Harmony in Precarity

微重力/超重力(microgravity/hypergravity)如何塑造我們對「失重聆聽」的感知體驗？我們能如何尋求利用將聲音這一空間觀點視為一種獨特參數的權利？

《浮游共鳴體（Harmony in Precarity）》是藝術家紀柏豪，以人類在「太空探索」進程中相關的藝術實踐為主軸，包含創作與研究環節，並與麻省理工學院(MIT)及Zero-G公司合作。以應用無重力特性開發的穿戴式音樂介面《浮游共鳴體》於美國實地參與「無重力飛行」項目。

由設計「擴增音樂介面(augmented musical interface)」出發，探索微重力下的陌生時刻。研究與串連「太空探索」相關主題的內涵，在拋物線飛行中的無根狀態是 「浮游性(precarity)」的隱喻和生成方法。

韋伯字典將 Precarity 一詞描述為「取決於他人的意願或樂趣 」，源自拉丁文的祈禱。它是「我們這個時代的景況」，也是一整個階層的決定性特徵 －即「浮游者」們。紀柏豪將這種岌岌可危的空間性和微重力造成的感官錯置，視為一種新興的、關於空間探索的聲音思考和想像形式。此裝置可以作為一個穿戴式設備，並對表演者的身體動態做出反應，也可以作為一個具有失重特性的自主設備獨立運行。

《浮游共鳴體》中的穿戴式音樂介面，其設計理念源於「雨棍」- 一種南美洲土著人用來祈求水源的古老樂器。雨棍的聲音是對自然現象的模擬。 雨棍通常是由日常生活周圍的原材料製成。例如，將仙人掌的針頭敲回仙人掌的莖部，然後倒入小豆子等顆粒，使這些顆粒在裝置中彈跳，從而產生豐富的聲音。早期很多部落的原住民認為，只要彈奏這種樂器就能召喚風雨、避免干旱。

隨著科技的發展，如今類似的樂器有塑料、PVC、紙、木片等不同材料製成的版本。紀柏豪應用工業材料與人造現成物，輔以數位構築（如3D列印、電路設計）工具來完成，並將鐵鋁罐、保麗龍等人工製品切成顆粒，與日益增多的太空垃圾進行對比。並將原來雨棍中的釘子換成棍狀拾音器，用以捕捉顆粒撞擊時的壓電信號。讓使用者可以佩戴這樣的樂器，在無重力或微重力環境中，感受到由使用者的力道而不斷變化和反彈的原材料碎片與這些「碎屑 」所產生的動態！

How could microgravity/hypergravity shape our perceptual experience of listening with weightlessness? How can we seek to exploit this spatial aspect of sound as a distinct parameter in its own right? Speculating all of these qualities in tandem will play an essential role in this project.

**Harmony in Precarity** is about making an augmented musical interface to explore unfamiliar moments free from verticality. The rootless state in parabolas is a metaphor and generative method for "precarity." Merriam-Webster's Word of the Day introduces Precarity's original meaning as *"depending on the will or pleasure of another,"* which comes from the Latin for prayer. Precarity is everywhere, it seems. Perhaps it is, as Anna Lowenhaupt Tsing writes, *"the condition of our time."* It is also the defining feature of an entire class of people, *the precariat*.

In outer space, the remnants of artifacts are becoming the relics of a new frontier. I regard the precarious spatiality and materiality as an emerging form of sonic thought and imagination on space exploration.

The musical interface can function as a wearable medium that reacts to the operator's body dynamic or as an autonomous device with weightlessness. It simulates "rainstick," an ancient musical instrument used by natives of South America to summon wind and rain and avoid drought. With multiple stick-piezo connected to extended springs inside plastic tubes as a contact microphone, the system captures piezoelectric signals when particles hit and transmit vibrations and collisions of fragmented debris inside the device to a customized sonification program during weightless periods.

指導單位｜國家藝術文化基金會
藝術家 ｜紀柏豪
裝置協力｜穀米機工