《聽覺衛生福利部》— 電聲、影像、展演、觀眾互動
Ministry of Auditory Hygiene
— Electroacoustic Music, Video, Performance, and Audience Interaction
我們每天都被各種聲音包圍：塑膠袋摩擦、車流聲、公共場合的談話、冷氣的低頻運轉。這些聲音不一定「很吵」，卻長時間存在，慢慢佔據注意力、拉扯情緒，累積成疲勞與緊繃。
《聽覺衛生福利部》以「聽覺衛生」作為重新理解聆聽的起點，而非單一命題。計畫關注我們如何在日常中感知、承受、辨認並詮釋聲音，也關注聽覺如何與身體、心理、記憶及其他感官經驗交錯，生成對環境與自我的不同理解。透過這些延伸與轉化，作品不僅回望「噪音」的定義，也試著打開更多關於知覺、界線與感官經驗的提問。
展演將於 2026 年 4 月於臺灣聲響實驗室 C-Lab 立體聲場呈現，涵蓋電子音樂、錄像、audiovisual 演出與觀眾互動等形式，共同構成一個可感知、可反思的聲音場景，引導觀眾重新察覺自己的聆聽方式與界線，並思考何謂屬於當代的「聽覺衛生」。
We are surrounded every day by all kinds of sounds: the rustling of plastic bags, traffic noise, conversations in public spaces, the low-frequency hum of air conditioners. These sounds are not necessarily “loud,” yet their constant presence gradually occupies our attention, tugs at our emotions, and accumulates into fatigue and tension.
The Ministry of Auditory Hygiene takes “auditory hygiene” as a point of departure for rethinking listening, rather than as a single fixed proposition. The project explores how we perceive, endure, recognize, and interpret sound in everyday life, while also examining how hearing intersects with the body, the mind, memory, and other sensory experiences to generate different understandings of both environment and self. Through these extensions and transformations, the works not only revisit the definition of “noise,” but also open up broader questions about perception, boundaries, and sensory experience.
Presented in April 2026 at the Spatial Audio Field of Taiwan Sound Lab, C-LAB, the program brings together electroacoustic music, video art, audiovisual performance, and audience interaction to form a sonic environment for perception and reflection. It invites audiences to become newly aware of their own modes of listening and their sensory boundaries, and to consider what “auditory hygiene” might mean in the contemporary moment.
演出時間 （共三場次）
4 / 24（五）19:30
4 / 25（六）11:00、16:30
演出時長
約60分鐘，無中場休息
演出地點
臺灣聲響實驗室立體聲場
演職人員與製作單位
製作｜臺師大音樂學系 音樂科技跨域合作組
指導｜趙菁文 黃苓瑄 林芝良
創作｜王玟晴 林巧 林駿甫 張庭芳 章克澍 黃宇謙
執行製作｜黃宇謙
舞台監督｜王玟晴
創作協力｜黃雨農 吳思翰 張意玟
行政執行｜黃筱婷
技術統籌｜謝賢德 曾靖軒
投影技術執行｜李祐緯
主辦單位｜國立臺灣師範大學音樂學院
合辦單位｜C-LAB 臺灣聲響實驗室
協辦單位｜國立臺灣師範大學音樂學系 民族音樂研究所
Performance Schedule (3 performances)
April 24 (Fri), 7:30 PM
April 25 (Sat), 11:00 AM & 4:30 PM
Duration
Approximately 60 minutes, with no intermission
Venue
Spatial Audio Field, Taiwan Sound Lab
Credits and Production
Produced by | Interdisciplinary Studies in Music and Technology, Department of Music, National Taiwan Normal University
Advisors | CHAO Ching-Wen / HUANG Ling-Hsuan / LIN Chih-Liang
Created by | WANG Wen-Ching / LIN Chiao / LIN Jun-Fu / ZHANG Ting-Fang / Joseph CHANG / HUANG Yu-Chien
Production Manager | HUANG Yu-Chien
Stage Manager | WANG Wen-Ching
Creative Collaboration | HUANG Yunung / WU Szu-Han / ZHANG Yi-Wen
Administrative Executive | HUANG Hsiao-Ting
Technical Directors | HSIEH Hsien-Te / TSANG Jing-Shiuan
Projection Technician | LEE Yo-Wei
Organizer | College of Music, National Taiwan Normal University
Co-organizer | C-LAB Taiwan Sound Lab
Supporting Organizer | Graduate Institute of Ethnomusicology, Department of Music, National Taiwan Normal University
________________________________________________________________________
演出單位簡介
國立臺灣師範大學「音樂科技跨域合作組」(Indisciplinary Studies in Music Technology, ISMT) 於2022年創立，為師大音樂系研究所最新的組別，由趙菁文老師、黃苓瑄老師以及林芝良老師共同指導，致力於培養跨域藝術概念形成、聽覺感知經驗出發，以及善用音樂科技工具之能力。成立至今四年左右的時間，已累積許多成果：
2022年12月，與美國史丹佛大學電腦音樂與聲響研究中心 CCRMA 合作，以高速實時運算工具JackTrip，結合類比合成器、電大提琴、琵琶、笙，演出《飛行恐龍們的愛之歌》跨國實時共奏 (ISMT x CCRMA Real-Time Internet Concert)，達成幾乎同步的實時遠距即興音樂演奏。
2023年初，ISMT 受國立臺灣自然科學博物館委託，以重力波觀測數據作為靈感，設計《驚心洞波——黑洞暨重力波特展》展場音樂，結合轉譯數據的聲響、探測儀器的雜訊、星體聲響、航海家金唱片等素材，此特展大獲好評。
同年，ISMT 更與師大音樂系、民音所、資工所合作，於 C-Lab 國際聲響藝術節演出《即視旅行》(Ad hoc voyages) ，完成跨國實時共奏、同時多場域、影像裝置、數據聲音化作品、觀眾旅行軌跡記錄等多項艱鉅挑戰。
2024年8月，ISMT 製作《聲音浴場》展覽，於師大美術系德群畫廊展出，以聲音互動裝置及5.1聲道作品，詮釋沐浴經驗的身心感受，回應現代人類繁忙生活與心理問題。同年起與 CCRMA 合作，每年選送跨域組及資工所研究生，前往史丹佛大學參與暑期工作坊，亦積極邀請 CCRMA 頂尖師資為 ISMT 研究生開辦課程，未來也將持續深化交流。
2025年3月初，ISMT與美國史丹佛大學電腦音樂與聲響研究中心（CCRMA）、台灣聲響實驗室 C-Lab 合作，在 C-Lab 立體聲場舉行跨國實時音樂會《海洋數據的聲音旅程》。透過 JackTrip 高速音訊傳輸技術，連結台北與加州共16位音樂家，達成幾乎無延遲的跨太平洋即時共奏。節目以「聲音化」為方法，將海洋監測資料、啤酒發酵數據、城市人口變遷、腦波與溫室效應預測等龐大資料轉譯為演奏素材，讓觀眾在現場聆聽一場從大數據出發、橫跨科學與藝術的聲音旅程。
同年3月，師大音樂科技跨域合作組受十方樂集邀請，於十方音樂劇場製作《史托克豪森先生的花園、客廳與廚房》，並獲國藝會補助支持。計畫以史托克豪森經典作品《顯微收音學 I》為核心，結合「體驗工作坊 × 聲音裝置 × 音樂會」三種形式，帶領觀眾從實作出發認識圖像記譜、泰來鑼演奏、麥克風與濾波器操作，進一步走進微觀聲響的世界。4月，ISMT 邀請同樣來自美國史丹佛大學 CCRMA 的 Fernando López-Lezcano 教授，於 C-Lab 立體聲場舉辦為期一週的「模組聲音合成」實作工作坊，以及沈浸式3D聲場講座與音樂會，結合電腦音樂、數位/類比音訊技術、3D 列印、Ambisonics 作品等，工作坊成果獲滿座的觀眾欣賞，並獲得熱烈迴響。
相關資訊請參閱官網：ismt-ntnu.org
About the Production Team
Founded in 2022, the Interdisciplinary Studies in Music and Technology (ISMT) program at the Department of Music, National Taiwan Normal University, is the newest graduate concentration in the department. Jointly advised by Prof. Ching-Wen Chao, Prof. Ling-Hsuan Huang, and Prof. Chih-Liang Lin, the program is dedicated to cultivating interdisciplinary talents who begin with auditory perception and experience, make creative use of music technology tools, and skillfully integrate other artistic forms.
Over the past four years, ISMT has produced a wide range of outstanding projects and achievements.
In December 2022, ISMT collaborated with the Center for Computer Research in Music and Acoustics (CCRMA) at Stanford University to present Love Songs of the Flying Dinosaurs, an international real-time internet concert. Using JackTrip, a high-speed real-time audio networking tool, together with analog synthesizers, electric cello, pipa, and sheng, the project achieved near-synchronous remote improvisational performance across countries.
In early 2023, ISMT was commissioned by the National Museum of Natural Science to create the exhibition music for The Gravity Realm: Unveiling the Secrets of Black Holes and Gravitational Waves. Drawing on sonified data, noise from detection instruments, celestial sounds, and materials such as the Voyager Golden Record, the project brought warmth and playfulness to what might otherwise have seemed like a cold and distant astronomy exhibition.
At the end of 2023, ISMT collaborated with NTNU’s Department of Music, Graduate Institute of Ethnomusicology, and Department of Computer Science and Information Engineering to present Ad hoc voyages at the C-LAB International Sound Art Festival. The project tackled multiple ambitious challenges, including international real-time networked performance, simultaneous multi-site presentation, video installation, data sonification, and the documentation of audience travel trajectories.
In August 2024, ISMT produced Sound Bath, an exhibition presented at the Teh-Chun Gallery of NTNU’s Department of Fine Arts. Through interactive sound installations and 5.1-channel works, the exhibition interpreted the bodily and emotional sensations of bathing, responding to the pressures and psychological conditions of contemporary life.
Since 2024, ISMT has collaborated with CCRMA to send graduate students from both the music technology program and the Department of Computer Science and Information Engineering to Stanford University each year for summer workshops. At the same time, ISMT has actively invited leading CCRMA faculty to offer courses for its graduate students, and this exchange will continue to deepen in the future.
In early March 2025, ISMT collaborated with CCRMA at Stanford University and the Taiwan Sound Lab at C-LAB to present Ocean Data: A Sonic Journey at the Spatial Audio Field of C-LAB. Through JackTrip’s high-speed audio transmission technology, the concert connected 16 musicians in Taipei and California, enabling a nearly latency-free trans-Pacific real-time performance. Using sonification as its core method, the program transformed large-scale datasets—including ocean monitoring data, beer fermentation data, urban demographic change, brainwave activity, and greenhouse effect projections—into musical material, allowing audiences to experience a sonic journey that moved between big data, science, and art.
In late March 2025, ISMT was invited by the Forum Music Auditorium to produce Mr. Stockhausen’s Garden, Living Room, and Kitchen at the Forum Music Auditorium Theatre, with support from the National Culture and Arts Foundation. Centered on Karlheinz Stockhausen’s classic work Mikrophonie I, the project combined three formats—hands-on workshops, sound installation, and concert—to guide audiences through graphic notation, tam-tam performance, and the use of microphones and filters, opening a gateway into the world of microscopic sound.
In April of the same year, ISMT invited Prof. Fernando López-Lezcano of CCRMA at Stanford University to lead a week-long hands-on workshop on modular sound synthesis at the Spatial Audio Field of C-Lab, along with lectures and concerts on immersive 3D sound. Integrating computer music, digital and analog audio technologies, 3D printing, and Ambisonics works, the workshop concluded with a presentation of participants’ works that drew a full-house audience and received enthusiastic feedback.
For more information: ismt-ntnu.org
