PechaKucha Presentation

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Penny Liao

in Taipei

The Story of Discovery Pavilion

PRESENTED ON OCT 20, 2018
IN TAIPEI @ VOL 39

廖珮珊,台北人。但跑於鄉野各地的人類學家。多重身份是一個喜歡說故事的人、展覽企劃與臺灣大型博覽會的專案負責人。國立清華大學人類所碩士畢業後,在博物館界與設計產業打滾多年,曾替卡爾吉特策劃執行「水下考古」、「科技探密」…等展覽專案。

王仲堃,1982 出生於台灣高雄,畢業於台北藝術大學美術系及科技藝術研究所。他的聲音作品具有一種音樂性,刻意把「聲音」的抽象性解放出來,轉化為較為具象的音樂。對作者而言,聲音作為一種概念的傳達,必須從對其意義及內涵理解;而音樂的情感表達能融入一種真實情境讓我們從中感受。用心理層次來看,透過聲音與音樂之間的流轉,聽者得以以理性、邏輯的方式去掌握聲音,同時以感性與體驗的方式去感受音樂,作品就是存在一種體驗式的感知,但這無非意味著聲音不能用語言翻譯,它只能成為它本來的東西。

 

Penny Liao is an anthropologist who was born in Taipei but loves to conduct field research around Taiwan. She has multiple roles, such as a storyteller, an exhibition organizer and project manager for Taiwan design Expo.

After she received her M.A degree from department of anthropology at National Tsing Hua University, she starts to execute several exhibitions for different museums and design companies such as “Underwater Archaeology” and “Science Quest” …etc.

 

Born in 1982, Taipei-based Chung-Kun WANG works across media art in the development of sound, sculpture, video, kinetic art and installation.

The sound art of Chung-Kun Wang possesses a musicality, consciously liberating the abstract nature of sound and converting it into a more concrete form of music. For the artist, sound serves as a means to convey concepts; one must start by comprehending its meaning and implications. And the emotive expression of music is able to incorporate real scenarios, which we are able to feel. Viewed at a psychological level, through the interflow between sound and music, the listener grasps the sound rationally and logically yet also feels the music viscerally and experientially. Thus, an experiential perception exists within the work. Yet this is nothing other than the implication that sound cannot be translated into language, but can only become the thing it intrinsically is. The work causes visitors to sense the presence of shapeless sounds within a space, and sounds express the materiality of the space, which has a shape. When visitors move around in the vicinity of the work, they can feel with their own bodies an aural space, which in fact comprises a dynamic sound image.

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