就藝術史發展脈絡而論，視覺所見之物往往為藝術表達之最主要媒介，無論平面、或立體、靜止或動態，人類知覺基礎中所應用於賞析藝術的面向多傾於視覺。眼睛對於形體 、色彩、或連續畫面的接收，以及其後的思索乃至於情感的喚起，是無數藝術創作的根本。音樂常被認為是唯一純然運用聽覺的藝術形式，然而人類聽覺裡所能接收的當然遠較樂音為多。若是任何生活環境裡既有存在的聲響，或者任何以器皿、電腦乃至於器械等等所製造出的聲響，乃至於非歌唱的人聲，都可轉化為創作的媒材，那麼「聲音」(sound) 的運用便可成為塑形藝術作品的另一條蹊徑。聲音藝術被視為獨立的藝術表現形態，是在20世紀末期才開始，而在當代藝術的發展過程中，聲音藝術也沒有顯明的脈絡、歷史與集體運動。然而以聲音為主體的藝術創作，在近年卻大量繁衍，其所傳遞聲響的途徑與所被聆聽的方式也各自迥異，比方多聲道喇叭、藍芽耳機、音響換能器等。各大雙年展與知名當代美術館引介入了大量的聲音藝術作品，在將「聆聽」納入感知藝術的行為之際，也正開啟人類對聽覺文化應有的重視。
本課程將以導論聲音藝術的發源為始旨，將「聽覺」歸於藝術創作的主體與文本，並從探究近六十年來形式多端的聲音創作，來逐步構建出聲音藝術的整體概貌，並揭示聲響為創作素材的各種可能性，來激發學生對 「聲音」(sound) 做為藝術型態的多重認知與興趣，並持續引導學生將各類人為或自然的聲響納進創作思維，並進而將聲響抽象與實驗化，表達其欲呈現的美學、心境、議題或意象。相對於視覺藝術中繪畫史對於畫派與主義的既定，本課程的宗旨並非在定義與建制聲音藝術，而在強調聲音藝術作為一門新興藝術領域的流動性與爭論性，引導學生一同擴展聲音藝術的學術論述。課程也將自心理聲學領域，研討聽覺與聲音的接收，並自物理學角度，闡述空間對於聽覺的重要影響，包括回音、共鳴等聲音物理現象是如何產生，並可如何將之運用於具象與抽象聲響的塑形。
本課程中將伴隨大量的作品聆聽賞析，由此認知當前各式聲音藝術創作的型態，以及重要的聲音藝術家及其代表作品。課程也將一覽聲音藝術與其他領域與場域的結合，以及其與音樂的差異與類同。最後將回歸技術層面，探討創造聲響的軟硬體以及錄音技術的重要性，引導學生自科技層面實踐聲音創作。
在研習完本課程後，希冀學生能對環境裡的發聲體有著更敏銳的覺察，並激發其將聲響採集或編制、乃至於抽象及實驗化的創作潛力。As far as the development of art history is concerned, the things you see are often the main medium of artistic expression. Whether it is plane, three-dimensional, static or dynamic, the aspects used in the human knowledge base are mostly based on vision. The eyes' reception of shapes, colors, or continuous screens, as well as subsequent thoughts and even emotional arousal, are the foundation of countless artistic creations. Music is often considered to be the only purely artistic form that uses listening, but human hearing can certainly receive more music. If any existing sound in any living environment, or any sound made of vessels, computers, or even non-singing voices, can be transformed into creative mediums, then the use of "sound" can become another aspect of shaping art works. The art of sound art, which is regarded as independent, began in the late 20th century, and in the development of contemporary art, sound art has no obvious ensemble, history and collective movement. However, artistic creations based on sound as the main body have reproduced in large quantities in recent years, and the ways they pass on sound and are different from the ways they are heard, such as multi-channel speakers, blue-bud earphones, audio converters, etc. Major exhibitions and well-known contemporary art museums have introduced a large number of audio art works, and while adding "listening" to the behavior of perceptual art, it is also opening up the human emphasis on listening culture.
This course will start with the purpose of discussing the origin of sound art, and will "sense" be studied in the subject and text of artistic creation. From the exploration of sound creation in the past sixty years, we will gradually build the overall overview of sound art, and reveal various possibilities of sound as creative material to stimulate students to "sound" (sound) As an artistic genre, students continue to guide students to introduce various human or natural voices into creative thinking, and then abstract and experience voices, expressing the aesthetics, moods, topics or images they want to present. Compared with the establishment of painting history in visual art for painting schools and theories, the purpose of this course is not to define and establish sound art, but to emphasize the fluidity and controversy of sound art as a new art field, guiding students to expand the academic discussion of sound art together. The course will also be from the psychological sound field, discussing the reception of hearing and sound, and from the perspective of physics, to describe the important impact of space on hearing, including how sound physical phenomena such as echo and cophonia are generated, and how it can be used to shape concrete and abstract sounds.
This course will be accompanied by a large number of works to learn about the current types of sound art creations, as well as important sound artists and their representative works. The course also sees the combination of sound art with other fields and fields, as well as its differences and similarities with music. Finally, we will go back to the technical level, explore the importance of creating sounds and recording technology, and guide students to implement sound creation from the technology level.
After finishing this course, I hope that students can have a more sensitive perception of the sound body in the environment and stimulate their creative potential to collect or edit sounds, and even abstract and empirical.
Sterne, Jonathan, ed. The Sound Studies Reader. London: Routledge, 2015.
林其蔚 (2012) 。《超越聲音藝術》。臺北：藝術家。
Sterne, Jonathan, ed. The Sound Studies Reader. London: Routledge, 2015.
Lin Qiwei (2012). "Beyond Sound Art". Taipei: Artist.
| 評分項目 Grading Method | 配分比例 Grading percentage | 說明 Description |
|---|---|---|
| 期中書面報告期中書面報告 Midterm written report |
50 | 擇選一則聲音藝術類作品，闡明其如何運用聲響為媒材創作，並論述作品整體概念。可與同位藝術家其他作品或其他藝術家之作品縱或橫向比較。 |
| 期末小組作品呈現期末小組作品呈現 The final group of works presented |
50 | 以三至六人為小組，媒材與呈現方式自訂於教室 、網際空間或任何公共空間內發表一則簡約的聲音創作。可為由耳機或喇叭撥放的錄音型態作品、現場表演作品或聲音裝置或聲音雕塑作品。概念與執行各佔評分之50%。 |
