设计：安德鲁·鲁奇卡Designer: Andrew Lucia



彼端之画

设计：安德鲁·鲁奇卡
Designer: Andrew Lucia

Traces on the Farther Side, 2011

这件作品是受处子奥维尔琴乐队委托，为弗朗西丝·怀特的15分钟音乐《彼端之花》（源自宾根的希尔德加德的《哈利路亚，啊！我们的嫩枝》）的现场演奏或录音提供伴奏画面而创作的。其中有4把奥维尔琴进行演奏，以及预先录制的风声和奥维尔琴声（2010）。

《彼端之画》（2011）是一段实时可视化的音乐。它试图以视觉的方式表达弗朗西丝·怀特的《彼端之花》（2010）的柔美与仙境般的感受。乐曲的灵感来自中世纪的神秘主义者宾根的希尔德加德谱写的吟唱曲。《彼端之画》的追踪数据将4把奥维尔琴的演奏，以及预先录制的风声和奥维尔琴和弦置于各自的可视化面板上，音乐会在上面按照奏起的音乐旋律描绘出彩色的画迹。中间面板上预先录制的固定旋律让线条不会越出边界，而4把奥维尔琴面板上的画迹可以自由地跳动，激发处子乐队音乐家在演奏之中用目光和点头交流。任何两次《彼端之画》演奏都是不同的，所以这个程序创作而成的最终画面具有手工艺术品般不可复制的特性。□（尚晋 译）

1根据可视化算法形成的实时演出图像。按照振幅和频率的不同，每一位奥维尔琴演奏者都会在演出中触发一幅实时投射的声音“画面”。由于每场演出都是独一无二的，每幅视觉画面也都是不同的。/Schematic diagram of real-time performance responding to visualization algorithm. According to its amplitude and frequency, each live viol performer triggers a real-time digitally projected "drawing" of the sound produced during the performance. Just as each performance is unique, so too is each visualization of the piece.（图片来源/ Image Credit：安德鲁·鲁奇卡/Andrew Lucia）

2《彼端之画》的创作研究。/Studies for the development of Traces on the Farther Side.（图片来源/Image Credit：安德鲁·鲁奇卡/Andrew Lucia）

项目信息/Credits and Data

联合导演兼程序设计/Co-director and Computational Design：安德鲁·露西娅/Andrew Lucia

联合导演兼制作人/Co-director and Producer：温迪·施泰纳/Wendy Steiner

音乐/Music：弗朗西丝·怀特/Frances White

委托兼演奏/Commissioned and Performed：处子乐队/ Parthenia

录音/Sound Recorded：彼得·卡尔工作室/Peter Karl Studios

Commissioned by Parthenia Viol Consort, to accompany live or recorded performances of Frances White's A Flower on the Farther Side （after Hildegard of Bingen's Alleluia, o Virga Mediatrix）, a 15-minute composition for four viols and prerecorded wind and viol sounds （2010）.

Traces on the Farther Side （2011）, a music visualization in real time, seeks visual expression for the delicacy and otherworldliness of Frances White's A Flower on the Farther Side （2010）, whose inspiration in turn lies in a chant by the medieval mystic, Hildegard of Bingen. Traces assigns each of the four viols and the prerecorded track of wind sounds and viol chords to its own panel in the visualizedation, where they generate colored marks according to the characteristics of their unfolding sound. The prerecorded line in the middle panel keeps within its bounds with the stability of a cantus firmus, whereas the four viols are given the freedom to interact unpredictably, simulating the communicative nods and glances of Parthenia's musicians as they play. No two runs of the app for Traces can be exactly the same, and so the final frames of this programmed creation have the individuality of handmade works of art.□

3.4《彼端之画》，由互动实时可视化形成的静态帧。源自《彼端之画》录音。/Traces on the Farther Side, still frame generated from an interactive real-time visualization. From a recorded performance of A Flower on the Farther Side.（图片来源/Image Credit：安德鲁·露西娅/Andrew Lucia）

评论

迈克尔·贝内迪克特：建筑中由声音主导的视觉展示并不少见，至少可以追溯到伊阿尼斯·泽纳基斯和勒·柯布西耶设计的布鲁塞尔世界博览会飞利浦馆。这种视觉展示包括特殊场合下的多媒体投影、迪斯科舞厅或公共空间的永久装置，通常是以声学的方式记录周围环境中的人类存在状况。“彼端之画”似乎对这个问题做出了解答：当我听到美妙的音乐时——更确切地说，是我真正专注于音乐时——会去看什么？要是没有演奏者可以看呢？是否有什么存在于音乐当中——一座建筑，还是一段形式与色彩的变化——哪个会使我的鉴赏更深刻、更全面？事实上，花费相当长的时间进行一种体验以让自己真正认清这种体验的机会简直少之又少。（王欣欣 译）

殷漪：我不知道安德鲁·鲁奇卡先生有没有来过中国。如果他随机走进淮海路某个高级写字楼的大厅，看到墙上悬挂的大尺度的中国当代新水墨时会是怎样的一种感受。音乐的作者以“电子原音”（一种法式现代学院派电子乐）而闻名，并获得过媒体艺术届的奥斯卡——Prix Ars电子作曲大奖，不过已远在1994年。所以我又想，她是否清楚在声音艺术越发具有独立性和自我批判能力的今天，声音可视化正是声音艺术理论重点批评的对象？

Comments

Michael Benedikt: Sound-driven visual effects in buildings are not uncommon, going back at least to Iannis Xenakis and Le Corbusier's Philips Pavilion. They range from multi-media projections on special occasions, to discotheques, to permanent installations in public spaces that register some quality of human presences nearby, often acoustically. Traces on the Farther Side seems to answer the question: what do I look at when I hear-or rather, really listen-to beautiful music, and there are no musicians to watch？Is there something "in" the music-an architecture, a development of forms and colors-which will make my appreciation deeper and more whole？ How few are the occasions we stop for long enough to give that experience time to realize itself.

YIN Yi: I am not sure if Mr. Lucia has been in China. I am curious how he would feel when he randomly enters the lobby of some top-grade office at Huaihai road in Shanghai and sees a contemporary Chinese ink painting on the wall.

The composer is well known for her electroacoustic music, a kind of modern academic electronic music from France. She has received the Prix Ars Electronica award （Linz, Austria）, the Oscar in media art, but that was far back in 1994. So once again I am curious whether she is aware that nowadays, with the increasing independence and self-criticism of sound art, the visualization of sound is becoming the main target of criticism in sound art theory.