ying yin jing DIN! · sound and video installation, with MLuM · 2009
声音与影像装置，与 MLuM 合作 · 2009
Soundscapes from elsewhere, grown, pruned and replanted like a penjing in the spaces of a university arts centre.
来自别处的声景，像盆景一样被培育、修剪，再移植到大学艺术中心的各个空间。
| Forms 形式 | sound installation with video; prerecorded material through PA and broadcast systems, and live real-time processing by deejays or deejay proxies, sound artists and musicians 带影像的声音装置；经扩声与广播系统播放的预录素材，以及由 DJ 或其“代理”、声音艺术家与乐手进行的现场实时处理 |
|---|---|
| MLuM 成员 | Hoh Chung Shih, sound (Singapore); Michael Raco-Rands, sound (USA); Marco Schindelmann, sound (EU and USA); Snezana Petrovic and Vid Petrovic, video (Yugoslavia) 何仲实，声音（新加坡）；Michael Raco-Rands，声音（美国）；Marco Schindelmann，声音（欧盟与美国）；Snezana Petrovic、Vid Petrovic，影像（南斯拉夫） |
| Presented 展演 | 27 February – 15 March 2009 — NUS Arts Festival 2009, National University of Singapore 2009年2月27日至3月15日——2009 新加坡国立大学艺术节 |
| Watch 观看 | ▶ four videos: Sky 1, Sky 2, BoomBlooms 1, BoomBlooms 2 ▶ 四段视频：Sky 1、Sky 2、BoomBlooms 1、BoomBlooms 2 |
ying yin jing DIN! (影音景, ‘shadow, sound, scene’) explores sonic dislocation: soundscapes alien to the presentation space are contracted, reconfigured and transplanted into it. Sounds were gathered around the university — the foyer of the Centre for the Arts, the garden in front of it, the back courtyard, the winding passage from the underground car park, the car park itself — and from other places in the world, urban and natural. Some were processed to carry the essence of those places into the space; others were left as raw field recordings, changed only by being heard somewhere else.
《影音景DIN!》探讨声音的“错置”：把与展演空间格格不入的声景加以浓缩、重组，再移植进来。声音采集自大学各处——艺术中心大堂、门前花园、后院、从地下停车场通上来的曲折通道，以及停车场本身——也来自世界其他地方的城市与自然。部分声音经过处理，把那些地方的精髓带进展演空间；另一些则保留为原始的现场录音，只因在别处被聆听而改变了意义。
Its generative system combines Futurist categories of sound with the principles of the Asian horticultural arts that take place and scape as both subject and medium — penzai, penjing, bonsai, saikei, bonkei, suiseki and the traditional garden — while American muzak and deejay practice set the modes of delivery. Speakers act as topography and soil; sound behaves like vegetation, growing, filling space, dying and decaying. As in penjing, human control meets automatic and natural processes as sound is gathered, cultivated, reshaped (sometimes deformed) and re-sited.
作品的生成系统，结合了未来主义的声音分类，以及以“地方”与“景”为题材和媒介的亚洲园艺传统——盆栽、盆景、日本盆栽、盆景式造景（saikei）、盆石景（bonkei）、赏石（suiseki）与传统园林——而美国的背景音乐与 DJ 演出方式，则决定了呈现的形态。扬声器犹如地形与土壤；声音如植物般生长、充满空间、死去、腐朽。正如盆景艺术，在声音被采集、培育、修整（有时被扭曲）并重新安置的过程中，人的控制与自动、自然的过程彼此交会。
Like the penjing artist absorbed ‘in the moment’, the deejay, ‘tune harvester’ and sound artist work through happy accident and Daoist flow, reducing soundscapes to their elements so that a sense of place can travel.
如同全神“活在当下”的盆景艺术家，DJ、“曲调采集者”与声音艺术家也在偶然的惊喜与道家的流动之中工作，把声景还原为元素，让“地方感”得以迁移。
Sky 1
Sky 1
Sky 2
Sky 2
BoomBlooms 1
BoomBlooms 1
BoomBlooms 2
BoomBlooms 2
The full proposal text, in English:
完整的计划说明（英文）：
ying yin jing DIN! is a sound installation with video component that explores sonic dislocation and re-contextualization through the contraction and reconfiguration of soundscapes that are alien to the presentation space(s). Modes of presentation include the playing of pre-recorded material through PA and other sound-broadcast systems as well as live, real-time processing and presentation by deejays or deejay proxies, sound artists and musicians. Sound material, collected from various locations within the university as well as from other parts of the world, both urban and natural, will be processed and configured with the intent of transferring to the presentation space(s) the essence of those foreign environments and locations. At the same time, some material will remain raw as intact field recordings, only to be re-contextualized through presentation in other locations.
As our creato-researchive interests include the geographics of social networking pertaining to the enviromentics of location and mindset, and performance orientations relative to interactive systems within improvisational structures and environments, ying yin jing DIN! offers both artists and student participants opportunities to exchange trans-cultural experiences and perspectives through the apprehension, transferal and rearticulation(s) of “exotic” sono-systems. Also, pen-jing, bonsai and traditional Chinese garden practice figure into some of our backgrounds and interests, thereby providing us with an opportunity to explore the potentialities of another one of our creato-researchive interests, namely sustainability as artistic tradition and genre.
ying yin jing DIN! uses as a generative system a combination of Futurist sound categorization, and the underlying principles, practices and philosophy of those Asian horticultural disciplines that focus on environment, place and scape as both subject and medium. As a result, contemporary sonic emulations both urban and natural, rather than representations, of pen-tsai, pen-jing, bonsai, saikei, bonkei, suiseki and traditional garden will reverberate within the presentation space. American muzak and deejay performance practice will dictate modes of delivery and presentation.
Mineralian and vegetational correspondences are applied to technological equipment and sound material. Speakers provide orientation and origin akin to topography and soil; sound operates vegetatively as it grows, fills space, dies and decays. As in pen-jing practice, the interplay of human control and automatonic and/or natural action with aesthetics and environmentics are explored as sound is gathered, cultivated, re-shaped (sometimes deformed) and re-situated in order to contract and exemplify, reproduce and evoke soundscapes specific to places and/or states of mind.
Like the pen-jing or bonsai artist, who, while working materials, is captured according to Chan or Zen practice “in the moment,” the deejay, tune harvester and sound artist, engrossed in the momentum of moment-to-moment moments, negotiate materials in processes filled with problematic inspirations, resolutions and insights. As harmony is sought by conflict in a creato-improvisational process, involving happy accident and Daoist flow, the artist is absorbed in overlapping zones of active and performative meditation, equivalent to that experienced by horticultural artists, as he/she reduces soundscapes to their elements so as to insure transferal of essence and sense of place, as well as signal a return to the original spontaneity of locative flow.
MLuM was a Long Beach, California based conceptual mock-pop and performance art ensemble of artists from several countries, featured on National Public Radio programmes across the USA. See also Cargaku.
MLuM 是以美国加州长滩为基地、由多国艺术家组成的概念性“仿流行”与行为艺术团体，曾在全美国家公共电台节目中亮相。另见 《Cargaku》。
For scores, performance materials and other enquiries:
chungshih@chungshih.info
乐谱、演出资料及其他查询：
chungshih@chungshih.info