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2009-10-14 13:02:24
来自: ED
(香港)
Yao Dajuin interview The founder of China Sound Unit tells Mary Agnew about the Chinese origins of sound art As part of October Contemporary, Yao Dajuin presents his controversial lecture Chinese sound art: 2,005 years of Listening in China. Yao teaches at the China Academy of Art and founded China Sound Unit, a group of new wave sound artists devoted to an art practice that re-contextualises Chinese urban sounds. What do you have planned for October Contemporary? I will be doing a full cultural survey of listening in China as opposed to the culture of music. As I get deeper into this issue, I find there are more shocking correlations between modern Western theories of sound and traditional Chinese ways of dealing with sound, which tend to be very hierarchical. I find that very similar to the Western modern approaches to sound, especially the French Ecole Concret that started in the late 40s into the 50s. The French and the Chinese theories focus on the human ears themselves; on both sides they have classified different hierarchical levels of listening which I find striking. So where exactly do you feel the art lies in this medium? In the West, it grows out of music – it became an extension of music and listening when music went beyond the musical instrument into the sounds of nature. Sound art is the totality of music and sound but for the Chinese I think they have included sound from the very beginning of culture as part of their aesthetic. Sound Art is really quite obscure even in the west. Of course, [it is] extremely new in China but gaining popularity. How did you come to the point where you were investigating this “obscure” medium to such a level? I first became aware of it through pictures or sculptures. In my lecture, I will show slides of different paintings and pieces of sound art or sound technology from ancient Chinese history that is relevant to sound art even now. My performance will be unusual as it includes something that will be covered in my talk on Surveillance Art. For some years I have been involved with the China Sound Project and we have gathered through various means and channels some Chinese recordings that blur the line between legal and illegal display. We have a lot of surveillance data and tapes; and this is always very controversial and heavily debated during my talks. It is quite challenging. What is your role in the performance? I guess I am a voyeur and a presenter making the audience secondary voyeurs. Fri 16, EDT Lab, 4/F APA. www.soundpocket.org. http://www.timeout.c |
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