"What Potions Have I Drunk of Siren Tears"　Alex Yiu　Performance/ 鮫人之淚 姚少龍現場表演 from apluscontemporary on Vimeo.

Improvisation with Cassette Players
18/09/2016
Live Performance at A+ Contemporary
20'


Improvisation with Cassette Players (2016) is a 20-minute live sound performance presented at A+ Contemporary on 18 September 2016. For the performance, I prepared ten cassette players and ten tapes, each looping a 15-second recorded segment. The initial impulse to use the cassette tape came from Andrew Haigh's film Weekend (2011), in which characters record their own voices as a private act of preservation — the cassette as a vessel for speech that is intimate, low-fidelity, and not meant to last. The compositional logic of the performance itself, however, follows Steve Reich's principle in "Music as a Gradual Process": that the process should be audible, and that listening guides content while repetition defines form. Moving through the space with the ten players, I allowed the interaction between my live voice and the looping tapes — their limited acoustic range, their accumulated tape hiss, the gradual drift and interference between simultaneous loops — to determine the structure of the performance in real time.

運用卡式帶錄音機的即興演奏
18/09/2016
在上海 A+ Contemporary 亞洲當代藝術空間
20分鐘

《運用卡式帶錄音機的即興演奏》Improvisation with Cassette Players (2016) 是一場時長二十分鐘的現場聲音演出，於2016年9月18日在A+ Contemporary亞洲當代藝術空間演出。演出前，我準備了十部卡式帶錄音機及十盤錄音磁帶，每盤各錄有一段15秒的循環錄音片段。使用卡式帶的最初靈感來自安德魯・海格（Andrew Haigh）的電影《週末時光》(Weekend, 2011)——片中人物以錄音的方式保存私密的聲音，卡式帶在此成為一個盛載親密、低保真、不求長存的語聲的容器。然而演出本身的作曲邏輯，則遵循史提夫・萊許（Steve Reich）在〈作為漸進過程的音樂〉("Music as a Gradual Process") 一文中所提出的原則：過程本身應當可被聆聽，而聆聽引導內容，重複界定形式。在演出中，我帶著十部錄音機遊走於空間之中，讓我的現場人聲與循環播放的磁帶之間的互動——它們有限的音域、積累的磁帶底噪、同步播放時的漸次偏移與干擾——實時決定整個演出的結構。