过得真快,一个月又过去了.

圣诞节,没事就热闹一下,好的嘛,就是玩.玩到4点多回家,又等到天亮8点出去买电话卡,给亲爱的丁丁打电话,她一晚上吃了两顿饺子,肚皮滚滚圆了,过了一个滚滚圆的饺子平安夜,中西合璧,精彩.

今天下不小的雨,我从文二路的邮局走回家,天黑的,有路灯,积水也到处是,还有严重感冒,脑袋晕呼呼,走路.走在路上一直晕,走得很累,不过脑子里也没有空白过,走走,好的.身上都湿了,上衣,裤子和皮鞋,除了脑袋,我打了一把小的雨伞.

2004年第二层皮音乐节碰到的人 非常好的活动，有许多有意思的人出现。 初期得到了九药的帮助，本已联系了杭州另外一个场地，但是因为各种因素，后来我们改变了计划，这跟31号的陶倩也有关系，她是个漂亮的女人，她帮助了我们。 最远的是从澳洲来的Paul，吃素的外国人，还用着PII的电脑，跑一些很短的采样，我喜欢这样朴素的人，他的现场跟之前听过的Manimal in Love里面的东西有差别，专辑里的短小精悍的曲子我更喜欢。 最近是上海的折磨护士和徐程。折磨护士的表演是唯一不用电脑的单元，嘴巴亲起来了后来，后来我发现亲嘴的两个人本来就是情侣，没劲。主唱的女人屁股很刺激，声音还没有她屁股那么猛，junky还没有爆发出来，还有爆炸的潜力。徐程人老实的，跟我们大部分人一样老实，他们吃饭的时候我在拍录像，没怎么聊天。 然后是姚大钧，从台北过来，有老派知识份子气质的人，和善，习惯顺水推舟，幸好我们都清楚他心里明白怎么回事。我遗憾的是没有足够的钱，请这个喜欢美食的人去吃一次正宗的杭州菜。 31号的绿茶青年旅社，有个女人，我不知道名字，她租客房给我们，喜怒无常，忽然很可爱的要跟我们一起去夜游法喜讲寺，忽然歇斯底里的训斥我们压她的房价，令人头疼。 周沛的鼻毛很浓，一簇簇的拥挤在鼻孔里，他很可爱，一直以来的，到现在他还要给我介绍IDM的音乐，难道他还没看出来我没兴趣吗。他的音乐我听不了，但是他的个性很强烈，已经够了，简直胡闹！一个具有二皮精神的桂林人，不过他现在开始做自己的桂林豆腐皮了。 北京的三个飘飘大仙，都是神仙，颜峻越来越精密了，他的乐评和他的音乐正在成反比的变化，乐评更加象随手写的小记录，尽说些废话大白话，博客精神给予他力量了，他的音乐却越加上轨道，越来越精细，控制力出人意料。现在他受我们的喜爱，越来越实在了。武权的儿子很可爱。张荐泡妞很厉害的吧，肯定的。 王凡，每天笑，咧着嘴巴笑，我问他怎么一天到晚这么开心，我愁都愁死了，他说他就开心，纯开心，没理由不开心。我理解到我妈每次看到我都愁眉苦脸的心情了。 那几天不冷，这还好，暖冬还是让人满意。去年不行，冷得鸡巴都要掉下来了。 金老师还戴着防毒面具，外地人看了都很神奇，这个女人我看到过一两次，很神经的，谁讨她做老婆谁晦气，不是被打死就是被憋成疯子，不过想想也蛮刺激的。 李如一的头发怎么那么油的，面孔黑呼呼的，林志英就白多了，胖的，屁股也不小，穿起牛仔裤滚圆滚圆的。 在演出的时候还碰到了一两个以前的姘头，惭愧的不太好意思打招呼，能躲就躲吧，有一个前段时间还逼着我还钱，我答应她我结婚的时候一定还她，然后就把她从我MSN里删掉了，惭愧啊。 还有体育评论员张晓舟，我这几天仔细看过他的许多体育评论，牛逼的，一般人写不出来的。他还邀请我们去吃夜宵，跟杭州的几个新闻界朋友，都是牛逼的人，吃个夜宵花了两百四十七块，还好他们结帐的时候要了发票，开小汽车的就是牛。 最后还有个小偷,把陈伟电脑偷走的,肯定也碰到过的,抓住了打打死算了。

Microsound The Computer Music Tutorial Curtis Roads

憋出一个东西来,忽然一下子通气起来. 够了,蛮好!45度! 一,摄像输入黑白像素化,背景待选择和处理,还没有考虑好,可以用三台投影. 二,两组电话窃听和感应开关. 三,日光灯,照片,玻璃纸,水,电线,棉絮.

周末提出了一个马拉松现场,大家都叫好,不知道怎么实现而已.可能会有机会,我喜欢这种,超长的,随波逐流的,结果谁也不知道的,除非你亲身体验此现场,我想一定非常非常的反经验,就象斯托克豪森说曾经一个星期没有见任何一个人之后的感觉(jean claude eloy访问他,两位大师的对话).不错,愿意的.早点来吧~

tim perkis牛B的,反复听,还是那么牛B哄哄! 朱珍跟陈松来杭州玩,又给我带了一个巨大无比的点心熊猫,这回是包子熊猫,最大的.还给小烧饼带了红色的唐装背心,尽管这条小土狗实在太象我了,一个农民怎么都配不好地主衫的.朱珍人是好的,热情的,可爱的,单纯的,陈松也蛮好的,我有时候总觉得朱珍这么好玩的人真的很少了.下次请他们吃饭吧~

的菜,分析一下,这个开洋丝瓜不好，炒得漆黑，我象学饭店里的厨师，勾芡，把它炒得又滑又嫩，但是我发现放的芡太厚了太多了，煮起来跟糖浆一样，加了水也晚了，恐怖的一盆开洋丝瓜，算了算，要5块钱，浪费了，心疼啊。周末嘛，刚从酒吧看了表演，有个叫冰棋淋格子的乐队，主唱很象韩娅娟，李剑鸿一直在偷看，她下台了还在看，都被我阴险的看在眼里了。

webcamXtra&Myron安装成功,爽,改了一下jitterGrab背景.嘻嘻~!

夏天夏天...98年夏天...

国庆回家知道了一件事.镇上一大户人家被抓了.他们是一家人,合起来杀了好多人,现在不知道为什么,有人说是跟邪教有关,这种土的邪教其实很原始,可能从农村里传过来. 事情从一个小学老师被杀败露的.人家在汽车站旁边的公布栏贴纸头说招家庭老师.然后一个老师去了,结果被他们拖到一个粪坑里活活淹死.据说他们杀人是按照五行来分,金木水火土.老师死在水.金,杀了一个土管局的女会计,用20斤重的铁榔头砸在脑壳上,一下就碎掉了.木,杀了回老家度假的大学生,用一把3米长的木锯拦腰锯断了身体,大学生在断气之前一直在叫\"丁立松,丁立松\".火,很简单,烧死的,把迎春街老太婆饭店的老板娘用铁丝把双手双脚反绑成一团,浇上气油点着了,扔在垃圾堆里跟废塑料融成了一块.还有土,埋了一个孕妇在南乡那边的荒山上,露出一颗脑袋,饿死的,被人发现的时候脑袋上的肉和皮都没了,就剩了一个骷髅. 不应该啊,真是不应该.娘舅最后这么说.

http://homepage.mac.com/cariani/CarianiWebsite/PaskDevice93.pdf http://homepage.mac.com/wmcfar/audioindex.html archived audio interviews with sound artists http://www.airplanelabel.com/tetsuo_furudate/gravity_grace/ http://www.minidisc.org/jim_coon/ 如何自制廉价的MD麦克风 http://www.phonography.org 更多的录音艺术信息 http://www.nabi.or.kr/en/ Art Center Nabi ,Korea http://processing.org/ http://processing.org/reference/zh-cn/index.html 中文 http://www.randominterface.com/forum/uploads/flosc_server.swf http://www.benchun.net/flosc/ http://transmote.com/flosc/ http://www.randominterface.com/forum/ http://www.rhizome.org/carnivore/

Prolific sound artist Zbigniew Karkowski talks about personal technology, collaboration and live performance. By Marc Weidenbaum As rootless as he is active, Zbigniew Karkowski is a portrait of the modern sound artist. His work is complex, especially for listeners who prefer to have their avant-garde hung on the skeleton of a proper song. Much of his extensive recorded catalog — five dozen albums to date, by some estimates — is built from field recordings. Take, for example, Mutation, his recent collaboration with Akifumi Nakajima, also known as Aube, which involved the taping of sounds from a temple in Kyoto, material which was processed at a later date into something one suspects the locale\'s elders would be hard put to recognize. It\'s a haunting, ethereal field of textures and noises, static and grace. Karkowski was born in Cracow, Poland, on March 17, 1958. Since then he has lived in Gothenburg, Sweden; Amsterdam, Holland; Berlin, Germany; Paris, France; and, since 1994, Tokyo, Japan. He can seem surprised, himself, by his geographic resume: \"Somehow I moved around a bit.\" At best, these various locales serve as a kind of base of operations. \"I\'m spending maybe at the most five or six months a year here,\" he says of Tokyo. \"I have to travel a lot due to my work, so my life has became very nomadic lately.\" He studied classical music when he was a kid in Poland and then studied composition for five years in music conservatories in Sweden (Gothenburg) and in Holland (Den Haag). In the preparation of this interview, Karkowski corresponded with Disquiet.com on and off over the course of the month of October 2000. When asked what he was up to presently, he provided an extensive near-term itinerary and the associated web links: \"I\'m leaving Tokyo for a month to Europe again on Nov 1. I have two performances at the Observatori festival in Valencia, Spain. Then I\'m doing a rather huge audio/laser installation during Audio Arts Festival in Cracow, Poland, then having new orchestra piece performed (have to rehearse it first with them) by Orchestra Municipal de Barcelona during LEM festival there — see, then I\'m performing with Sensorband at the 38rugissants festival in Grenoble and then doing solo concerts in Nantes and Paris. So for the whole month I\'ll be on the road again. And on coming Monday I have concert with Sensorband (and solo) in Tokyo. Many things happening lately (I\'m also having something like 10 releases that will be out before the end of this year, hopefully — all the masters are already in the hands of the labels) but I don\'t know though whether it is necessary to mention it all in this interview. I\'m not so very interested in making promotion for myself.\" Despite this reticence, Karkowski openly discussed his record techniques and the nature of his collaborative work, still something of an anomaly in a field populated largely by solo artists. He remarked on the importance of packaging to his recorded projects, which often appear in unique formats, like collections of tiny CDs with individualized artwork, and on the unique tensions of live performance. And he talked about the unique sources of his sounds, from the floor of a Japanese temple to a wildly processed clarinet. Marc Weidenbaum: The foremost thing about the Mutation album for me is how beautiful it is, the sonority of particular elements, the way they build over the course of the hour. Rather than take anything for granted, I want to ask whether \"beauty\" is what you\'re striving for. Zbigniew Karkowski: I never think in terms like \"beautiful\" or \"ugly\" because they\'re so subjective. Something that is beautiful to someone can be very ugly to someone else and vice versa. When you make music, the only necessary parameters to think about are time and sound. Sometimes I don\'t even think that sound is that necessary. It\'s all about time. Weidenbaum: Mutation is even more intriguing when one learns about the source of the sounds. The liner notes read, in brief: \"Original Source Material Recorded At \'Uguisi-Bari-No-Roka\' Of Chio-In Temple In Kyoto.\" How did you come upon this particular temple in Kyoto? Karkowski: Yes, we recorded \"uguisu bari no roka\" (\"nightingale sounding floor\") in Chion-in temple in Kyoto in January 1998. This floor was build in this temple by some artisan (nobody figured out yet how it\'s really done) and it functions in the way so that when you walk on it — it starts sounding like nightingale singing. It was an alarm system for monks who lived in this temple — when some robber wanted to come there in the night, they would hear nightingales and know that somebody is inside. Akifumi Nakajima (Aube) lives in Kyoto and I was visiting him and we went for a walk and he took me to this temple and we liked sound of this floor so much so we\'ve said, let\'s record it. So we did and afterwards (six months later) we were both in Europe and we had three days studio residency at Steim and we just did a CD out of this field material. Weidenbaum: There\'s a kind of tension in the origin of these particular sounds. On the one hand, their provenance is a religious sanctuary. On the other, we\'re told that this hallway served as a kind of intruder alarm or security precaution. Was that tension on your mind? Karkowski: No, the sound source was just a sound source. Of course it\'s necessary to have good sound sources in order to make something good out of it but I don\'t think that we ever considered these recordings as anything else then pure base material to work on and do something interesting from afterward. Weidenbaum: So much of electronic-oriented music is the work of lone musicians. The act of collaboration remains if not an anomaly, certainly an area worthy of further exploration. How do you and Aube divide the responsibilities in your work together? Karkowski: My work has always been about a process of learning. I work only with the projects that can give and teach me something new. And there\'s a certain limit to what you can learn on your own. I do not want to create only one style of my music and then spend the rest of my life just repeating it — I\'m very curious and I always want to try new angles to my sound production. I guess Akifumi feels in same way too. So we\'re both creating much solo (lonely) work but at the same time we\'re open to many collaborations. For somebody who is curious and open to experiments — collaborations are just a logical extension of his work. Weidenbaum: The Mutation album\'s liner notes divide the process that resulted in the CD into three stages: (1) the recording of the source material, (2) the composition at Steim Studio and (3) the live concert performance. Can you describe these three stages in some detail, perhaps the kind of equipment you used, and certainly what constituted composition and what constituted performance? Karkowski: You know — we didn\'t really plan anything from the beginning, it all happened in a somehow spontaneous way. First we recorded source sounds during a walk in Kyoto (we\'re both sound artists so we carry often recording equipment with us and we just do these things nearly daily). Then we were in Europe in following summer (to do mainly Sensurround orchestra projects in Berlin and London) and we got invited by Steim in Amsterdam to give a concert there (just two of us). Steim also invited us to make three-days residency in their studios. It was the first time ever that we\'ve got invited to perform together (we\'ve played together before only in bigger ensemble like Sensurround orchestra and noise orchestra that I created for Blixa Bargeld project in Tokyo and Osaka in 1995) so we thought — we have to prepare some material for our concert. And then we\'ve had these sound sources that we\'ve recorded in Kyoto and we\'ve just spend three days at Steim working on it and then we did a piece out of it and a concert in which we played this piece. Radboud Mens from ERS label came to this concert and he liked it very much and offered to us live broadcast of this piece on Radio 100 program (pirate radio station in Amsterdam) that he had the following night and then asked us whether we would agree to release it as a CD on his upcoming new label. We\'ve said yes, and that\'s it. During work on this piece we used mainly computers and samplers (actually Akifumi was working with sampler mainly and I with computer mainly). Live show consisted of playing prerecorded layers of sound and processing it a bit live with some effects (like delays, echo, reverberation etc. etc.) — composition happened pretty much in real time — form was just created during the concert. We did two different versions of this piece — one pure studio recording and one live recording from concert at Steim. For CD we\'ve chosen live recording because it has more tension in it (of course live situation has more tension then laid back studio work) and also because during our concert there was incredibly this huge rainfall in Amsterdam and sounds of this rain are interpolated in this piece (it\'s a stereo microphone room recording that you hear on a CD) — we think it sounds great and we like unpredictable elements to be part of our music. Weidenbaum: Speaking of this \"tension,\" would you agree that electronic-oriented music and sound experiments lend themselves more readily to the studio than to public performance? Karkowski: I don\'t really understand this question. Most of electronic-oriented music is made in the studios (lately mainly in small home studios because with new generations of computers we don\'t need anymore access to big institutional studios — they\'re becoming obsolete) but of course performances of this music happen usually in public (unless one wants to do just a streaming Internet concert, etc.). Weidenbaum: Do you consider yourself something of a sound \"activist\"? I ask this because performing live, as someone who works closely with sampling and other computer technology, you put yourself at risk in a way that traditional musicians do not. I\'m talking about risking the level of imagination — and, in effect, the patience — of an audience. Karkowski: When you do something live (performance), you have always a choice of putting yourself at risk or not and this is regardless of whether you work with electronic sound or traditional instruments. If you are into true experiments, you always take a risk. But there are several sound artists who make everything sound the same. And on the concerts they even only play their records or tracks from their records. You know, artists like Ryoji Ikeda, Carsten Nicolai, Pole, Oval etc. etc. etc., they\'ve became quite big and quite hyped-out lately. But this is exactly what they do: they function like old-fashioned rock bands. I guess it\'s just therefore they\'re so popular, because people can go to their concerts and recognize material from the CD that they bought and listened to before. Then, they can identify with something they already know. There are no risks in it, both for artists and the audience. Weidenbaum: I have another question about collaboration, again based on my sense that electronic-oriented music tends to be the work of one person far more often than it results from two or more people working together. Can you recall a moment when working with Aube on Mutation that the two of you disagreed about how to proceed, and how you overcame that disagreement — through compromise, taking a break, someone pushing a choice through, or some other strategy/incident entirely? Karkowski: No, we never had any disagreements. In fact when we worked on this project we hardly spoke to each other about it. It happens very often in my various collaboration with Japanese artists — there\'s very little talking and planning or theory involved. It\'s all about pure work on sound, very non-verbal and non-intellectual. Weidenbaum: As much as I want to talk about the music, I am particularly intrigued about graphic design. I have in front of me three of your releases: the Mutation album, which we discussed earlier; the IT recording you released on the Mego record label; and the three-part work you released on Firework Edition Records, titled Reverse Direction and Let the Sound Reach Out to You. Each of these releases has a very unique look. Mutation comes in an elegant cardboard box, sort of like incense or cigarette packaging. The other two recordings are on tiny CDs — in the case of the Fireworks record, a set of three tiny CDs. How important is the packaging to the presentation of your music? Karkowski: I think that packaging is very important and I always make an effort to make my CD\'s look good and different. You might know that IT release from Mego has different cover for each copy — so 1000 different covers. When you go to record store the first thing that you always see about the CD is its artwork. So packaging is obviously important — interesting artwork can make people curious about the sound of the CD itself. Weidenbaum: The way the various sounds interact on your IT album, on Mego, makes me wonder how much you plot out your work in advance, and how much you are surprised by your own creations. There is a moment early on during IT where a deep tone extends for some time. Even as the listener focuses on the tone\'s texture, it almost becomes part of the background, as a high-pitched hiss appears atop it. That hiss combines with other sounds, which have random qualities. Where did these specific sounds come from? Did one sound suggest a correlation with another sound you already had \"on file\" or did you seek out complementary elements? Karkowski: This piece is very much composed (meaning that everything in it is very thought out). I\'ve spent considerable amount of time editing it. The sounds you hear on this CD are generated in C-sound software and they\'re all emulations of the sound of a clarinet. Might sound weird, but it\'s true. Weidenbaum: When you do field recordings, do you risk drawing attention to yourself with lots of equipment, or do you take efforts to work surreptitiously? Karkowski: No, I just do it when I hear some sound that I like and want to record. It\'s never any problem for me to do it. Weidenbaum: If someone wanted to experiment with field recordings, what kind of inexpensive, basic equipment would you recommend? Perhaps equally important: Is there any equipment you would steer people away from? Karkowski: I use a small DAT machine (Sony DAT walkman) and I have two Sony ECM microphones. I know that some people are using lately Mini Disc recorders for field recordings. I would not recommend it because in my opinion MD has a very bad sound compression — it just sounds like shit. Weidenbaum: I ask the following question of many musicians and composers I interview: If you could invent an instrument — something highly futuristic or highly rudimentary, something extravagant or practical — what would it be like? What would it do? Karkowski: I did invent a few instruments already. I\'m working with a group called Sensorband and we all play on instruments which were developed (or at least very modified) by us. We also created one of the biggest instruments that exists. To see more details about it please check Sensorband.com. Weidenbaum: Could you recommend, for new listeners, one album of yours as a primary example of your musical work. And why that one? Karkowski: I make very many different kinds of music. It\'s difficult for me to recommend one CD because I have very many releases out (more then 60 I think). I usually like my recent releases most. These are records released over last three years: World as Will (with Tetsuo Furudate) (Staalplaat, Netherlands) SPL with MAZK (Masami Akita and Zbigniew Karkowski) (OR, U.K.) Disruptor (with Helmut Schaefer) (OR, U.K.) Or some computer music (with Le Depeupleur) compilation (OR, U.K.) END ID (with Helmut Schaefer) compilation (Digital Narcis, Japan) Datastream (with Edwin Van Der Heide) (OR, U.K.) Coalescence (with Sensorband) compilation (Alien 8 records) Canada Voltage (with Edwin Van Der Heide) (Bake, Netherlands) Mutation (with Aube) (E.R.S Records, Netherlands) Locked Groove compilation (E.R.S records, Netherlands) Area/Pulse (with Sensorband) (Sonoris, France) Traceroute (with Sensorband and Ulf Bilting) (Ash R.I.P., U.K.) Nature Is Perverse compilation (Fylkingen Records, Sweden) [R*] iso|chall (Hecker remixed) (Mego, Austria) Meltdown of Control (with Senssurround orchestra) (Mort Aux Vaches/Staalplaat Netherlands) It (Mego, Austria) Erratum 3 compilation) (Erratum revue sonore, France) Reverse Direction and Let the Sound Reach Out to You (Fireworks Edition Records, Sweden) Le Deupeupleur (with Kasper T.Toeplitz) (CFET/CrossFade EnterTainment, Germany) falsch 01 (compilation) (falsch, Austria) Erase Your Data (compilation) (Namseiko/Heioka Records, Switzerland) MAZK (with Masami Akita) (Sound Factory, Hong Kong) Choice of Points for the Application of Force (Ytterbium Records, France) Weidenbaum: Could you recommend one album by someone else, whose work sheds light on your own practices, interests and techniques — preferably someone with whom you haven\'t collaborated? Karkowski: I cannot recommend any particular album but the person who influenced me most in my own music making is definitely a composer Iannis Xenakis. I even studied with him (just summer courses etc.) and all of his music means a lot to me. Copyright © 2000 Marc Weidenbaum. All rights reserved.

豪猪与车 比尔·维奥拉 一次， 个朋友从办公室的垃圾里拣回了一些用过的磁带，装了满满一个购物袋送给我。想到我可以自由自在、没有时间限制地录音，我很激动。我于是想在家里的活动中心——厨房——放一台录音机，把正在进行的所有声音活动都接连不断地录下来。回放的时候，它就能产生一种与现时世界平行的意识流一般的效果，只不过在时间上是错位的。我只要在家就会录，而当时我正在家度暑假，所以几乎所有的时间都在录音。那一周结束的时候，我已经有了24小时的磁带，但是一个想法突然之间使我很沮丧。因为我需要和录音时间一样多的24小时回放磁带。还有，如果我继续录下去，比如说，再录一年，那么我就不得不在6个月后停下来回放，如果我变得很有野心，想把这个当成一生的事业，那么我就得在我人生一半的时候停下来，把下半生都用来听磁带上，而且还得有些时间倒带。这真是个可怕的想法。我于是马上停止了这个计划。 我们可以用另一种眼光看待人的感官功能，人对世界的认识和人在世界中的位置。一般的看法是把感官比作窗子，通过这些开口可以向外窥测广大的世界。但是，20世纪的哲学家亨利·伯格森认为应该把人的感官看成是制约，对破坏我们存在的能量的制约因素，它保护个体不被无时无刻存在的巨大的信息量淹没。如果看看组成这个宇宙的电磁震动的光谱图，那狭小的开口，或带宽，你就会发现事实确实如此。正如诗人威廉姆·布莱克在1793年写的那样，“如果感官之门被清除，那么一切事将以本来面目展现在人类面前——那时世界将是无边无际的。” 在一定意义上，信息是垃圾的反义词，虽然在我们现在的商业社会里，它们经常是同义词。它们都由人制造产生，除了现在少数几个疯狂的艺术家和遥远的未来可能出现的某些考古学家以外，我们一般认为垃圾会随时间失去价值，而信息则随时间获得价值。一般说来，信息要保留，而垃圾要销毁。但是，它们其实是废物，是负担，因为它们是当代社会最紧迫的问题。过去伊斯兰苏菲教派有一个说法，认为一大袋碎陶器和一大袋书对驴子来说一样沉重。施乐复印机最近也在杂志上做广告，说它们的产品可以把办公室人员从迅速增加的信息中解放出来。 只要想想一星期内产生的书、杂志、报纸、广播节目、电视节目、磁带、录像带和电影的总数，你就会明白今天的主要任务不是制造信息，而是管理信息。也就是说，不是信息存储，而是信息回收。这就是施乐做广告的意图。因此，对于做录像的艺术家来说，主要的问题不是录什么，而是不录什么。所以，做录像不是创造或建设，而是剪辑和删除，直到剩下你想要的那一个东西。比较印度古典音乐和西方古典音乐的差别，也可以得出同样的道理。这两种音乐有很多差别，与我们这里讲的相关的有两点。第一，印度音乐非常重视自由发挥，多用单调的低音。而西方古典音乐代表一种非常不同的音乐和文化哲学。它像建筑。它用音符叠音符，形态叠形态，就像盖房子一样，最后房子盖完，音乐也结束了。它的基础和起点是静默。而印度音乐则起于声音。在主角开始演奏之前，所有的音符和即将演奏的音符就已经在坦布拉琴的乐声里了。坦布拉是一种低沉的乐器，通常由四、五根弦组成，由于琴马的特殊构造，它能够放大每一根弦上由单个音符组成的和声的泛音。这组泛音就是音乐家演奏的音阶。结果产生了那个熟悉的被很多外国人叫做“印度音乐”的嗡嗡声和响铃一般的声音。所以，当主角们演奏的时候，他们其实是在从这个已经进行的音场中挑选声音。没有静默。音乐家们说这是因为印度教哲学认为作为宇宙的声音的“梵”就是这样无始无终、无所不在的，万事万物都由它发源。 当代物理学已经把它的研究领域从微观扩大到宏观的宇宙，这个过程使它感到难以应付这样巨大的信息障碍。普林斯顿高等研究院物理学家弗里曼·笛森最近说：“今天粒子物理的一个主要问题就是很难发现问题。这是真正难办的地方。”而做录像的难题在于技术，即使是在发现问题之前，你也首先必须懂技术，有经验和知识，能开拓一种技能。这比想象的难多了，因为开始的时候做录像好像容易极了（我们后面还会讨论到这个问题）。录像艺术的第一次潮流大约从1963年开始，到1976年结束，前后经历13年，但主要集中在70年代早期。大多数早期录像作品都希望能发现“录像作为媒介的独特之处”。这毫无疑问是一条很重要的知识，但是到了80年代，青年艺术家们应该认识到这件工作应该私下完成，独立完成。因为作为艺术宣言来说，它已经被公共发表过了。 今天一些持纯化论的艺术家坚持用这种方法创作，声称作品必须在本质上是“录像的”。但是不幸的是他们这样做的结果往往把他们与大量其他领域内可能很有潜力的尝试——比如电影——隔绝开来。此外，因为录像技术仍在突飞猛进地发展，所以很难说到底录像的“独特之处”在哪里。例如：早期纯化论者认为画面形式的精确是电影独有的，但是现在大多数使用自动电子编辑系统的录像艺术家都已经想当然地认为这个性质也为录像所有。这些艺术家认为关于录像是什么，应该看它表现出的是什么，而不应该看它像什么。他们是正确的。回顾一下电影和录像的发展史，我们马上会发现一个巨大的区别：电影基本上是由摄影进化而来（电影其实是一系列不连贯的摄影），而录像则由听觉技术发展而来。录像镜头在操作上更接近于麦克风而不是电影镜头。因此我们说比起电影和摄影这些视觉媒介来，录像与声音和音乐的关系更近（这都可以再写一篇文章了）。 在录像的技术演化史上，有一点最令人着迷，也是它和电影最不同的地方，即早在录像技术发明以前很多年，录像形象就已经存在了。换句话说，它和体验同时存在。录并不是这个系统必须的一部分。如果不拍的话，电影就不成其为电影。但是录像却是一直在录的，每秒产生30个画面（在欧洲是25个，因为两地的制式不同）。在录像机发明前10年，电视都只能采取直播形式。而录像的根在活生生的场景里，而不是转录的东西里，这是这种媒介的内在特点。但是，没有人能解释为什么时间在做录像的时候会变得那么宝贵。录像者最初的冲动是把所有的东西都录下来，但是很快你就会意识到这个看起来简单的做法其实很不可行，录像是一种很难的媒介。70年代末录像艺术实践的减少也正说明了这一点。 做录像的过程其实就是干预镜头不停地扫描的过程。我们在监视器屏上看到的并不是什么画面，而是一连串极其准确、极其快速运动的磷点。因为人的视觉具有连贯性，再加上磷点流动过程中会出现极短暂的一段空缺，因此人会感到他看到了一个完整的画面，其实只不过是一束光。罗伯特·埃恩斯7年前为《加拿大艺术》杂志撰稿，认为电影和录像都是制造幻觉的媒介。因为它们都可以通过光和声音制造幻觉体验，但是这两种幻觉的本质是非常不同的。电影的基本幻觉是运动，有一连串静止的画面组成。但是录像的幻觉却是静止，因为静止的画面在录像中是不存在的，录像信号会一直进行全屏扫描。 接下来录像技术的进化目的在于更好地控制时间。录相机发明之后，下一个障碍是对录像带进行编辑，这个困难大多数家用录像机拥有者都已经发现了，因为家用录像机只能录和回放，不能编辑。开始的时候，编辑只能手工进行，把录像带拼接在一起。但是这个方法太笨拙，又容易破坏录像带。后来人们学会了电子编辑，把想要的信号录到另一台录像机上。虽然这样做会产生新的问题，但是这种做法依然保留下来。值得一提的是1974年美国第一次出现电脑编辑系统，录像制作者们终于能够准确地编辑画面了。很多电影摄制者仍然觉得这难以相信。因此，不难发现为什么很多录像艺术家不能迅速有效地控制时间。因为录像编辑设备昂贵，个人很难拥有，所以很多艺术家在这方面缺少经验。作为最早的录像艺术家之一的布鲁斯·诺曼大多数早期录像作品都长达60分钟，相当于一卷半英寸录像带的一半长。 早期的超级8毫米家庭电影制造者们经常抱怨说3分钟片盒的限制使每次剪辑的时间都缩短，所以如何保持画面连贯性就成了一个问题。许多家庭电影看起来就像塞尔盖·爱森斯坦的蒙太奇。而家庭录像者们则会把1小时的录像带放进机器，不停地拍。这样一来，长镜头的连续性又成了问题。 对艺术家来说，录像技术对形象的大规模复制是一个很重要的方面。因为自从文艺复兴以来，西方就一直把对现实的真实再现看作是衡量一个艺术家技艺是否精湛的标准，而现在录像使这一切都不必要了。这方面的要求自从19世纪摄影发明以后就逐渐衰落了。但是现在还有很多人认为艺术家就是要画得真实，很多艺术学校给学生的训练也正体现了这种想法。但是，渐渐地还是有人认识到20世纪的艺术家并不一定是画得好的人，但是他必须会思想。 随着电子时代的来临，现实主义的表现手法越来越得到发展。我们经常会听到这样的说法：事物的表象就是事物的本来面目，这简直成了这个时代的普遍现象。我们越来越依靠电子数据代替直接的人际交往。以前没有人会把真人和肖像画，甚至早期的黑白照片混淆。但是，电话发明以后，当人们第一次跨越长距离和他人无需面对面地直接谈话时，phoney这个词就被发明了。人们担心这个新发明会被用来骗人，所以他们用phoney这个词来指虚假的人或事。今天真正的“超级现实主义者”不是那些叫这个名字的画家，而是商业电影和电视的制作者们。因为他们工作的对象是那些比真实还要真实的东西：人的形象。 只要想一想录像媒介变得越来越现实的表现手法，我们就会很容易发现它的最终目的是要消失得完全透明，变得和它录制的对象合而为一，也就是说，要达到最大可能的“忠实”。在评价录像艺术的未来时，这一领域内的大多数人都认为电影和电视正在朝原大、三维、全息和视听结合的方向发展，几乎无法与真实场景区分。更有人想象有一种媒介可以用电直接刺激人脑，产生与外在现实一样的头脑反映。当然，要达到这一点，还有很长的一段路要走，而且如果能源价格继续上涨的话，不久的将来，我们恐怕不得不烧掉家用录像机当劈柴使了。 今天的录像设备制造商们会在产品介绍中列出产品的重量、大小和因为产品的物理特征可能造成的各种失真情况。其中一个很重要的指标是S/N，即信号（所录对象）和录像机内部电路板产生的噪音（听起来是“咝”声）之间的差异。失真度越小，录像机的质量越好，价钱自然越高。 录像艺术最令人感兴趣的一个方面是它反映了我们观察世界的方式。实验心理学家最先认识到录像可以替代人的感官来观察世界，尽管它和人的感官不尽相同，但是还是有一些特点是一样的。实验证明这是很重要的。你可能以为以上说的失真只限于电子设备，但事实并非如此。作曲家约翰·凯奇会告诉你他在波士顿麻省理工学院一间消音室的经历。消音室完全隔音，声音从声源发出，但不会从墙上反射回去。凯奇被人领到这间屋里呆了一小会儿。出来以后，他问工程师，如果房间是无声的话，他为什么会听到两个声音？他向工程师描述了这两个声音。工程师告诉他高的那个是他的神经系统，低的那个是他的血在流动。这是人的R/S率。 类似的经历使我们对什么是信息有了非常不同的认识。实际上，就像某些人已经说过的那样，信息在很大程度上可能就是我们的内在结构和生理秩序在外部世界的反映。研究海豚的约翰·利利博士是他那个领域的先驱，他曾在自己身上做过一些非常有趣的实验。他最大的突破在于他用自己做实验的对象，而以往的实验里科学家总是处于观察者的地位。这样一来，他成了主体。他把自己放在完全剥夺感官的环境里，比凯奇的那间消音室更甚。这个环境是一箱盐水，只不过温度加热到与人体血液温度一样。没有光，也没有声音。盐水的浮力减弱了重力，而且最大限度地减少了触摸感。利利全身浸在盐水里，只有头露在水面上呼吸。他很难感到他身体内在和外在的差别，就像子宫一样。漂浮在这样虚无的状态里，他发现他可以尽量放松肌肉，甚至能够毫不费力地小便。水箱里的水被不停地过滤和流通，使他可以毫无干扰地在里面一呆几小时。 很难想象这种经历到底是一种什么样子。你首先想到的是就像什么都没有一样，或者就像入睡，或盯着一堵白墙，或往一个黑屋子里看。但是，利利发现事情根本不是这样。相反，他可以看到、听到，他的这番经历就像他平时的生活一样丰富混乱。利利觉得这一切都是幻觉，于是他想克制幻觉。但是他突然有一个惊人的想法：如果没有外在刺激的话，人脑会自己制造来自外部世界的观察对象。所以他很可能看到了自己思维的过程，即他的脑子在思维过程中的投影。换句话说，他看到了神经线路在他脑子里的工作。 其实这种想法很久以来就被人所知，只不过表现形式不同。人们总喜欢谈论月亮里的“兔子”和“人”，也喜欢对云彩的形状幻想。西方科学中视觉感知理论发端于放射理论（即眼睛发出光或粒子，遇到外部世界物体，产生视觉），发展到现在，认为当光子从外部世界袭来时，视网膜能够感知光线。实验心理学家罗夏曾做过一个著名的墨迹实验，并因此而名垂青史。实验是这样的：他把一滴墨水随便滴到一张纸上，让人们说他们想象到的东西。艺术家们很早就知道不完整和模糊的信息，也就是所谓的“缝隙”，是认识事物时造成一些有趣的现象的一个重要原因。观众会参与到艺术作品中来。学习的过程要求你必须首先面对你不懂的东西。热内·玛格利特曾经写道：“寻求象征性含义的人没有抓住事物内在的诗意与神秘。他们毫无疑问地感受到了这种神秘，但是他们希望从中摆脱。他们害怕了。他们爱问‘这是什么意思？’，他们希望明白一切事。但是如果不拒绝神秘，那么他们就会得到一种完全不同的反应。因为他们会问别的问题。” 这种观点和学传媒的学生们在大学可能受到的教育正好相反，但是这恰巧是传媒的基础。运用信息的现代大师们，比如说CIA和政客们，都深深懂得真正的权利在于没说的那个东西，话说得越含混越好。相反，泄露信息对这些人来说是灾难性的。但是，广播、学传媒的学生和很多录像艺术家还在继续老一套的做法，制造出越来越多沉闷的作品。 最使人感到灰心的是小孩子的玩具变得让人难以忍受。玩具制造已经发展成了一个很大的行业，像其它所有行业一样也充满了无知的贪欲。玩具越造越“高级”，到处是机关、蜂鸣器、闪光和其它玩具制造商们拼命想出来的玩意儿。孩子们很小就被剥夺了想象的能力。一块木头可以是任何东西，可以是小船，也可以是宇宙飞船。它可以马上变成你想要的形状，而且不需要电池。看看有多少人在这种文化下成长，你就不会奇怪为什么他们看到录像艺术展会困惑，会问这样的问题：“这是什么？”“这种艺术是为了什么？”还有一个熟悉的问题“这是什么意思？” 信息存储和信息回收也就是信息的编码和解码。人类解码的欲望似乎是与生俱来的，一定要探求事物的意义，即使虚无也要弄个明白，比如说利利。几千年来科学已经在不断地对自然进行解码，但是现在仍看不出什么时候这个过程会结束。自然本身就是一部宏大的代码，它内在的目的、高度的和谐和组成部分之间的关系使得科学家们惊叹不已。它是如此神秘美丽，以至于它好像完全能意识到自己。如果有人想做一个拼图游戏，那么他必须先有一个完整的构思，然后再把它剪开，交给别人说：“来吧，把这个拼起来。”而拼图的人则从相反的方向进入这个系统，知道自己在一点一点地创造一个画面，他从虚无做起，直到把所有的碎片拼在一起，形成一个整体。 编码就是把包括情报、目的和意图在内的各种因素融合到一个模式里去。而解码则要求从模式里提取出一个组织，并且明白这个组织背后的意图和情报。人们看电影和录像的时候，做的就是这个。即使那些声称对内容和信息不感兴趣的艺术家们，这种现象仍然存在。不幸的是，和其它行业的大艺术家比，很多录像艺术家建筑情报的技巧实在算不上高明。所以很多录像低估了观众的视觉能力，或者说，解码能力。 录像技术最激动人心也最使人沮丧的一个特点是，它永远那么具有挑战性。最近有两个新事物极大地影响了这一领域，它们也被叫做录像艺术。首先是电子游戏风靡一时。其中包括一个有趣的现象，也就是我们刚才谈过的信息编码和解码。电子游戏第一次大规模地使用了10年前我们就听说过的那些令人赞叹的互动式电脑图片展示程序。它们至少从表面实现了最先发明录像合成器的先驱者们创造互动式视觉艺术的梦想。当年的录像先驱者们，比如斯蒂芬·贝克和比尔·爱柯，现在正在为加利福尼亚的电子游戏公司设计程序。随着个人使用者越来越有经验，一批录像艺术新人产生了。看看这些新人所做的事，你就会发现他们正在对别人设定好的程序进行解码。他们从另一端接近程序，一点点重建，直到他们掌握了大部分程序。举个例子，他们清楚地知道，如果他们打屏幕上方右排最后一人，那么某一个序列就会被触动，从而出现在屏幕上。或者14枪后，一个作为奖赏的宇宙飞船就会从左到右出现在屏幕上。等他们差不多弄明白了，游戏也就变得机械沉闷，他们又会转移到别的游戏上去。要是组织一个会，把游戏的使用者们和设计程序的工程师找来，那就有意思了。如果需要的话，某些游戏高手们恐怕能写出大部分原程序来，虽然表达方式和原程序的技术语言可能会不一样。 第二个最近的变化是家用录像器材使得越来越多的艺术家能够做到低成本操作。同时破除了一个困扰早期摄影术和录像术的谬论，即只要拥有设备就可以成为“录像艺术家”，因为当时的设备很少。10年前的激动和热情造成了大量什么都录的作品，但是现在行不通了。因为这种媒介越来越通俗，早已不再那么神秘和有魔力。对于很多所谓的艺术家来说，这不能不说是一个打击。但是，同时个人创作者的潜力也会更大地发挥出来。 这两个变化表明普通人的意识开始发生了转变，他们不再只把电视看成是播新闻，放体育节目和娱乐节目的工具。这仅仅是开始。已经有人在做实验要把电视变成数据终端，不仅能播新闻，放体育和娱乐节目，也能享受电传新闻服务，股市信息和公共图书馆存储的所有资料，甚至可以掌握家里的用电和取暖情况，知道你在银行还有存款。这些都是“录像”，但是和《我爱露西》这样的片子完全不同。此外，家用微型处理器的发明会产生更多的可能性。来自加利福尼亚的一名早期录像艺术家约翰·波德赛利说录像就像“一支笔，而艺术就是你用这支笔做的事”。今天的录像似乎更接近一张纸，一张巨大的白纸，任何事都可能在上面发生。艺术正是其中之一。 录像像笔。录像像纸。比喻常变，但是人没变。而且可能永远也不会变。现代人对纸笔的创造力的认识不会比100年后的人对彩色数码摄像机的认识更清楚。参加过数不清的研讨会、展示会和博览会，你只会更明白这个事实：技术把人远远地落在了后面。局限在于人，而不在于工具。如果技术现在就冻结，那么我们还是会花很多年才能赶上技术，学会用它，并最大可能地实现它的潜力。技术制造商们热衷于提倡时尚、消费和市场竞争，他们不断推出新产品，阻碍了我们想把事情弄明白的欲望。某些录像艺术家也相信这套宣传，迷信“高科技”。他们会说：“我要是有了这种新摄像机，我就可以做出好的作品。” 技术好像总在把我们引导得离开我们自己。波斯苏非派诗人和神秘主义者拉米曾于1273年写道：“观察方式因为需要而产生，增加你的需要吧，因为这样你就会观察到更多的东西。”获得必要的技术后，当代艺术家真正的任务是理解和发展自我。这是真正困难的事。使用工具的水平直接反映使用者的水平。筷子可以用来吃饭，也可以用来杀人。关键看谁用。 去年夏天，我在华盛顿州的雷尼尔山摄像，当时有一件事对我很有启发。一天深夜我开车从曲折的山路上下来，看到一只很大的豪猪正在过马路。幸运的是，我及时看到了他，把车停在他不远处。我看到他站在明亮的车灯里，被这突如其来的“第三类亲密接触”吓坏了。然后他做了一件很奇怪的事。他全身刚毛直竖，原地绕圈，嘴里发出“咝咝”声。他没有跑。我开始明白这种舞蹈其实是一种自卫。我把车灯开到正常，但是他更加愤怒地绕圈。我再把灯光减弱，他还在跳。我只好熄灯，停火，省得他心脏病发作。然后我看到他在微弱的月光里停止了舞蹈，最终走下了马路。当时我感到他可能一边骄傲地走开，一边想他真是制服了那个又大、又瞎、笨拙地向他冲过来的家伙。我敢肯定他一定自信极了，非常得意他赢了，而且到家以后，他一定会有一个好故事讲。