Monday, December 31, 2012

噪男之音 - 黃仲輝

明周第2293期日月舞台 (2012.10.22)
噪男之音 - 黃仲輝
 
撰文:sigi
攝影:譚志榮
部分圖片由受訪者提供
 
 

如果你把臉書朋友分為三類:摯友、點頭之交,以及面和心不和的朋友。那麼,有機會的話,只建議你與摯友去聽黃仲輝的噪音演出。面對個多兩小時噪音,你和朋友無法知道台上的不知名樂器名稱,亦不知道台上那一大堆膠珠及金屬片以及上百條電線的用途與關係,但一波又一波的噪音及高低頻透過揚聲器衝擊着耳朵的極限。你與朋友毫不猶豫地認為自己的耳膜可能會被震裂,手腳開始發麻……你們終於有誰忍不住定神一問,「這演出到底還有多久?」

浪漫點形容:就像兩個男人夜半無人在沒有準備之下,來一次即興的渡海泳 ── 精神上及體力上的負荷與超越,噪音都有異曲同工之處。

首先,根據黃仲輝(aka Sin:Ned)的說法,做噪音演出時會有一個界限,聽眾的耳膜──是不會被震破的。但通常的經驗是,會耳鳴到隔天下午左右。「耳鳴就是演出的Bonus呀」,他認真說。

自閉兒童

對獨立或實驗音樂圈內的人,黃仲輝自是不用多介紹,他與袁智聰及Alok等人熟絡,為《音樂殖民地》寫了十多年音樂評論,近年差不多每月都有數個演出。然而這位「前樂評人」暨「演出者」,常常強調自己不懂音樂不懂樂理更不能被稱為音樂家,他的誠實會嚇死人:「望着書桌上疊亂的稿紙(雖然我從來沒擁有過一張真正的書桌),……這種叫做樂評的文明副產物,我想,大概只是一個包裝精美的自閉兒的幻想空間。」(《愛與死的邊緣Current 93》)

自閉兒三字的出現絕非偶然,他大學專修心理學;而音樂,不過是他的興趣,以及矢志不移的熱情所在。由中學時代,人人愛聽的音樂他不聽,愛走偏鋒,由最初八十年代的英國電子流行曲(如Depeche ModeYazoo)到新浪漫音樂(如Duran DuranClassix Nouveaux)及Post-Punk(如Joy Division)到重金屬搖滾和藝術搖滾(如MarillionEloy),之後的冷門日本音樂(如戶川純、NovelaAuto-Mod)。更甚是,他連寫樂評都是人棄我取,別人愈不會寫的偏鋒樂隊,他愈獨個兒沉醉,愈寫愈自得其樂,例如日本著名avant garde、黑膠唱盤採樣、電子和吉他樂手大友良英。

而這位「自閉兒」的改變,大約來自千禧前後。當年,免費電子軟件的興起,一眾本地獨立創作人像Alokthe pancakes等通通「閉門造車」,而不懂樂理的黃仲輝當年也利用電腦的範本聲音合成"loop-based"的電子音樂,他解釋:「我認為音樂是一種『講』的方法,但這年代的人不喜歡聆聽,只希望對方不停聽自己說話。由是,我開始改變說話的形式,停止寫樂評,自己造一些聲音給自己聽。」

小眾的小眾

香港獨立/另類音樂圈是一個小圈子,是社會上的小眾,黃仲輝說:「和他們也算熟,但我始終覺得自己是outsider(局外人),寫的都不是他們在聽的音樂(如英倫獨立樂隊),是小眾裏面的小眾,所以我一向都較抽離,不太有歸屬感。」黃仲輝寫了多年樂評,一次偶然機會下,於2006年他與Alok及龔志成應袁智聰的邀請,在香港浸會大學示範電子音樂,這個名為《Electronic Odyssey》的演出,還是較為溫和的電子合成音樂,幸運地沒有收到學生投訴。

以他一路以來的品味與人棄我取,不難想像,實驗音樂及噪音才是他的不歸路。早期他偏向實驗式的創作,沒有太強的個人風格,屬於試驗時期。經過漫長的探索過程,特別受日本噪音美學影響的他,開始套用類近日本迷幻音樂教父灰野敬二的手法,「將抽象的聲音、噪音及即興演奏以反傳統及逆向性的方法呈現於各種樂器及非樂器的物件、工具上。」除了合成器及各種能發聲的物件(object),他演出時的工具有時會是一枝用來「亂」彈的結他、或是Chapman Stick(一般是十弦的,也有十二弦的,音色接近鋼琴音色,原理是Bass Tapping)及Hurdy-Gurdy(手搖弦琴,以兩根平行橫木支撐多根琴弦,轉動一曲柄使小輪磨擦琴弦而發聲)之類的樂器。Chapman StickHurdy-Gurdy都是傳統意義上的樂器,但黃仲輝在使用時刻意打破它們的樂器及音色特性,例如他只會不斷敲打Chapman Stick上的弦及快速搖動Hurdy-Gurdy的手搖,用身體上的直觀來控制兩件樂器,忘我地投入演出,直到汗流浹背,進入一種儀式似的狀態,像酒神般狂喜。

自我強迫症

一般來說,要現場聆聽噪音,你只要打開身體(不止是耳朵),不要有前設:樂器與非樂器,經由電子合成器幻變,在場地回響,配合演出者的狂喜(ecstasy),永遠無法預料的下一秒,就像「存在」本身,是精神與肉體一致的絕對時光:時而高昂焦慮、然後崩潰、截斷、合併、緩和……

其實,噪音種類繁多,如黃仲輝的演出在噪音界已相對容易接受,有些則非常挑戰極限,又名Harsh Noise,在香港只有Rolfaka Orgasm Denial)等數人在玩。以為有人天生可以負荷噪音?即是問是否有人天生可以游一次渡海泳,答案是否定的。像黃仲輝這十數年來的個人「修練」,知而難為:遇到不喜歡或不明白的專輯,強迫自己聽兩至三次,再尋找一個聆聽的角度去切入理解。而遇上現場演出,黃仲輝也曾經如你及我一樣,是不折不扣的「初學者」。他記得在日本東京地下音樂聖地Live Spot 20000V首次聽大友良英的噪音,簡直觸目驚心:「我可以清楚地感覺到,身體每一吋肌肉、每一根骨骼,都被一種低音的衝擊震撼着。整個演奏空間,就像一個湧滿低音急流的密封湖沼。那些刺耳的電子信號,彷彿擁有爆破神經的功能。不須多久,我已感覺到在耳膜及大腦之間,有無數神經細胞因音量超載而產生連鎖式爆炸。……還以為自己會完全崩潰,但結果還是捱過了,感覺彷彿劫後餘生,同時又像剛從過山車的離心速度裏體驗過死亡邊緣的滋味。一邊走一邊想,大友良英果真是一個不折不扣的音響恐怖分子。」演出幾天後,他還是聽到高頻的"wee wee"聲,擔心會成為聾子。

噪音與前語言

由於前身是樂評,黃仲輝最難得的地方是他能同時以一個演出者及一個學術的態度去對待理解聲音,去詰問某種噪音及技法「何在、何以在、為何在」出現於噪音本體之內。這種嚴謹,是要把噪音看成一種可以認知的知識。噪音之於音樂史知識,正如當代藝術之於藝術史;要懂得噪音,在理性層面上必須要擁有音樂知識。根據Paul Hegarty的《Noise / Music A History》(2007)一書介紹,噪音(Noise)與一般日常聽到的雜聲(Noises)不同,前者是需要最少有一個聽眾的(至少是身體上的)認知才成立,所以雜聲(Noises)是必然會有一種人為的評斷才合資格成為噪音(Noise)。相對不同年代不同文化,噪音的認知也有所不同,但一般來說,噪音由未來主義者提出,並由未來派畫家路易吉.盧梭羅(Luigi Russolo)發表「噪音藝術」(The Art of Noises)宣言,把噪音定性為十九世紀工業年代的產物,自此聲音便成了當代藝術的創作素材之一。例如黃仲輝甚為喜愛的灰野敬二,他的出現在歷史脈絡中並非偶然,日本自六十年代起,深受迷幻搖滾、前搖滾、自由爵士影響,發展出獨門的日本地下迷幻噪音,而灰野敬二不單曾與前爵士樂手合作品,又熱中於日本舞踏(Butoh),甚至研究中國氣功的吐納法以加強發聲技巧,由於個人對音樂美學上的追求,才能讓他建立起別樹一幟的噪音(反)美學,推動日本噪音的發展。

噪音若從社會學上的角度來說,可能是各種少數地下社以聲音去進行反建制的吶喊,產生歧義(dissonace);噪音若從美學上的角度來說,可能是種反美學,去對抗資本主義的景觀。對於黃仲輝,噪音更像是為外表沉鬱的他開拓出一種前語言(pre-linguistics)世界:「不要用腦去細想,我享受的是噪音的即興及實驗性。自由的格式,沒有規矩,你毋須用理性分析這堆聲音代表什麼,這些聲音受到哪位音樂家影響,反而是,你如何在當下投入去that moment。我認為每個人有理性與非理性的一面,現時社會卻只有理性那一面,忽略了非理性包括身體,所以噪音的音量感必須足夠,只有音量足夠才可直接讓身體接收,感覺到wave。我演出時絕對不會戴耳塞,因為我覺得自己其實是位靈媒,不知道會發生什麼事。」

PROFILE

黃仲輝,前樂評人、聲音藝術家、實驗音樂及噪音演出者,曾於香港、中國及日本演出,同時策劃實驗音樂演出。以個人名義Sin:Ned演出外,於2006年與從事平面設計的KWC組成No One Pulse,追求即興及反形式主義的演奏;2009年,兩人成立實驗廠牌Re-Records,出版實驗音樂及田野錄音專輯,詳見網站www.re-records.com/archives/sin-ned/

噪音的場地?

香港的噪音在培養觀眾方面及尋找場地演出皆十分困難,現時主要場地有奧沙畫廊、VideotageHidden Agenda與開業不足一年的策略和聲(Strategic Sounds)等。由於演出通常只有幾個至數十觀眾,雖然音響對噪音演出極為重要,但同時負責邀請其他地區的實驗及噪音演出的黃仲輝,一直本着「還要談音響實在太奢侈」的心態,盡量演出。而不談金錢回報,是實驗音樂及噪音支持者首要學懂的智慧。像策略和聲負責人Andrew為了讓演出者有空間可以交流,幾乎都是自資補貼場地,只有少部分支出由樂隊及策劃人等負責。又或者,只有沒有金錢制肘,人才可享有(絕對的)創作自由。

Sunday, December 30, 2012

NOISE to SIGNAL 0.09: +N2G

 
From dark tempo to out-rock to extreme noise to everything in-between, we believe in the polytheism of experimental music.
 
Non-experimental music is just a myth.
 
Performers:
Zbigniew Karkowski (PL) + Sin:Ned (HK)
Composers Union of New Tunes (HK)
Meta Fog (HK)
Heroses (HK)
Everdark (HK)
After Doom (HK)
 
Date: Jan-15, 2013
Time: 8:30 pm
Venue: Hidden Agenda
Address:
2A, Wing Fu Industrial Building, 15-17 Tai Yip Street
Kwun Tong, Kowloon, Hong Kong
 
Admission:
HK$150 (at door)
HK$120 (advance reservation)
 
Jointly presented by Hidden Agenda & Re-Records
http://hiddenagenda.hk/
http://www.re-records.com/
 
For bookings and enquiries:
rerecordshk@gmail.com
 
=======================================
 
Zbigniew Karkowski
http://site.douban.com/zbigniewkarkowski/
http://www.myspace.com/zbigniewkarkowski
Zbigniew Karkowski was born in 1958 in Krakow, Poland. He studied composition at the State College of Music in Gothenburg, Sweden, aesthetics of modern music at the University of Gothenburg's Department of Musicology, and computer music at the Chalmers University of Technology. After completing his studies in Sweden, he studied sonology for a year at the Royal Conservatory of Music in Den Haag, Netherlands. During his education, he also attended many summer composition master courses arranged by Centre Acanthes in Avignon and Aix-en-Provence, France, studying with Iannis Xenakis, Olivier Messiaen, Pierre Boulez, and Georges Aperghis, among others. He works actively as a composer of both acoustic and electroacoustic music. He has written pieces for large orchestra (commissioned and performed by the Gothenburg Symphony Orchestra), plus an opera and several chamber music pieces that were performed by professional ensembles in Sweden, Poland, and Germany. He is a founding member of the electroacoustic music performance trio "Sensorband." Since 1995 he is based in Tokyo, Japan where he collaborates closely with japanese avantgarde scene. He has extensively toured in Europe, Asia, North America, South America and Australia and his music has been performed at several festivals

 
Besides working as a composer of contemporary music he has been collaborating with several experimental groups and artists like: The Hafler Trio, Blixa Bargeld, Merzbow, Stelarc, John Duncan, Aube, Tetsuo Furudate, CCCC, KK Null, Antimatter, Francisco Lopez, Kasper T. Toeplitz, Peter Rehberg, Li Chin Sung and has worked on remixing artists and bands like Iannis Xenakis, Clock DVA, Phauss, Jazzkammer, Florian Hecker, TV Pow, Rechenzentrum, Fred Bigot, Fear of God, Nosei Sakata and The New Blockaders. 

He has as well written music for film, video, theatre and dance. His scores are published and distributed by STIM in Sweden and until today he has released more than 100 cds by labels all over the World. He is convinced that it is a responsibility of an artist in the present day to travel and work around the World in order to learn and understand different cultures and traditions and discover truth about ourselves and our planet. He also strongly believes that geographical, political and social exile is a necessary condition for true and honest creation. He is not interested in the traditional definition of music, in his opinion, all musical theory and systems as cultural concepts must be destroyed. In his latest work, his main concern is to realize drama with sound - electronic and acoustic walls with the architectures of ruins transcribed in the scores.

 
Sin:Ned
http://sin-ned.blogspot.com/
Sin:Ned, aka Wong Chung-fai, is an unorthodox sonic evangelist who practices improvisational mysticism. He is the co-founder of Re-Records (www.re-records.com) and No One pulse.

 
Composers Union of New Tunes
https://www.facebook.com/ComposersUnionOfNewTunes
Composers Union for New Tunes is a lethal free Improvisational duo from Hong Kong formed by Kevin Pan (guitars, vocals) and Callum MacKenzie (sax). Kevin used to play in bands like Heta Uma and Charisma. Callum is currently playing in a wide variety of different jazz groups in Hong Kong.

 
Meta Fog
http://soundcloud.com/meta-fog
http://vimeo.com/44259399
Meta Fog consists of Sascia Pellegrini (drums, percussion, electronics) and Eric Wong (guitar, electronics) whop attempt to do musical and art mashup by abusing, decompose and rebuilt in alternatives/other forms the audible elements the duo have experienced and fill them into their music, making use of electronics live, backtracks and heavy processing. The duo has already performed in many venues in Hong Kong and is establishing connections and agreements for future shows in mainland China, Singapore, Taiwan and Japan.
 
Italian contemporary musician Sascia Pellegrini is not only a music adventurer but also a landscaper: he traverses and ventures the borders of different media and genre; he sculpts soundscapes from computer, loops, voice percussion and/or any material on location. He is a classically trained percussionist pianist and composer and followed various international courses to deepen different aspects concerning composition and performing in classical contemporary music and live electronic interaction. He studied percussion, conducting and composition with S.Schick, S.Gualda, P.Eotvos at Ircam in France (http://www.ircam.fr/), percussion and electronic music with P.Tini, A.Nicoli in the Conservatory (http://wip.conservatoriopuccini.com/) and drums with C.Mayer at Cpm (http://www.centroprofessionemusica.it/) in Italy.His works include realizing soundtracks for video artist, performing in many different festival and venues in Italy, France, Germany, Japan, mainland China and Hong Kong, not to mention a variety of composing works for different kinds of ensembles from jazz to chamber music. His main composing interest lies in the inter-media interaction between different art forms.
 
Eric Wong first picked up the guitar at the age of 19, and started his interest in electronic music during the time in audio school few years after graduating from college. Formed the duo Meta Fog with Italian drummer / percussionist / electronic programmer Sascia Pellegrini in early 2012. Wong as well works on his solo projects under the name Error: Wrong in approaching of minimalism, glitch, and sound manipulation. Before forming Meta Fog, he was the live guitarist / electronics operator for the Hong Kong based extreme pop band No One Remains Virgin. He was invited to participated the cross-country compilation T(h)REE and the subsequent T(h)REE 1.5 along with other acts from Hong Kong, Macau, and Portugal. He also has collaborated with artists of different areas include modern dance, new media, live painting, etc. as well as commercial compositions for websites and short films.
 
 
Heroses
https://www.facebook.com/pages/Heroses/123402281048548
Heroses - Heroes and Roses. A spiritual, romantic, alternative band in this dried-out city.
 
Since the early spring of 2009, the members of Heroses have been struggling hard in expressing every tiny piece of feelings, thoughts and paradoxical daily life experiences with rhythms and sounds. 
 
The diversity of our music backgrounds never hinders us in staying in the same line; in fact, it inspires us to explore a wide range of elements. By no means do we limit our steps to merely a few “labels”or “stereotypes”. Instead, we seek out the other side of this fascinating music world.
 
For the current line up, apart from our two permanent members (Ring and Lina), we also love to work with friends and other musicians who share the same music interest with us.
 
We embrace music as well as life. Heroses: Heroes and Roses.

 
Everdark
http://www.facebook.com/everdarkss
A dark tempo duo formed by Andrew Leung (Lv. 0 Producer, DJ & Founder Of Strategic Sounds) and Adrian Leung (Bassist & social photographer).


After Doom
https://soundcloud.com/after-doom-hk
Originally intended to be a freeform extreme grindcore noise doom metal unit, After Doom was born after the end of the world in Hong Kong, and turned out to be nothing like it is expected to be.
 
The group consisted of an impossible mix of members. TO is the drummer of the metal band Loiter; Andrew and Adrian is also an electronic dark tempo duo Everdark with musical influence from minimal techno, dub step, hardcore and post-rock; Dennis Wong aka Wong Chung-fai is a noise improviser and experimental mystics working under the name Sin:Ned.
 
The aftermath: a freeform noise grind drone unit that goes all the way to the extremes, way beyond noise and insanity....
 
 

Wednesday, December 26, 2012

任何聲音都有被聆聽的價值 ——黃仲輝專訪

Interview with Sin:Ned
任何聲音都有被聆聽的價值 ——黃仲輝專訪

原文刊登于《通俗歌曲》摇滚版2012年05期
http://www.xmusicmag.com/zz_info.asp?id=17

http://www.yishushijie.com/sesquiton/article/?type=detail&id=157



Photo by Adrian Leung



采访及文:陈郁




“Sin:Ned這個名字最初只是一個隨意選用的假面,把自己的洋名Dennis倒轉來寫,中間切開再加一個‘:’,但後來又發覺(特別是開始聲音創作後),這個名字原來正不經意地暗示著自己的行事方針: 誤讀、逆行、破壞、解體、重組、歪曲……”

Sin:Ned,即黃仲輝,樂評人、實驗電子及聲音創作人,獨立廠牌運營者。黃仲輝最早出現於香港另類音樂雜誌《音樂殖民地》(MCB),以實驗性文體及偏險的理論化角度進行音樂論述,把所謂樂評帶進自身神祕詭異的理論深淵,影響了眾多前衛、實驗音樂樂迷和樂手;其後沉迷於以計算機軟件及各種非正統發聲工具發聲,一度是網上音樂共同體Tapegerm成員,2006年,與巢健威組成No One Pulse,同時也是筆記本電腦三人組iii的成員,於Lona Records及小聲唱片發表多張專輯。2009年,黃仲輝與巢健威創建了獨立廠牌“Re-Records”,致力於概念性的和實驗性的田野录音,以及實驗音樂,同時,他也是香港實驗音樂與內地同行進行廣泛的合作、交流的推動者。





從一開始我的東西就是對傳統音樂評論的一種反動。所有不該在音樂評論中出現的東西,都成為了我寫作的主要元素。對我來說,音樂評論是我嘗試以文字超越音樂的“二次創作”——樂評人黃仲輝

陈郁: 仲輝你好,想先從你的“樂評人”這重身份談起,當初是在《音樂殖民地》雜誌上看到你的音樂評論文章,促使你開始做音樂評論的動因是什麼?

黃仲輝: 其實在《音樂殖民地》之前已開始寫音樂評論,不過有一段時間因要離港求學而停了。到回港後看到《音樂殖民地》,又再挑起寫音樂評論的念頭。
最初想寫音樂評論,最主要是出於一種同病相憐的感覺。有很多自己喜歡的音樂,他們的外表不像主流音樂般容易討人歡心,但卻很值得聆聽。我們的社會把所有非主流的東西都視為劣等或置諸不理,但我卻認為任何聲音都有被聆聽的價值,沒有聲音應該被理所當然地忽視。我甚至認為,我們最寶貴的東西,往往都埋藏在哪些被我們所忽視的東西裡面。因此很想為這些被遺忘的一群發聲。 就算是所謂獨立音樂、另類音樂,其實也不過是一種小眾的流行音樂,骨子裡,只是另一種形式明星制度。另外,對我而言,寫音樂評論是一種分享的過程,而這分享的過程,是對音樂及自己的一種完成。聲音須要被聆聽以達到完成,經驗須透過分享而得到新的意義。這種被聆聽及分享的過程因無法在現實生活中實現 (當時身邊近乎沒有聽另類音樂的朋友),因此只能於文字中實現。

陈郁: 之前有過其他形式的寫作實踐嗎?比如隨筆,小說或者詩歌?

黃仲輝: 有,但都是沒有被發表的個人習作。真正的實踐都發生於音樂評論之中。

陈郁:最初,吸引你的音樂風格有那些?

黃仲輝:最初是八十年代的英國電子流行曲(如Depeche Mode、Yazoo……)、新浪漫音樂(如Duran Duran、Ultravox、Classix Nouveaux…)及Post-Punk(如Joy Division、Bauhaus、Christian Death),及後再愛上重金屬搖滾和藝術搖滾(如Marillion、Eloy…)。之後又鐘情各冷門日本音樂(如戶川純、Novela、Auto-Mod、EP-4…)。 到《音樂殖民地》年代,所聽的音樂更龐雜,包括Gothic Rock、Dark Wave、Kraut Rock、Post-Rock、Brit-Pop、各種類的前衛音樂、實驗音樂、電子音樂及大量的日本迷幻噪音。這個時期,基本上是把聽音樂當作一門學科以聆聽與書寫為工具來研究。遇上不喜歡的音樂,也會強迫自己最少把專輯聽兩、三遍,因為相信不喜歡只因未找到適當的聆聽角度、心態。

陈郁: 所寫的音樂評論也都是針對這些風格的作品嗎?

黃仲輝: 所寫的音樂評論也是同樣的龐雜。但最主要的方針還是人棄我取,沒有人寫的就我來寫。寫得較多的是歐洲的Dark Wave體系、Post-Rock、實驗電音及日本迷幻噪音。

陈郁: 因為特殊的文化政策和環境,大陸搖滾樂隊和樂迷學習,了解西方搖滾樂最初是通過“打口磁帶”這個途徑,因而缺乏系統性和完整性,香港的情況呢,當時對資訊的接受是同西方完全同步嗎?

黃仲輝: 相對上是比較貼近西方的步伐,但主要還是頗依賴雜誌等媒體的介紹。

陈郁: 我最早是從大陸的一本叫《中國百老匯》的雜誌上轉載的袁智聰的文章,了解到香港獨立音樂的發展狀況,當時是1990年代,給我的感覺是當時香港的獨立音樂發展很蓬勃, Huh?! 、梁爵基、AMK基本上和Blur,Oasis這一批British Pop樂隊是同期存在的,並且“獨立音樂”、“自主音樂”這些概念也是從這裡灌輸過來的,你當時關注於香港的獨立音樂領域嗎?

黃仲輝: 當時有很密切留意香港的本土獨立音樂發展,特別是一些英式獨立搖滾以外的本土音樂,例如包括盒子及Dancing Stone的廠牌/共同體香港部落,電子樂團Slow Tech Riddim、VSOP等。

陈郁: 當時《音樂殖民地》這本雜誌所關注的,還有香港大部份樂隊的風格,都給人很明顯的“英式”的印象,這和香港當時特殊的殖民地背景關係大嗎?這種背景對獨立音樂所產生的影響除了音樂風格的選擇還存在於其它方面嗎?

黃仲輝: 對我而言,英式獨立搖滾只是一種小眾的流行音樂,而這“英式”的發展是否和香港當時的殖民地背景有關就不得而知,但在獨立音樂的發展方面,英國確是很有代表性,再加上Brit-Pop大行其道,各本土樂團紛紛以英國獨立音樂作借鏡亦不足為奇。 其實在主流文化方面,包括音樂,香港仍然很受美國及日本影響,英式獨立音樂很可能因此成為了抗衡主流文化的藍本。

陈郁: 我個人的看法,感覺香港獨立音樂的發展似乎經歷過1990年代的繁榮後,漸漸後繼乏力,這同香港的社會環境有沒有關係?香港應該比大陸地區有很高的自由度,但似乎這對香港的獨立音樂、實驗音樂發展的缺乏促進效果,“黑鳥”這樣的樂隊和她們所代表的抗議傳統似乎缺乏呼應,當然這是我個人的看法,想聽下你的見解。

黃仲輝: 香港獨立音樂在於只有零星的小型爆發而缺乏持續性的發展。香港是個太過商业主導的社會,在沒有商业成功的支援下而能夠持續發展是近乎不可能的事。好的樂團如果得到了商业成功很快便被主流同化,但若得不到主流認同的話又找不到生存空間。這是一個很矛盾的情況。至於創作方面,我認為香港的自由與資訊發達,對於獨立音樂、實驗音樂之發展,確實是一個包袱。香港的樂團都太迂腐於國外的標準,心中已有一套優劣的標準,沒有創新與破格的膽量、必要。另外,因為太自由,反而沒有反動的推進力。反觀國內,規範與缺乏自由,反而成為了在藝術上追求自由的原動力。

陈郁: 目前,你還寫音樂評論文章嗎?你協作的關注點有沒有發生轉移,比如從獨立搖滾到實驗音樂、聲音藝術過渡?在《音樂殖民地》停刊之後,香港還有其她的獨立雜誌關注和推廣獨立音樂嗎?

黃仲輝: 現在己沒有寫音樂評論文章,因為香港己沒有真正有意思的獨立音樂雜誌。
其實從一開始,我的關注點並不只在於獨立搖滾,反而是獨立搖滾以外更偏鋒的東西。現在不同的,只在於更全情投入於實驗音樂的範疇。

陈郁: 你的評論風格和理論化角度都很特別,在寫作上有沒有受到過他人的影響?

黃仲輝: 從前是讀Sam Jor、陳守樸、明明、Alan Chan等前輩的音樂評論文章長大的,因此在音樂的喜好上,很受他們的影響。在寫作上,明明那個人化的感性筆觸,及Alan Chan那長篇大論的理論化論述,對我的寫作風格有一定程度的影響。袁智聰那種將音樂評論專业化的風格,亦影響了我把聽音樂當作一門學科以聆聽與書寫為工具來研究。而當中那些理論化的角度,很直接是受哲學、量子力學、宗教、神祕主義學說,及C.G Jung、James Hillman等心理學大師的影響。

陈郁: 從你的觀點出發,什麼樣的評論才是好的?或者說這樣的評論裡面應該包含著什麼樣的要素或者情感?

黃仲輝: 其實從一開始我就沒有把我寫的東西當作音樂評論來看待。從一開始我的東西就是對傳統音樂評論的一種反動。所有不該在音樂評論中出現的東西,都成為了我寫作的主要元素。對我來說,音樂評論是我嘗試以文字超越音樂的“二次創作”。

陈郁:“豆瓣”中有一個關於“current 93”樂隊的小組,據說創建的原因就是因為你寫的《愛與死的邊緣current 93》 ,對於你來說,文字的評論或者批評對於音樂的意義何在?

黃仲輝: 個人而言,音樂評論並不是一種專业評審,給音樂打一個分數,然後讀者依這個判斷去認定什麼是好音樂甚麼是劣音樂。音樂評論,只是作為對於某種音樂的其中一種個人看法,而希望從分享自己看法的過程中,誘發及協助讀者發掘自己的看法、觀點及聆聽經驗。文字對於音樂,是一種分享、完成,甚至再創作的過程。《愛與死的邊緣》是很典型“Sin:Ned式”的音樂評論文字。沒有評論音樂的好壞,所有對於音樂的描述,都是出於一種完全個人化的角度。對我來説,最好的音樂評論,是能夠出於音樂,誘發共鳴、想象,継而超乎音樂,並獨立存在於音樂以外。





現在我是主張一種反技術、反傳統,並且依賴直覺的,對於純粹聲音、噪音的即興演奏方針——實驗聲音創作人黃仲輝

陈郁: 目前,你的另一重身份是實驗電子及聲音藝術創作人,是從什麼時間開始創作的?創作上收過那些影響?

黃仲輝: 很早便開始所謂創作,大概是與周沛 (Ronez)同期開始吧。最初只是用電腦軟件的一些胡亂試驗。當時受到的影響並非來自其她樂手,而是電腦軟件。例如AudioMulch,一直啟發著我對聲音創作的憧憬。因為我懂樂理也不懂彈奏任何樂器,但卻對製造聲音情有獨鐘,電腦製樂軟件為我打開了非傳統發聲的大門。自此,我便全力鑽研各種非傳統發聲的可能性。

陈郁: 2002年,為紀念音樂殖民地MCB發行200期的合輯中的《Junkyard Alchemist》和我後來在小聲唱片發行的《小聲過年》中聽到的你的作品相比,前者還有一些音樂的痕蹟,而後者已經是細膩的聲音作品,你的創作觀有沒有經歷過轉變?

黃仲輝: 早期是一些很拼貼式的創作,將自己喜歡的元素像剪貼般放在一起。目標與方向很不清晰,沒有太強的風格可言。主要是一些較電子化的創作。《Junkyard Alchemist》是這個時期的作品。這是一個很長的探索過程。及後開始套用類近灰野敬二的手法,將抽象的聲音、噪音及即興演奏以反傳統及逆向性的方法呈現於各種樂器及非樂器的物件、工具上。

陈郁: 能介紹下你個人的創作嗎?比如你的觀點、所使用的器材等等。

黃仲輝: 現在我是主張一種反技術、反傳統,並且依賴直覺的,對於純粹聲音、噪音的即興演奏方針。所使用的器材很廣泛,由筆記本到各類形硬件電子樂器以至一些手工造的非量產型樂器、非樂器物件。近年開始電吉他及電二胡的即興演奏。所追求的,是一種高隨機性的,關乎噪音、誤讀、錯誤的,透過即興演奏的對於聲音的純粹呈現。過程中,我既非聲音的創造也非聲音的擁有人。我只是一個透過自己身體及物件來呈現聲音的靈媒。

陈郁: 能請你介紹下你組建參與的Tapegerm, No One Pulse和iii這三個組合的情況嗎?

黃仲輝: Tapegerm是早期參與的一個網上創作共同體,成員來自世界各地,主要透過網路分享聲音的半集體創作。No One Pulse是我與KWC(巢健威)組成的一個電聲即興組合。No One Pulse的方針是不用筆記本及大量使用非正統樂器、物件進行即興演奏。結果是一種抽象的微噪音。 iii則是一個以盜聲、採樣、拼貼來惡搞各種音體材為主的三人組,而專輯及作品都不作售賣,只會以免費派發或下載的形式發表。

陈郁: 在大陸,實驗音樂是一個統稱,即興音樂和聲音藝術這些不同的門類都會被涵蓋在其中,在香港,是什麼樣的一種情況,有清晰地門類劃分和脈絡嗎?

黃仲輝: 香港也是類似的情況,不過情況更加含糊。

陈郁: 在發達國家,實驗音樂往往會得到政府和基金會的資助,香港的實驗音樂發展是一種什麼樣的狀態,政府機搆會介入其中嗎?

黃仲輝: 真正的實驗音樂只在完全獨立的狀態存活,政府機搆的介入极為有限。

陈郁: 我知道你有正職,似乎Alok也有,我認識的Rolf也有,都是业餘時間從事創作和廠牌運營,這種业餘文化和大陸的情況差別很大,這是不是需要你付出更多的精力?

黃仲輝: 情況的確很吃力,但好處在於我們不用為乞求金錢上的支援而攺變自己的創作方針。

陈郁:我對於香港的實驗音樂,最初的了解是來自於李勁松(Dickson Dee),後來喜歡上Xper. Xr.的時候,發現他已經移居倫敦了,很長一段時間內,對香港實驗音樂的了解處於一種隔絕的狀態,能請你介紹下香港實驗音樂發展的現狀和有代表性的創作者嗎?

黃仲輝: 香港非學院派實驗音樂的發展十份疲弱。其間有不少零星的活動此起彼落,但都發展不出一種持續性。對內對外也一直欠缺關注。Alok是其中最活躍及具耐力的實驗電音創作人,而他的Lona Records廠牌亦是香港實驗音樂一個重要的出版基地;造噪音的近年有以Orgasm Denial名義創作的Rolf;Nerve是少有學院派出身的跨界別創作人;還有一大堆自稱聲音藝術家及新媒體藝術家的職业藝術家。

陈郁: 近期,哪次演出給你留下了深刻印象?

黃仲輝: 近期印象較深刻是與俄羅斯樂團ASTMA的Alxei Borisov和Olga Nosova於Hidden Agenda的演出,因為這是自己首次與鼓手作即興演奏。





田野录音是一種個人的冥想過程。而這個過程,同時具有教育、社會及歷史意義——獨立廠牌運營者黃仲輝

陈郁: 創立“Re-Records”這個廠牌的初衷是什麼?到目前,運營狀況你是否滿意?

黃仲輝: 創立Re-Records主要希望自己掌管整個製作、出版過程。現在唯一問題是出版步伐太慢。

陈郁: 田野录音是你關注的重點嗎?

黃仲輝: 田野录音是我的關註重點之一,亦是成立Re-Records的其中一個原因,希望透Re-Records出版一些以田野录音為主的專輯。

陈郁: 如何看待“田野录音”?

黃仲輝: 對我來説,田野录音是一種個人的冥想過程。而這個過程,同時具有教育、社會及歷史意義。透過田野录音,我們得以重返聆聽及聲音的國度。我相信聲音是我們存在的終極意義,而聆聽則是通往這終極意義的大門。

陈郁:“Re-Records”的出版物有那些?對於發行其作品的音樂人,秉持什麼樣的選擇標準?

黃仲輝: 至現時為止,共出版過8張專輯:
No One Pulse –《E》
Sin:Ned –《Dark Side of the Chord VII》
Yan Jun –《Lamma Island Diary》
Anson Mak –《Going Home (or Not)》
KWC –《Music for Introverts》
shotahirama –《Unhappy American Lost in Tokyo》
Yan Jun 。Wong Chung-fai –《M》
iii –《IUSEDTOHANDAROUNDINNEVERLANDWHENIWASAKID》
選擇上是很個人的喜好,但主要是實驗或田野录音的創作。

陈郁: 你作為香港實驗音樂的實踐者和推動者,這麼多年來想必感觸頗深,能不能簡要談下你現在的方針。

黃仲輝: 現在的方針是:不去想,只去做,也不為錢而做。

陈郁: 和大陸地區的聯係日益增多,有沒有比較過兩地實驗音樂圈的異同點?

黃仲輝: 我只可以説香港沒有實驗音樂圈。

陈郁: 哪些大陸的音樂創作者是你欣賞的?

黃仲輝: 顏峻、李劍鴻、陸正、周沛、Torturing Nurse… …

陈郁: 感謝接受採訪,請問近期還有什麼計劃?

黃仲輝: 正不斷進行的Noise to Signal演出系列、 Zbigniew Karkowski的雙DVD計劃、顏峻的3CD計劃……





黃仲輝出版唱片年表
個人專輯
Wong Chung-fai –《ISW》 (GIN, 2009)
Sin:Ned –《Dark Side of the Chord VII》(Re-Records, 2009)
Sin:Ned -《60 Seconds: A Schizophrenic Manual for Eternity》 (Lona Records, 2006)
Sin:Ned -《Uroborus: A Study On No-Input Device》 (Lona Records, 2006)

合輯
Various Artists –《An Anthology of Chinese Electronic Music》(Sub Rosa, 2009)
Various Artists –《Red》 (Lona Records, 2009)
Various Artists –《Chainsia》(Niko, 2007)
Various Artists –《Chinese New Year 2007》(Little Sound, 2007)
Alok –《29 Minutes from the End》(Lona Records, 2005)
Various Artists –《MCB 200》 (MCB/aUTOBaHN, 2002)
Various Artists –《Mondisk》(Monitor Records, 2002)
Various Artists –《Music for Your Beautiful Boy》 (MCB, 2001)

No One Pulse的專輯
No One Pulse –《E》 (Re-Records, 2009)
No One Pulse –《LINGK》(Lona Records, 2008)
No One Pulse –《Pathic》(Little Sound, 2007)
No One Pulse –《Tele》(Lona Records, 2007)

合作專輯
Yan Jun / Wong Chung-fai –《M》 (Re-Records, 2011)
Sin:Ned / Minoo –《Chop Vol 3: Improvision》 (We Play! Records, 2008)
Sin:Ned / Nerve –《Ghost Feeding Vessel》 (Lona Records, 2008)


原文刊登于《通俗歌曲》摇滚版2012年05期
http://www.xmusicmag.com/zz_info.asp?id=17

Tuesday, December 18, 2012

Miji Festival (Ears for Improvisation, Experimental Music and Noise)


This festival was developed from a small tour of FEN (FarEast Network). It was supposed to be issue no.11 of Miji Concert organized by Sub Jam. Its aim is connect and react with sound experiments in different places through the medium of improvised music.

Since FEN’s establishing in Marseille, 2008, these four musicians from four different Asian countries were trying to organize concert in their own cities and anywhere around the world. They are trying to meet and play with each other, and with other musicians. After 6 months preparing, follows changing, it developed to a concentrated festival.

Each concert is an event. It was brewed from people’s will and reality. Sound is the only materials of building the world during playing and listening. And human is wild animal with ability of thinking.
Again, with effort of volunteers and support of friends, the stage is born.
Miji, one of its meanings is, Intense.

information: www.subjam.org

concert, film screen, lecture and publication
January 2-11, Beijing, Shanghai, Hangzhou, Xiamen, Fuzhou

artists: Otomo Yoshihide (JP), Ryu Hankil(KR), Yuen Cheewai (SG/TH), Yan Jun (CN), FEN (JP/KR/SG/TH/CN), Chikara Iwai (JP, film maker), Kai Fagaschinski (DE), Sin:Ned (HK), Li Jiahong (CN), Feng Hao (CN), Li Zenghui (CN), Mafeisan (CN), Liu Xinyu (CN), Jun-Y Ciao (CN), Mai Mai (CN), Torturing Nurse (CN), Tao Yi (CN), Xu Cheng (CN), Free Music Collective of Shanghai (CN), Yin Yi (CN), Wang Changcun (CN), Liu Yanan (CN, dancer), G is X is Y (FR/CN), VAVABOND (CN), Dongfeng Impro Committee (CN), Martijn Tellinga (NL, tbc), Jiang Yuhui (CN, scholar), Adel Wang Jing (CN, scholar)…

Concert Program (see www.subjam.org for update):

Beijing
Venue: 2Kolegas Bar (www.2kolegas.com)
Ticket: 100rmb/day, 160rmb/two days; online pre book 80rmb/day; more online book package: www.musikid.com; info: subjam@gmail.com

January 3rd: pm 7:00 door open, pm 8:00 concert start
1, Li Zenghui + Yan Jun + Sin:Ned; 2, VAVABOND + Yuen Cheewai + Kai Fagaschinski; 3, Liu Xinyu + Ryu Hankil; (30 minutes break) 4, Otomo Yoshihide + Li Jianhong; 5, Dongfeng Impro Committee

January 4th: pm 7:00 door open, pm 8:00 concert start
1, Ryu Hankil; 2, Yuen Cheewai; 3,Yan Jun; (30 minutes break) 4, Kai Fagaschinski + Feng Hao; 5, FEN; 6, Mafeisan + Sin:Ned

Shanghai
Venue: Rockbund Art Museum (1FL Associate Mission Building, Yuanmingyuan Road 169; www.rockbundartmuseum.org)
Ticket: 50rmb/day; pre book and member price see venue announcement; info@rockbundartmuseum.org; audioripple@gmail.com

January 5th: pm 6:30 door open, pm 7:30 concert start
1, Yin Yi +Wang Changcun; 2, Ryu Hankil + JunY Ciao; 3, MAI mai + G is X is Y; (20 minutes break) 4, Kai Fagaschinski +Yan Jun + Liu Yanan; 5, Otomo Yoshihide + Xu Cheng + Sin:Ned; 6, Free Music Collective of Shanghai

Januray 6th: pm 6:30 door open, pm 7:30 concert start
1, Kai Fagaschinski + MAI mai; 2, Yuen Cheewai + Tao Yi; 3, FEN; (20 minutes break) 4, Otomo Yoshihide; 5,Torturing Nurse + Sin:Ned

Hanzhou (“Deleuze and Sound: Sound Art Lecture and Concert”)
Venue: School of Media and International Culture of Zhejiang University (426# main building, Xixi Campus, Tianmushan Lu 34, Xihu District)
Ticket: free; book online: www.musikid.com; info: adel.wang@gmail.com
January 8th: pm 7:30
Ryu Hankil, Sin:Ned, Yan Jun, Xu Cheng, MAI mai

Xiamen
Venue: Ji He Art (Long Hu Shang Lu 2697, Siming; tel: 2510177)
Ticket: 60rmb; book online: www.musikid.com; info: 139603310@qq.com
January 10th: pm 9:00
Ryu Hankil, Sin:Ned, Yan Jun, Martijn Tellinga (TBC)

Fuzhou
Venue: Xiu Space (Guanglufang 79, Sanfang Qixiang)
Ticket: 60 rmb; book online: www.musikid.com; info: 139603310@qq.com
January 11th: pm 9:00
Ryu Hankil, Sin:Ned, Yan Jun, Martijn Tellinga (TBC)

Film Program (Chikara Iwai’s “Kikoe”):

Beijing
Venue: UCCA Contemporary Art Center
Ticket: 15rmb, student 10rmb (for member and pre-book pls contact: info@ucca.org.cn)
January 2nd: pm 7:00

Shanghai
Venue: Rockbund Art Museum (1FL Associate Mission Building, Yuanmingyuan Road 169; www.rockbundartmuseum.org)
Ticket: TBC; info@rockbundartmuseum.org
January 6th: am 10:30

Xiamen
Venue: Ji He Art (Long Hu Shang Lu 2697, Siming; tel: 2510177)
Ticket: free
January 10th: pm 3:00

Fuzhou
Venue: (Guanglufang 79, Sanfang Qixiang)
Ticket: included in concert ticket
January 11th: pm 7:00

Lecture Program:

Shanghai
Venue: Rockbund Art Museum (1FL Associate Mission Building, Yuanmingyuan Road 169; www.rockbundartmuseum.org)
Ticket: free; info@rockbundartmuseum.org
January 6th: noon 12:00
Kai Fagaschinski: Improvised Music and Berlin

Hangzhou (“Deleuze and Sound: Sound Art Lecture and Concert”)
Venue: School of Media and International Culture of Zhejiang University (426# main building, Xixi Campus, Tianmushan Lu 34, Xihu District)
Ticket: free; book online: www.musikid.com; info: adel.wang@gmail.com
January 8th: pm 3:00
Jiang Yuhui, Adel Wang Jing, Sin:Ned and Yan Jun: Deleuze and Sound

Xiamen
Venue: Ji He Art (Long Hu Shang Lu 2697, Siming; tel: 2510177)
Ticket: free
January 10th: pm 4:30
Yan Jun and Sin:Ned: Music for Listening

Organizer: Sub Jam, BM Space, Shanghai Rockbund Art Museum
Co-organizer: Musikid, Pangbianr, 2Kolegas, Ullens Center for Contemporary Art, School of Media and International Culture of Zhejiang University, Be Brand
Mibile Shop: Sugar Jar
Support: Goethe Institute China
Thanks: RockBund, Sennheiser

Sunday, November 25, 2012

Experimental Music Concert presented by Kung Music Workshop

29 /11 ( Thu) 8:30pm
Hidden Agenda

Line up:

Meta Fog


Wilmer Ongsitco Chan

Nelson+Les+Shadow+Kung

Sin:Ned

Mike Yuen / Noel Li

William Lane @ HK New Music Ensemble

$120 (ticket at the door)

Friday, November 09, 2012

Exhibition: Soundtracking#JohnCage4'33''


John Cage is one of the most influential figures in contemporary art history. Soundtracking #John Cage 4’33” takes the chance to celebrate his centennial by re-thinking his most famous and controversial composition 4’33” in the current collaborative digital era.

Fourteen talents whose expertise lies in different fields are invited to reinvent a new 4’33 through collaborating with each other through the Media Wiki platform. The Media Wiki project is a constant expanding, evolving and open ended project where the spirit of sharing and collaborating are emphasized. With the actual engagement of the artists and the general public, new generated versions of 4’33” will be exhibited and performed together as part of the Wikitopia Festival.

The Exhibition Opening will take place on the 1st November in K11 at 6pm, and welcome all to come and support!

Venue:
Tsim Sha Tsui K11 Art Mall B2

Exhibition Period:
1st November-11th November
(12 Noon-10 pm Everyday)
Free Admission

Soundtracking#JohnCage4'33'' participating Artists:

朱力行 Henry Chu
許敖山 Steve Hui (Nerve)
李天倫 Otto Li
羅家恩 Aenon Loo
鮑藹倫 Ellen Pau
曾翠珊 Jessey Tsang
Eunice Martins
SuperTimes (Marco de Mutiis, Philip Kretschmann & 黃智銓 Kenny Wong)
王志勇 Chiyung Wong
黃仲輝 Dennis Wong
葉浩恩 Paul Yip
袁智聰 Yuen Chi-chung

http://videotage.org.hk/project/soundtrackingjohncage433/

Tuesday, October 30, 2012

NOISE TO SIGNAL 0.08: LOST IN TRANSMISSION



Noise is noise
and no love lost
in the transmission...

Performers:
Da Xiao (China)
Naturalismo (Italy)
Sherman (Hong Kong)
Sin:Ned (Hong Kong)

Opening guest: Everdark (Hong Kong)

Date: Nov-3, 2012
Start: 8:30 PM

Venue: Strategic Sounds
Workshop E, 10/F, High Win Factory building, 47 Hoi Yuen Road, Kwun Tong, Kowloon, Hong Kong
觀塘開源道47號凱源工業大廈10樓E室

Admission: HK$120 (at door only)

Presented by Re-Records & Strategic Sounds

For bookings and enquiries, please contact:
rerecordshk (at) gmail.com

Da Xiao: http://site.douban.com/hxang/
Naturalismo: http://site.douban.com/naturalismo/
Sherman: http://www.myspace.com/shermanho
Sin:Ned: http://sin-ned.blogspot.hk/
 

Sunday, October 28, 2012

ChoP Festival – Polish Experimental Music in China (HK Stop)


18.11.2012 | Sunday
Strategic Sounds | Hong Kong | Start: 5:00 PM

Workshop E, 10/F, High Win Factory building, 47 Hoi Yuen Road, Kwun Tong, Kowloon, Hong Kong (觀塘開源道47號凱源工業大廈10樓E室)

/ PL + CN
* nmls + alok
* grzegorz bojanek + zen lu
* kim_nasung + sin:ned + dickson dee
* ChoP orchestra

Admission: HK$150 (At door only)

Throughout the centuries, Poland and China have been well known for giving the world great artists and enriching all of us with their unique cultural life. Nevertheless, interactions between artists from Europe and Asia have been rather limited and the possibilities of creating something new together, non-existent.

In 2006, Grzegorz Bojanek [PL] and Zen Lu [CN] started a humble project that was later called the ChoP Project, standing for “China – Poland”. It has become an ideal platform for artists from both countries to meet, brainstorm new ideas, perform concerts in China and Europe, and record albums characterised by a new approach to music in the contemporary world.

After 6 years, the time has come to present the accomplishments of the ChoP Project and summarise the successful transnational collaboration of over 20 artists from Poland and China. With the support of the Polish Ministry of Culture and National Heritage and the Adam Mickiewicz Institute, the Art and Technology Foundation [PL] in collaboration with Mooka Space [CN] decided to organise the ChoP Festival in Shenzhen and Hong Kong.

The artists involved in the activities of the ChoP Project met for several days prior to the festival in order to create new compositions that will be performed live in Shenzhen and later in Hong Kong. Additionally, Polish artists will perform their own compositions inspired by both Polish and Chinese cultures. Apart from the concerts, the audience of the festival will have a chance to attend lectures and workshops and participate in interactive installations supported by the Art and Technology Foundation.

About the ChoP Project

The ChoP Project is a unique transnational initiative that includes sound and visual artists from China and Poland. It was created in 2006 out of a passion for contemporary music by two independent artists, Zen Lu [CN] and Grzegorz Bojanek [PL], and it has provided an opportunity for many Polish and Chinese artists to interact and collaborate with each other across two different continents. In the beginning, only small concerts were being organised. In 2009, artists from Poland together with their Chinese partners, took part in a two week Chinese tour visiting such cities as Shenzhen, Foshan, Changsha, Wuhan, Guangzhou and Hong Kong. The following year, the Chinese artists visited Europe and performed in Poland, Czech Republic, and Germany. In 2010, the artists of the ChoP Project were invited by the British independent film director Isaac Julien to compose part of the soundtrack for his 9-screen video installation “Ten Thousand Waves,” starring Maggie Cheung. Later, Zen Lu and Grzegorz Bojanek were invited by Isaac Julien to join him during the 8th Shanghai Biennale and perform live improvised music for his one-screen version of the installation called “Better Life” that had a vast support from the British Council. In October 2011, several new artists from Poland went to China and visited Shanghai, Nanjing, Beijing and Wuhan during a two week tour. They performed a number of concerts, including a live-act at the Shanghai Electronic Music Week.

The ChoP festival, which is taking place in Shenzhen and Hong Kong, reflects the six years of fruitful collaboration between the Polish and Chinese artists. Its artistic accomplishments have been recognized by the Art and Technology Foundation and the Polish Ministry of Culture and National Heritage, which provided the vital financial support to make the festival a reality.

Since 2006, many artists have been invited to join the ChoP project. They recorded albums and performed live-acts both in China and Poland. The artists involved in the project include: Grzegorz Bojanek, Zen Lu, Dickson Dee, RND, Minoo, Sin:Ned, Nejmano, KLC_NIR, Krzysztof Orluk, Bai Tian, Kim_Nasung, Piotr Michałowski, Er Dao, VU, Gold Plated Face, B6, Nini, jfi, and Krzysztof Cybulski…

Releases:
ChoP vol. 1 :: Grzegorz Bojanek & Zen Lu – “over a foul line / simple questions”
ChoP vol. 2 :: RND & Dickson Dee – “8 Rooms”
ChoP vol. 3 :: Sin:Ned & Minoo – “Improvision”
ChoP vol. 4 :: KLC_NIR & Nejmano – “SounDual”
ChoP vol. 5 :: Krzysztof Orluk & Bai Tian – “Structure Of”
ChoP vol. 1 :: Grzegorz Bojanek & Zen Lu – “June” – live

ChoP has been financially and logistically supported by:
• The Ministry of Culture and National Heritage, Poland
• Adam Mickiewicz Institute, Poland
• British Council, United Kingdom
• Art and Technology Foundation (Fundacja Sztuka i Technologia), Poland
• Zachęta National Gallery of Art (Zachęta Narodowa Galeria Sztuki), Warsaw, Poland
• Solvay Centre of the Contemporary Art (Centrum Sztuki Współczesnej Solvay), Kraków, Poland
• Warsaw Electronic Festival, Poland
• Management of Isaac Julien, United Kingdom
• Gao Shiming, Curator, China
• Jarosław Grzesica, Curator, Poland

Wednesday, October 17, 2012

SIN:NED ON LJ PLUS (ISSUE 16)

 
LJ Plus (issue 16) on iPad / Google Play
Sound Architect 聲音藝術家Sin:Ned

近年來,大家都愛說保育,有人拼了老命,不遷不拆,有些人則選擇用影像記錄下來,讓記憶埋藏在腦海裏。景物可以記錄?那麼聲音,又有沒有人記錄下來呢?
實驗音樂及聲音藝術創作人Sin:Ned(黃仲輝),自少對聲音特別敏感,他覺得對一個地方的回憶,影像、味道、人情都可以記起,唯獨是聲音卻在不知不覺間消失,於是為了尋找失落的聲音,他拿着錄音機四出記錄,在香港鬧市中,不同國籍、種族聲音的複雜性,原來細心聆聽,這個城市是那麼立體。從評論實驗音樂到自己製作,由電腦軟件到追求非傳統樂器的演奏,每一次的演出都是即興,既反傳統也達到解構的目的,近年他喜愛走到街頭進行「實驗」,將樂器發出的噪音和環境聲音結合起來,個人跟環境的互動,在街頭上演一場聲音的裝置藝術。請留意LJ Plus Issue 16。

App Store: http://itunes.apple.com/hk/app/lj-plus/id429888177?mt=8&ls=1
Google Play: https://play.google.com/store/apps/details?id=air.com.hkej.LJplus

Tuesday, October 16, 2012

WIKITOPIA - Soundtracking# John Cage 4’33”



WIKITOPIA - Soundtracking# John Cage 4’33”

Date: 21/10/2012 (日 sun) 8pm
Venue: Videotage
Unit 13, Cattle Depot Artist Village,
...
63 Ma Tau Kok Road, To Kwa Wan, Hong Kong
香港土瓜灣馬頭角道63號牛棚藝術村13號錄映太奇


John Cage是當代藝術史上其中一位最具代表性的大師。為紀念其出生一百週年,Soundtracking # John Cage以今日數碼互動時代的角度重新思考他最為人認識及最具爭議性的作品4’33”。十一位來自不同領域的藝術家,以彼此不同的知識與經驗,在講求分享和合作的Media Wiki平台(http://soundtrackingjohncage433.com/mediawiki/index.php?title=Main_Page)互相沖激,共同重新創造新版本的4’33”。實驗成果將會以展覽及表演結合成參與集體創作。當晚將由Nerve, Dennis Wong 及 Paul Yip 作互動聲域演出。

John Cage is one of the most influential figures in contemporary art history. Soundtracking#John Cage 4’33” takes the chance to celebrate the centennial of his birth by re-thinking his most famous and controversial composition 4’33” in the contemporary culture of collaboration in the digital era.

Eleven talents whose expertise lies in different fields are invited. Each of them re-invents a new 4’33” through collaborating with the others with different knowledge, skills or experiences on a Media Wiki platform (http://soundtrackingjohncage433.com/mediawiki/index.php?title=Main_Page), where sharing and collaboration are emphasized. With the actual engagement of the artists and the general public, new versions 4’33” are generated, and would be exhibited and /or performed together as part of the Festival. Nerve, Dennis Wong and Paul Yip will be collaborated for a sound performance.


參與Soundtracking#John Cage 4’33”的藝術家/Artists Participating Soundtracking#John Cage 4'33:

朱力行/Henry Chu
李天倫/Otto Li
羅家恩/Aenon Loo
Eunice Martins
鮑藹倫/Ellen Pau
曾翠珊/Jessey Tsang
王志勇/Chi-Yung Wong
黃仲輝/Dennis Wong
葉浩恩/Paul Yip
袁智聰/Yuen Chi-Chung
Supertimes

Facilitator/Performer:
NERVE (Steve Hui)


Capacity: 50
Reservation of seat: Please email info@videotage.org.hk or call 2573 1869 by 17.10.2012. First come first served

人數: 50
留座:於17.10.2012前電郵至 info@videotage.org.hk 或致電 2573 1869,先到先得


More info here 更多資料:
http://videotage.org.hk/wikitopia/soundtrackingjohn-cage-433/


About 關於 WIKITOPIA:

維基托邦是香港首個協作未來文化祭,於2010年由錄映太奇所創。
文化祭是各種專業知識交流的中樞,以連串廣泛活動,雲集藝術家、信息及通訊技術(ICT) 人員、網絡活躍份子、策展人、作家、思想和其他好奇之士

是次維基托邦以「塑據格格」為主題,探討以數據為藝術素材、各種網絡技術,以及提倡以合作產生創意的「發明家」文化。同時,維基托邦將成為一個長達五個月的節目,由2012年9月至2013年1月,一連串工作坊、展覽、表演、藝術家座談會、放映會及其他新穎節目將會舉行。

Wikitopia is the first festival on collaborative future in Hong Kong initiated by Videotage since 2010. The festival aims to act as the pivotal point for artists, ICT personnel, media activists, curators, writers, thinkers and any curious minds to exchange insight and knowledge through a diverse range of programmes in town.

This year, Wikitopia’s theme Data Gaga focuses on data as art, network technology, and the collaborative creativity of the ‘Makers’ Culture. We also expand the festival to a five-month programme from September 2012 - January 2013, including workshops, exhibition, performance, artist forum, screenings, panel, and many others.

WIKITOPIA - Data Gaga including Exhibition, Performance, Artist Talk and Workshops (Talk to me: Botanicalls Twitter DIY, Guerrilla Media: to be or not to be unCloud, and Urban Invader – Urban Attack – Real Time Data and Internet of Things)


More info here 更多資料:
http://videotage.org.hk/wikitopia

Friday, September 28, 2012

NOISE TO SIGNAL 0.07: BLACK ZENITH

 

Pure modular analogue audio-visual improvisation presented by Black Zenith from Singapore. Supported by the experimental duo Sherman + Sin:Ned and laptop quintet Diode.

Performers:
Black Zenith (Analogue Synth / Singapore)
Diode (Electronics / Hong Kong)
Sherman + Sin:Ned (Guitar & Electronics / Hong Kong)

Date: Oct-13, 2012
Open: 8:00 PM
Start: 8:30 PM

Venue: Strategic Sounds
Workshop E, 10/F, High Win Factory building, 47 Hoi Yuen Road, Kwun Tong, Kowloon, Hong Kong
觀塘開源道47號凱源工業大廈10樓E室

Admission: HK$120 (at door only)

Presented by Re-Records & Strategic Sounds

For bookings and enquiries, please contact:
rerecordshk (at) gmail.com

About the performers

Black Zenith (Singapore)
http://black-zenith.tumblr.com/
Black Zenith is Brian O’Reilly & Darren Moore. The duo performs using analog modular synthesizers & moving images. They produce dense sonic textures that generate live visuals through the transformation of audio signals into images. Black Zenith draws as much influence from noise music & the electroacoustic music tradition as they do from the foundations of abstract video art.

---------------------------------------------------------------------------

Diode (Hong Kong)
The function of a diode is to allow an electric current to pass in one direction (called the diode’s forward direction), while blocking current in the opposite direction (the reverse direction). Diode (Fung Tsun Yin Jasper, Lam Kit Hang Frank, Lau Ho Chi, Tsang Ka Wai Eason, Wong Chun Hoi) is a sonic collective of five multi-disciplinarians, with a simple audio hardware connection structure which transfer the sound in one-way-direction.

---------------------------------------------------------------------------

Sherman + Sin:Ned (Hong Kong)
http://www.myspace.com/shermanho
http://sin-ned.blogspot.com/
Sherman plays electric guitar and effect pedals. His debut solo work “Politely We Grow Old” was released by Lona Records in 2006.

Sin:Ned, aka Wong Chung-fai, is an unorthodox sonic evangelist who practices improvisational mysticism. He is the co-founder of Re-Records (www.re-records.com) and No One pulse. Currently also one of the Advisors of soundpocket (www.soundpocket.org.hk).
 

NOISE TO SIGNAL 0.06: STRUGGLE FOR MORE FREEDOM

 

A freedom quest. An eternal struggle. Against the system. Featuring the lengendary Alfred 23 Harth.

Performers:
Alfred 23 Harth (Germany)
Jun-Y CIAO (China)
...
Wilmer Ongsitco Chan (Hong Kong)
Composers Union of New Tunes + Sin:Ned (Hong Kong)

Date: Oct-9, 2012
Open: 8:00 PM
Start: 8:30 PM

Venue: Strategic Sounds
Workshop E, 10/F, High Win Factory building, 47 Hoi Yuen Road, Kwun Tong, Kowloon, Hong Kong
觀塘開源道47號凱源工業大廈10樓E室

Admission: HK$120 (at door only)

Presented by Re-Records & Strategic Sounds

For bookings and enquiries, please contact:
rerecordshk (at) gmail.com

About the performers

Alfred 23 Harth
http://www.alfredharth.de/data/_index.html
Multi-instrumentalist, improviser, composer and visual artist Alfred Harth was born near Frankfurt in 1949. He first recorded at age twenty with the ensemble Just Music, with whom he recorded two LP's, one of which was issued on ECM. Throughout the 1970s he worked with musicians like pianist Nicole Van Den Plas, drummer Sven-Ake Johansson, bassist Peter Kowald, trumpeter Michael Sell and others in West European free music. In the late '70s, he became interested in punk music and in addition to a regularly-working duo with multi-instrumentalist Heiner Goebbels, he worked in punk / progrock / improvisation / modern composition combos like Cassiber and Gestalt et Jive. Since moving to Seoul, South Korea in 2001, he has been involved with Otomo Yoshihide's New Jazz Orchestra and his own multi-media projects.

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Jun-Y CIAO
1978 - Born in Shanghai
2005 - Founded the free music group MTDM
2006 - Graduate the study at the Academy of Fine Arts Düsseldorf, Germany
2008 - Graduate the Meister Class at the Academy of Fine Arts in University Mainz, Germany
Since 2009 - Editor for Art World Magazine, Shanghai
2009 - Founded the acoustic-electronic project “Power Wood Quality”
2009 - Founded the artist collective “ZUZHI” with LI Mu, TAO Yi and XU Zhe
2011 - Founded “the Free Music Collective of Shanghai” with YIN Yi

MTDM, it means “horse without legs” literally in Chinese. Two young artists, who commit themselves to a free and spontaneous music, founded this band in 2005 in Düsseldorf. Similar to the Fluxus predecessors’ exploration into the cross-border arts, the practice of MTDM can be considered a tribute to the pioneers. MTDM seems to be synonymous with “good-for-nothing”. In almost all of the Western films, if the legs break, the horse will be killed by cowboys with no exception. The two members, Jun-Y and TAO Yi, both were born in the year of horse - in 1978. “Horse without legs”, the self-mocking name, implies exactly the profound thinking of the two artists on how to walk without legs.

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Wilmer Ongsitco Chan
Wilmer Ongsitco Chan (b.1985) has recently completed his Bachelor degree in Music Theory/Composition and Studio Art from Lawrence University, WI.

Wilmer’s main interest however lies in the spontaneity and freedom in musical improvisations, and wishes to continue perform and help promote such practice in Asia in the future.

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Composers Union of New Tunes + Sin:Ned
Composers Union for New Tunes is a lethal free Improvisational duo from Hong Kong formed by Kevin Pan (guitars, vocals) and Callum MacKenzie (sax). Kevin used to play in bands like Heta Uma and Charisma. Callum is currently playing in a wide variety of different jazz groups in Hong Kong.

Sin:Ned, aka Wong Chung-fai, is an unorthodox sonic evangelist who practices improvisational mysticism. He is the co-founder of Re-Records (www.re-records.com) and No One pulse. Currently also one of the Advisors of soundpocket (www.soundpocket.org.hk).

HIGH WOLF LIVE IN HK

 

Led by the shamanic acid folk of High Wolf from France, this is going to be a rare audio-visual psychedelic trip of esoteric communion from the other side.

Performers:
High Wolf (France)
Purple Pilgrims (New Zealand)
...
Composers Union of New Tunes + Sin:Ned (Hong Kong)
Caligine (Italy)

Date: Oct-10, 2012
Open: 8:00 PM
Start: 8:30 PM

Venue: Strategic Sounds
Workshop E, 10/F, High Win Factory building, 47 Hoi Yuen Road, Kwun Tong, Kowloon, Hong Kong
觀塘開源道47號凱源工業大廈10樓E室

Admission: HK$120 (at door only)

Presented by Re-Records & Strategic Sounds

For bookings and enquiries, please contact:
rerecordshk (at) gmail.com

About the performers

High Wolf (France)
highwolf.bandcamp.com
France’s High Wolf possesses a natural-born ability to zero in on the tones most conducive to inducing transcendental states. Prolific without wearing out his welcome, this guitarist and manipulator of effects boxes looses fervid streams of fever-dreamy drones that suffuse any room they enter with mystery. High Wolf’s tracks carry the uncanny sense of sounding as if they’ve been sluicing since the beginning of time, and that he had the graciousness to siphon them for teasingly brief absorption before they shimmer off to the vanishing point. midheaven.com

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Purple Pilgrims (New Zealand)
purplepilgrims.blogspot.hk
Purple Pilgrims are two NZ/now Hong Kong based sisters, Clementine and Valentine Nixon and the sonics are out of this world, with distant, barely audible female vocals over heavenly smears of super-degraded guitar amp hiss and the feel off muzzy choral music with undersea fidelity and an inchoate devotional aspect that is spectacularly affecting. (...) Spectacularly beautiful, with an expressive use of fidelity that goes well beyond the long blank and into radical new zones of suggestive lo-grade/high-mass psych. volcanictongue.com

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Composers Union of New Tunes + Sin:Ned (Hong Kong)
sin-ned.blogspot.hk
Composers Union of New Tunes is a lethal free Improvisational duo from Hong Kong formed by Kevin Pan (guitars, vocals) and Callum MacKenzie (sax). Kevin used to play in bands like Heta Uma and Charisma. Callum is currently playing in a wide variety of different jazz groups in Hong Kong.

Sin:Ned, aka Wong Chung-fai, is an unorthodox sonic evangelist who practices improvisational mysticism. He is the co-founder of Re-Records (www.re-records.com) and No One pulse. Currently also one of the Advisors of soundpocket (www.soundpocket.org.hk).

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Caligine (Italy)
www.monstresparexces.com
Caligine is the Italian word for haze, smog, mist. It all started five years ago as a move away from moving away. Smokey and hazy acoustic textures beneath a grain of noisy dust. A process carried on year by year, worshipping the grain of wood. Rejecting the form, accepting the embrace. A collective endeavor without belonging. If art is stealing from the most obscure sources, we’re looking for pure craftsmanship: psychedelic ragas, strings cascading in chained loops, loose fingerpicking and all the pretty little bells.