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Three sound compositions  (2008, 2009, 2011) by sound artist Yannick Dauby, based on field recordings of Taipei city and its surroundings.  Inspired by the Ghost Festival and the ambiences of Summertime, by the evolution and modernity of the urban environment, by the now extinct plain aborigines who once lived in the Taipei basin, these works are reflecting three ways of listening the urban soundscape of Taiwan’s capital.

 

法國聲音藝術工作者Yannick Dauby 定居台北地區數年來, 持續以台北市及其周邊環境錄音為創作素材。受到歐洲藝術節慶的邀請創作或於電台播出, 在2008、2009、2011年間創作了三個聲音編曲作品。其作品靈感分別來自於:鬼月- 農曆七月的夏日氛圍; 台北二零三零- 關於台北都會環境發展的近未來想像; 凱達格蘭- 對於曾經生活在台北盆地, 如今已然消失的平埔族原住民族群的聲音遙想。
透過這三個作品, Yannick 提出關於聆聽這座首都城市聲音風景的三種不同體會與角度。
因為一座城市, 需要一再被想像與聆聽:台北聽三遍。

Produced by Kalerne Editions and published by Atelier Hui-Kan in Taiwan, December 2011.
Kalerne Editions 製作, 回看工作室出版, 2011年12月

 

 

   

1.  Nous, les défunts  (18 : 55)

“ Seventh month of the lunar calendar. After the opening of the Gates, we come back, hungry, in their city. Their chanting for us multply the spiritual foods. Their fortune-telling, their vehicles, their avenues. Vagrants in the afternoon storms. A procession guides us to the river. Their offerings, their cymbals. Meanwhile, cicadas just borned out of the earth, are chanting too, celebrating their own death, the end of a cycle of life. Their metamorphosis, their choruses. We will reconcile, we will calm down our voices. Soon, a priest will block his ears, becoming deaf to our laments, he will trap us again in the Underground Realm. ”

Field recordings and composition : Summer 2008. Commission by SilenceRadio.org Belgium, 2008. Thanks to Irvic d’Olivier.

陰 曆的第七個月。在所有的門打開後,我們回來了,在他們的城裡,饑餓至極。他們當中有人唱唸一種語言使祭拜給我們的食物不斷增加。他們的預言,他們的車輛, 他們的馬路。流浪在午後的雷陣雨裡。一個遊行隊伍引領我們直到河畔。他們的供品,他們的鈸。在這個時期,剛剛出土的蟬也在高歌,它們的死亡之歌,慶祝著生 命循環的終點接近了。它們的蛻變,它們的合唱。我們將彼此合解並使我們無聲的怨念平靜下來。不久後,一位師父或道人將以手遮耳,避免聽見因地底之門即將重 又關閉所發出的,我們的哀求聲。

主要素材來自2008年夏天的台灣北部,特別是台北龍山寺周遭區域。

This composition can be listened online ! --> http://www.silenceradio.org/grid.php?sound=146

 

2.  Taipei 2030  (20:30)

Things are not supposed to change so fast. Taipei 2010 is not so different from Taipei 1990 which was itself the consequences of the modernist Taipei 1970. Therefore Taipei 2030 is already there. One can listen to it right now. And this Taipei 2030 is a dystopia: air condition is becoming mandatory for the survival of human beings. Streets are filled with the vibrations from huge cooling machineries, families are spending weekends in underground hermetic shopping malls, teenagers gather in the corridors of the mass transportation systems. But the utopic Taipei 2030 will host subtropical insects and even some rare vegetables patches, providing to the inhabitants a proof of the pre-industrial past of Taiwan. The people of Taipei may still need the traditional form of trade which is the market, where the voices are essential part of the public space. In some area our contemporary ways of transportation will become exotic traces of the past. Meanwhile in the liveless zones between the schizophrenic and autonomous buildings that flourish in Taiwan, one would listen to new ways of transportations. The nature still present in the surroundings of the city will become the exception of urbanization, a playground for high-speed ecological sport.

Recorded and composed between June and August 2009. Commission by The Positive Soundscape, UK, 2010. Thanks to Peter Cusack and Richard Whiltelaw. First presentation during the festival Expo Leeds, UK, September 2010, organized by Sound and Music (soundandmusic.org).

似乎多數事物並不會改變得太快...。作為1970年台北現代化的演變 之後的1990年版, 與2010年版的台北並沒有太巨大的差異。其實2030的台北已經在那裡了。我們現在就可以聽到其中一部份。而這個2030的台北是反烏托邦的:空調系統 正成為人類生活中的不可或缺之物。街道馬路充滿了巨型冷卻機的震動聲響, 許多家庭在封閉的地下商場渡過他們的週末時光, 青少年們選擇在大眾運輸系統的廊道間聚集。而另一面, 烏托邦版的台北2030是容納各種亞熱帶昆蟲, 以及一些植作區域, 為工業化前的台灣景象作見證。而台北居民或許仍需要如市場這類傳統的生活交易場所, 在那裡, 人聲是這類公共空間最重要的一環。在另外一些區域, 我們現今的交通工具將變成一種令人回味過往生活的重要線索。而介於快速繁殖且精神分裂的獨立大樓之間的冷清地帶, 人們可以聽到另一種新的運輸方式。在城市周邊存續著的大自然, 將是都市化環境的一種例外:它成為具環保意識的高速運動場所。在編創台北2030一作時, 我覺得要發展這個主題, 最容易且有意思的方式就是將它分成兩個部份。一個是台北聲音的烏托邦, 形成讓我們時而想起過往台灣的聲音景象, 鼓勵都會中的自然多樣性, 以及對環境友善的交通工具....等等。另外一部份則是反烏托邦的境界, 且很不幸地, 今天的生活空間中充滿這些暗示, 例如大的街道上川流不息的車流和摩拖車陣, 空調系統的過度使用, 以及商夜空間中過大分貝的擴音系統或音樂播放...。

2009 年, 英國 The Positive Soundscape 藝術節邀請創作。該年藝術節以2030年的城市聲音為創作主題, 邀請國際知名聲音工作者Chris Watson (選擇英國的一個城市), 以及Yannick Dauby (以台北為創作對象)。於該藝術節中公開播放發表, 並舉辦發表後座談。

 

3. Ketagalan (19:19)

The subway ride from Taipei is an underground tour of the territory Ketagalan. The Ketagalan people still exist, but only in the blood of some of the actual inhabitants of Taiwan.  Phonemes forgotten for some toponyms, masked by ideograms. The imprint of a hand on a document that attests the transfert of a land, two and a half centuries earlier. A necklace of colored glass beads excavated in the hills, a grotesque drawing in a travelogue, a loom dismembered.
"Ketagalan" is intented as a crossroads of time, inspired by some encounters with some other aborigine groups in Taiwan and the sleepy public transport.

Thanks to Éric La Casa. Commission by Purepresence, first presentation at Parisonic Hear & Now, Paris, june 2011.

台北的捷運線是某種凱達格蘭土地的地下路徑。從這些被同化的人們為起點, 如今只剩幾滴血仍流動在首都的居民體內。一些地名潛藏著被遺忘的景象或故事, 被象形文字系統所遮蔽。永久停留在土地轉讓或租變文件上的一個個手印, 出現在兩個世紀以前, 或者更早。在盆地周邊的丘陵上露土而出的一串彩色玻璃珠鍊, 一些遊記中被粗糙描繪或誇張化的人物形象, 一座組件不全的織布機台。
“凱達格蘭“一作, 是時間的匯流處, 聲音創作來源部份來自作者與其他台灣原住民族的交流與聲音紀錄, 一部份來自昏睡狀態的當代大眾運輸系統。

作品編創於2011年春季, 由法國巴黎Purepresence 聲音藝術節邀請創作。 

 

Yannick Dauby is a sound artist from France, living and working in Taiwan since 2007.
His work is based on field recordings, electroacoustic composition and improvisation.
Check his personal website for complete biography / discography : www.yannickdauby.net


These three pieces have been presented during the exhibition ALTERing NATIVism, curated by HO Tung-hung, Jeph LO, Amy CHENG, between February and April 2014, at Museum of National Taipei University of Education, Taipei, Taiwan.
"Based on ongoing fieldwork, the exhibition Altering Nativism explores Taiwan's various post-war sound culture movements by presenting historical documentation, audiovisual archives, and artworks."

 


Calligraphy by Li Jun-Yang. 作品題字:李俊陽

Published by Atelier Hui-Kan in Taiwan, December 2011. 2011年12月, 回看工作室 出版

Funded by National Culture and Arts Foundation, Taiwan. 出版贊助 國家文化藝術基金會

All rights reserved. 版權所有

 

12 euros (including worldwide shipping)
Available on Kalerne -> Online shop


Also available at : Metamkine (FR), And/OAR (US), Japanimprov (JP), Omega Point (JP)

 


 

Review by Ed Pinsent, The Sound Projector 16.09.2012

Yannick Dauby is also a field recordist who we last heard with the rather drab Overflows CD on Sonoris. His new one Taî-pak thian san piàn (KALERNE KAL03) is much more interesting; constructed with the ingenuity of a labyrinth, it takes some time to explore, but is full of rewarding discoveries. Three lengthy and understated compositions are derived from sounds in Taipei city, each work a commission dating from the last four years or so, and representing quite vivid and multi-dimensional views of the teeming life that’s all around him. ‘Nous, Les Défunts’ is a delirious mixture of city sounds, insects, wildlife, fireworks and interludes of drum-and-bagpipe music; it’s to do with a particular date in the lunar calendar, a cycle of life and death, and a return to the “underground realm”. If Dauby wants to suggest a rush of sonic information that is replete with magical and spiritual possibilities, he has succeeded here. ‘Taipei 2030′ is quite different again, and proposes that it’s possible to see twenty years into the future of this highly developed city simply by observing (and recording) the current trends correctly. One of these trends is air conditioning, which the city apparently needs on a huge industrial scale just to keep its populace alive. Accordingly, this track is dominated for most of its 20 minutes by a continuous and rather alarming mechanical air-circulating humming sound, which is so palpable it virtually pushes aside the heavy traffic. Thankfully, the intensity of this roar does subside, leaving us with more aural cross-cutting from city to forest – cicadas, wind, happy shoppers buying things in big shopping malls, trains, cars, snatches of music passing by in the night, confirming that life in the future will be not unlike things are today (there will just be lots more of it, especially commerce and useless consumer goods). There’s also the very spooky track ‘Ketagalan’, which refers to the aboriginal tribes that inhabited Taipei at least until the 18th century, but are now pretty much vanished. Strong on atmosphere, this chilling work uses sources similar to the above but also merges “encounters with other aborigine groups” with subway train recordings, and creates a powerful encounter between a ghost world and modern trappings of so-called civilisation. All three of these strong works create compelling environments through cross-fades, juxtapositions and subtle editing methods, and show that Dauby is not only acutely sensitive to nuances in sound and mood, but is somehow able to tap into an entire city’s psychological underbed with his microphones. “I am both loving and hating this noisy and fascinating city”, states Dauby referring to the place he’s lived in for four years now; “the only way for me to tame [it] was to record it”. Besides taming it, he’s captured further uncanny spirits and is releasing them into the culture.



Review by Alan Smithee, The Field Reporter 17.02.2012

" French composer and theorist Michael Chion has wrote extensive lines about the relation between sound and film in books such as “Film, a Sound Art” and “Audio Vision”.

On “Audio vision” Chion writes about the differences between the visual and acoustic perception, and about how our hearing processes information faster than our sight. He argues that this might has to do with the fact that sound is the medium we use to communicate through verbal language. In the other hand sight is more explorative -like in a scanning process- and this might be the reason why the processing of visual impulses is slower in opposition to the process of hearing which works more like a constant stream of information.

Musique concrete like probably no other form of music and sound art explores the deep and interesting relation between film and sound. The edition of sounds, the possibility of juxtapose sounds and create transitions between them are actions with perceptual consequences in our conscience.

“Taî-pak thiaⁿ saⁿ piàn” is one of the most cinematographic works I remember hearing in a while, as it does a very strong exploration and exploitation of the sound imaginary creating this stream of beautiful, impacting and overwhelming images that we acquire through our ears. The sounds used by Yannick Dauby throughout this release range from musical performances, recordings of voices and incidental sounds. Three key elements of cinema that help adding to this work a very strong visual and narrative character.

The first piece “Nous, les défunts” (Us, the defunct) is mostly built with sounds of fireworks, insects and singing and instrumented music that throughout the piece are presented separately but that at the end are juxtaposed to create this sublime overwhelming experience of strong emotionality and beautiful imaginary.

“Taipei 2030″, the second piece, is more environmental though the beginning while through the middle is more about motion and movement: one could guess that here some of the recordings were captured inside moving vehicles and others taken from vehicles passing by. When edited they create a illusion of movement mostly vividly depicted . The sound of cicadas persist from piece number one, becoming the unification element though the release. Cicadas means summertime, means high temperatures and this is something that is immanent to this work. The heat.

“Ketagalan” is a piece that again explores transportation but in a complete different way. The subway seems to be the element of cohesion although the layering and juxtaposing of sounds is the most valuable element. The social and cultural content found in the metro through the different experiences and background of the riders help the composer to create this beautiful and dreamlike experience. The listener have the chance to travel in the subway and access a variety of sound images in a way the subway becomes not only a medium of transportation but a medium for a more cultural, social and personal exploration.

In addition to being a musique concrete composition, “Taî-pak thiaⁿ saⁿ piàn” is an acoustic film, a series of images and scenarios with a very strong emotional content where a narrative is established through the exploration of the casual and reduced hearing.

This is a very successful work that opens the door to phenomenological and artistic reflections on the audio visual field and in particular on the relation between cinema and sound art / music; “Taî-pak thiaⁿ saⁿ piàn” rewards the listener with a very strong perceptual experience into a universe of images of extreme beauty and profound meaning. "


Review by Frans de Waard, Vital Weekly #819 14.02.2012

" Its not easy to write something about a disc like this. Yannick Dauby lives since four years in Taipei, which he both loves and hates. Like any good composer would do is to tame the noise of the city by recording it and that's what he does here. In these years he received three commissions dealing with the environment of Taipei, from Belgium, the UK and France. These three commissions are now collected on this CD. Taipei is not a city I have been too, or in fact any far East city, except for some Japanese cities, which are perhaps more western oriented - I am merely assuming here. So without ever sensing the noisiness of Taipei, I think these three compositions give me a very accurate impression of what that city is like. Lots of traffic noise, public transport system, people talking on the market and the electricity that sometimes comes with it. Towards the end of 'Taipei 2030' there is also quietness and tranquility with just a few sparse sounds. Maybe Dauby envisages himself as the mayor of Taipei banning all noise? Maybe not. The final piece 'Ketagalan' is also not very noisy and loud but seems to be concentrating on the more ethnic sounds of the city, like a search for some original Eastern ethnicity in the country. It deals less with the modern city bursting with noise than with background of the country itself. This makes that these three pieces differ quite a lot from eachother, each bringing out a certain aspect of city sounds and make this a highly varied work. Excellent work of composed field recordings. "

 

Review by Guillermo Escudero, Loop.cl, March 2012

" Yannick Dauby is a French artist who lives in Taipei, Taiwan since 2007 and works with soundscapes of the city and its surroundings with the technique of field recordings. This CD brings together three compositions that were commissioned by various organizations to Dauby, "Nous, les défunts" [2008, SilenceRadio, Belgium], "Taipei 2030" [2010, Positive Soundscape, UK] and "Ketagalan" [2011, PurePresence, France].
On "Nous, les défunts" we can hear people talking, dogs barking in the distance, the sound of insects and birds, motorbikes, water, small fireworks and chanting with drums and cymbals.
"Taipei 2030" displays an urban sound, cars, whirr, announcements of bus stops and other noises.
"Ketagalan" was an indigenous tribe of Taiwan and today the Taipei subway passes through its territory. The recording captures radio waves, voices, birds, radio broadcasts, among other sounds which are electronically processed.
Interesting record accounts of urban life and the surroundings of a city with an ancient history. "

 

Review by Jesse Goin, Crow With No Mouth, March 2012
 
" For the past five years French-native Yannick Dauby has made his home, and concrète/location recording sound works, in Tapei. Taî-pak thiaⁿ saⁿ piàn is a wild, whirled work that conveys so many sounds from so many sources, you need quite a few listens to assimilate what Dauby is doing here. Much more a work of editing and, presumably, post-production than anything else discussed here, Dauby alternately startles and transfixes the attentive listener with human cries, songs, the sounds of labor, ritual, and much that is alarmingly, electrically insectoid. A mash-up of intense clarity, Taî-pak thiaⁿsaⁿpiàn might be the release here most meriting the signifier immersive. You're not immersed in one environment for long, however - it's more like a sound-gathering spree in a wild taxi ride, not a push as much as a plunge. A little reminiscent of Gino Zardo and Janek Schaeffer's breath-taking excursion Walking East. "