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Creation/Research Support
Transonic 2020

Contemporary technology improves and popularizes every day in the era of particular demand for pixel resolution. People energetically pursue verisimilitude and reduction degree through saturated colors and higher refresh rate of frames. They even create 3D environments and perception of depth by carrying their visual neurons to extremes. In terms of sound and auditory sense, however, what do we actually long for? Today’s systems (e.g., stereophonic system, surround sound system, multi-channel sound system, 360 VR audio system, and High-Order Ambisonic) have become more accurate in terms of sound positioning and representation. It implies that people have tried to capture the nuances of the relationship between sound and space apart from the demand for sound quality and sampling frequency. As far as I’m concerned, the technology of wave field synthesis elevated the relationship between sound and space to a higher level. My previous works drew much of their inspiration from this system, since they were mainly intended to tackle the relationships between sound and vision as well as between sound and space, hence my attempt to design an improved system from scratch. This project proceeds in three phases, including “production,” “research” and “creation.” I try to continue the discussions about sound and space as well as vision and auditory sense in my sound installations The Resonance of Fragile and Where, and apply the concept of Sound-path developed last year when I was an artist-in-residence and to be presented at the Nuit Blanche Taipei 2019, so as to rethink the mode of listening shaped over the course of contemporary sound representation. Besides, I’m very curious about how people would react to the sound intimacy they experience when it appeals to their auditory sense in a way that transcends all existing interface.


WU Ping-Sheng

As a sound artist, Ping Seng was nominated for the Digital Art Awards Taipei in 2015 and 2016. He was also a member of the production team of Render Ghost, the first prize-winner of the 6th Digital Art Performance Awards. His work Transonic was presented in Barcelona, Spain in 2017. He also served as the sound designer for the performance Unconditional Love and Fact at the National Theater & Concert Hall, and participated in the production of Electric Indigo, a special program celebrating the 30th anniversary of the National Theater & Concert Hall with LIM Giong as the artistic director. He worked as an artist-in-residence in Korea (2018) and New York (2019 at the Triangle Arts Association), visited the Centre Pompidouon’s IRCAM on behalf of the C-LAB in June 2019, and presented his sound performance at the Nuit Blanche Taipei. In 2020, he took part in the production of The Scenery of Little Light at the invitation of the National Taichung Theater, and serves as the music and sound director for noiseKitchen, a team focusing on new media art.