Itaru Ouwan
追灣及


“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。

「修行」的用意為擴大自我內在的能量(氣),啟動身心對接的關係,以逆轉力量弱化的趨勢。氣作為一種生命力量,是不可見的、存在於我們的身體和心靈,透過特殊的呼吸方法和武術培訓,我們可以學習控制氣。首先,去感覺氣的觸感,進入氣的運行(道),開啟生死間的迴轉過程。

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」和儒勒·加布里埃尔·凡尔纳(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。以強尼.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。

透過以上對文化中電體的各個論點,我們來回應修行中身心的關係與性質。對於腦的運作,我們可以提出各種問題和假設。舉例來說,人體運動和意識之間的關係為何?如何理解神經和語言間的電訊?如何透過電路的提示重新創造感應的能力?在這個電腦和機器人的時代裡,我們可以問得更多。電腦可以有自己的意識嗎?有意志嗎?能祈望嗎?電腦間可以互相模仿嗎?可以夢見有關數十萬隻羊的夢嗎?

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。

☯ ABOUT

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.


☯ 關於

追灣及


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。




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