的恆春遇見的陳達，雖然已是 67 高齡，唱起歌來卻還是頂硬朗的。他俐落的抓起隨身月琴彈將起來，那久遠、滄桑的嗓音彷彿是人間絕響，如此厚實、獨特與遼闊，陳達不愧為臺灣民間歌謠真正的遊唱傳人、典範。陳達，1905 年出生於屏東縣恆春鎮大光里，有 1/4 原住民血統。小時候他跟媽媽學唱由祖母流傳下來的「臺東調」，以原母語發音。12 歲時替人放牛、捕魚，經常隨著大人由恆春至楓港，翻山越嶺到後山（臺東）四處跑。17 歲時，陳達開始跟著大哥學唱〈牛尾擺〉，趁兄哥午睡時，偷偷取

Chen Da was born in 1905 in the neighborhood of Takuang in Hengchun Town, Pingtung County. He was of one-quarter indigenous ancestry. As a boy he learned from his mother how to sing traditional Taitung-style songs passed down from his grandmother in her original dialectic of Taiwanese. When he was 12 he worked as a cowherd and caught ﬁsh, and he often traveled along with adults from Hengchun to Fengkang and over the hills to Taitung on the east coast. At 17 Chen Da learned to sing "The Buffalo Wags Its Tail" from his older brother, and when his brother was napping in the afternoon he would sneak off with the moon lute that hung on the wall to practice by himself. He could not read, let alone decipher the “tadpoles” that swam across a musical score sheet. In 1925, at the age of 20, Chen ofﬁcially commenced his career as a wandering minstrel.

Homage to Chen Da contains the footage of Chen in the Scarecrow restaurant in 1977 singing in the company of the Taiwanese indigenous person and Japanese soldier Lee Guang-hui, in which Chen tells Lee’s tale as the ﬁnal holdout of World War II, hiding alone in the jungles of an Indonesian island for 30 years. (CHANG Chao-tang)

下牆上的月琴自彈自練，他既不識字，更不懂樂譜上畫些什麼蝌蚪。1925 那一年，陳達 20 歲，正式展開他的歌唱生涯。《紀念陳達》收錄的影片為陳達 1977 年於臺北「稻草人」餐廳駐唱時伴著李光輝，隨機吟唱李光輝這位阿美族／日本兵在戰後獨自一人躲進印尼荒島叢林中的 30 年遭遇。（張照堂）

張照堂 1943 年出生，台灣戰後重要的視覺藝術家，現居住於台灣台北。因生長在政治壓迫的 1950 年代，他的作品深受台灣傳統方言文化與西方現代前衛思潮的影響。過去五十年的作品不受傳統分類的制約。雖然他早期的視覺風格是奠基在紀實攝影之上，但是他總能在照片框格之中加入自我觀點，所以不再只是拍出台灣社會與人物的樣貌，而是轉化成內心狀態的詩篇。自 1970 年以來，張照堂曾參與台灣、中國、韓國、日本、法國與美國等地的展覽。他是台灣第一位以攝影師身分得到國家文藝獎（1999）暨行政院文化獎（2011）的殊榮。2013 年於台北美術館展出個人作品回顧展「歲月／照堂：1959 – 2013 影像展」。除了攝影，他也是一位著名的紀錄片導演，是位備受尊敬的教授。他在台南藝術大學、政治大學與台灣大學等國立學校授課。

Yang Tsu-chuen and the Green Field Charity Concert Documentary ﬁlm, 10', 1978

In 1978, at the age of 23, Yang Tsu-chuen quit her job at TTV hosting the programme Jumping Notes. In the show, she was always dressed in a shirt and a pair of jeans, playing the guitar and singing Joan Baez’s songs, songs written by the new generation, traditional folk songs, as well as the last works of Li Shuang-tze. This was a very popular show that received more than 100 letters from viewers each week. However, when the Government Information Ofﬁce stipulated that all variety shows had to feature “puriﬁed patriotic songs” that it approved, she decided to quit.

楊祖珺與青草地慈善演唱會紀錄片，10 分鐘，1978

1978 年，楊祖珺二十三歲，剛剛辭掉台視「跳躍的音符」的主持工作。她在節目裡總是一身襯衫牛仔褲，背著吉他，在電視上唱 Joan Baez 的歌、新生代的創作曲、傳統民謠，還有李雙澤的遺作。這個節目很受歡迎，每星期總能收到

In August of the same year, Yang Tsu-chuen organized the Green Field Concert at RongXing Park, presenting the most popular new-generation singer-songwriters at the time in a fund-raising concert for the teenage prostitutes at the Guangci Care Home. She did not realize that it was the ﬁrst postwar large-scale outdoor concert in Taiwan. The intelligence agencies always equated “outdoor gatherings” with “mass movement”. She was thus branded as an organizer of “workers’ movement and student movement” and accused of collaborating with social movements. Ever since, Yang was endlessly hounded and persecuted, and the pressure was almost too much for her young soul to bear. (MA Shih-fang)

一百多封觀眾來信。直到新聞局規定所有綜藝節目都要演唱新聞局審定的「淨化愛國歌曲」，她才決定不幹了。這年八月，楊祖珺在榮星花園舉辦「青草地演唱會」，廣邀當時最受歡迎的新生代創作歌手登台演出，為廣慈博愛院的雛妓募款。她做夢也沒想到這竟是台灣戰後第一次的戶外大型演唱會，而情治單位總是把「戶外集會」跟「群眾運動」劃上等號，繼而替她扣上「搞工運、學運、串連社運」的大帽子。自此，楊祖珺遭到無窮無盡的騷擾和封殺，壓力如此巨大，年輕的她幾乎無法承受。（馬世芳）

Born in 1943, CHANG Chao-tang now lives in Taipei City, Taiwan. He is one of the most eminent photographers of the post-war generation in Taiwan. Growing up in the politically-oppressed 1950s, his works has been influenced by various sources, such as the vernacular tradition in Taiwan and the modernist avant-garde from the West. His 50-years oeuvre evades conventional classification. Although grounding his visual style in the documentary tradition, Chang's works always manage to stage his own idiosyncratic vision in the picture frame, reflecting not only the ever-changing atmosphere of Taiwanese society and its people, but also the inner state of mind of an individual image-essayist. Since the 1970's, he has continuously participated in numerous exhibitions in Taiwan, China, Korea, Japan, France and the USA. He is the first photographer awarded both the Taiwan National Awards for Arts (1999) and the Taiwan National Cultural Award (2011) two most prestigious awards for Taiwanese artist. His first major retrospective exhibition "Time: The Images of Chang Chao-Tang, 19592013" was held at the Taipei Fine Arts Museum in 2013. Besides photography, he's also a prominent documentary filmmaker and a highly-respected professor in Taiwan, teaching in various institutions including Tainan National University of the Arts, National Chengchi University, and National Taiwan University.

5 澎葉生 Yannick DAUBY 台北聽三遍（台語 / 閩南語發音）聲音裝置，2014

法國聲音藝術工作者澎葉生定居台北地區數年來，持續以台北市及其周邊環境錄音為創作素材。受到歐洲藝術節慶的邀請創作或於電台播出，在 2008、2009、2011 年間創作了三個聲音編曲作品。其作品靈感分別來自於：鬼月——農曆七月的夏日氛圍；台北二零三零——關於台北都會環境發展的近未來想像；凱達格蘭——對於曾經生活在台北盆地，如今已然消失的平埔族原住民族群的聲音遙想。透過這三個作品，澎葉生提出關於聆聽這座首都城市聲音風景的三種不同體會與角度。因為一座城市，需要一再被想像與聆聽：台北聽三遍。

Taî-Pak Thian San Piàn Sound installation, 2014

1. 鬼月：對於台北夏日聲音風景的一種召喚術，在「好兄弟」（鬼魂）以及夏蟬——兩種生命形態循環間 , 交錯發展而成。 2. 臺北 2030：一次想像「2030 年的台北聲音環境」的嘗試。並不真作為一種寫實方法，而比較是對這首都中「哪些聲音可能會繼續存在，而哪些則可能消失於未來」的一種探問。 3. 凱達格蘭：一段台北捷運之旅：在不同的時間流之間，去探尋曾存在於台北盆地周邊，那如今消散已久的平埔原住民族生活領域。（澎葉生）

Three sound compositions (2008, 2009, 2011) based on ﬁeld recordings of Taipei city and its surroundings. Inspired by the Ghost Festival and the ambiences of summertime, by the evolution and modernity of the urban environment, by the now extinct plain aborigines who once lived in the Taipei basin, these works are reﬂecting three ways of listening the urban soundscape of Taiwan’s capital. 1. Nous, les défunts: An evocation of the Summer's soundscapes of Taipei, at the crossing of two cycles, those of the Ghosts and of the Cicadas. 2.Taipei 2030: An attempt to imagine the aural environment of Taipei in 2030. Not really an anticipation, more a questioning about remaining and disappearing urban sounds. 3. Ketagalan: A trip in the metro, out of time and through the long-time vanished aborigine territories of the Taipei basin. (Yannick DAUBY)

澎葉生聲音藝術工作者，1974 年生於法國，2007 年起生活並工作於台灣。他的創作和研究約始於 1996 年在法國學習的具象音樂。從音樂開始並延展極廣：即興演出、電子原音音樂（electroacoustique）編曲，以及人類音樂學。1998 年開始田野錄音工作，在大自然、都會和工業環境中進行錄音，成為他聲音紀錄片及編曲的素材，或與其它聲音媒介對話，時而與影像創作結合。作品發表形式如：即興演出、聆聽活動、出版或聲響裝置。其創作主軸為對於聽覺經驗的實驗和探索，並著迷於民族學與自然科學。他的作品常參與國際活動，亦常與聲音藝術家、現代舞（2007 年開始與台灣「驫舞劇場」合作）及視覺藝術家（如與蔡宛璇進行「拾景人」系列創作）合作。近幾年來持續在台灣各地進行田野錄音與發表，未來幾年計劃透過藝術活動、聲音紀錄及教學行動持續在這個島嶼中探索。(www. kalerne.net) Yannick DAUBY Born in 1974 in the Mediterranean Alps, France. Living and working in Taiwan since 2007. His sound practice was initiated around 1996, studying tape music (musique concrète in French): discovery of the physicality of the magnetic tape, vertigoinducing analog synthesis and acousmatic pleasures. However, it's outdoor that things really started. He began working with ﬁeld recording since 1998, during a travel in a distant country, capturing fragments of environments, urban situations, animal signals and unusual acoustic phenomenas. Those are his favorite materials, sometimes published like they are as phonographies, or providing some montage elements for some audio documentaries or musical compositions. On stage, he improvises mainly with recorded sounds, modular synthesizer and computer. Regular collaborations with other sound artists, contemporary dance (since 2007, produces soundtracks for Horse Dance Company in Taiwan) or in association with visual artists (such as the creations about landscape with Tsai Wanshuen). Experimenting the perception of acoustic spaces with sound installations. His active discography includes personal compositions, documentations of performances, and selected phonographies. Fascinated by ethnology and natural sciences, he often wanders into these domains in collaboration with naturalists or during community-based projects in Taiwan in Hakka or aborigine villages. Plans for the next years include more exploration sessions of the island through artistic activities and sound documentation as well as teaching actions. (www.kalerne.net)

6 Floaty

幸與感謝，原來這些壁畫伴隨許多人的生命，也深植在他們的記憶當中。在地社歇業當晚，我把廁所和所有牆面都塗黑，後來又把吧抬也全塗黑，作為我們被迫關閉的抗議。地下社會輸了這場戰役，雖然難過，但我們卻贏了打了一場大戰爭，因為在這十七年當中，我們就像一個大家庭，許多人在這裡培養了對音樂的熱愛。那些混帳雖然可以勒令我們停業，但無法抹殺我們心中所愛。地下絲絨樂團主唱路瑞德曾在〈搖滾樂〉這首歌裡唱道：「她藉由搖滾得到救贖。」（Floaty）

Underworld Mural, 2014 First, I’d like to clear up one misunderstanding of my work: it is not grafﬁti, as it is commonly referred to. My paintings at Underworld were murals. The distinction is literal and personally signiﬁcant. Back in maybe 2001, Joyce from The Clippers invited me on behalf of the Underworld ownership to paint the bar. The terms of agreement: I could do whatever I wanted. Of course I said yes.

地下社會壁畫，2014

（首先，我要先澄清大家對我作品的誤解：我做的不是塗鴉，雖然它被通稱為塗鴉。我在地下社會牆面上畫的是壁畫，塗鴉與壁畫，在字面上和對我個人而言都有其差異。）約莫 2001 年時，夾子電動大樂隊團員辣辣邀請我替地下社會彩繪牆面，條件是：我得隨心所欲地畫——我當然很樂意。當時地社還是個灰灰暗暗的地方，牆上掛有幾幅樂團的海報、亂畫的人物塗鴉，到處都有灰暗的噴墨痕跡，看起來又遜又髒，我設想把空間弄得比較有搖滾風格和美感。我腦中瞬即出現改造的念頭：畫遍所有牆面、角落、任何不起眼的地方，廁所、天花板也不放過，我只有一個原則：「死也不畫吉他，絕對不老哏。」我在心裡默默對之前裝飾地社的藝術家說了聲抱歉，然後我得好好努力達成我所預想的目標。我花了好幾年重新繪製不同牆面，跟塗鴉奮戰，並把舊空間注

At the time, Underworld was a dark place. There were a few tilted band posters , scratchy black figures drawn on the walls, and dingy paint splatters here and there. It felt raw and messy. I suppose it conformed to certain rock ’n roll conventions and aesthetics. I had immediately envisioned a comprehensive makeover: every wall, every corner, every nook and cranny would be painted. Even the toilet. Even the ceiling. My only rule to myself: I would NOT paint any guitars. No cliches. And so I offered a silent apology to the original artist and went for it. Over the years, I’d repainted different walls, fought graffiti, and retouched areas that had deteriorated - it was a living, constantly evolving piece. And I’m humbled and honored to know it was an important part of many other people’s lives and memories. Ultimately, I painted the entire bathroom black to protest a rise in graffiti. And ultimately, I painted the entire bar black, to protest our closing. Underworld lost the battle, and that hurts, but it is easy for me to see we won the bigger war. For 17 years we were a home that nurtured a love for music. The bastards can kill a business but they can’t kill what’s in our hearts. You know, her life was saved by rock 'n' roll -The Velvet Underground / Lou Reed “Rock ’n’ Roll”. (Floaty)

入新的氛圍——它是有生命，不斷發展的作品。同時我深感榮 Floaty 現居台北，目前創作涉及範圍有評論、音樂與藝術領域。近十二年來活躍於台灣的音樂場域中。Floaty 是地下社會的駐店 DJ，也是地社著名壁畫的作者。此外，他也在「操場」和「公家酒吧」擔任駐店 DJ，並於台灣獨立音樂的線上平台——GigGuide TW（www.gigguide.tw）發表唱片評論、音樂表演評論和人物專訪。他也積極與在地音樂團體有多項合作計劃，例如：78 BPM 與 Dirt Star。目前他自己也組了一團龐克樂隊。他曾參與日本書法畫家棚橋一晃在佛蒙特藝術中心所開設的工作坊課程，大學畢業於明尼蘇達州聖保羅市的馬卡萊斯學院藝術文化系。他的作品充滿幽默感，正向鼓勵著所有人。不管是俗世、禁忌或奇幻的題材，Floaty 都試圖傳達歡樂或悲憤的感受，或嘗試融合上述的情緒。 Floaty is a Taipei-based writer, musician, and artist. He’s been an active member of the music scene in Taiwan for over 12 years. A longstanding resident DJ at Underworld, Floaty is also the artist who painted its famous murals. Floaty also serves as a resident DJ at Fucking Place and Wepublic. His weekly sets often include music by local bands and musicians. He regularly contributes to www.gigguide. tw, a website devoted to promoting Taiwanese independent music, writing album reviews, concert reviews, and editorials. Finally, Floaty has also contributed to the sounds of the local music community, performing in various projects, from the acclaimed 78 BPM to Dirt Star to, at present, his own eponymous punk band. His education includes workshops taught by calligraphic painter Kazuaki Tanahashi, a tenure at Vermont Studio Center, and a BA degree in Studio Arts from Macalester College (St.Paul, MN). Imbued with humor, his artwork seeks to engage people from all walks of life. From discussions of the mundane, the taboo, and the fanciful, Floaty aims to share a laugh or a cry with you. Or maybe both.

7 朱約信 CHU Yueh-hsin

望花補夜音樂影片，4 分 7 秒，1991

那是 1991 年水晶唱片說想要出一張《辦桌合輯》找了陳明章伍佰潘麗麗朱小弟（那時還沒有「豬頭皮」）朱小弟就想說要不然來搞搞台語老歌來變變新花樣一路以來有印象的台語老歌幾乎都是「悲歌」〈望春風〉、〈雨夜花〉、〈補破網〉、〈月夜愁〉那時已經好幾年我們有一群教會的青年常常去幫人家選舉站台唱歌從「黨外」唱到民進黨成立那些台語老悲歌總是必唱曲目突然有一天我們唱完歌接下來的演講者——許天賢牧師說：我們為啥麼老是唱悲歌有一天我們一定會不需要再唱那些悲歌將〈望春風〉、〈雨夜花〉、〈補破網〉、〈月夜愁〉

鎖到抽屜裡不用再唱因為台灣不再悲情所以就引發了朱小弟突發奇想將那些「悲歌」重新詮釋雖然承載了過去的悲情但還是希望藉由歡樂／跳舞的搖滾形式來告別悲情於是一代名曲：〈望花補夜〉誕生了將台語老悲歌〈望春風〉、〈雨夜花〉、〈補破網〉、〈月夜愁〉各取一字組成歌名將〈望春風〉、〈雨夜花〉、〈補破網〉、〈月夜愁〉的內容截取部分重新延伸再造從父執輩以來傳承下來對國民黨不滿的教導也在裡面從高中到大學時代風靡的老式扭扭舞搖滾也在裡面從老式台語歌的抖音唱法唱到新式台語歌的吶喊都在裡面大概隱約也成為「豬頭皮」的前哨試金石了吧（朱約信）

Wang Hua Bu Yie Music video, 4'7", 1991 It was in 1991. Crystal Records wanted to release a compilation album Roadside Banquet and asked Chen Ming-chang , Wu Bai, Pan Li-li and me to work on it. I suggested doing variations on old songs in Taiwanese dialect. All along, famous Taiwanese old songs were mostly sad songs, such as “Spring Breeze”, “Rainy Night Flower”, “Mending a Broken Net” and “Melancholy on a Moonlit Night”. At the time, a group of young churchgoers often sang for candidates running in elections at rallies. This continued all the way until the founding of the Democratic Progressive Party. The sad Taiwanese old songs were part of the essential repertoire. One day, after we ﬁnished singing, the next speaker Pastor Hsu Tien-hsien said, “Why do we always sing sad songs? One day, we won’t need to sing those sad songs anymore. Lock the songs 'Spring Breeze', 'Rainy Night Flower', 'Mending a Broken Net' and 'Melancholy on a Moonlit Night' in the drawer. We won’t have to sing them anymore, because Taiwan is no longer a sad place.” This inspired me to reinterpret those “sad songs”. Even though they express the sadness of the past, I wanted to say goodbye to the sadness through a happy/dancing rock and roll style. That is how the classic “Wang Hua Bu Yie” came about. Its name was coined by taking one word from each of the Chinese titles of “Spring Breeze”, “Rainy Night Flower”, “Mending a Broken Net” and “Melancholy on a Moonlit Night”. It consists of passages taken from those songs which were rewritten and adapted. The song carries anti-Kuomintang sentiments that our fathers passed on to us, and elements of the old-fashioned rock and roll music popular in our high school and college days. It also combines the old and new styles of singing Taiwanese songs. It was probably a testing ground for my later work created under the pseudonym Pigheadskin. (CHU Yueh-hsin)

朱約信 1966 年出生於台南，台灣音樂創作人、歌手，也是新台語歌謠運動的重要藝人之一。1991 年，發行首張個人專輯《現場作品— 貳》，他的早期作品多偏向於直接的政治批評。自 1994 年起，他以「豬頭皮」為藝名，發表了數張詼諧又犀利的「笑魁唸歌」系列作品。除了參與唱片的製作及歌曲創作外，朱約信也參與演出電影、製作電影原聲帶、廣告音樂，並且擔任電視、電台節目主持人。朱約信曾獲 2000 年金曲獎「最佳方言歌曲男演唱人」獎。協助推廣「創作共用授權」（Creative Common）也是朱約信積極參與的行動，他在 2004 年透過中研院出版的《歡迎來唱我的歌》，是台灣第一張使用「創作共用授權」發表的音樂專輯。 CHU Yueh-hsin Born in Tainan in 1966. Taiwanese songwriter, singer, as well as a leading artist of the new Taiwanese folk song movement. His early works tended towards making direct political criticism. Released his first solo album Live Works Collection II in 1991. Starting in 1994, he released a series of “Funny Rap” songs under the stage name Pigheadskin. In addition to producing records and writing songs, Chu also acts in movies, produces film soundtracks and music for commercials, as well as hosts TV and radio programs. Chu was awarded Best Male Singer of Songs Written in a Dialect at the Golden Melody Awards in 2000. Chu also actively helps to promote Creative Commons. His Welcome to My Song released through Academia Sinica in 2004 was the first Creative Commons licensed Taiwanese music album.

8 洪東祿 HUNG Tung-lu

跑

Run

涅槃

Nirvana

單頻道錄像，6 分 48 秒，2002（音樂製作：林強）

單頻道錄像，10 分 13 秒，2002（音樂製作：林強）

Single channel video, 6'48", 2002 (music by Lim Giong)

Single channel video, 10'13", 2002 (music by Lim Giong)

C6H3(OH)2-CH2-CH2-NH2 （洪東祿 / HUNG Tung-lu）

洪東祿生於 1968 年台灣彰化，目前居住和工作於台南。1999 年獲邀參加第 48 屆威尼斯雙年展台灣館「意亂情迷—台灣藝術三線路」、義大利奇安地當代藝術節、法國阿爾攝影節，並受邀參加 2000 年臺北雙年展、西班牙「拱之大展」（2001）、韓國釜山雙年展（2002）、上海雙年展（2004），及首爾 Media Art 雙年展（2008）等。2002 年在台北市立美術館「涅槃／ Nirvana」個展此一主題中，傳達脫離肉身知覺的絕妙境界、一個只能體驗卻無法言喻的超脫感受，結合了數位影像、動畫、互動式媒體、3D 立體物件與電子音樂來呈現。洪東祿為亞洲首位「ABSOLUT」冠名台灣藝術家，其作品為瑞典「ABSOLUT」美術館、美國丹佛當代美術館、韓國國立濟洲當代美術館、臺北市立美物館、⋯⋯等單位收藏。 Born in 1968 in Changhua, Taiwan, HUNG Tung-lu currently lives and works in Tainan. Hung was invited to The 48th Venice Biennale— Closed to Open: Taiwanese Artists Exposed, and the Tusica Electra Arte Contemporaneanel Chianti in Teusica, Italy (1999); the 31st Rencontres Internationales de la Photographie, and The Sky is the Limit—Taipei Biennial (2000); the ARCO International Contemporary Art Fair in Madrid, Spain (2001); the Busan Biennale 2002: Culture Meets Culture; the Shanghai Biennale 2004: Techniques of the Visible; and the 5th Seoul International Media Art Biennale (2008). In his 2002 Taipei Fine Arts Museum solo exhibition titled Nirvana, Hung presented a mixture of electronic music, three dimensional objects, interactive media, animation and digital imagery to create an ingenious world suggesting an out of body awareness that can only be experienced but not described. Hung was the ﬁrst Taiwanese artist to collaborate with Absolut. His work is included in the collections of Absolut Art Museum in Sweden, Museum of Contemporary Art Denver in the United States, Jeju Museum of Contemporary Art in South Korea, Taipei Fine Arts Museum and others.

9 王福瑞 WANG Fujui

聲泡聲音裝置，2008

〈聲泡〉是由麥克風與喇叭隨機發出不同音量迴授（Feedback）的聲音裝置。由於在玻璃燈泡裡的小喇叭所發出來的聲音與小麥克風所收錄的音源是相同，在不斷的收音與擴音的循環迴路，產生共鳴迴授。藉由單晶片微處理器、數位電阻和繼電器，來控制迴授的音量，透過隨機亂數控制聲音的大小與中斷的頻率，產生如大自然昆蟲生物的發聲，玻璃燈泡有如發聲的共鳴載體，不同形狀載體有不同的聲音。過去人們經常運用聲音的高低來創作，在這作品只使用聲音的大小來創作，反而回歸自然的純樸。在這一個聲音不斷生成的迴圈，中斷所造成聲音的消失，反而是新的聲音生成，有如太極中陰陽的循環生成演化。（王福瑞）

Sound Bulb Sound Installation, 2008

Sound Bulb , the sound installation in which different volume of feedback sound generate through microphone and speaker randomly. The small speaker and tiny microphone is inside the same glass bulb. The sound from the small speaker is picked up by the tiny microphone, a “feedback loop” is created. The volume of the “feedback loop” is controlled by the microcontroller, digital resistor and relay randomly while the rhythm of sound/silence unconsciously formulates the soundscape of insect world. The bulb as a container varies different sono-signals by its shape. Instead of mostly using the PITCH to compose sound work, sound bulb unconventionally by using just the VOLUME creates a puriﬁed soundscape of the nature. In the endless circles of sound generation inside the bulb, every moment of silence is the birth of new sound. The silence/sound are as the YinYang of Tai Chi, the two elements composing the whole universe. (WANG Fujui)

王福瑞台北藝術大學「藝術與科技中心」未來聲響實驗室主持人。主要專長為聲音藝術、互動藝術。1993 年成立台灣第一個實驗音樂廠牌和刊物「NOISE」，2000 年加入「在地實驗」，是台灣媒體藝術發展中少數以團體實驗室方式進行數位藝術的實驗、實踐與探討，是早期少數以即時互動為主的創作實驗團體，並推動「異響／ Bias」聲音藝術展與「台北數位藝術獎」聲音藝術類別，將聲音藝術推展成國內數位藝術具有特色的領域。近年策展「台北數位藝術節」，2008 年起策劃「超響」聲音藝術展演，帶動國內新一波數位藝術發展。近十多年來一直致力於聲音藝術、數位藝術的創作與推廣。

聲碟

Sound Disc

聲音裝置，2009

Sound Installation, 2009

資訊爆炸時代的此刻，電腦硬碟幾乎化身為人腦的擴展，負

We are now living in an era of the information explosion. The hard-drive of computer with the function of thinking and memorizing, almost substitutes the brain. Numerous information passing through the internet has being storage to the hard-drive. Today we cannot imagine to live without computers, which functions as the brain prosthesis. Once the hard-drive being damaged, it will cost the price of informationlosing, brain-disability and the amnesia.

擔人類的思考與記憶。透過網際網路高速流竄的資訊不斷儲存於電腦硬碟中。電腦是人類頭腦的延伸，硬碟則記錄人腦的思維活動。今天，電腦資料已成為人類生活不可或缺的一部份，不論任何原因使得硬碟資料遭受破壞，雖未造成肉體的傷害，卻使我們產生失去記憶、或腦部喪失功能般的創傷。基於人對電腦的特殊情感，以及對電腦硬碟記憶破壞的失落感，〈聲碟〉於焉完成，抒發著對逝去記憶的捕捉與遺憾。這件作品是以麥克風與電腦硬碟音圈隨機不斷地中斷、並發出不同音量產生迴授（Feedback）的聲音裝置。倘若我們想像具象音樂是由無可計數的音符所組成，〈聲碟〉則是以無數以聲音大小為層次的點狀聲音所組成，它像是我們數位時代高速大量資訊的流動，卻又以 0 與 1 簡單的形式所構成；大量隨機的點狀聲音，則對宏觀看似靜態而內在有無數點相

So that human has the needy for computer. The idea of this work Sound Disc is oriented from the speciﬁc connection between human and the computer, and the fear of the possible loss of the hard-drive damaging. This sound-installation is using the feedback in-between microphone and hard-drive. In contrast to the idea of the Musique Concrète refers to the composition by numerous notes, the Sound Disc is structured by countless sound dots signifying the "0" and "1" of digital world. All of these randomly dots sound, is metaphorically composing to the seemingly tranquil but actually dynamic information sea. (WANG Fujui)

流竄衍生的意像相呼應。（王福瑞）

WANG Fujui, Head of the Trans-Sonic Lab in center for art and technology of Taipei National University of the Arts, specializes in sound art and interactive art. Wang Fujui is the pioneer of sound art in Taiwan, who established the ﬁrst experimental sound zine / label NOISE/ Taiwan in 1993. In 2000 Wang joined Etat Lab and initiated Bias Sound Art Exhibition and Sound Art Prize in the Digital Art Awards Taipei. His arts activities contribute to enhancing sound art as a new genre in Taiwan's art scene. He has curated The Digital Art Festival Taipei and TranSonic sound art festival. Wang Fujui is dedicated to making and promoting sound art and digital art creativity in more than a decade.

1 0 黃明川 HUANG Ming-chuan

淡水河上的風起雲湧紀錄片，47 分鐘，1995

解嚴之後，戶外公共空間變得較容易進入，藝術家入侵所有可能的公共領域，向更廣大的觀眾傳達他們的觀念。台北縣美展企圖以走出畫廊、美術館，讓藝術回歸自然，結合水河河邊或沙洲、河渠與社會環保結合，來裝置出觀念藝術的大型戶外作品。然而，不幸的是：與超級污染的河流奮戰，藝術家來到沙洲農墾地，試圖佔地為王，但執行過程中見死屍、遇火災、被強風擊倒，自然永遠是最後的勝利者。本片曾受邀參加溫哥華和釜山兩地的國際影展，號稱經濟奇蹟的台灣經驗，是本片當時隨片登台的參考資料。（黃明川）

Resurgence on the Tansui River Documentary ﬁlm, 47', 1995

As outdoor space became more accessible after the lift of martial law, artists invaded all possible public domains to communicate their concepts with bigger audience. Taipei County Cultural Center was the first government institute to announce an art exhibition addressing the environmental issue. This project dedicated to show art out of galleries and museums and even allow it to return to nature atmosphere. The sandbar in the middle of the Tamsui river was the main venue along with two side riverbanks and bridges for large works of conceptual and installation art. Unfortunately, fighting with the super polluted river back then, artists did not easily set up their secure arenas. The film has been invited to participate in the Busan and Vancouver International Film Festivals. Taiwan was known for her the economic miracle in its 1980-90’s. This film might remind viewers the real meaning behind the appearance of economic successes. (HUANG Ming-chuan)

黃明川，1955 年生於嘉義，現生活於臺北。台灣大學法律系畢業，後赴美國紐約藝術聯盟主修石版畫以及美國洛杉磯藝術中心學院主修美術、攝影。1983 年曾獲第一屆雄獅美術評論新人首獎，並撰寫台灣攝影史簡論。1990 年代第一位拍攝台灣的 228 建碑風潮，完成《碑林二二八》，並拍攝《彭明敏的故事》紀錄片。1990 年三部電影劇情長片《西部來的人》、《寶島大夢》、《破輪胎》先後獲夏威夷國際影展、新加坡影展、金馬獎影展等國內外獎項肯定。劇情短片《鹿港情深》受邀參加香港電影節、溫哥華電影節等國際知名影展。黃明川本人二十多年來長期聚焦於台灣當代藝術人文紀錄片的拍攝，其中包括四位本土小說家的系列紀錄片。2003 年藝術紀錄片《解放前衛》共 14 集，榮獲第一屆台新銀行文化藝術基金會「視覺藝術獎」首獎。

台北國際後工業藝術祭紀錄片，61 分鐘，1995

1990 年代初所累積的能量於 1995 年爆發，「破爛生活節」擴大為「台北國際後工業藝術祭」，由林其蔚擔任總企劃人，演出樂團來自英、美、日、瑞士與台灣。這場在已拆除的板橋廢酒廠舉行，為期數日的表演裡，視覺與身體表演的驚駭程度，可能創下台灣現場表演的紀錄：驚悚小劇場灑狗血、演出者對女性觀眾進行身體侵犯、濁水溪公社以優酪乳對團員灌腸、零與聲對團員灌餿水並將餿水潑向觀眾。（羅悅全）

Taipei International Post-industrial Arts Festival Documentary ﬁlm, 61', 1995

The energy accumulated early 90s after the lift of martial law came to an outbreak in 1995. As a result, Broken Life Festival expanded into Taipei International Post-industrial Arts Festival. Lin Chi-wei, a contemporary sound artist served as planer, orchestrated performances from Britain, America, Japan, Switzerland and local Taiwan. This event took place in Banqiao distillery was held for several days. The x-rated visual and horror shows may hit a record high in live action in Taiwan: Thriller theater, artists’ physical aggression against women, L.T.K.’s brutality toward its own member, Z.S.L.O. poured gutter water and splashed it to the audience. (Jeph LO)

Born in Chiayi in 1955, HUANG Ming-chuan lives in Taipei now. Graduating from the Department of Law of National Taiwan University, he left Taiwan to study Lithographic Printmaking in Art Students League of New York, later majored in Fine -arts and Photography at Art Center College of Design in L.A. His feature ﬁlm The Man from Island West claimed an Excellent Cinematography Award, Hawaii International Film Festival, and Silver Screen Award, Singapore International Film Festival in 1990. Thereafter in 1998 his Flat Tire was awarded Best Film of None-commercial category, Taipei Film Festival, and Jury Award, the Golden Horse Festival, Taiwan. As a documentary director, Huang made numerous documentaries on art subjects, including biographical portraits of 4 veteran novelists, documentaries on local festivals, a national archive video project on100 Taiwanese poets’ oral history and poem reading, and Avant-Garde Liberation on 14 contemporary young conceptual artists, which won the ﬁrst Taishin Arts Award’s Visual Arts Prize in 2003.

1 1 王明輝 WANG Ming-hui

不在場證明

Alibi

行為表演，2012 年 11 月 10 日，於立方計劃空間，重製為多媒體裝置

製作團隊演員：瓦旦塢瑪攝影：陳又維

Production Credits Actor: Watan Wuma Videographer: Chen Yu-wei

Performance, November 10, 2012, reproduced in multimedia installation

治及形式經 the countries 會語一部般其導諸대변하는 자 ' 로菁民民粹主義將訴許多 ay naghahambing 反對求特定的地區或特定的主義者 populismo degrees of success 的成分張且倡人民中先的 populism is a 社會階級 political doctrine ‫ عوقو هب قباس یوروش لثم ییاهنیمزرس رد هک‬where one sides with people against the elite 社会主義者 parties ang isang pangkaraniwang tema have enjoy 重產階級或是αυτ ό ν που ed 極權代表政見心者階級放在人並民並民粹是 in first world democracies such as ‫یاهشبنج‬ ‫ یفلتخم‬bảo vệ nguyện 民粹主義反對會集權 vọng và quyền lợi cho 보통 사람들을 數優工人多대변하는 자 ' 로 nhân dân ‫تساهتسویپ‬، ‫ رد دیاش دنناسریم‬知識人などに強く反対し hội bằng hình thức ‫ ربارب‬Το επίθετο農民等等λα ϊ κ ό ς " α ναφέρεται σεπροέρχεται απτολα ϊ κισμ ό ς가치중립적στηρίζεται ‫ عوقو هب قباس یوروش لثم ییاهنیمزرس رد هک‬στην Tilhængere og 大衆主義者 ‫תיטילופה תשקה בחור לכל שומיש וב אוצמל ןתינו‬, ‫זכרמב ללוכ‬repræsentanter af populismen kaldes populister εσκεμμένη ανειλικρίνεια民衆派や執政政權（王明輝／ WANG Ming-hui）

王明輝音樂製作人，黑名單工作室創辦人。曾製作黑名單工作室專輯《抓狂歌》（1989）、《搖籃曲》（1996），製作合輯《七月一日生》（1997）、《勞工搖籃曲》（2000）、《高山阿嬤》（2001）等，並曾主持華視搖滾樂現場節目「台灣 ROC」。近年主要致力於劇場音樂製作，包括〈母親再見〉（2010）、〈荒原〉（2010）、〈黑洞 3〉（2011）、〈長夜漫漫路迢迢〉（2013）、〈安蒂岡妮〉（2013）。 WANG Ming-hui Music producer and founder of Blacklist Studio. Producer of several albums of Blacklist Studio including Songs of Madness (1989), Lullaby (1996) and complications Born in 1st July (1997), Labor's Lullaby (2000) and Mountain Ama (2001). He was the host of Taiwan R.O.C, a live rock programme of CTS. In recent years, he has worked mainly in theater music production, including for Mom, bye (2010), The Waste Land (2010), The Black Hole 3 (2011), Long Day’s Journey into Night (2013) and Antigone (2013).

1 2 黃大旺 HUANG Dawang

有聲塗鴉室多媒體裝置，2014

關於有聲塗鴉的一些回憶 1994 年 11 月 24 日星期天下午（我不管怎樣就是記得），天氣陰寒，外面工地很吵。我百無聊賴之下拿起吉他彈一些東西。接著百無聊賴地拿起一捲錄音帶把這些聲音都錄下來。當時稱為 LUANTAN，也就是亂彈，美其名為有聲塗鴉或即興演奏，其實就是大量錄音的累積。後來的二十幾年間，不管是樂器還是錄音器材都有改變，即使未必是最入時進步的，共通與不變之處就是「把彈出來的東西錄下來」。（黃大旺）

Audio Graffiti / LUANTAN Multimedia installation, 2014

Looking Back From the 2010s On a cloudy Sunday afternoon on November 24, 1994, (I don’t know why, but I remember it distinctly) the construction noise outside was very loud, and I picked up a nylon-string guitar, put a cassette tape into the tape recorder and recorded what I played, with ambient sounds. At first I called these recordings "LUANTAN", which literally means "to play it freely". I call it by the fine-sounding names of sound graffiti or improvised playing. But actually, it’s just the accumulation of a large number of recordings. Years went by. While objects (both musical instruments and non-musical ones) and mediums may change, I still record the stuff I play and this has remained the same, even it may not be the most fashionable way. (HUANG Dawang)

黃大旺高雄路竹人，1975 年生於台北市。上進補習班、建如補習班、國家補習班、淡江大學動漫社、電影社、日文系畢業，2004 年赴日本大阪進修，最終學歷 ECC 電腦專門學校數位影像創作課程（專門士）。2010 年返台後曾從事日中同步口譯與電腦動畫相關工作，後來以日中翻譯與口譯為主業。從 2003 年啟動的「黑狼那卡西」為最廣為人知的表演型態，以荒謬的身體劇場風格，在台灣的表演藝術場景中獨樹一格。此外也參加了電子音樂組合「梅斯卡林」、藍調吉他三重奏「強者無形」、長時間即興演奏集團「十八王公行孝團」、環境即興與音響拼貼組合「民国百年」、威力噪音組合「台北熱秋」等團體，並與海內外多位樂手、舞者、行為藝術家、劇場及電影導演合作，並不斷擴展表演領域。 A native of Lujhu, Kaohsiung, HUANG Dawang was born in Taipei in 1975. He went to tutorial schools, joined the animation society and ﬁlm society at Tamkang University, and graduated from its Department of Japanese. In 2004, he went to study in Osaka, and graduated from the digital image production course of the ECC College of Computer and Multimedia. After returning to Taiwan in 2010, he worked as a simultaneous interpreter for Japanese and Chinese and in computer animation. Later, he has mainly worked as a translator and interpreter for Japanese and Chinese. He became famous for an absurd style of body theatre in the Blackwolf Nakasi project in 2003, unique in the Taiwanese performing arts scene. He has performed with the electronic music group Mescaline, the blues guitar trio Les Forts Invisibles, the improvisation collective Eighteen Lords Pilgrimage, the environmental improvisation and sound collage group Minkoku Hyakunen and the power noise group Taipei Hot Autumn. In addition, he has worked with various musicians, dancers, performance artists and theatre and ﬁlm directors at home and abroad, constantly expanding his performing domain.

失聲祭是 2007 年由姚仲涵、葉廷皓、王仲堃、蔡欣圜、牛俊強等國立台北藝術大學科技藝術研究所的學生們發起舉辦。他們發現臺灣當時非常缺少聲音藝術的活動，需要一個比較真實、誠懇的活動來呈現臺灣聲音藝術創作的現況，因而產生籌辦一個跨學院、跨地域的聲音藝術活動的構想，在此機緣下於 2007 年 7 月舉辦第一場的「失聲祭」，至今以每場安排兩至三組藝術家，每月一場的頻率持續舉辦，截至 2013 年底已舉辦七十多場，超過百組的國內外藝術家在失聲祭演出。失聲祭為臺灣目前仍持續發聲，場次最多、參與藝術家最多的聲音演出。（失聲祭）

Lacking Sound Festival was founded by the students of MFA Program in New Media Art of TNUA (originally Graduate School of Art and Technology), including Yao Chung-han, Yeh Ting-hao, Wang Chung-kun, Tsai Hsin-yuan, and Nat Niu. They found the lack of sound art event in Taiwan, and they wanted to create one which would present the creation of sound art. Therefore, they had the idea of starting a sound art activity which would cross different institutes and regions. Thus they raised the ﬁrst Lacking Sound Festival in July, 2007. Since then, they continued to raise the festival once a month, staging two to three groups of artists. Till the end of 2013, they have raised more than 70 performances, inviting hundreds of local and foreign artists. In the future, Lacking Sound Festival will still be the sound performance activity which holds the most events and participating artists, and will deﬁnitely continue to “make sound” in Taiwan. (Lacking Sound Festival)

旃陀羅公社（那個字唸「詹」）成立於 2009 年，由多位藝術家組成，如電子噪音藝術家謝仲其、即興吉他手李崇瑋、鋼琴家李世揚、從音樂跨足繪畫及演戲的黃大旺、攝影師陳藝堂、紀錄片導演林婉玉、平面設計師潘振宇、活動組織者張又升等。他們熱愛電子噪音、即興音樂、極限音樂與各種前衛聲響，並以「旃陀羅唱片」的名義替音樂家和藝術家辦演出與發片。他們明白，只有賠錢才能證明信仰的堅定。平時聚集在臉書社群打屁、交流資訊、幹譙人事物，有時候會以「上山愛」的名義集體出遊，「旃社政治局常委講

Kandala Commune was organized by several artists from documentary, photography, graphic design, sound art and music in 2009. They love sound art music and often discuss all kinds of interesting, weird stuff and news on Facebook. As Kandala Records, an improvisation, noise, and avant-garde label, they release sound CDs mainly by Taiwanese artists and musicians or in certain digital ways. Kandala Records Gigs is the name of their not-so-regular concerts, which invite nice artists and musicians to perform. Until the end of 2013, KR has already released 6 CDs and compilations. KRG is going to have their 35th round in 2014. (ZHANG You-Sheng)

話」是長期的談天錄音計劃，搜羅音樂家專訪、成員間沒梗的自嗨對話和街錄、野錄等音源，至今一直有成員在劇場界、學院、舞蹈圈、辦公室和各個家庭臥底。（張又升）

在地實驗由前衛藝術家黃文浩與陳愷璜於 1995 年成立，為台灣最重要的媒體藝術／數位藝術的民間機構。1997 年中，在台灣寬頻網路尚未普及時，在地實驗在張賜福主持下成立網路電視台開始雇請記者訪問藝術家或舉辦藝術講座，並錄影製作成線上影音節目，記者包括：鄭美雅、王嘉明、劉吉雄、劉鎮偉、陳韻如、曾沐雲、黃思嘉、姬俊銘、許慧如、吳衍興、陳芯宜、周容詩、蔡玨伶。 2000 年，在地實驗更進一步成立了媒體實驗室，其主要成員包括黃文浩、張賜福、王福瑞，以團隊工作的方式進行媒體藝術作品創作。2003 年，在地實驗承辦的兩屆「異響 Bias」為台灣首次大型聲音藝術展。這項展覽於 2006 年起擴大為「台北數位藝術節」，為在地實驗受台北市文化局之託所策劃，其中設有互動裝置、聲音藝術、數位影音等獎項，並邀請國際藝術家表演、展出、開設工作坊與論壇。（羅悅全）

Founded by avant-garde artist Huang Wen-hao and Chen Kai-huang in 1995, Etat is the most important private-sector organization dedicated to media and digital art in Taiwan. In an era when broadband Internet access had yet to be become widespread, Chang Alf, member of Etat created online TV programs of artist interviews and art symposiums in 1997. At the time, they even uploaded those programs onto the Internet, the journalists team were Cheng Meiya, Wang Chia-ming, Liu Asio, Liu Zhen-wei, Chen Yun-ju, Tseng Mu-yun, Huang Shihchia, Chi Chun-ming, Hsu Hui-ju, Wu Yan-xing, Chen Singing, Chou Rong-shih, and Tsai Chueh-lin. In 2000 Etat founded a media lab, whose principal members, including Huang Wen-hao , Chang Alf , and Wang Fujui, worked as a team to produce media artworks. Beginning in 2003, Etat organized the exhibition Bias, the ﬁrst large-scale sound art exhibition in Taiwan. Bias was held a second time at the Taipei Fine Arts Museum, before becoming the Digital Art Festival Taipei in 2006. The festival now includes awards in such categories as interactive installation, sound art, and digital audiovisual. Entering its ﬁfth year in 2010, Digital Art Festival Taipei hosts an international roster of artists and encompasses performances, exhibitions, workshops, and forums. Since 2006 Etat has operated Digital Art Center Taipei, under commission by the Taipei City Department of Cultural Affairs. (Jeph LO)

策展人簡歷 Curator

協力策展人簡歷 Co-curator

何東洪輔仁大學心理系副教授，英國藍開斯特大學社會學

范揚坤國立台南藝術大學中國音樂學系與民族音樂學研究

博士。研究興趣包括流行音樂、青年文化與文化政策。關注

所助理教授。國立台灣師範大學音樂系博士。任教以來在校

並參與文化行動、社會運動。

擔任民族音樂學、台灣音樂史、音樂理論、音樂美學等課程。

HO Tung-hung is currently associate professor in Psychology department at Fu-Jen Catholic University, with a Ph.D. degree of Sociology from Lancaster University, UK. His research interest includes popular music studies, youth cultures and cultrual policies. He has also been involved in cultural activism and social movement.

羅悅全音樂文化研究者，曾編著〈秘密基地－台北音樂版圖（Since '90）〉（2000）、翻譯〈迷幻異域－快樂丸與

近來研究範圍主要針對日治時期台灣音樂樂種變遷研究。 FAN Yang-kun is the assisitant professor at the Institute of Ethnomusicology and the Chinese Music Department 0f the Tainan National University of the Arts since 2009.And he completed his Ph.D. degree in ethnomusicology from National Taiwan Nomal University , and has taught the courses: ethnomusicology, Taiwan music history, musical theory, musical aesthetics, etc. at the Tainan National University of the Arts. Fan's current research is about the genres development of the Taiwan traditional music during the Japanese Colonial Rule.

青少年文化的故事〉（2002）。他是台北「立方計劃空間」的成立者之一，目前持續進行與台灣地下音樂、聲響文化相關之長期文化研究計劃。 Jeph LO Music and culture researcher Jeph Lo is the main contributor to and editor of Walk the Music - Taipei Music Map since '90 (2000) , translator of Altered States: The Story of Ecstasy Culture and Acid House (2002). He is the co-founder of TheCube Project Space (Taipei), where he researches Taiwan’s underground music and sound cultures.

鄭慧華

獨立策展人，曾策劃台北雙年展（共同策劃，

2004）、〈重見 / 建社會〉系列展（2011 - 2013）、第 54

黃國超靜宜大學台灣文學系助理教授。長期致力於台灣原住民族運動與部落培力工作。專長領域為台灣原住民族社會與文化、原住民族文學、山地流行歌曲、文化研究與田野調查。 HUANG Kuo-chao Assistant Professor at Department of Taiwanese Literature, Providence University. Dr. Huang has long been supporting indigenous social movements and the empowerment of indigenous communities. His research area involved the Taiwanese indigenous societies and their cultures, Taiwanese indigenous literature, indigenous popular music, culture studies and ﬁeld work.

屆威尼斯台灣館〈聽見，以及那些未被聽見的─台灣社會聲音圖景〉（2011）⋯⋯等。她是台北「立方計劃空間」成

游崴藝評工作者，曾任《今藝術》雜誌主編、特約作者。

立者之一，關注與研究當代藝術與知識生產、社會實踐之關

關注 1980 年代至今當代藝術狀況，文章散見各期刊與展覽

係，並持續與創作者進行長期合作。

圖錄。現為倫敦大學勃貝克學院人文學暨文化研究博士候選

Amy CHENG Independent curator and art critic Amy Cheng has curated numerous exhibitions, including the 2004 Taipei Biennial: Do you Believe in Reality? (co-curated) and the Taiwan Pavilion at 54th Venice Biennale: The Heard and the Unheard (2011) She founded Taipei’s TheCube Project Space in 2010, which aims to explore local culture, establish longterm relationships with artists, and promote contemporary art exchanges between Taiwan and the international community.

人。 YU Wei Art critic Yu Wei has served as an editor for ARTCO magazine during 2005-2007. Focusing on contemporary art since the 1980s, he has written articles for various exhibition catalogs and journals. Currently he works as an art critic and a PhD candidate in Humanities and Cultural Studies at Birkbeck, University of London.

鍾仁嫻文化工作者，投身於台灣文化的保存。 CHUN Ah-han is a freelance cuture worker, devoting herself to the preservation on Taiwanese cultures.

我們要特別對下列個人、機構與團體致上誠摯的感謝，因為他們的慷慨支持與協助，使得本展得以順利完成。 We would like to sincerely thank the following individuals and organizations, whose generous help has made this exhibition possible.

DJ @llen

美樂

劉子誠

DJ Jimmy Chen

凌威

劉柏利

Fish

孫松榮

劉國滄

Rainbowchild

徐睿楷 (Eric Scheihagen)

蔡爸

王耿瑜

馬世芳

蔡政忠

王虹凱

高子衿

蔡家榛

王墨林

張世倫

蔣慧仙

瓦旦塢瑪

張釗維

鄭鏗彰

任將達

張賜福

應蔚民

江育達

張鐵志

謝仲其

何穎怡

許恆維

鍾永豐（生祥樂隊）

吳幸夫

許國隆 ( 苦桑 )

簡妙如

吳道雄

連慧玲

李家麟 (Captain Lee)

陳又維

台大數位人文研究中心

李晏禎

陳泊文

台北數位藝術中心

林良哲

陳芯宜

地下社會

林其蔚

陳品方

國立台灣歷史博物館

林崇予

陳德政

國立傳統藝術中心

林逸心

陸君萍

黑手那卡西工人樂隊

林聰溪

黃文浩

綠色小組

姚大鈞

楊祖珺

柯仁堅

楊惠雯

洪少飛

葉慧雯

以及所有提供展品的樂團、樂手及文化工作者

發行 Published by ｜立方計劃空間 TheCube Project Space 台北市羅斯福路四段 136 巷 1 弄 13 號 2 樓 2F, No. 13, Aly. 1, Ln. 136, Sec. 4, Roosevelt Rd., Taipei City Tel/Fax: +886 2 23689418 info@thecube.tw www.thecubespace.com 出版日期 Publishing Date ｜ 2014. 2 作品版權所有｜藝術家文字版權所有｜作者圖片版權所有｜藝術家與攝影師 All right reserved. Copyright of the works reserved for the artists; of the texts for the authors; of photographs for the photographers.