〈超脫國歌〉聲音行動計劃—意識形態的轉碼遊戲

〈超脫國歌〉聲音行動計劃第一章闡述了超脫的古今中外語境，並說明國家機器善於以利己觀點定位歷史狀態，以中華民國的過往歷史為例，掌權者將意識形態編碼為高尚情操「愛國」的樂音以定調個體自由。第二章簡介筆者專業的身體訓練與非專業的創作生成背景。第三章文獻回顧與第四章創作論述，思考以作曲為解碼意識形態進入超脫。簡介從西方近代藝術史的作曲觀念開始，與觀察網路世界的發展，解說「空耳」文化興起，與後科技舞曲世代的混音精神灌注於筆者成為創作泉源。〈超脫國歌〉聲音行動計劃以中華民國國歌為一聲音文本，從音譯詞譯誤用解構國歌為三部曲。首部曲以詞語誤用為出發，影像使用自製在內褲的英文黑話「空耳」國歌，以褻瀆為反洗腦手段，第二三部曲為取樣中華民國建國百年的兒童版本與使用網路免費音源混製迷幻科技舞曲，並以計程車為一移動展場實驗，透過運載不同的觀眾的轉換聆聽主體，以「5D音景DJ」為作曲與超脫互文驗證。第四章介紹了創作執行過程與障礙，並延伸探討透過網路誘惑，與扮裝表演的曖昧地帶。佐以附帶三位從事相關藝術創作者，劇場導演，表演者，與當代詩人發表於網路平台的藝術評論多向補述此計劃的遊戲性。

關鍵字

超脫；國歌；現場藝術；行為藝術；聲音表演；觀念作曲；錄像藝術；空耳；詞語誤用；褻瀆； 5D音景DJ ；移動展場；互文；髒話國歌；意識形態；遊戲；英文黑話；科技舞曲；計程車；內褲；混音；電子樂；次文化；台灣；中華民國；意識形態

並列摘要

In the first chapter, the author begin by describing the different aspects of "ecstasy" in detail. Then, using the history of the Republic of China's anthem as an example, the author further explained how did the state apparatus manipulate the history in favor of itself, and how did the hierarchs confine individual freedom by encoding their ideology as the sound of "patriotism". In the second chapter, the author depicted the professional body movement training she perceived in the past, and how she approached art with a non-artist background. The literature survey and project statement in chapter three and four linked utilizing composing as a way to decode ideology with ecstasy. The author introduced her inspiration from the composing concept in western modern art history, the development of the cyber world, the rise of the " Soramimi " culture, and the remix spirit of post-techno generation. Sound Project used the Republic of China's anthem as a script, and decomposed the anthem into three parts. The first part rose from the idea of mishearing, rewriting the lyric with English slangs that sound similar to defile the anthem, a mind control method. The second and third parts remixed Republic of China 100 years celebration version anthem with open sourced sounds on the Internet into psychedelic electronic music. Moreover, the author used a taxi as her experimental mobile exhibition site, transporting audiences between locations, and utilize "5 dimensional soundscape DJ" to link composing with ecstasy. The final chapter discussed about how was the project carried out, obstructions encountered during the process, the grey zones of Internet temptation and cosplay performance. Reviews by artist, stage director, and contemporary poet are also cited to address the gameplay aspect of this project.

並列關鍵字

New Media art ； Live art ； Contemporary Performance ； Contemporary Compose ； Remix ； Sound art ； Video art ； Underwear ； The Ecstasy of Anthems ； Internet art ； sub culture ； Transcoding Game ； Ideology ； DJ ； Soramimi ； Taxi ； Taiwan ； Republic of China ； Mobile exhibition

參考文獻

5. 何義麟：《跨越國境線—近代台灣去殖民化之歷程》〔台北縣：稻香出版，2006〕

6. 張君玫︰《後殖民的陰性情境：語文、翻譯和慾望》〔台北︰群學出版， 2012〕

9. 蔡振家：《另類閱聽—表演藝術中的大腦疾病與音聲異常》〔台北︰國立台灣大學， 2011〕

10. 蕭阿勤︰《重構台灣︰當代民族主義的文化政治》〔台北︰聯經出版，2012〕

16. Donna J Haraway（唐納．哈洛威），張君玫譯︰《猿猴、賽伯格和女人︰重新發明自然》〔台北︰群學，2010〕

國際替代計量

〈超脫國歌〉聲音行動計劃—意識形態的轉碼遊戲

全文下載

主題瀏覽