Sound InstallationAmbisonics3D Motion SensingInteractive2019

Melody of Motion 聲洄

An Ambisonics installation that maps body movement to spatial sound in real time — turning a finite room into a perceptually infinite, fluid space.將身體動態即時映射為空間聲響的空間裝置——將有限的房間轉化為感知上無限流動的狀態。

Overview作品簡述

“If I could use sound to let people inside to perceive distinguished hearing experience at their every movement in a finite space, then it becomes an infinite space.” — Olifa Hsieh

Melody of Motion takes the image of the Mandarin Chinese character “洄” to represent the concept of water swirling, and the character as a pictograph as well displays the symbol of a transmitting dynamic of energy in motions of surrounding, whirling, flowing from or around an invisible center of an energy source.

Shown as a solo exhibition at Digital Art Center (DAC) Taipei in April 2019, and invited to join the 14th Taipei Digital Arts Festival "#Re-TranSens" at MOCA Taipei in October 2019. Olifa Hsieh was also invited to deliver a research paper presentation "Melody of Motion: Interactive Spatial Composition with 3D Sensor and Ambisonics Technique" at AWMAS Conference 2020, UC Santa Barbara, USA.“如果我能使用聲音在有限的空間範圍內，使人的每一步移動都能有不同的聽覺感知，那它就成為一個無限的空間。” ——聲音藝術家謝瀞瑩

「洄」為水迴漩而流之意，字形上亦有能量由中心向外形成包圍、散射、漩豁、任流...等動態之意象。「聲洄」是聲音藝術家謝瀞瑩繼台中國家歌劇院「聲遊記」聲創作品後，再度應用 Ambisonics 環繞多聲道並結合 3D 空間動態感應技術之觀眾參與式互動聲景裝置作品。

2019 年 4 月於台北數位藝術中心 (DAC) 舉辦《聲洄 Melody of Motion：謝瀞瑩個展》，並於 2019 年 10 月受邀參展第十四屆台北數位藝術節《再轉存》(MOCA Taipei 台北當代藝術館)。2020 年受邀至美國加州大學聖塔芭芭拉分校 (UC Santa Barbara) AWMAS 國際研討會進行《Melody of Motion: Interactive Spatial Composition with 3D Sensor and Ambisonics Technique》專題發表。

Concept & Background作品概念與論述

Melody of Motion operates within the framework of spatial listening and embodied perception. Drawing on the phenomenological premise that space is known through the body rather than through consciousness alone — as Merleau-Ponty articulates — the installation treats movement as score and spatial position as compositional parameter. The audience's bodily presence becomes the primary instrument, collapsing the distinction between performer and listener within the framework of interactive soundscape composition.《聲洄》在空間聆聽和身體感知的框架內運作。基於梅洛－龐蒂所闡述的現象學前提：空間是透過身體而非僅透過意識來認知的，本裝置將動態視為樂譜，將空間位置視為作曲參數。觀眾的身體存在成為主要的樂器，打破了互動聲音地景創作中表演者和聆聽者之間的界限。