if i were a pirate 如果我是航海時期的海盜
我當時若是海盜，秀姑巒溪口一定是我最想停靠的地方
說不定，前世有這種因緣，所以一直對秀姑巒溪口感覺奇特，又熟悉又陌生，想多待那邊
back in the day, if i were a pirate, i would have chosen the mouth of the siugulan river, on taiwan’s east coast, as my secret hideout. if there is a such thing as reincarnation, maybe i did: from the time i first visited, i’ve had a strange feeling about this location. it’s familiar and strange, a place where i want to spend more time to live and learn.
this year, i’m going to have a chance to spend a few months there working as part of an artists’ residency at the cepo’ arts center on the northern bank of the siugulan
今年暑假，剛好（感謝豐濱鄉港口村cepo’藝術中心）有機會在秀姑巒溪執行聲音景觀研究和藝術創作計畫。六月到八月會在cepo’駐村！
轉回溪流探討中介空間 turning toward mediating spaces
此計畫，叫做pasasiikor to alo’ : 回到溪流。在紀錄秀姑巒溪的聲音景觀，我將轉回故事的起點，傾聽這條溪流和居住在溪流流域發聲的靈魂，他們每一個聲音，傳說，歌謠都是一個線索，讓我們尋覓歷史與未來的足跡
pasasiikor to alo’ means to return to the river. in this project i will document the soundscapes of the siugulan river, upward from the river’s mouth toward kiwit in the coast ranges. as i turn toward the stream, i will return to the source of stories, listening to the river and the voices of the various souls that live along the river basin. each of these voices, legends, and songs will be a link that guides me in a search for traces of the past and the future
in pasasiikor to alo’ i will explore a mediating space: a space that mediates among ethnic groups, past and future, non-humans and humans
在pasasikor to alo’，我會從秀姑巒溪聲音景觀探討一種中介空間的意義。
秀姑巒溪不管在生存、交通、歷史上的地位都非常重要，但是，除了運送資源或傳達訊息之外，溪流也引導了清兵侵略部落。溪流的確是歷史回憶的圖像，不過它的地位在生態與人類，部落與部落，族群與族群，甚至過去與未來中間。為了探討這中介空間，我帶著麥克風從溪口開始錄，一直往上流，途中紀錄溪流豐富多變自然生態的聲音，並錄音秀姑巒溪的人文聲音景觀，比如各種口傳歷史、傳說故事、歌謠，包括cepo’ 事件溪水染紅的故事、早期在溪流伐舟的歌。通過後續處理，我將製作一個聲音景觀地圖，也會做出聲音裝置的概念。今年的計畫跟去年的o wahidang no riyar / pacifalan echoes有一點像，但是比起來，規模大一點
the siugulan river holds an important place in the history of ‘amis / pangcah people who reside near its mouth or along its banks. it was a major source of fresh water, irrigation, and aquatic life. moreover, before roads crossed the coastal ranges, it was the only means of transportation across the mountains to the rift valley. yet in addition to being a means to transport resources and news, it was also a route that led the qing imperial armies to invade pangcah communities. the river is an icon of historic memory, but it is also situated between nature and human communities, pangcah communities downriver and upriver, ethnic group and other ethnic groups, even the past and the future. it is a space that mediates. in order to explore this mediating space, i will take my microphones and begin to record at the river’s mouth, moving upstream. along the way, i will record the changing natural environment and also the human sounds of the river valley, such as songs of the rafts that used to ply the river, stories of the cepo’ incident in which the river flowed red with blood, local legends, and songs of life along the river. using gps or other means to mark locations of the recordings on a map and through post-processing, i hope to create a sound map and also to work toward some initial concepts for sound installations. one sound installation will go on exhibit at cepo’ in august, when the residency concludes. the work will be at the intersection of art, sound studies, and anthropology, adding to multimodal work in anthropology while also moving toward new directions in sound installation art
幸虧cepo’ 藝術中心在支持，今年六月初到八月底，我會在秀姑巒溪口那，歡迎大家來坐！
before i begin the work, i’d like to thank everyone at cepo’ arts who have made the residency possible. if you are around fongbin township from june to august, i’ll be iti:ra i cepo’ there in cepo’, so come “set awhile”！
taiwan soundscapes project 聲在台灣 