【目聶仔影展 2 實驗・時態】—聲感時間

【目聶仔影展 2 ba̍k-nih-á film festival 2 實驗・時態 Times Ex-Tense】2024.05.24 - 05.26 ＠C-LAB——臺灣聲響實驗室

時間為何物？電影又為何是一門「時基的技藝」？將連續動作的靜態分解畫面快速放映，電影讓我們重新獲得影像運動的幻覺。 電影也成了最適合用來表現「時間性」的媒體之一。1930年代，電影工業系統為電影影像設定了「標準時間」——一秒鐘放映24個畫格。這個運轉速率能降低讓早期初始電影放映的閃爍問題，讓影像的運動更為流暢、也能增強觀眾對連續動作幻覺的感受與音畫同步的現實感。實驗電影則利用電影媒材的物質性拆解這個「標準時間」，打破幻覺機制，將電影的時間變得有彈性，能容納更多元的敘事，表現電影時間更為豐富的層次。

繼「黑影展」 後，目聶映像文化本次以「時態」為主題，展現音像實驗的精神，為台灣觀眾精選了國內外30部實驗電影與動畫，有前衛經典、也有眾多近期的亮眼之作：《時差》單元聚焦在以視覺形式主導的實驗作品，強調類比媒材的解構，展現時間不可思議的向度；《被殺的時間》則為莫斯科國際實驗電影節創辦人——弗拉基米爾・納登（Vladimir Nadein） 為台灣觀眾所做的特別企劃單元，直探數位資本主義時代的時間困境；《遊戲時間》針對兒少觀眾構想，結合藝術家蔡宛璇的工作坊，希望讓兒童對時間的感知能有最直接的宣洩與自由的想像；《On Time》，是我們首次舉辦的全球實驗短片徵件活動，邀請國內外藝術家及策展人擔任評審，從近400件作品中揀選出最多元的「時態」，其中有瘋狂的視覺實驗，也有非常精彩的故事。今年的放映節目中，我們特選7部作品，以珍貴的16mm拷貝放映。此外，特別節目《聲感時間》——為西方當代音樂學專家周昭均所策劃的音像演出，用當代音樂曲目讓觀眾在現場用聽覺去體驗不尋常的「時間感」，加上藝術家雪克的現場影像，策劃僅此一場，令人耳目一新的表演。

What is time? And why is film a "time-based art"? By rapidly projecting a series of static frames depicting continuous action, film allows us to experience the illusion of motion. Film is one of the most suitable mediums for expressing temporality. In the 1930s, the film industry established a "standard time" —24 frames per second. This rate was chosen to mitigate the flickering issues in primitive film screenings, smoothen the motions and also enhance the audience's perception of the illusion of continuous motion and the realism of synchronized image and sound. On the other hand, experimental filmmakers utilize the materiality of film to deconstruct this "standard time". They disrupt the illusionary mechanism, rendering film time more flexible and accommodating to diverse narratives, thus enriching the layers of film temporality.

After "Black - A Film Festival” , Bak-Nih Audiovisual Lab focuses on "Time / Tense" to investigate the spirit of experimental cinema, this time we select 30 experimental films and animations, international or domestic, including avant-garde classics and recent dazzling works. In our programs, "Time Zone" focuses on works based on visual experiments, emphasizing the deconstruction of analog film and showing the extraordinary dimensions of time; "Killed Time" is a special program for Taiwanese audiences by Vladimir Nadein, founder of the Moscow International Experimental Film Festival, directly explores the dilemma about time in the era of digital capitalism and is thought-provoking; "Playtime", a screening conceived for children and young audiences, combining artist Tsai Wan-Shuen’s workshop, is an attempt to allow children express and imagine freely about their perception of time; "On Time" is our first global open call for experimental films. Invited international artists and curators as jury, selected 12 films from nearly 400 works, including wild visual experiments and delicate stories; For this yearùs program, 7 films will be projected on precious 16mm prints. In addition, this year's special program "Sounding Time" - an audiovisual performance conceived by Chou Chaochiun, an expert in Western contemporary musicology, who uses contemporary music to allow the audience to experience an unusual "sense of time" with their ears. Along with visual artist Shake’s live VJ, it will be a refreshing unique performance that only happens once.

（單元四）

聲感時間
Sounding Times

音樂在時間中展開，音樂元素的安排組合也產生了作品特有的音樂時間。因此，「聽音樂是聽聲音，聽音樂也是聽時間」。本音樂會以木琴與鐵琴二重奏，演出不同時期運用「反覆」原則的作品，並搭配影像，帶來多樣的聽覺－視覺－時間體驗。E. Satie的《惱火》（Vexation）以似乎漫無目的的反覆，質疑時間的流動。H. Biber的《帕薩卡牙》（Passacaglia）與A. Akiho的《唐紅》（Karakurenai）皆由頑固低音的反覆展開變化，但相隔三百年的音樂語言產生了迥異的時間感。B.Bartok《小宇宙》（Mikrokosmos）選曲在小品的短暫時間中，呈現反覆手法的多種可能。D. Friedman和 D. Samuels的《旋轉木馬》（Carousel）在規律反覆中加入爵士的即興元素，並置機械化與自由的時間。S. Reich的《拍手音樂》（Clapping Music）則在無音高的節奏反覆與錯位中，擾亂我們的時間感知。

本節目以音樂的概念主導，加入視覺藝術家雪克以舊片沿用（found footage）手法構思的現場表演，將現成影像素材解構、以樂曲結構重新編排VJ表演，與音樂家一同讓觀眾體驗「現場」的當下性。

Music unfolds in time, and the organization of musical elements creates a unique temporal experience within a composition. Therefore, "listening to music is listening to sound, yet listening to music is also listening to time." This concert features a marimba-vibraphone duet, performing works from different periods that employ the principle of "repetition." Accompanied by images, it aims to deliver a multifaceted audio-visual-temporal experience.
Vexation by E. Satie challenges the flow of time through seemingly purposeless repetitions. H. Biber'sPassacaglia and A. Akiho's Karakurenai both unfold variations through “ostinato”, yet their music languages, separated by three centuries, evoke distinctly different perceptions of time. Excerpts from B. Bartok's Mikrokosmos explore diverse approaches to repetition within brief compositions. D. Friedman and D. Samuels' Carousel melds jazz improvisational elements with regular repetitions, juxtaposing mechanized and free-flowing time. Meanwhile, through pitch-less rhythmical repetitions and displacements, Clapping Music by S. Reich disrupts our perception of time.

This program is led by the music concept, adding visual performance conceived by artist Shake using the found footage. She will deconstruct and rearrange existing archive image materials to produce VJ performance within the structure of music. Together with musicians, to invite the audience to experience the "live cinema”.

企劃人：王允踰 Yun-Yu Wang
畢業於法國巴黎第八大學電影系美學理論研究所，有多年在地方文化場館、電影節以及外交單位之工作經驗，擅長發揮合作協商技巧與跨文化能力，促成國際計畫交流與合作，工作面向包含策展、文字、影像教育與影視音文化政策。

Yun-Yu Wang graduated from the Aesthetics and Film Theory Research of the University of Paris 8 Vincennes-Saint-Denis. She has years of work experience in local cultural venues, film festivals, and diplomatic units. She excels in utilizing cooperation and negotiation skills and cross-cultural abilities to facilitate international project exchanges and collaborations.


策展人：周昭均 Chao-Chiun CHOU
師大音樂系畢業後，於巴黎第八大學取得音樂學碩、博士學位，研究領域為西方當代音樂，博士論文以頻譜音樂的聲音美學觀為主題。返國後於東吳大學、台南大學音樂系與台中市清水高中任教。除以教學與寫作推廣當代音樂外，亦從事法語翻譯，目前已有多本譯作出版。

After obtaining a bachelor's degree in music from National Taiwan Normal University, CHOU obtained her master's and doctoral degrees in musicology from the University of Paris VIII, specializing in contemporary western music, with a focus on spectral music. After returning to Taiwan, she has taught at Soochow University, National University of Tainan, and Taichung Municipal Cingshuei Senior High School. Beyond her teaching roles, she also writes about contemporary music and works as a French translator.

演出音樂家：
余若玫 Rho-Mei YU
擊樂演奏者，擅長當代室內樂演奏，兼具教學與創作身份，勇於探索並致力多元表演藝術領域。於德國法蘭克福高等音樂院畢業並獲最高演奏家文憑。曾為摩登樂集學苑(IEMA)成員。近年在台灣參與多項音樂與劇場演出製作。

Percussionist, based in Taiwan. As a contemporary chamber music performer, educator, and creator, Rho-Mei is dedicated to exploring diverse performances with an interdisciplinary nature. nAfter graduating from the National Taipei University of Education, she moved to Europe and pursued advanced studies of percussion performing arts and completed her Konzertexamen Diploma in Frankfurt HfMDK in Germany.She was a member of International Ensemble Modern Academy (Frankfurt).

陳景琪 Ching-Chi CHEN
畢業於國立台北藝術大學音樂系、北藝大管絃與擊樂研究所碩士班，主修擊樂。曾師事何鴻棋、 吳思珊、 吳珮菁老師。在校期間獲多次個人音樂比賽特優，亦曾代表北藝大赴日本目黑國際藝術節演出。2016舉辦個人畢業獨奏會，取得碩士學位。演出經驗豐富，致力於教學，喜愛表演，現為朱宗慶打擊樂團傑優專任指導老師。

Percussionist based in Taipei, Ching-Chi earned both her bachelor's and master's degrees from Taipei National University of the Arts (TNUA). She studied percussion under Professors Hong-Chi Ho, Shih-San Wu, and Pei-Ching Wu. During her time at TNUA, she received numerous awards in marimba competitions and represented the university at the Meguro International Arts Festival in Japan. She held a solo graduation recital in 2016 and earned her master's degree. With extensive performance experience and a commitment to teaching, she enjoys performing as a member of the JUT Percussion Group within the JU Percussion Group. She is also a full-time instructor of the JU Juvenile Percussion Ensemble.