2020   第三十一屆金曲獎得獎作品

• 演奏類最佳專輯製作人獎

 

 

非/密閉空間 Non-Confined Space 是由鄭各均Sonic Deadhorse (Guitar,Electronic,Live Visual)以及謝明諺Minyen Hsieh

(Saxophones,Woodwinds)兩人於2014年一起成立的即興電子組合，仿若兩條平行線，兩人各自在實驗電子和現代爵士的領域跌跌撞撞好幾年後好像也找尋到了甚麼。跟一般爵士語彙用身體與肌肉記憶的即興方式十分不同，而是讓即時取樣重新序列化，運用各種程式讓聲響與樂句自己與自己反饋、拉扯、甚至漠視。兩人不會有任何預設立場、也不會有類型框架，更絕不可能只是電子+爵士這種膚淺表象的白癡名詞；所以觀眾們唯有到了「現場」、進入了「空間」、聆聽到了「聲響」，依照不同人生脈絡會得到不同的後設經驗。不打破結構，而是重定義結構，不跳出框架，而是讓框架變得更柔軟更有機，將隱喻的符號結構轉化為聲響具象化，所有聲音發聲的關連皆非必然，用一種被遺忘很久的結構化美學思維，以“音階”以及“發聲物件”為方法，拆解對符徵以及文本的刻板想像。

 

(On the artists)

Non-Confined Space is an electronic improv duo created by Sonic Deadhorse (Guitar, Electronic, Live Visual) and Minyen Hsieh (Saxophones, Woodwinds) in 2014. Each has been treading in the ponds called Experimental Electronica and Contemporary Jazz respectively for many years, now they are back with a bounty of brand new chops.

 Atom dicing up live samplings of their own sound, rearranging the microparticles, and then responding (or not responding) to them in real-time, Non-Confined Space breaks through the wall of genre to trailblaze on new ground. The duo encourages the spectators (or witnesses, even) to join in on the jam with their own unique perspectives to give meaning to the art they perceive.

 

(專輯介紹)

物件與織體，將隱喻的符號結構轉化為聲響具象化，所有聲音發聲的關連皆非必然。用一種被遺忘很久的結構化美學思維，以"音階"以及"發聲物件"為方法，拆解對符徵以及文本的刻版想像，非線性但有秩序地重新組織排列。透過簡單的訊號串連，社會化單純不可預測的噪音，以及那些潛在符旨轉化的再現。自由即興往往不單在於器樂與表演者的肌肉記憶，更多的時候它是關乎意識能量的流動，可能是Sun Ra般盲目的拜神,可能是Archie Shepp無政府式的暴動，也可能是精細計算過的混亂狀態。在多次的演出經驗中加入3D向量維度的變因，藉由肢體的互動讓聲響的本質（如音高、音長、織體）在空間中具象化。運用肢體與互動裝置在演出中當作一種介質，讓聲音可以透過身體轉譯、再造、錯置及再現，也可以透過即時取樣讓去符旨的聲響重構。我們挑戰的不只是一場單純的跨界，而是一場命題未知的實驗。

 

(On the album)

Objects and textures

 

Realizing this metaphorical symbolism into sound

 

Sonically, nothing out of necessities

 

Summon the long forgotten structural aesthetics

Apply scales and sounding objects as method

Deconstruct the tedious symbols and legends

Reroute them non-linearly, but orderly

 

Connecting the signals

Sublimating the pure, unpredictable noises

The reemergence of subtle messages from the symbols

 

Not confined in the realm of muscle memory between instruments and performers

Free-Improv always resides in the flow of conscious

 

In the blindly fanatic worship of Sun Ra

 

In the anarchist riots by Atchie Shepp

 

Or it could be just a well calculated, controlled-chaos

 

Throw in a new dimension to live performance as a variable

Reify the essence of the sound

 

Be it the pitch

 

The length

 

Or the texture,

 

Use the interaction of limbs, bodies, and gadgets within the performance as the medium

 

To translate

 

Transform

 

Or transcend the sound

 

Or even a live-sampling reconstruction of the desymbolized sound

 

We are not just taking on the dull crossover

But an experiment into the unknown