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Memories of “A Collective Symposium” 公廳坊的記憶

“Sketch for Life Cultivation” by Sheryl Cheung, 2017

2017年8月29日

1 全然暗黑,無視覺,聽到暗黑中的摸索,快速的心跳、繃緊的氣息、不安又心懸,手心在流汗。在沒有視光下,你的耳朵能給你視覺。
1 In complete darkness, there is no sight, you hear the fumbling in the darkness, the racing hearts, the tension in the air, unease and suspense, the sweaty palms. When there is no light, your ears can provide you vision.

2 影像和聲音被分開解放,它們像星球一樣依運性互轉,轉而再轉,時互碰、時自行。我們影音互對應已慣性,當所有開始偏移、不搭嘎、只像空谷足音般難得地悸遇:所有便加倍地敏感銳現,感知相互掩遮如泛音般纖細。
2 Image and sound are set loose, they orbit each other like planets set in motion, round and round they go, sometimes colliding, sometimes going solo, we are used to image-sound synchronization and when everything begins to offset, mismatch, meeting up once in a blue moon, everything becomes more nuanced, our senses shadow each other like delicate overtones.

3 卡帶運轉,故事開講,語話迴圈反覆,又迷移,直到沒有了故事的線軸,化成平面,激張密集的平嶺;原聽似語言的聲轉抽象,像香氣滿佈於空中。房中有一女開始唱音,她的聲推動空氣、推動四處牆面、她的肺、地板,音聲打動了物質、浸透、震盪,覓那合諧的振聲。
3 The tape rolls, the storyline begins, the line seems to loop back and forth, then it blurs, until there is no storyline but a plane, an intense condensed field, what once sounded like language becomes abstract, clouding up like perfume in the air. In the room a woman begins to sing, her voice pushes against the air, against the walls, her lungs, the floor, sound hits matter, soaking, reverberating, in search of resonance.

4 數字在我們面前倒走,但有些許數字不見了,組合不一致。影片像意識流似的流動,章節碰觸彼此,人與景的像偶爾如費波那契數列般迴旋。「我為何看不到大家都看到的?」「你真的看得到那個鬼魅的存在嗎?」我們持續地對彼此確認幻象似的目擊。
4 Numbers are counting down before us, but some numbers are missing, the increments are not consistent, the film flows like a stream of consciousness, chapters run into each other, images of people and landscapes occasionally twirling like fibonacci. ‘Why can’t I see what everyone else sees?’ ‘Do you really see that ghostly presence?’ We constantly affirm each other of elusive sightings.

5 這不是科學示範,數據只是翻譯所需;這是植物與人類之間的主觀式調解。重點是偵測動態為魂魄,為生命力。
5 This is not a demonstration of science, data is only part of the translation, this is a subjective mediation between plant and human, it is about movement as spirit, as a striving for life.

6 坐在鞦韆上,聆聽遙遠又久遠的鞦韆搖動的錄音。我的身體開始晃動,鞦韆椅也隨我腦中的錄音吱吱晃響;過去和現今的金屬物相互磨擦,與陌生人記憶的超現實片刻對聊。
6 Sitting on a swing, listening to a recording of another swing rocking far away in a distant past. My body begins to sway and the bench begins to creak along with the recording in my head, metal from the past and present rubbing against each other, a surreal moment of dialogue with a stranger’s memory.

 

本文由聽說工作室Ting Shuo Hear Say八月底在台南舉辦為期四天的 A Collective Symposium 纏 夏 嚵 – 聽 說 之間 公廳坊 (2017/08/17-20)參與藝術家張欣所撰寫,並由聽說主人張惠笙翻譯,是一段對每一場參與藝術家的發表/表演所做出的回應與紀錄。張欣帶有詩性語調的書寫,記憶下這場由大量對話、溝通、嘗試理解與各種上上下下的表演性所組成的實驗式研討會,非一般當代的那種研討會,而是回到 Symposium 字源的本意,就是一群人一直觀看、不停地互相說話。文中的每一個段落,指涉的都是其中一場發表人所展示的演出與討論。1-楊雨樵, 2-許雁婷, 3-張惠笙, 4-羅仕東, 5-張欣, 6-黃嘉淇

中文翻譯:張惠笙

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