anotherSoundscape | 另一種音景

2010 anotherSoundscape

50 cable cars, wires, electronic devices

「另一種音景」,現場裝置分為「機械裝置」與「軟體運算」兩部份,五組平行的鋼索上放置數輛機械纜車,在時間軸上設有一組左右移動的縱向紅外線測距感應器,不斷往返於繩索兩端,並持續地將所偵測到的機械小纜車(cable car)行經位置,一一轉譯成數位的資料庫。
資料庫累積了多重組合的數據,形成一種「有限度的自由」之下的產物。感應器偵測每回一千八百組的數列(list)皆記錄著每一趟的行程,當它被「重新讀取」(reload)時,觀者可透過記錄檔的重新排列觀看如「譜」(sequence / score)一般的圖景,相應於機械裝置在每一回行程當下不斷產生一頁一頁的譜,成為記錄檔的數字所組的譜,再透過程式的轉化,將圖像顯示於螢幕上。

所以在軟體運算的部份,使用Cycling’74 Max作為資料編輯與即時處理的發聲介面,並再現場即時對映出偵測所得數據的音頻。另外這不斷累積的資料,則提供演出者於現場演出時的參考。
機械裝置的部份,使用鋼索架構出約九公尺的五組平行軌道,將三十台左右的小型纜車平均放置於軌道上,每台纜車的頭尾設有紅外線測距,當前進時將遇到對面方向纜車來臨時即掉頭反向行徑,如此利用每台纜車緩慢往返的過程,製造可能性最大的隨機相對位置。而當在遠處觀看時,恰如一群動態的音符跳躍於樂譜上,這也是此作最初的一種想像 —— 實體化的樂譜。


“another Soundscape”, the live device is divided into two sections, invloving “mechanical device” and “software caculation” two parts. Five groups of parallel cable wires, on which several cable cars are placed, there is a set of vertical infrared-rays range sensors on the time axis, moving left to right, shuttling between two ends of the cable wires, continuously monitoring the locations of cable cars, then transfers the gathered data into a digital database.

The database is accumulated with multiple combinations of data, which forms products under a sort of “limited freedom” condition. The sensors monitor eighteen hundred of number lists every round, when it is reloaded, the observer can read rearranged figures under sequence/score windows mode, pages of data are recorded correspondingly to movements of the mechanical device, and transformed into pictorial view by a programme, then displayed on the monitor.

About the “software caculation” part; a Cycling’74 Max programme is used to edit data and to process audio interface, the audio frequency is reacted according to the real time data. On the other hand, this database is also a reference to the live performers.

On the mechanical device, there are five sets of parallel tracks constructed with cable wires at a length of nine meters, around thirty small cable cars are placed on the tracks, there are sensors installed on the front and rear of them, when one car is confronting with another coming car in a close range, it will change its direction and moving reversely, the idea is to use the process of slow shuttling cars to produce a maximum-possibility random device. When watching it from distance, the movement looks like a group of musical notes jumping on the score, which is also the very initial idea of this device — a real object score.