彼端之畫

設(shè)計：安德魯·魯奇卡Designer: Andrew Lucia

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彼端之畫

設(shè)計：安德魯·魯奇卡
Designer: Andrew Lucia

Traces on the Farther Side, 2011

這件作品是受處子奧維爾琴樂隊委托，為弗朗西絲·懷特的15分鐘音樂《彼端之花》（源自賓根的希爾德加德的《哈利路亞，啊！我們的嫩枝》）的現(xiàn)場演奏或錄音提供伴奏畫面而創(chuàng)作的。其中有4把奧維爾琴進(jìn)行演奏，以及預(yù)先錄制的風(fēng)聲和奧維爾琴聲（2010）。

《彼端之畫》（2011）是一段實(shí)時可視化的音樂。它試圖以視覺的方式表達(dá)弗朗西絲·懷特的《彼端之花》（2010）的柔美與仙境般的感受。樂曲的靈感來自中世紀(jì)的神秘主義者賓根的希爾德加德譜寫的吟唱曲?！侗硕酥嫛返淖粉檾?shù)據(jù)將4把奧維爾琴的演奏，以及預(yù)先錄制的風(fēng)聲和奧維爾琴和弦置于各自的可視化面板上，音樂會在上面按照奏起的音樂旋律描繪出彩色的畫跡。中間面板上預(yù)先錄制的固定旋律讓線條不會越出邊界，而4把奧維爾琴面板上的畫跡可以自由地跳動，激發(fā)處子樂隊音樂家在演奏之中用目光和點(diǎn)頭交流。任何兩次《彼端之畫》演奏都是不同的，所以這個程序創(chuàng)作而成的最終畫面具有手工藝術(shù)品般不可復(fù)制的特性?！酰ㄉ袝x 譯）

1根據(jù)可視化算法形成的實(shí)時演出圖像。按照振幅和頻率的不同，每一位奧維爾琴演奏者都會在演出中觸發(fā)一幅實(shí)時投射的聲音“畫面”。由于每場演出都是獨(dú)一無二的，每幅視覺畫面也都是不同的。/Schematic diagram of real-time performance responding to visualization algorithm. According to its amplitude and frequency, each live viol performer triggers a real-time digitally projected "drawing" of the sound produced during the performance. Just as each performance is unique, so too is each visualization of the piece.（圖片來源/ Image Credit：安德魯·魯奇卡/Andrew Lucia）

2《彼端之畫》的創(chuàng)作研究。/Studies for the development of Traces on the Farther Side.（圖片來源/Image Credit：安德魯·魯奇卡/Andrew Lucia）

項目信息/Credits and Data

聯(lián)合導(dǎo)演兼程序設(shè)計/Co-director and Computational Design：安德魯·露西婭/Andrew Lucia

聯(lián)合導(dǎo)演兼制作人/Co-director and Producer：溫迪·施泰納/Wendy Steiner

音樂/Music：弗朗西絲·懷特/Frances White

委托兼演奏/Commissioned and Performed：處子樂隊/ Parthenia

錄音/Sound Recorded：彼得·卡爾工作室/Peter Karl Studios

Commissioned by Parthenia Viol Consort, to accompany live or recorded performances of Frances White's A Flower on the Farther Side （after Hildegard of Bingen's Alleluia, o Virga Mediatrix）, a 15-minute composition for four viols and prerecorded wind and viol sounds （2010）.

Traces on the Farther Side （2011）, a music visualization in real time, seeks visual expression for the delicacy and otherworldliness of Frances White's A Flower on the Farther Side （2010）, whose inspiration in turn lies in a chant by the medieval mystic, Hildegard of Bingen. Traces assigns each of the four viols and the prerecorded track of wind sounds and viol chords to its own panel in the visualizedation, where they generate colored marks according to the characteristics of their unfolding sound. The prerecorded line in the middle panel keeps within its bounds with the stability of a cantus firmus, whereas the four viols are given the freedom to interact unpredictably, simulating the communicative nods and glances of Parthenia's musicians as they play. No two runs of the app for Traces can be exactly the same, and so the final frames of this programmed creation have the individuality of handmade works of art.□

3.4《彼端之畫》，由互動實(shí)時可視化形成的靜態(tài)幀。源自《彼端之畫》錄音。/Traces on the Farther Side, still frame generated from an interactive real-time visualization. From a recorded performance of A Flower on the Farther Side.（圖片來源/Image Credit：安德魯·露西婭/Andrew Lucia）

評論

邁克爾·貝內(nèi)迪克特：建筑中由聲音主導(dǎo)的視覺展示并不少見，至少可以追溯到伊阿尼斯·澤納基斯和勒·柯布西耶設(shè)計的布魯塞爾世界博覽會飛利浦館。這種視覺展示包括特殊場合下的多媒體投影、迪斯科舞廳或公共空間的永久裝置，通常是以聲學(xué)的方式記錄周圍環(huán)境中的人類存在狀況。“彼端之畫”似乎對這個問題做出了解答：當(dāng)我聽到美妙的音樂時——更確切地說，是我真正專注于音樂時——會去看什么？要是沒有演奏者可以看呢？是否有什么存在于音樂當(dāng)中——一座建筑，還是一段形式與色彩的變化——哪個會使我的鑒賞更深刻、更全面？事實(shí)上，花費(fèi)相當(dāng)長的時間進(jìn)行一種體驗以讓自己真正認(rèn)清這種體驗的機(jī)會簡直少之又少。（王欣欣 譯）

殷漪：我不知道安德魯·魯奇卡先生有沒有來過中國。如果他隨機(jī)走進(jìn)淮海路某個高級寫字樓的大廳，看到墻上懸掛的大尺度的中國當(dāng)代新水墨時會是怎樣的一種感受。音樂的作者以“電子原音”（一種法式現(xiàn)代學(xué)院派電子樂）而聞名，并獲得過媒體藝術(shù)屆的奧斯卡——Prix Ars電子作曲大獎，不過已遠(yuǎn)在1994年。所以我又想，她是否清楚在聲音藝術(shù)越發(fā)具有獨(dú)立性和自我批判能力的今天，聲音可視化正是聲音藝術(shù)理論重點(diǎn)批評的對象？

Comments

Michael Benedikt: Sound-driven visual effects in buildings are not uncommon, going back at least to Iannis Xenakis and Le Corbusier's Philips Pavilion. They range from multi-media projections on special occasions, to discotheques, to permanent installations in public spaces that register some quality of human presences nearby, often acoustically. Traces on the Farther Side seems to answer the question: what do I look at when I hear-or rather, really listen-to beautiful music, and there are no musicians to watch？Is there something "in" the music-an architecture, a development of forms and colors-which will make my appreciation deeper and more whole？ How few are the occasions we stop for long enough to give that experience time to realize itself.

YIN Yi: I am not sure if Mr. Lucia has been in China. I am curious how he would feel when he randomly enters the lobby of some top-grade office at Huaihai road in Shanghai and sees a contemporary Chinese ink painting on the wall.

The composer is well known for her electroacoustic music, a kind of modern academic electronic music from France. She has received the Prix Ars Electronica award （Linz, Austria）, the Oscar in media art, but that was far back in 1994. So once again I am curious whether she is aware that nowadays, with the increasing independence and self-criticism of sound art, the visualization of sound is becoming the main target of criticism in sound art theory.