LSF #132 - 失聲祭編號第132演出
這場演出集結了四位傑出的聲音與視覺藝術家，帶來多樣且實驗性的表演：
James Fei 探索聲音的物理過程與電子反饋，Olaf Hochherz 創造不穩定與自生成的聲音場域，Bill Hsu 結合手勢控制與即時動畫呈現視聽互動，賴宗昀 則以類比與數位模組合成器進行即興演出，透過即時取樣與調變，探索聲音在離散與重組間的動態紋理。他們將共同帶領觀眾進入聲音與視覺交織的創新體驗。
演出時間：2024 年 12月 21 日 (六) 19:00 - 21:00 (18:45入場)
演出地點Venue｜C-LAB臺灣聲響實驗室(立體聲場)
活動售票 : 預售400
演出藝術家/Artists :
Bill Hsu
James Fei
Olaf Hochherz
LTY
藝術家介紹｜
[ Bill Hsu ]
Bill Hsu 從事電子技術與即時動畫系統的創作。他對即時表演系統特別感興趣，希望這些系統能具備優秀人類音樂家演奏聲學樂器時那種生動性與觸感。他利用手勢介面控制動畫與聲音合成，並構建能與人類表演者互動的即時視聽系統。
他曾與音樂家和藝術家合作，創作系統、工具、裝置及作品，並在美國、亞洲、歐洲和澳大利亞參與表演和展覽。他現居於舊金山灣區。
[ James Fei ]
James Fei出生於台灣台北，1992年移居美國攻讀電機工程，但最終迷失於音樂的世界，成為一位作曲家、薩克斯風演奏家及電子音樂家。他的作品曾由多個國際知名樂團演出，包括英國廣播公司蘇格蘭交響樂團（BBC Scottish Symphony Orchestra）、S.E.M. Ensemble 管弦樂團、Bang on a Can All-Stars、MATA Micro Orchestra 和 Noord-Hollands Philharmonisch Orkest。他的錄音作品發表於 Leo Records、Improvised Music from Japan、CRI、Krabbesholm 和 Organized Sound 等廠牌。
James Fei 的薩克斯風四重奏作品特別關注於聲音生產的物理過程，例如唾液、疲勞、切割後受損的簧片以及可聽聲音生成的臨界點。他的聲音裝置及即時電子音樂表演則聚焦於電子與聲學反饋的探索。他目前擔任東北大學（Northeastern University）米爾斯學院（Mills College）的路德·布魯斯·馬錢特音樂教授（Luther Brusie Marchant Professor），並擔任當代音樂中心（Center for Contemporary Music）主任。
[ Olaf Hochherz ]
Olaf Hochherz 是一位聲音藝術家、研究者及IT從業者，主要使用自製的電子樂器和電腦程式進行表演。他活躍於即興創作、作曲和聲音藝術領域，以自製電子樂器和電腦合成器進行創作和演出。他特別關注人工聲音的聯想潛力，其作品涵蓋裝置表演、聲音裝置、電子聲學作曲、錄音專輯、個人演出以及與不同音樂家的合作。他的創作集中於聲音的不穩定性、自生成性以及聯想能力之間的結合。Olaf Hochherz 的電子聲樂作品曾於多個音樂節展出，其聲音裝置作品在德國、台灣及中國等地實現。他的表演曾巡演於中歐及東亞地區。
他對於創作的理念表述為：「我並不嘗試製作像傳統聲學樂器那樣可控的電子裝置，而是探索電子的抽象特質。在演奏中，我並非控制技術裝置，而是創造一個聯想的場域。聲音擁有自己的生命，演奏的過程就是努力讓它們保持生機。」
[ LTY ]
賴宗昀現為「失聲祭」聲音藝術活動策展人。現場演出以結合類比及數位(VCV Rack)模組合成器所進行的現場即興演出。以純粹聆聽的身體經驗為導向，透過即時取樣調變由合成器所製造的聲響，嘗試在離散與重組間編織音樂的動態。
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[ Bill Hsu ]
Bill Hsu works with electronics and real-time animation systems. He is interested in real-time performance systems that have some of the live, tactile qualities of good human musicians playing acoustic instruments. He uses gestural interfaces to control animation and sound synthesis, and builds real-time audio-visual systems that interact with human performers.
He has built systems, tools, installations and compositions in collaboration with musicians and artists, and performed and exhibited work in the US, Asia, Europe, and Australia. He is based in the San Francisco Bay Area.
[ James Fei ]
James Fei (b. Taipei, Taiwan) moved to the US in 1992 to study electrical engineering but lost his way in music, becoming a composer, saxophonist and electronic musician. Works by Fei have been performed by the BBC Scottish Symphony Orchestra, Orchestra of the S.E.M. Ensemble, Bang on a Can All-Stars, MATA Micro Orchestra and Noord-Hollands Philharmonisch Orkest. Recordings can be found on Leo Records, Improvised Music from Japan, CRI, Krabbesholm and Organized Sound. Compositions for Fei's own ensemble of four alto saxophones focus on physical processes of saliva, fatigue, reeds crippled by cuts and the threshold of audible sound production, while his sound installations and performance on live electronics often focus on electronic and acoustic feedback. Fei is Luther Bruise Marchant Professor and Director of the Center for Contemporary Music at Mills College at Northeastern University.
[ Olaf Hochherz ]
Olaf Hochherz is a sound artist, researcher, and IT-worker, mostly performing with self-built electronic instruments and computer programs. He works in the field of improvisation, composition, and sound art. He performs with self-made electronic instruments and computer-synthesizers, and is particularly interested in the associative potential of artificial sound.
His work spans installation performances, sound installations, electro-acoustic compositions, works for CD, solo performances, and collaborations with various musicians. His primary interest lies in the conjunction of the instability, self-generation, and associative capacity of sounds. Olaf has presented his electronic compositions at different festivals, and his installations have been realized in Germany, Taiwan, and China. He has toured with his performances across Central Europe and East Asia.
“I didn’t try to make an electronic device which is controllable in the same way as a classical acoustic instrument. Instead, I work with the abstraction of the electronics. In my playing, I do not control a technical apparatus, but create an associative field. The sounds have their own life. The playing tries to keep them alive.”
[ LTY ]
Lai Tsung Yun is currently the curator of the sound art event "Lacking Sound Festival." His live performances combine analog and digital (VCV Rack) modular synthesizers for on-the-spot improvisation. Guided by the pure bodily experience of listening, they utilize real-time sampling and modulation of synthesizer-generated sounds to explore and weave dynamic music between the realms of fragmentation and reassembly.
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主辦單位：音瀑奧譜聲音藝術實驗室、C-LAB臺灣聲響實驗室
營運贊助：國藝會
