AfterLive 下一個現場

當網絡成為日常,則可成為一種現場。

互網聯在我們的當代經驗裡,不再單純是既成內容和資訊的載體,而是早已成為了在人與人的連繫與互動裡,能夠於當下創造內容的一種媒介與維度。網上體驗至今發展出的獨特性與表演性,足以成為一種無可取代的體驗本位,而不是只作為線下體驗的替代或延伸。

《下一個現場》從音樂出發,由張靜瑜、劉曉江、Giovanni Santini、孫禮賢及蘇浩慈五位不同背景的作曲家,在各自的委約作品中,分別闡釋以網上體驗為本位的創作可能性。這一系列的作品,不是單純地製作予觀眾在網上聆聽的音樂聲軌,而是每位藝術家以其各自的自身經驗與創作手法作切入點,透過音樂與及音樂在展現過程中與其他感官資訊的結合,對我們在網絡上的當代經驗作再想像與再定義。箇中探索,涉及不可觸的虛擬與可觸的真實之間的界線、在編排好的互動裡的擺佈與被擺佈、以至聲音文字與影像在瀏覽體驗之中的互釋性與互文性。

一系列作品作品的獨特性,都建立於網上體驗之上。觀眾從網絡上觀賞作品的體驗,都將成為作品呈現的第一手體驗,而這體驗的處境,也是作品的唯一現場。裡頭各樣界限及制約,並非如線下的現實般來自一個客觀的物理定率或自然法則,而是由我們集體經驗裡的慣性與期待所構成。當中各式看似不言而喻的邏輯、規律、矛盾與盲點,其實衍生自我們在這特殊的處境裡的體驗方法。

當網絡成為體驗的現場,當中作品創造與被賦予的表達、論述、語言以至存在方式,則將會成為這個由虛擬建構的現實中,所能呈現的本質與真實。

– 鄺展維 / 策展人

When the Internet becomes our daily reality, it becomes a scene of our experience.

The Internet in our contemporary experience is no longer merely a carrier for existing content and information, but has long become a medium and dimension where content could be spontaneously created by people during contact and interaction. The specificity and performativity developed in online experience have rendered it a kind of unique experiential orientation, something more than an alternative or extension to our real life experience.

AfterLive takes music as the starting point. Five composers of different backgrounds, Annisa Cheung, Lawrence Lau, Giovanni Santini, Larry Shuen and So Ho Chi, have been commissioned to interpret the creative possibilities in orienting towards an online experience in their individual pieces. The works are not merely music tracks to be streamed online; they are, based on each artist’s personal experience and practice, reimagination and redefinition of our contemporary experience on the Internet in the form of music, combining music, as it is presented online, and other sensory information. The pieces explore the boundaries between the intangible virtuality and tangible reality, the state of manipulating and being manipulated in programmed interactions, and the intertranslatability and intercontextuality of sounds, text and images.

The specificity of each piece in the series is built upon online experiences. A spectator’s experience of viewing the work online becomes a first-hand experience of the presentation of the works; meanwhile, the context of the experience becomes the only scene where the presentation takes place. Unlike the offline reality, the boundaries and conditions in such a scene do not come from an objective set of physical laws or orders of nature, but are instead shaped by our habits and expectations from our collective experience. All the seemingly self-evident logic, patterns, contradictions and blind spots from within are derived from our ways of experiencing this specific situation.When the internet becomes the scene for experience, works in such a scene would create, and be granted, expressions, narratives, languages and ways of being that would in turn become the essence and truth exemplified in such a reality constructed by virtuality.

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委約作曲家 commissioned composers:
張靜瑜 Annisa Cheung / 劉曉江 Lawrence Lau / Giovanni Santini / 孫禮賢 Larry Shuen / 蘇浩慈 So Ho Chi 

參與藝術家 participating artists:
包珺櫻 Bou Kwan-ying / 陳駿軒 Bernard Chan / 陳耀榮 Chan Yiu-wing / 鄭迦南 Cheng Ka-nam / 簡戍凝 / 郭爾君 / 羅曉晴 Jasmine Law / 李一葦 Angus Lee / Calvin Leung Chin-lun / 廖家明 Liao Jiaming / 羅小林 Lo Siu-lam / MAZE ensemble / 吳漢紳 Charles Ng / 吳宇晴 Shelley Ng / 何怡安 Ho Yi On / 潘振濠 Poon Chun-ho / 譚安婷 Tam On-ting / 鄧耀基 Tang Yiu Kei / Francesco Teopini / 董⾔ / 胡皓嵐 Wu Hou Lam / 余林橞 Karen Yu 

策展人 curator:
鄺展維 Charles Kwong

網站設計 website design:
MAJO









蘇浩慈
So Ho Chi
“Life can only be understood backwards, but it must be lived forwards” - Søren Kierkegaard

Interpretation is always selective.Framing a narrative is also selective. It is like filtering the noise and information that is surrounding you. When listening to sound, you listen to it systematically; you would frame it with a certain form. You try to interpret its meaning but you must abandon some sounds, in the meantime, to form a nice narrative for yourself. Echoing the quote from Kierkegaard, if a life means something, what should one sacrifice to make something meaningful to oneself while one moves forwards? 

“Who wants to be a ___” is a collective interactive piece in which the identity or the narrative of the piece is more or less determined by the audience collectively. The audience may choose one of the 4 decisions available to change the parameters of the sound loop. After choosing the cards, it will take around 30 seconds to 5 minutes before the next choice. The sound will not make progress unless you choose a card. Each session is slightly different based on the parameter changes of the sound loops. All choices from everyone will be saved and alter the sound playback as a collective, based on the percentage of people chose a certain card. The playback of the piece shall change over time after more run-throughs of the piece. There are in total 13 choices for each session. After each session, you may choose to restart the piece. If you close the webpage, your previous choices and progress will be saved and will be resumed when you revisit the piece.  

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蘇浩慈的作品由小型室樂、人聲合唱、管弦樂團至電子音樂及多媒體劇場均有涉獵。曾於香港演藝學院取得學士學位及碩士學位,主修作曲,現於海牙皇家音樂學院繼續進修作曲及跨媒體創作。

So Ho Chi’s creative output ranges from instrumental chamber works, vocal and choral works to orchestral work, multimedia productions and electroacoustic works. After finishing the bachelor of music (Honours) degree and Master Degree in the Hong Kong Academy for Performing Arts, majoring in composition and electronic music, So Ho Chi is currently pursuing the Master of Composition in The Royal Conservatoire The Hague. 

Who wants to be a _
This piece is an interactive piece, in which you may choose one of the 4 cards available to change the parameters of the sound loop.

After choosing the cards, it will take around 30 seconds to 5 minutes before the next choice. The sound will not make progress unless you choose a card.

If you close the webpage, your previous choices and progress will be saved and will be resumed when you revisit the piece.

There are in total 13 choices for each session. After each session, you may choose to restart the piece.
Each session is slightly different based on the parameter changes of the sound loops.
All choices from everyone will be saved and alter the sound playback as a collective, based on the percentage of a certain card being chosen.

The playback of the piece shall change over time after more run-throughs of the piece.
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