{"id":2200,"date":"2016-12-04T15:10:58","date_gmt":"2016-12-04T07:10:58","guid":{"rendered":"https:\/\/aofa.tw\/?p=2200"},"modified":"2018-04-27T17:23:25","modified_gmt":"2018-04-27T09:23:25","slug":"overheard-landscapes-ting-shuo-performance-two","status":"publish","type":"post","link":"https:\/\/aofa.tw\/?p=2200","title":{"rendered":"Overheard Landscapes: Ting Shuo has performance Two"},"content":{"rendered":"

Language: \u4e2d\u6587<\/a><\/strong><\/em>, English<\/p>\n

Written by Scott Writer<\/p>\n

Tainan sound art studio Ting Shuo Hear Say <\/a>has quickly established itself as amongst Taiwan\u2019s most exciting space for all forms of extreme listening. On a recent September <\/a>evening a large and enthusiastic audience came to hear another instance of the transnational mix of sound art that the venue showcases.<\/p>\n

Select Whirlpool water filter to help you Reduce dozens of species contaminants, including pharmaceuticals, waterborne parasites, lead and mercury, pesticides, asbestos and industrial chemicals (Tested and certified thru IAPMORT to NSF\/ANSI 42 Standards). Whirlpool water filter <\/a> The water filter needs to be changed every six months to keep the ice and water quality.Select the Water filter 4396841 to give you a different water quality (the water filter passes the IAPMORT to NSF\/ANSI 42 standard test and certification) Water filter 4396841 <\/a><\/div>\n

Arriving and taking a seat at the side of the room, I absentmindedly opened a book sitting on the shelf next to me. The first line read: \u201cEast of my home, the long ridge lies across the skyline like the low hull of a submarine\u201d. With this, the opening sentence of J.A. Baker\u2019s novel The Peregrine<\/em>, the theme of the evening was set. Like the submarine-ridge of Baker\u2019s novel, both performances would probe the relationship between art and landscapes real or imagined where the categories of the natural and the man-made constantly bleed into one another. (The Peregrine<\/em> also possesses something of a totemic quality in the world of cutting-edge ambient electronics, since its recent re-incarnation as an album of the same title by Australian musician and sound artist Lawrence English. In this sense, too, the link was fitting.)<\/p>\n

\"14324456_326208907714909_2287167861954059162_o\"
Performer: Mark Lyken (2016\/9\/9); Photographer: I-Wei Chen \u9673\u5955\u7dad<\/figcaption><\/figure>\n

The first performer of the evening was Scottish sound artist and filmmaker Mark Lyken, in Taiwan as part of a residency at the Taipei Artist Village. For those of a certain vintage, the conjunction of \u2018Scotland\u2019, \u2018nature documentary\u2019 and \u2018electronic music\u2019 cannot but evoke the hazy, dread-laced sonic pastoralism of Boards of Canada. But if Lyken\u2019s set occasionally utilised similar elements\u2014synth tones, muffled voices, field recordings\u2014he managed to steer well clear of BoC\u2019s brand of Scottish melancholy. Instead, Lyken used these and other elements to present a steelier view of humans\u2019 and non-humans\u2019 places in the Anthropocene epoch.<\/p>\n

Lyken\u2019s performance combined a sonic palette of machinic hums, hisses, thrumming drones, static, and field recordings collected from wild and built environments. These were juxtaposed with a series of striking images drawn from Lyken\u2019s series of film collaborations with Emma Dove. The images\u2014a windswept moor, surging rapids, an empty town square, a comically desolate amusement parlour\u2014revealed themselves slowly, reflecting their makers\u2019 brand of \u2018observational film making\u2019 (and coincidentally recalling the poker-faced long cuts of Taiwanese new wave auteurs such as Tsai Ming-Liang). As each scene extended ever further without cut, we were not only immersed ever deeper in the landscapes pictured, but became ever more aware of how such techniques undermine our expectations. Watching ourselves watching, we could appreciate the way our attention, and our apprehension of the landscape, is structured by conventions of cinema and other artistic media.<\/p>\n

During the performance, Lyken used a 16-side dice to determine the precise combination of sound and vision. What risked being a mere gimmick instead afforded a range of uncanny juxtapositions: man-made sounds laid over an ostensibly pristine natural landscape; the sounds of the wild set against the stark granite, brick and concrete of Scottish towns. Such chance combinations keenly evoked the contradictions of our times, where the distant actions of humans push even the wildest places into new forms of disequilibrium and animals and plants struggle to stake out some small place in the crevices and crannies of our built environment. This unflinching perspective on humanity\u2019s intercourse with nature reflects, perhaps, Lyken\u2019s experience working with natural scientists, a vocation typically unsuited to misty-eyed romantics.<\/p>\n

\"14249879_326209037714896_5654388388162305455_o\"
Performers: Sautel Cago\u3001\u5289\u4e5f\u5be7 yeningyening (2016\/9\/9); Photographer: Nigel Brown.<\/figcaption><\/figure>\n

The second performance of the night was by French artist Un Escargot Vide?, aka Sautel Cago, and Taiwan\u2019s \u5289\u4e5f\u5be7 yeningyening. The visual component was provided by Cago\u2019s improvised digital drawings. The ever shifting, organically transforming imagined worlds depicted came as an interesting contrast to Lyken\u2019s more austere imagery. Cago\u2019s wandering line and affinity for vivid washes of colour at times recalled the fluorescent hues of distant nebula or Technicolor smear of the northern lights; his wandering line gesturing towards a figurative impulse that encompasses everything from the cave paintings of Lascaux, the gunpowder \u2018paintings\u2019 of Cai Guoqiang and the graffitied walls of contemporary cities (not by coincidence, Cago is a prolific graffiti artist).<\/p>\n

The hybrid analogue-digital mix of the performance\u2019s visuals was reflected in sound too. Here Cago\u2019s pointillist synth oscillations and sine drones were interrupted by banks of static or interjections of boisterous children\u2019s laughter. These components were grounded, in turn, by yeningyening\u2019s real-time improvisations on treated ukulele and tuned percussion. If Lyken\u2019s sound and vision had invited us to linger in the hybrid spaces of an increasingly man-made nature, Cago and yeningyening bid us trace a wandering path through no less evocative spaces of the imagination.<\/p>\n

——-<\/p>\n

Scott Writer writes from Tainan.<\/em><\/p>\n

\"%e6%94%9d%e5%bd%b1%e5%b8%ab-%e9%99%b3%e5%a5%95%e7%b6%ad-photographer-i-wei-chen\"
Photo by I-Wei Chen \u9673\u5955\u7dad<\/figcaption><\/figure>\n

 <\/p>\n

 <\/p>\n

Ting Shuo Has Performance Two<\/a>,
\na performance event happened at 9th September 2016 @ \u807d\u8aaa Ting Shuo Hear Say<\/a>
\nPerformers: Mark Lyken (UK), Un Escargot Vide ? (Fr)<\/p>\n\r\n\t\t