Future Tao: Inner Scripture 2018 was a website of experimental self-cultivation methods collectively written by 30 creators. The project was exhibited at Bangkok Bienniale the same year.

︎3C Xing Yi Quan 3C形意拳◎Xia Lin
︎Virtual Feng Shui Statues ◎Fong Han-Yu
︎Stream and Download HB/AV Audio Tracks ◎HEAVY BREATHING
︎Sun’s Shadow ◎Son Ni
︎Composing the Ordinary  ◎Petra Johnson
︎Elastic Dialogues ◎Xin Cheng & Heidi Salaverria
︎Upon Unvolutionarily Disappearing
      ◎Grashina Gabelmann
︎#AstralSelfie ◎IDPW
︎Poetic Commentary ◎Zian Chen

👂Inner Ear
︎Cosmopolitics in Sound ◎Sheryl Cheung
︎Internal Motivations ◎A Workshop by Sheryl Cheung, participants Anja Borowicz and Harriet Pittard
︎Electric Phantom ◎Itaru Ouwan
︎Meridian of Fortune ◎TEIHAKU
︎Terms* ◎Chun Yin Rainbow Chan
      & Craig Stubbs-Race
︎Gentle Steps Tainan ◎Nigel Brown
︎Amplified trumpet, Propellers, Metal and Air  ◎Sound of the Mountain
︎Year  ◎Jin Sangtae
︎聲音裡的宇宙政治 ◎張欣
︎內部運動 ◎由張欣帶領的工作坊, 參與者Anja
      Borowicz和Harriet Pittard
︎電魂 ◎追灣及
︎財經二周天 ◎鐵一
︎條款* ◎陳雋然 與 Craig Stubbs-Race
︎躡步台南 ◎Nigel Brown
︎電聲小號、螺旋槳,金屬和空氣 ◎山的聲音
︎年 ◎秦相太

Archive 2018_Inner Ear

Cosmopolitics in Sound

Sheryl Cheung

( / Eng )

Bamboo leaves used for Naxi ritual in Yunnan, China (2018)

Consider harnessing sound as a way of interpreting the universe, relationships, changes, and the here and now; a process wherein an exploration of cosmopolitics is implicit; a sublimation technique to navigate between the form and essence of all things. More specifically, in my practice I work with a kind of inner sound, a sonic feedback of the animated world, as a medium to theorize and practice a subjective view of the cosmos and morality.

Growing up emotionally affiliated with many cultures, locations and communities, active listening became a way to deepen my awareness of the multi-worlds , to negotiate between the noise of nature (death, chaos, destruction) and noise of cultures (dogma, hierarchy and specialization)--not as binaries but as parts of a malleable whole--that which we call the noise of modernity.

Our sense of belonging is becoming increasingly unstable in a rapidly changing world: the earth is in crisis, digital consciousness is coming, and globalization (hegemonic knowledge systems) has lost its benevolent flair. This is a time to extend contemporary narratives beyond the human centric world that endlessly cycles through ideologies, “as if the evolution of ideas about the cosmos [has become] even more important than the truth about it,” writes historian Remi Brague. Relieve the pressures of usefulness and gravitational pull.

In this episode I trespass through transhumanist desires with Taoist (non-humanist) intuition, to delve into the politics of human and non-human forms, to maintain a holistic view that deters one from the enchantment of nature. To harness a way of embodiment that engages with an internal network of life and thereby affectively philosophize; to follow a desire to imagine, to interpret and influence the noise of the future (utility, progress, speed).

"Future Tao," performance at Taipei Fine Art Museum (2017)

Let us begin with a general mythology of sound. Imagine the most elemental technology in the world--the essence of life--the animating power that runs through all living things. This power is an intangible material with universal potential that suggests a shared disposition between all that appears to be separate. Like wind, it flows through different internal and external worlds, making the inner and outer one of the same. The ability for this power to connect different entities, spaces, and time gives it a narrating quality, bringing together different relations, changes and patterns to assemble a perspective of the world that differs from histories based on externality.

17th Century Dutch philosopher Spinoza speaks of the power of life as a musical instrument that produces melodic variations with a vast range of dynamics determined by affects, or passions of the mind. Because affects are not determined by the self alone, but induced by various conditions that influence one’s experiential state, the melody of one’s life force is not an expression of free will, but a series of responses to a greater network of influences. The Taoist sage Lao Tzu shares a similar view of agency by positing that all natural forces, including man, follow the laws of nature (天道). And so, when a strong gust of wind howls like a beast, does its force intend aggression, or an impartial demonstration of a greater cosmic order? Here the concepts of affect, power, and world order seems to lean on interpretations of plasticity.

Communion with the Wind (2017)

One’s power in the cosmic order can be cultivated by mind and body technology. In Taoist practices, the animating power of life, which they call qi, is fostered according to the characteristics of nature: how plants grow, animals move, the order of the seasons. Based on these qualities, practitioners follow certain daily methods to gather, mobilize, replenish energy of a human body and connect with the qi of its surroundings. A visualization of this process can be found in The Inner Scripture, an imaginative Taoist diagram about manipulating energy; the diagram depicts the human interior as a natural landscape of fields and agrarian labor; qi flows with the collective efforts of this complex system. Here the human body is a space for energy cultivation, and the good condition of energy is portrayed through towering mountains and streaming rivers. This inner world suggests a soundscape of collective living, an animated field that mobilizes a polyphonic materiality.

The pursuit of material sound resonates with Pierre Schaeffer’s music concrete proposed in the mid 1900s, which sought to develop a kind of music emancipated from the cultural structures of his time. In search for liberated sound, Schaeffer took on the physical world as a general instrument unbounded by traditional tools and fixed understandings of music theory. Music making involves more than technicalities of craft, or the understanding of science, said Schaeffer, it also requires a critical determination of “the nature of the music which the choice of certain musical objects implies.” He emphasizes on the implicit, a searching of meaning within the entwined.

In my piece “Earth Crust Quake,” I abstracted the form of sound until form is no longer and only matter remains (無), then experimented with matter in a nonlinear process (有). Like qi that runs through the Inner Scripture--music concrete is a sounding of a general substance, a processing of physical representation to excavate the internal rhythms in the essence of sound.

Earth Crust Quake (2018), from my ongoing research project "Anthem Boy" (tentative title, 2013-)

The state of co-habitation as portrayed in the Inner Scripture raises questions about shared embodiment between different life forms. One of the highest achievements of a Taoist practitioner is to, by way of connecting by qi, attain unity between heaven, earth and man (天人合一). With conscious engagement oneself and the world, a transbody becomes possible between different life forms. Spinoza zooms in for a more specific look at this unity by speaking of a mixture of bodies. “Affectio” is a mixture of two bodies, one body which is said to act on another, and the other receives the trace of the first.

The idea of transbody is explored in Moon Tides I, a ritualistic performance in which a plant and a human are united in a shared narrative of vulnerability and weakness. Internal sounds from the human and plant, such as breathing, digestion, breaking bones and branches and electromagnetic bio-feedback are used in a musical experience to create one sonic field of bio-rhythms.

Moon Tides, performance excerpt (2017)

In this performance, the narrative of vulnerability and sadness reflects upon a general correlation between power and emotions. How does the energy of life embody a certain affective politics based on our vision of life affirming goodnesses? According to Spinoza, Joy and sadness are considered two poles of the emotional scale that determine the range of the vital melodic line; joy increases one’s power to act and persist in life; sadness diminishes one’s level of power.

While this power scale can be useful as a general guideline for self-orientation, it is also beneficial to consider the world beyond the positive--as a boundless space that stretches limitlessly towards all directions. Where there is no aesthetic judgment of either direction, but an ability to maneuver with the tides and to cultivate one’s instrument in the ever-changing states. From this perspective, weakness is negatively affirming and thereby empowering: In the research of Indian scientist Jagdish Chandra Bose, the right amount of stimulation (shock) on a plant can increase internal flow of sap and fuel growth in certain developing areas. This enhanced inner mobility suggests a connection between weakness and growth, driven by biological instincts to heal, to bloom and prosper in life. In Bose’s studies, we see a perseverance that goes beyond resilience by responding affirmatively to a call for inner power.

To be able to maneuver in the positive and negative requires a particular state of mind and body that allows one to flexibly respond to changing states of disposition. Despite our limited agency, constrained by social, environmental, emotional and other factors, this project is an attempt to propose an attitude and practice, through the medium of sound, to navigate the constant flux of the universe.

(update: 2018)

☯ Sheryl Cheung
Sheryl Cheung works between experimental sound compositions, abstract scoring and performances to explore a material concept of life. Perceiving life as a force, a mobility that drives our innate persistence to live, she explores how active listening (working with sound) can be a mind and body practice to negotiate different noises of the world.

Archive 2018_Inner Ear

Internal Motivations

A Workshop by Sheryl Cheung

Internal Motivations is a workshop led by artist Sheryl Cheung that explores new imaginations of internal martial arts through the perspective of sound. Through activities such as listening, improvisation, and composing, participants explore different relationships between sound and energy. Internal martial arts is a seemingly passive but internally vigorous form of martial arts that stresses on breathing, energy circulation, external and internal movements, and expanded consciousness. Working with people of diverse cultural backgrounds, the workshop hopes to open Taoist-informed ideas to more universal imaginations and applications.

The first iteration of Internal Motivations was staged at Somerset Studio, London and co-organized by Music Hackspace, Happened and Lacking Sound Festival. In this session, 14 artists, musicians, engineers, and cultural thinkers each brought their own creative directions to the table and interpreted the given resources with a personal focus. Workshop participants Anja Borowicz and Harriet Pittard have contributed their work to the presentation below.

The second iteration of the workshop is scheduled for Sept 23, 2018 at Taipei Contemporary Art Center. This session will focus on collective listening and improvisation and participants will explore sound  between people and domestic electronics and computer accessories. More information will be updated on this page after the event.


2018年7月「內部運動」第一回舉辦於倫敦桑默塞特府工作室,由音樂駭客空間、Happened、失聲祭共同策劃。過程中14位藝術家、音樂家、工程師和文化思想家分享他們各自的創作方向,以個人為觀點瞭解內部運動的價值。參與者Anja Borowicz和Harriet Pittard於「未來道:線上秘笈」呈現他們的工作坊成果。



Anja Borowicz

“The inspiration for this piece stems from my investigations of how our working gestures are performed and can be extended to different situations, actions and meanings.

The source materials have been selected from the BBC Sound Effects and The Internet Archive. The piece combines the sounds of the body massage with the acts of dough kneading and clay throwing. This version was recorded as a live laptop performance using a mixer board in Audacity.

Flowing rhythms interweave with awkward changes when the labouring bodies adjust or pause their recorded action, or when my hand hesitates while searching for controls. Yet tuning my body into the sounds became less self-conscious when working live with the clips. Lighter and more playful.”



當我的手在鍵盤上猶豫不決之時;當錄音中的勞動體進行自我調整,或停頓於一個動作時,流動的節奏中出現交織於其中的尷尬變化。 然而當我調整自身的頻率,與錄音達到一種協調時,這些聲音材料再也不讓我感到太過緊張,整件事變得更輕盈,更有趣。」


Harriet Pittard

Harriet Pittard is a London-based vocalist, musician and sound artist. She has made sound works in collaboration with contemporary artist Beatriz Olabarietta for exhibitions at London’s MOT Gallery, The Serpentine and The Sunday Painter, as well as making sound work to accompany the photography of artist Kadie Salmon.

For her first solo sound project Pittard will use found sound, field recordings and composition to explore endometriosis – a chronic female reproductive condition. Initial inspiration for the project came after attending a workshop at London’s Music Hackspace entitled ‘Internal-Motivations’. Led by sound and performance artist Sheryl Cheung, the workshop explored new imaginations of internal martial arts through the perspective of sound.

Through her long-term project ‘endorchestra’ (inner-orchestra) Pittard aims to explore the various medical stages, emotional experiences and opportunities for healing that living with the condition can present. Women’s symptoms are often ignored or silenced resulting in an average diagnoses time of 7.5 years in the UK. Through this project the artist hopes to amplify hers and other women’s experiences of the disease and create a greater depth of understanding of the condition through sound.

‘endosketch’ is an initial short exploration into sounds associated with the condition. The sketch traverses internal movements, medical noise and womb healing sonics.
Harriet Pittard 是一位倫敦歌手、音樂家和聲音藝術家。她與藝術家Beatriz Olabarietta合作的作品曾展出於倫敦的MOT畫廊、蛇形畫廊 (The Serpentine) 和星期日畫家畫廊(The Sunday Painter),並為藝術家Kadie Salmon的攝影創作聲音。

'endosketch'是Harriet Pittard 第一個獨立作曲嘗試,一個初步、簡短的聲音草圖,過程中採用已有的和自製的錄音材料去探索一種慢性女性生殖病症--子宮內膜異位症 。此作品穿梭於內部運動、醫療噪音、和子宮治療的音頻之間。

endosketch為Harriet Pittard 的長期項目“endorchestra”(內部管弦樂隊)的一部分。此項目旨在探索各種治療階段,情感體驗和康復過程的嘗試。關於女性的病症經常被忽視或消音,導致英國的平均診斷病齡為7-5年。藉由endorchestra藝術家希望為自身和其他女性所面對疾病發聲,並通過聲音的探索更深入了解病情。

該項目靈感來自倫敦音樂黑客空間(Music Hackspace)的Internal Motivations (內部運動)工作坊。在聲音和表演藝術家張欣(Sheryl Cheung)的帶領下,工作坊從聲音的角度重新想像內家武術文化。

Archive 2018_Inner Ear

Electric Phantom 電魂

Itaru Ouwan

“Electric Phantom” is a piece of musique concrète, especially using sounds of discharge of electricity, to produce the condensed form of row material and movements of energy invisible.

In western area, these invisible energy applying to one’s body has been treated in many scientific culture and arts, and mainly focused on as electricity. From ancient sage Pliny to T. A. Edison and N. Tesla in modern era, the works of electricity were studied and discovered as invisible, mystic, but powerful energy in nature. Also in contemporary, with names of H. Cavendish, A. Volta, M. Faraday, J.V. Neumann, R. Caton, H. Berger, W. Einthoven, M. Merleau-Ponty, and study of EEG by S. Bozinovski, M. Sestakov, L. Bozinovska, electricity is known as basic energy to activate our muscles, nerves, brains, and our consciousness itself worked by weak current as electro-physiology shows it.

On the other hand, electricity is familiar to us in tales, as laboratory work by Luigi Galvani was transformed in the story of Frankenstein by M. Shelly, that followed by Jules Gabriel Verne and scientific fictions. We could find the spiritual communication by Edison, Tesla, and even De Sade wrote about these things. Also in music and arts, invisible energy is dealt with in a subject, like Jean-Féry Rebel’s Les Élémens, and in the methods in major contemporary works, as electro-magnetic sensing. For example, John Cage’s Variations V is described as “two systems for the sound to be affected by movement (…) that the dancers triggered sounds as they cut the light beams with their movements. A second system used a series of antennas. When a dancer came within four feet of an antenna a sound would result. Ten photocells were wired to activate tape-recorders and short-wave radios”. In this body-sensing systems improvise the sonic field “as it was created by radio antennas responding to the dancers' movements.” In these works, unseen relationship between body and sensing became as trigger to generate noise – non-visible vibrations of air, by using electro-magnetic technology.

It means, in other words, from science to culture in our contemporary era, it is focused on that the relationships of body and unseen energy, we live in bio-electronic age.

In these reference to the electric-body in culture, the idea of self-cultivation will bring us back to the character and relationship of body and mind. So many questions and hypothesis could be asked, especially on mind and its works. For example, what is relationship between body movements and consciousness? What is resemblance between electro-signal in nerves and words? To sense is remade in the circuit tips? And in this computer and robotics age, we could ask more. So, could computer have their consciousness? Could it be copied from one another? Could they will? Could robots hope? Or, will robots dream of dreams of counting 100,000 sheep?

We couldn’t know the answers now anyway, but someday we could see the robots have their consciousness with the clue of current in their metallic body, and smile. In this moments, sensed-electricity circulated in their body and mind stimulate each other and will work as qui(気), and they will see the pass(道) opened in their circuit of bodies and minds in their way of communication, in internet. And we could dance with them with traditional maneuver.

Maybe that will be named as “future tao”.

The piece which I present here, is representation of that kind of electricity, rather in a row and condensed form. Using 5 discharge of high-voltage currents from 900v to 20,000v recorded in a laboratory as samples, non-effect but amplified only in volumes layered. Electricity with high pressure generated phenomena of arch, which pass between electrode as lights and heat, and sounds with dense vibration with burning air and sparking physically, as you hear.

The process of layering each tracks was really unforgettable, cause tone-cluster-form of electric arch and sparks in sound, generated streams and storms by itself like self-organization, that presented here as time based sculpture. That is, in other words, invisible but could-be-sensed high energetic field, or, which would represent one of the forms that will be appeared in the “future tao”.

「電魂」是一曲具體音樂(musique concrète),利用放電的聲音去製造一種原始物質凝練的狀態和其中隱藏的能量運動。


西方的科學和文藝領域多次提及有關人體的隱形力量,而這些論點主要集中於對電的討論。從古希臘智者蒲林尼(Pliny)到現代科學家湯姆斯・愛迪生(T. A. Edison)、尼古拉・特斯拉(N. Tesla),電被形容為一種自然中的無形、神秘且強大的力量。當代的思想家亨利・卡文迪什(H. Cavendish)、亞歷山德羅・伏打(A. Volta)、邁克爾・法拉第(M. Faraday)、馮・諾伊曼(J.V. Neumann)、理查・凱頓(R. Caton)、漢斯伯格(H. Berger) 、威廉・埃因托芬(W. Einthoven)、莫里斯・梅洛龐蒂(M. Merleau-Ponty)、以及博日诺夫斯基(S. Bozinovski)、謝斯塔科夫(M. Sestakov)、和博日诺夫斯基和(L. Bozinovska)對腦電圖(EEG)的研究中,電被視為一種基礎能量去帶動肌肉、神經和腦的活動。根據電生理學的思想,微弱的電流驅動著人類的意識。

流傳於民間的故事中,電是一個熟悉的素材。科學家路易吉・伽伐尼(Luigi Galvani)的實驗在瑪莉·雪萊(M Shelly) 的「科學怪人」和朱爾・加布里耶・凡爾納(Jules Gabriel Verne)的科幻小說中被重新的闡釋。愛迪生、特斯拉、甚至於薩德侯爵(De Sade)的寫作中也提及有關電的靈性溝通。在音樂和藝術中,無形的能量經常被視為一個具體的主題,呈現於讓.法耶.赫伯(Jean-Féry Rebel)的Les Élémens和其他有關電磁感應的探索性創作。以約翰.凱吉John Cage的 Variations V 為例,作品中兩個聲音系統被周圍的運動所影響;舞者透過動作去干涉現場的光束裝置,距離一組天線4英尺的範圍內引發聲響,而十個光電裝置連接至一組卡帶錄音機和短頻收音機。在凱吉這個身體感應的系統中,天線依照舞者的動作作出反應,形成一個即興的音場。在這件作品中,身體和感應之間的關係,透過電磁技術產生噪音。我們生活於一個生物電子的時代中,科學和文化領域持續關注身體和相關能量的關係。


針對這些問題我們沒有答案,未來的機器人會有自己的意識,他們會在鐵製的身體內感受電流的線索而微笑。在這些時刻,機器人感應身心間循環的電流(氣,他們會順著道的指引去打開網路身心交流,而人們會用傳統的體態和機器人齊舞。也許這會是所謂的 ”FUTURE TAO”。

這次的聲音創作是針對上述的,原始、凝練的電所做的一次描繪。此曲採樣實驗室裡高壓電流在900v ~20,000v間的五次放電錄音。我將採樣的素材做堆疊和音量的調整,並保留原始的素材的性質,沒有做後置效果。高壓電以光和熱的形式在電極間穿梭,所產生的聲音描繪著密集的震動、炎熱的氣體和其產生的火花。

這次堆疊採樣錄音的過程對我來說是難忘的,電路和火花所產生的音調 — 集 — 形,在流動、爆發間形成一個自我組織的、時間性的雕塑。透過這個無形雕塑可以感應到高能量的音場,作為闡釋 ”FUTURE TAO” 的一種形體。

☯ Itaru Ouwan
Itaru Ouwan is an essayist, noise-collage artist from Tokyo, a member of free jazz band Awkward Geisha. His activities began in 2008, writing essays about sound art, improvisation. He has published writings especially about Ensemles 2009, Sapporo International Art Festival 2017 on his blog, and talked in session at Ftarri about sound artists and composers, including Wandelweiser etc. Ouwan makes noise-collage tracks as Gaitoh, Overcoat, and festival_strangelove.
來自東京的作家、噪音拼貼藝術家,自由爵士樂團Awkward Geisha成員。2008他開始撰寫關於聲音藝術和即興創作,特別是Ensemies2009和2017札幌國際藝術節的文章,並於Ftarri上訪談關於Wandelweiser等音樂人,他的噪音拼貼身份分別為Gaitoh、Overcoat和festival_strangelove。

Archive 2018_Inner Ear

Meridian of Fortune 財經二周天


Jing (經), in ancient Chinese, originally means thread, path, and method; and Cai (財) is what is treasured and utilized by people. Therefore, the meaning of so-called “Cai Jing” (財經) is the strategies that seek fortune and the ability to analyze/discern gain and loss.

ASMR is a practice that is able to stimulate the listener’s perception and arouse meridian responses through the sensory system.

Meridian of Fortune blends the tao of finance with ASMR, the process of which helps the body and mind wander while coming to see the ordinary and its variations with more clarity and wisdom. It has been said: those who are not in tune with the circulation of heaven and earth are unable to ease the flow of their meridian channels; those who do not find unity between body and spirit cannot manage their wealth. So position yourself between the illusory and the real, and gather the flow between external and internal--that is the way to Meridian of Fortune.

To survive, one must consider how to live; and to live, one must possess wealth. And so, the tao of finance becomes an important lesson for every living person. In order to better manage your relationship with fortune, one has to study relevant knowledge and maintain a good attitude. Hundreds and Thousands of people seek this path but very few reach a sound level of practice. It is justified to say that the tao of finance is truly a process of self-cultivation.

Self-cultivation is often a journey full of hardship that requires a peaceful mind and clear spirit; but oftentimes, clarity still cannot be achieved despite the long hours of hard thinking and meditation. Meridian of Fortune offers an alternative path that tempers the severity of Cai Jing with the gentleness and relaxing quality of ASMR. In this method, climax eases the pain. Meridian of Fortune seeks to cultivate and enter the listener’s state of half-asleep-and-half-awake, searching for a space where the mind and body become one and the body and nerves are relaxed. In this space of consciousness, let flow the meridians of fortune.

ASMR and Cai Jing-two ideas that do not appear to be related-actually imply underlying connections. The word Jing (經) in Cai Jing (財經), means “method” or “route”, which originally referred to the vertical thread in weaving that serves to connect the fibre together. The gist of Jing is fluidity which also reconciles with the meridian and flow of circulation in a body while the feeling and sensation evoked by the sound of ASMR is also a kind of meridian response. For me, ASMR is like a mystic practice that is not yet fully understood but is full of charisma. ASMR is often used for hypnosis and it is also the key to the aforementioned state between dream and awakeness. Furthermore, Cai (fortune) and sleep are also subtly connected. Most people of the working class earn their wage by working while they are awake; sleep, therefore, becomes a time when the flow of fortune is suspended. The wealth of the rich is, however, continue to accumulate even while they are sleeping. The integration of ASMR and Cai Jing may entice a potentiality that brings the “productive sleep” to every listener.

Instead of thinking it through, you could as well just relax. The fluidity of body might just become a path towards a kind of understanding.


人活着,就得考慮如何生活;而要活下去,就需要財富。理財之道因而也就成了生而爲人的一 門重要的功課。打理好自己與財富之間的關係,既需要學習相關的知識,也需要鍛鍊良好的心 態。對此,雖千萬人俱往,但真正有境界的卻寥寥無幾。將之比作修行,實不爲過。


ASMR與財經,看似風馬牛不相及,實則暗含隱匿的關聯。“財經”一詞中作“方法、道路”之意的“經”,脫胎於紡織的經線,其要在通,也暗合了身體的經絡和循環;而ASMR通過 聲音所刺激的感官感受,也正是一種經絡反應。對我來說,ASMR就像是某種密宗——雖然尚未被充分瞭解,但卻充滿魅力。它常被用來催眠,也是進入半夢半醒空間的關鍵鑰匙。此外,財富與睡眠之間也有着微妙的關係:大多數工薪階層,依靠醒着時的勞作來獲取報酬,那麼睡眠就意味着財富的休止;而另一邊,富裕人士的財富即使是在他們睡覺的時候,仍然可以持續地增加。ASMR與財經的結合也許擁有某種潛能,把“生產性的睡眠”帶給每一個聽衆。


TEIHAKU is an artist and writer. Involved with various artistic and social practices, he often switched among different roles to work in different contexts and territories in order to disrupt unnecessary barriers. From 2018, TEIHAKU started to use sound as a platform to discuss the relation between sense, consciousness and technology.

Archive 2018_Inner Ear

Terms* 條款

Chun Yin Rainbow Chan
& Craig Stubbs-Race

“Terms” comes from the word terminus. Latin for a boundary, a limit, an end.

“Made in China” once signified anxieties about the loss of hegemonic power in the West. Now, with China's slowing economy and rising labour costs, these fears have shifted onto Chinese counterfeiting and piracy which pose key threats to world trade. Indeed, global media seems to be fixated on stories which portray China as dangerous. It is not uncommon to see headlines describing China as “crazy” or to hear about China’s fake foods, bogus drugs, poor production standards and systemic corruption. Such spectacles brand China as a nation in crisis in the public imagination. But the circulation of these horror stories also help to mask the fact that “Made in China” products are pawns in a global economy, the rules of which are governed by powerful Western multinationals.

“Terms” denotes the conditions under which an agreement is made.

China’s counterfeiting industry has often been attributed by scholars to historical precedents which collapse profitability with ancient Chinese philosophy. Some have mapped the ideas of permeability and changeability within Taoist thought onto the prevalence of knock-off goods. Others have imputed copy culture to the arduous repetition of words required for mastering the Chinese language. However, linking acts of imitation to some sort of Chinese “sensibility” not only risks perpetuating Orientalist stereotypes but it fails to see counterfeiting as a transnational issue. Under the hostile standards of the World Trade Organisation which work to benefit the West, it is not surprising to see alternate modes of production spring up in China. Afterall, China is the largest manufacturer in the world and probably made the Nikes on your feet.

“Terms” alludes to a mutual relation but gestures towards stipulations, transactions and power plays rather than unconditional acts of love.

The counterfeit object is an incoherent sign without claims to authorship or integrity. Its meaning and value is hard to stabilise when entered into the public domain. A skilful imitation can emanate a magical aura whilst the more obvious illegitimate offspring likes to give you a knowing wink. The counterfeit is a slippery, porous and multi-dimensional symbol of resistance, a big momentary fuck-you to Terms and Conditions. But in this game of global trade, the counterfeit is too easily co-opted by those in power and subsumed back into the safety of late capitalism.

“Terms” is a throbbing mass of lo-res McDonald’s french fries skittering around Taobao. A lively organism moving in time with the sound of Youtube rips, free drum sample packs and Google-Translated audio. A cluster of false promises on the brink of explosion.

Terms 源於拉丁語的 Terminus,意指邊界、限制、結束。

「中國製造」曾經指向西方喪失霸權而引發的焦慮。 隨著中國的經濟放緩、勞動成本上升,過去對中國的焦慮逐漸轉移焦點,如今該國的仿冒和盜版產業被視為世界貿易的重大威脅。全球媒體似乎迷戀於將中國描寫為危險角色的種種故事。

「瘋狂」的中國頻繁出現於新聞頭條,也時常聽說該國的假冒食品、藥品、不良的生產標準和系統性的腐敗。這些敘事營造出一種景觀,在公眾的想像中,中國是一個處於危機中的國家。 而關於中國的恐怖故事之擴散有助於掩蓋「中國製造」在全球經濟中作為政治籌碼的事實,相關遊戲規則由強大的西方跨國公司所把持。

Terms 表示著達成協議的條件。

許多學者們認為中國的仿冒產業屬於一種在利益和中國古代哲學之間建立連繫的歷史先例。有些人將道家思想中的滲透性和可變性映射於今日仿冒品的盛行。 也有些人將復製文化(copy culture)回溯至漢語教學中重複詞彙的學習方法。 然而,將模仿這個行為與某種中國味道聯繫起來,不僅涉獵強化東方主義之刻板印象,且未能將仿冒現象推向一個跨國議題來談論。在世界貿易組織偏袒西方的標準下,中國出現其他生產方式也不足為奇。畢竟中國是世界上最大的製造商,你腳上穿的Nike或許就是中國製造。

Terms 所暗示的相互關係,並非無條件的愛,而關乎的是規則條例、交易、權力遊戲。

假冒的物品是一個缺乏連貫性的符號,沒有作者聲明,也沒有完整性。介入公共領域時,其含義和價值難以穩定。精巧的仿冒品散發出神奇的光環,而明顯非法的產物更喜歡對你會意地眨眼。 仿冒品是一個光滑、多孔和多維的抵抗象徵;面對著服務條款和條件,它以巨大的、瞬間的「fuckyou」作回應。 在這場全球貿易博弈中,假冒者容易被當權者所吸引,並被納入晚期資本主義的安全懷抱之中。

Terms 是在淘寶上肆虐的一群悸動的低畫素麥當勞薯條。一個生動的有機體,在時間中隨著Youtube上翻錄的聲音、免費的鼓聲取樣組合和谷歌翻譯的音頻移動。一堆虛假的承諾在爆炸的邊緣。

☯ Chun Yin Rainbow Chan & Craig Stubbs-Race
Chun Yin Rainbow Chan works across music, performance and installation. Born in Hong Kong and raised in Sydney, Rainbow is interested in mistranslations, diaspora and the effects of globalisation on modern Chinese society. Her research engages with the authentic and the copy, exploring sites of exchange and desire which complicate Western notions of originality and appropriate consumption. Central to Rainbow's work is the circulation of knock-off objects, sounds and images in global media. Her work positions the fake as a complex sign that shapes new myths, values and contemporary commodity production.

Craig Stubbs-Race makes 3D models, motion graphics, websites, and animations.
☯ 陳雋然 與 Craig Stubbs-Race

Craig Stubbs-Race 製作3D模型、動態圖像、網站及動畫。