question from From YY:
- for all participating artists in the symposium, we ask that you would introduce your work with radio (as idea/ medium/ object etc.), and introduce some other artworks that have inspired you to create with the radio. in your work, what specific rules have you broken? what are your references? how did the radio get into your creative/ artistic vocabulary?
A: My rule is just to fill in the 2 hour broadcasting time , my nervousness will deal with everything
- how serious do you want people to take you as artist when you work with the 'radio'? How is the line drawn between activism and art (if needs to be drawn)?
- how do you understand the idea of 'distance' in 'old' and 'new' media art?
- what kinds of anxieties are associated with 'old' and 'new' media, that tell us about ourselves and our society in our times? how do you perceive the tension between the goals of performance/ performativity and communication? lastly, with regard to education: where is the radio now in 'media' or 'digital' art education? In nostalgic, but some of the 18 year-old student nowaday still have the experience of using cassette tape to make audio recoridng.
當年的懊惱
Presense in thrown, beyond its source, and even beyond the radiophonic transmission, and brought back by the telematic momentum of compressed, prosthetic reality, Like society itself, sound no longer explodes through its propagation, its performance, or its radiophonic broadcast, but implodes by being everywhere at once. Sound no longer needs to appear here, as a particular event with specific locatable details, but rather it disappears in its own system of production that may in the end complete its journey, from the here and now to virtual projection of future manifestations in which it is always already everywhere.
Brandon LaBelle (2006) Background Noise : Perspective on sound art , Bloomsbury Academic (ISBN:978-0-8264-1845-6)
被找去做public art
當時香港開始興起，social engage ，街道，公共空間，乜乜介入社區／空間 (通常都係弱勢社群）
但講到點都走唔開就是site specificity呢隻字
策展人們的心態和著眼點，就當作是展出的動力好了。
坦白說，我沒有太在意去處理 場惑特性的事 （也許這是自欺欺人的）
或者我只在逃避問題，同時也在正視問題，因為我真的不知那個場域的人事地有什麼值得用藝術去activate一些已有的關係。我當時最懊惱莫過於生產藝術的態度
不是藝術形式， 做廣播已經是100年前的事
a more critical angle to look at the site, to more precise, the possibilities of site specificity
and showing the range of "participation"
於是我希望佔據一個隱形公共場域，我抗拒用暴力來建立事情，跟大大的物理空間鬥大(visually powerful) 實屬不智，更不想私有化那個空間（插旗）
streaming - - - - Nullah
Kunstradio manifesto
…廣播藝術產生於被聽到的地方，而非製作的地方…
跟廣播的淵源
小時在rthk5
收音機
因為不安感，所以它顯得珍貴
Old media
我不知道可以如何全新創作，但依家就連翻修的能力也快將失去
資訊流動性比下去顯得一點彈性也沒有（不能重播，時間先決，地點範圍etc）
關於電台內容
我在意自己要做沒有使命感去說大歷史的藝術創作，最起碼不用說到咀邊「我要xxx」
於是就試試去問一些不用太多思考就自動可以有能力回答的問題
這不是素描寫生
街頭和藝術之外:讓我們合作社吧! 黃孫權
// 每天清晨七點起床,蓋房,訪問,夜間檢討每至半夜凌晨。在分享的夜晚,學生困惑問著藝術家為何要田野?有什麼權力訪談?田野的目的是什麼?我的回答只能給出暗示,非答案。田野與藝術的關係,不是拿來主義,不是素描寫生,不是材料與再現形式的推進關係。我們之所以有權力探尋陌生情感,訪問生命故事,望聞地方經驗,乃因我們在盡可能的狀況下進行平等的交換,使彼此完整。
我讓自己變成一個媒界，我肯定這不是一個professional的媒界（在於當主持，或藝術家來說），但這樣做我看得清楚一點自己在做什麼。
有點敗北的是：我還是在看著手錶來報時
我喜歡無線電波只能用明顯的暴力去消滅
E.g. not activating FM chip / no version problem , unlike internet OS, web browser , ISP, firewall, proxy, bandwidth
Radio work i like:
Max Neuhaus - public supply (1966)
Pond Station
https://wavefarm.org/ta/works/87eejz
下次
我可能想收集人類對天空的形容 ，成為真正的地下電台
最好是在挪威
因為挪威已經於去年5月宣布，將於2017年徹底關閉 FM 廣播
同埋 無畫面過電檢 似乎是在廣播 上「放映」會比較貼切