Follow the sound engineer's footsteps and hear the world's appearance: "Movie Ears: Recording Sounds/Sound Records"

《電影耳:記錄聲音/聲音記錄》展場局部。

這一切聲音也許極其日常,高低音頻的敘事裡,有屬於自己的故事。但也有些聲音非常遙遠,像是到不了的遠方。由 TIDF Taiwan International Documentary Film FestivalversusCube plan space共同主辦,法籍聲音藝術家澎葉生(Yannick Dauby)策劃的展覽《電影耳:記錄聲音/聲音紀錄》以田野錄音為端點,連結感官經驗、生態環境、採訪紀錄與聲音藝術。

《電影耳:記錄聲音/聲音記錄》展場局部:聆聽間。
《電影耳:記錄聲音/聲音記錄》展場局部:聆聽間。

聽覺是一種無法逃離的感官經驗,不若其他知覺我們得以有意識的選擇是否接收,聲音的波動就隨著空氣等等介質到達耳膜。像是睡眠之際,蚊蟲快速的震動翅膀飛行的聲音,仿若是無解的課題。而在 David Toop 的《Lost Shadows: in Defence of the Soul》裡,蚊蟲在錄音師探訪亞馬遜河域亞諾馬米族人的薩蠻儀式之旅中毫不缺席。得以從錄音師為中心倚著聲音的遠近與發聲來源,描繪出他所探訪的深林樣貌,卻也在巫師神奇的音質中,添上一點神秘。在聲音引領旅途的同時,錄音者的文字紀錄細膩的輪廓出聲音當下他們移動的途徑、亞諾馬米族人對外人的警戒與意圖、巫師薩蠻儀式的進行與錄音師被大量蚊蟲叮咬的面容。

大衛.圖伯(David Toop),〈消失的影子:守護靈魂〉(Lost Shadows: In Defence of the Soul)展場,1978。

大衛.圖伯(David Toop),〈消失的影子:守護靈魂〉(Lost Shadows: In Defence of the Soul)展場局部,1978。

大衛.圖伯(David Toop),〈消失的影子:守護靈魂〉(Lost Shadows: In Defence of the Soul)展場,1978。
大衛.圖伯(David Toop),〈消失的影子:守護靈魂〉(Lost Shadows: In Defence of the Soul)展場局部,1978。

岩田茉莉江與柳沢英輔的《大東諸島》,則相較亞馬遜流域的生活溫馴許多;樹林裡頭的貓頭鷹仿若規律地叫著,蝙蝠的叫聲微弱而尖細但也有颱風時節的沉重海浪聲。聲音記錄裡也有不甚驚奇的雨聲——當地種植甘蔗的農民,會仔細聽雨打在屋頂的聲音,因為雨量和甘蔗的收成密切相關。

《電影耳:記錄聲音/聲音記錄》展場局部。
《電影耳:記錄聲音/聲音記錄》展場局部。

而當我們回到台北的聲音時,那是一個民族誌式混雜而成的地方敘事,卻彷彿隨著記憶荒蕪的城市角落。《縫盜聲程遊:稻埕發聲》是 Nigel Brown、張惠笙與澎葉生以大稻埕為題的表演紀錄,地方居民以方言描述著過去平實的時光記憶。而黃大旺與張又升的《百戰天龍》則記錄下城市怪誕卻與我們非常接近的日常變形,像是電影節的票口或是路邊的叫賣聲宛如鬧場般的脫序聲音。

彼得.科薩克(Peter Cusack),〈來自危險地域的聲音〉(Sounds From Dangerous Places)展場,2002。

彼得.科薩克(Peter Cusack),〈來自危險地域的聲音〉(Sounds From Dangerous Places)展場,2002。

在各種奇幻且遙遠的聲音組成裡,我們彷彿得以憑藉著這些專注、被凝視的聲音,加上一些文字介紹敘述或是地圖、影像,而更加了解我們未曾抵達的異域。這個聲音的隧道,仿若只有聲音沒有光,錄音師操作收音器材,不知如何地,光就溜了進來,我們就知道了世界的形貌。

《電影耳:記錄聲音/ 聲音紀錄》
Cube plan space/ 台北市羅斯福路四段 136 巷 1 弄 13 號 2 樓
Opening Hour: Wed-Sun/ 02:00-08:00 pm
展期至 2018 年 7 月 8 日止。

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