Yu-Chuang Tseng

Digital + interactive + Art

attraper JE champs de JEU(Catch I, Play fields)- Digital Art Curatorial Exhibition Program

捉遊・戲場 attraper JE champs de JEU(Catch I, Play fields)– Digital Art Curatorial Exhibition Program,

Date: 2020/03/14 ~ 2020/06/07

Place: National Taiwan Museum of Fine Arts, Taichung

Curator: Sueya Wang 王思雅

Please hear me
Please hear me

Sound is an essential part of life and forms the core of this exhibition which brings together digital technologies and new possibilities for sound creation. Digital sound artists active in contemporary and prestigious sound research institutes, are invited to present works for this exhibition. Some of the included works have been performed at philharmonie de Paris or honored at the Cannes Film Festival. Based on these works, sound patterns are not only used in music, but also in new and innovative forms of artistic expression.

Sound lines

Immersive sound installations convey and subvert the conventional, transforming internal sound pathways into pathway diagrams and complex spaces. Immersive sound experiences are a relatively new and expensive form of sound installation. Putting on a VR headset, and entering a 360-degree virtual world, the audience are able to  experience immersive sound installations that stimulate the imagination and new ideas.

Technological research and sound environments

When there are changes in the relationships between autonomous and objective environments, new relationships emerge. The exhibited works are mainly immersive sound experiences, creating a sensory duality within the tangible environment of the individual and the other. Everything is dynamic and changes over time, leading to the feeling of immersion and changes in physical properties. Through precise calculation and composition, these changes are presented as complex spatial shifts of nodal points, changing field coordinates, and optical illusions.

Research directions and technological developments

Development of digital computing methods has changed the nature of sound and provided possibilities for the opening of structural routes and subversion of auditory spaces. By simulating current situations and creating new vector spaces that satisfy the imagination and expectations, immersion produces hidden and rational imagery. The openness and hiddenness of a closed space leads to unconscious flow and thought. The development of sound-related technologies has brought about changing positions and flows, with endless variations in computational flow, expanding, moving forward, and deriving.

Noise and psychological factors

In most discussions on sound and psychology, the focus is on environmental noise and the direct psychological responses to it. The accumulation and repetition of noise gradually lead to various forms of psychological venting. The promotion of technological products have become notable, resulting in changing customers’ preferences. Operators delight in manipulating virtual worlds, with the allure of associated inertia and confusion. Sound and audio online platforms satisfy the needs for expression and concealment, providing real-time feedback and triggering change, becoming open and lively, and bringing delight and joy. At the same time, they draw on unlimited darkness. Such reverberating dialogues are created by artists through new media.

Relationships between spatial sounds and exhibition spaces

In terms of digital sound algorithms for space building, artists use various technologies and creative methods. With new technologies, they create new thoughts on space. Digital computing provides audiovisual code to link visual and auditory communications and ideas, conveying new messages. Against the backdrop of differing data operations, this exhibition seeks intangible conversation spaces to present new technological creations and developments. Through the presentation of sound technologies and visual connections, new trends and forward-looking works are created.

Sound installations and performances

The formulation of sound should not be limited to conventional framing methods. Within 360-degree surround sound immersive experiences, changes in spatial relationships occur with exhibition spaces no longer planned or divided. Sound can become systems and expanded forms. Shifts in viewing position lead to shifts in opposing spaces. Therefore, the definition of space can change through sound. In shifting sound spaces, we determine directional axes. Performers guide new dynamics, integrating instrumental music to create powerful sounds. New works are produced based on installation mechanisms, artist characteristics, and creative talent, which breaks the notion that installation belongs to a single artist’s work. At the same time, viewers experience the many aspects of installations.

The participating artists in this exhibition are from France, Germany, Spain, England, Canada, Japan and Taiwan. With sound as the basis, eight different acoustic spaces are formed, each incorporating different roles of sound and different technologies to present digital works that integrate visual aspects. Immersive sound installation systems are presented as performances during the exhibition opening.

In contrast to past exhibitions and performances of visual creations in physical spaces, sound is the guiding factor of this exhibition. A 17-speaker installation provides an immersive, virtual, and multipurpose space, a boundless space that features sound delays like those experienced in a cathedral. Connotative sounds of a single audio frequency, echoes of spaces in the universe that are collapsed and flipped, VR epidermis sound loops, sounds that bring to mind a pipeline between Russia and Germany, transmission of online audio messages, and computations of positioning information transformed into acoustic events are representative of contemporary sound development. This exhibition features international perspectives, interdisciplinary performances, and communication platforms.


Gregory CHATONSKY (France/Canada)

Po-Hao CHI (Taiwan)

HUMATIC (Christian Graupner & Veruschka Bohn) (Germany)

Ryoichi KUROKAWA (Japan)

Elías MERINO (Spanish/U.K)

Olivier PASQUET (France)

Yu-Chuan TSENG / Kung-Ta TSENG / Yi-Ching HUANG (Taiwan)

Sueya WANG+Craphone LIU (Taiwan)

捉遊・戲場 attraper le JE・champs de JEU

聲響是生活中不可或缺的一部分,此次的展覽將以聲響為主軸,集合數位科技技術,創造聲響上的新可能。本展邀集的數位聲響藝術家,皆活躍於當今知名的聲音研發機構,部分作品除了獲邀於巴黎愛樂廳(philharmonie de Paris)演出外,也同時在坎城影展獲獎,聲音模式已經不再只是演奏音符,而將以一種嶄新的姿態呈現。















| 參展藝術家 |
格雷戈里.夏頓斯基 (法國/加拿大)  

紀柏豪 (臺灣)

HUMATIC人磁 (克里斯蒂安.格勞普納&薇露希卡.波恩) (德國)

黑川良一 (日本)

埃利亞斯.梅里諾 (西班牙/英國)      

奧利維那.帕斯格 (法國)

曾鈺涓/曾功達/黃怡靜 (臺灣)

王思雅+劉寅生 (臺灣)

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