2015-2021 數據資料庫電影
鯤言：第三種聲音
[ Khun-giân ] ：The Third Voice
ann4 t͡suã554….. ann4 t͡suã554 bo5 gak7 za3 lai5 ? “
// 林欣怡．鯤言 [ Khun-giân ] ．2015 – 2021
// 第三種聲音
//主觀聽點．及物動詞
//及物變因：與系統的硬體或軟體相應的人
// 身體動作，聽位—語徑
// 裨海紀遊．秋刀魚の歌．吳新榮日記．原吟．女誡扇
// 泉州南音．鼓．反聲語．竹枝詞
// 董福祺．姚喻文．佐藤春夫
// 概念構想．聲音採集．影像拍攝、影像剪接：林欣怡
// 程式設計：賴威漢、蔡岱臻 // 表演者：姚喻文
// Original MIDI Biodata sonification device developed by SašaSpačal, Mirjan Švagelj,and Manuel J. Domke
// 特別感謝：姚喻文．董福祺．佐藤春夫．辻本雄一．HaBo MaNis 黃瑞香／哈波．馬尼絲．紀州勝浦漁港朝市．三線演唱 佐喜真淳 Shamisen by JUN Sakima． 佐藤春夫記念館．ICCS文化研究國際中心．徐紹恩．泉州南音记录工程．社子西拉雅夜祭．南投川中島清流部落．陳冠彰．陳靜如．河野龍也．中央研究院數位文化中心、中研院人社中心GIS專題中心
//入圍法國克萊蒙費朗 VIDEOFORMES新媒體藝術展「國際競賽」單元
// 入圍2022美國聖塔菲 CURRENTS: CIRCUITS 新媒體藝術展
// 文化部 2021藝起秀創意線上演出徵選計畫 金獎．衛武營國家藝術文化中心線上發表 // 本計畫由 陽明交大 ICCS文化研究國際中心「107-109 國內調查研究」補助
// LIN, Hsin-I · Kun-giân (鯤言) · 2015–2021
// The Third Voice
// Point of Audition · Transitive Verb // Disembodied Voice · Non-Diegetic Sound
// Transitive Variable: The Human Corresponding to Hardware or Software Systems
// Bodily Movement, Auditory Position—Linguistic Path
//Pihai Jiyou (Small Sea Travel Records) · The Song of the Saury · Wu Hsin-jung’s Diary · Original Chant · The Fan of Women’s Precepts
//Quanzhou Nanyin · Drum · Echo-discourse (Antiphonal Voice) · Zhuzhi-ci (Bamboo Branch Lyrics)
// TUNG Fu-chi · YAO Yu-wen · SATŌ Haruo
// Concept, Sound Recording, Cinematography, and Film Editing: LIN, Hsin-I
// Programming: LAI Wei-han, TSAI Tai-chen // Performer: YAO Yu-wen
// Original MIDI Biodata sonification device developed by: Saša Spačal, Mirjan Švagelj, and Manuel J. Domke
//Special Thanks:
YAO Yu-wen · TUNG Fu-chi · SATŌ Haruo · TSUJIMOTO Yuichi · HaBo MaNis (HUANG Rui-xiang) · Katsuura Morning Market · Shamisen by JUN Sakima · Sato Haruo Memorial Museum · International Center for Cultural Studies (ICCS) · HSU Shao-en · Quanzhou Nanyin Documentation Project · Shezi Siraya Night Festival · Nantou Chuanzhongdao (Alang Gluban) Seediq Community · CHEN Kuan-chang · CHEN Jing-ru · KAWANO Tatsuya · Academia Sinica Center for Digital Cultures (ASCDC) · Center for GIS (RCHSS), Academia Sinica
//Honors & Screenings:
- Official Selection (International Competition), VIDEOFORMES New Media Arts Festival, Clermont-Ferrand, France.
- Official Selection, CURRENTS: CIRCUITS New Media Art Festival, Santa Fe, USA.
- Gold Award, “Show Your Creativity” Online Performance Project, Ministry of Culture (MOC).
- Online Premiere at National Kaohsiung Center for the Arts (Weiwuying).
- This project was supported by the International Center for Cultural Studies (ICCS), NYCU, under the “2018–2020 Domestic Survey and Research Grant.”
“ ann4 t͡suã554….. ann4 t͡suã554 bo5 gak7 za3 lai5 ? “
— 泉州話「 按怎…..按怎嘸較早來？」，〈女誡扇綺譚〉，
佐藤春夫，大正十四．五，臺南禿頭港赤坎城 —
“ ann4 t͡suã554….. ann4 t͡suã554 bo5 gak7 za3 lai5 ? “
“Ann-tsuã… ann-tsuã bô khah tsá lâi?”
(Why… why didn’t you come sooner?)
— Quanzhou dialect recorded at Tutou Harbor, near Fort Provintia (Chihkan), Tainan.
肩披鬢髮耳垂璫，
粉面紅唇似女郎。
馬祖宮前鑼鼓鬧，
侏離唱出下南腔。
— 〈裨海紀遊—臺灣竹枝詞 其十一〉，郁永河，1697
漳泉州二郡為「下南」，下南戲腔為泉閩聲律 ，天妃為媽祖（馬祖），近臺南赤坎城，為臺南現在的大天后宮（舊稱東寧天妃宮）[ 註1 ] —
Shoulders draped with tresses,
ears adorned with rings,
With powdered face and crimson lips,
appearing just like maidens.
Before the Mazu Temple,
gongs and drums resound in clamor,
As 'Zhuli' voices sing aloud
the melodies of the Lower South.
— Note: ‘Lower South’ (Xiainan) refers to the prefectures of Zhangzhou and Quanzhou; the ‘Lower South melody’ is the Quanzhou-Minnan vocal style.
Historical & Geographical Annotations [Note 1]
The Lower South Melody (下南腔): Refers to the rhythmic and melodic patterns of Quanzhou and Zhangzhou in Fujian. In Yu Yong-he’s era, it represented the “standard” theatrical sound of the early Han settlers in Taiwan.
Mazu Temple (馬祖宮/天妃廟): This refers to the temple near Fort Provintia (Chihkan Tower), known today as the Grand Matsu Temple (大天后宮) in Tainan. It was historically called the “Dongning Tianfei Temple.”
Zhuli (侏離): A classical term used by Yu Yong-he to describe the “unintelligible” or “exotic” quality of the local performers’ voices—a term that historically denoted the tongues of non-Han “barbarians,” here repurposed to capture the distinctiveness of the Minnan operatic voice.
我只需要聲音對我說話
━━━━━━━━━ 林欣怡
以郁永河於1697年來臺採硫時所寫的臺灣第一本遊記文學《裨海紀遊》（採硫日記）[ 註2 ]，平行佐藤春夫所著《殖民地之旅》為雙重路徑，作為貫穿聲語敘事的文學軸心。《鯤言：第三種聲音》從社寮島作為索語起始，尋聲霧社、新竹與台南空襲等地事件，交錯吳新榮日記、原民吟唱、地方口傳、藝術家反聲語、臺灣竹枝詞等聲線，疊織為語音（voice）、語言（language）和聲音（sound）相互稀釋的主觀聽點與及物聲景。
《鯤言：第三種聲音》由「聲組」與「聲所」構成，「聲組」包含三種聲音程式物件：IOT 溫濕度傳感、環境震動感測、生物電阻抗數據感測。
三個聲組分別能觸發三個聲音群，由環境溫溼度傳感觸發的聲音群為原民吟唱、藝術家反聲語（董福祺倒注音符順序唸吳新榮1944、1945年所寫臺南空襲及霧社事件）、泉州南音、臺灣竹枝詞的聲響；環境振動感測為沖繩三味線吟唱、日本鼓；而由生物體電阻抗感測的生物數據所觸發的聲音群為佐藤春夫吟讀其詩作〈秋刀魚之歌〉、以及佐藤春夫記念館館長辻本雄一吟讀此詩的聲音。三個聲音群的聲音來自於2015至2021年在日本、沖繩、臺灣三地進行的影像拍攝與聲音採集，並且將聲音拆解為「音」、「詞」或「短句」。「聲組」裝置會因地理位置與場所環境觸發不同的「音」、「詞」與聲響，也會因不同生物體（蕃薯、植物、人）自身相異的電阻抗值觸發不同的「詞」或「短句」。其中，溫濕度傳感聲組一將會因爲現場溫度的改變（人數、高地低溫）而讓某些聲音退場消失，在某個溫度以下，聲音才會被觸發。
A voice and nothing more
━━━━━━━━━ Hsin-I, LIN
Taking the 1697 sulfur-mining travelogue Pihai Jiyou (Small Sea Travel Records) by Yu Yong-he—Taiwan’s first work of travel literature—and paralleling it with Satō Haruo’s Travels in the Colony, this project establishes a dual trajectory as the literary axis for its vocal and sonic narrative. Starting from SHELIAO Island as the point of linguistic origin, Kun-giân: The Third Voice traces auditory paths through events in Wushe, Hsinchu, and the air raids of Tainan. It intertwines various vocal lines—including the diaries of Wu Hsin-jung, indigenous chants, local oral traditions, the artist’s “echo-discourse,” and Taiwanese Zhuzhi-ci (Bamboo Branch Lyrics)—to weave a subjective point of audition and a transitive soundscape where voice, language, and sound dilute one another.
The work is composed of “Sound-Modules” and “Sound-Sites.” The “Sound-Modules” consist of three types of algorithmic objects: IoT temperature/humidity sensors, ambient vibration sensors, and bioelectrical impedance sensors. These modules trigger three distinct sound groups:
Ambient Temperature & Humidity Module: Triggers indigenous chants, the artist’s “echo-discourse” (Tung Fu-chi reciting Wu Hsin-jung’s 1944–1945 accounts of the Tainan air raids and Wushe Incident in reverse phonetic order), Quanzhou Nanyin, and the sounds of Taiwanese Zhuzhi-ci.
Ambient Vibration Module: Triggers Okinawan Sanshin chants and Japanese drumming.
Bioelectrical Impedance Module: Uses biological data from living organisms to trigger Satō Haruo’s recitation of his poem “The Song of the Saury,” along with a reading of the same poem by Tsujimoto Yuichi, director of the Satō Haruo Memorial Museum.
The sounds within these three groups were collected through cinematography and field recording across Japan, Okinawa, and Taiwan between 2015 and 2021, and then deconstructed into individual “tones,” “words,” or “short phrases.” The device triggers specific sounds based on geographical location and environmental conditions. Furthermore, variations in bioelectrical impedance across different organisms (sweet potatoes, plants, or humans) will trigger different linguistic fragments. Notably, the temperature/humidity module is programmed so that certain sounds exit or disappear as the live ambient temperature changes (influenced by crowd density or altitude); the audio is only triggered when the temperature falls below a specific threshold.
纏結聲物
「聲組」聲音群與其程式語言所構成的「非敘事聲音」（Non-Diegetic Sound），決定了「聲所」影像的剪輯。
2015年拍攝《鯤言》聲線路徑的第一個節點：基隆社寮島的「蕃字洞」，臺灣最早出現西語的處所。社寮島石洞出現荷蘭人刻字最早記錄於法國人 M. C. Imbault-Huart 的《Ile Formosa》一書 （1898 年出版， p.195） 「聲所」影像場景索引，最初以佐藤春夫《殖民地之旅》為聲徑，將尋找這一段刻字作為起點，訪地從基隆社寮島、臺南安平港（女誡扇綺譚、臺南空襲事件）、南投霧社川中島清流部落到日本新宮縣佐藤春夫記念館。這些路徑平行著郁永河來臺的地點，據此構成三重時空（1697–1920–2021）的紀錄影像。雖然佐藤春夫的旅臺路徑集中在「島的左邊」（土牛界線，線西平埔族、線東高山族，後稱隘勇線），與郁永河來臺採硫的路徑有許多相近之處，但前者中途橫切至臺灣中東部最遠達能高越；後者並未越至東部，所到之處較前者散廣。佐藤春夫筆下的臺灣霧社原民，與郁永河《裨海紀遊卷下》中〈土番竹枝詞〉對平埔族等的描寫，即便有著年代差距，但都閱讀出對異者族類的評判，以及兩者對異族語與地方聲曲非「同時共代」(coevalness)的「時差／視差」。正是因為拍攝路徑以文學文本（或者歷史事件）交疊參照，《鯤言》的拍攝採訪經驗，不斷地質問著「第三種聲音」[ 註3 ]的發聲位置所在何處？《鯤言》並無意再現歷史場景，或試圖在事件經驗者的口述聲中召喚事件作為「第三種主體」的身軀，進行歷史旁白。
事實是，「第三種聲音」並不存在於一個具體的、單一的身體／主體中，它總是在拍攝現場之外、紀錄影像之外、螢幕之外，等待著被觸發現聲。這或許如文化理論學者杜拉（Mladen Dolar）那段關於聲音拓墣著名的描述：
「…從身體分離並到處播散，但同時它又指向身體的內部，一個無法被揭示的身體內部… 聲音連接了身體和語言之間的斷裂，既不完全屬於身體也不完全屬於語言，事實上它置於一個相當弔詭的拓樸位置。」（Dolar 2006: 70-3）
杜拉在其著作《聲音，僅此而已》（A voice and nothing more）中強調，聲音總是介於以下兩者之間：身體與語言之間，生物學與文化之間，內部與外部之間，主體與他者之間。在多數時刻，我們將「語音」（voice）、「語言」(language)和「聲音」（sound）」揉雜為一體，更多時刻，我們將這個揉雜隱身至影像中，讓聲光影視作為「電影」形成「敘事」。這些追問迫使《鯤言》「第三種聲音」的重新追索：從場景轉向聲景的索語聲徑。
Entangled Sono-objects
The “Non-Diegetic Sound,” structured by the “Sound-Modules” and their specific programming logic, dictates the montage of the “Sound-Site” imagery. The first node of the Kun-giân sonic path was filmed in 2015 at Fan-zi Cave (Foreigners’ Cave) on Sheliao Island, Keelung—the earliest site in Taiwan where Western script appeared. The earliest record of Dutch inscriptions in the stone caves of Sheliao Island was documented in M. C. Imbault-Huart’s L’île Formose (published 1898, p. 195).
The visual indexing of the “Sound-Site” initially used Satō Haruo’s Travels in the Colony as its sonic trajectory, taking the search for these inscriptions as a point of departure. The field research spanned from Sheliao Island in Keelung and Anping Harbor in Tainan (The Fan of Women’s Precepts, the Tainan air raids) to the Alang Gluban (Qingliu) Seediq community in Wushe, Nantou, and finally to the Satō Haruo Memorial Museum in Shingu, Japan. These paths parallel the locations visited by Yu Yong-he, constructing a documentary image across triple spatio-temporalities (1697–1920–2021).
While Satō Haruo’s itinerary focused on the “left side of the island” (the Tuniu boundary, separating the western Plains Indigenous peoples from the eastern Highland peoples, later known as the Aiyong Guardline), it shares many similarities with Yu Yong-he’s sulfur-mining route. However, Satō crossed into the central-eastern mountains as far as the Nenggao Cross-Ridge, whereas Yu did not reach the east, though his travels were more widely dispersed.
Reading Satō Haruo’s descriptions of the Wushe Indigenous peoples alongside Yu Yong-he’s observations of the Plains Indigenous peoples in “Indigenous Bamboo Branch Lyrics” (Pihai Jiyou, Vol. 3), one detects—despite the temporal gap—a judgment of the “Other.” Both texts reveal a “time-lag/parallax” regarding the indigenous languages and local melodies, characterized by a denial of “coevalness” (Johannes Fabian). Because the filming paths overlap with these literary texts and historical events, the process of interviewing and recording for Kun-giân constantly interrogates the enunciative position of the “Third Voice.”
Kun-giân does not intend to represent historical scenes or summon the “body” of the event through the oral testimonies of survivors to provide a historical voice-over. In fact, the “Third Voice” does not exist within a concrete, singular body or subject. It always resides outside the filming site, outside the documentary image, and outside the screen—waiting to be triggered into presence.
This aligns with Mladen Dolar’s famous topological description of the voice:
“…it detaches itself from the body and spreads around, but at the same time it points to an interior, an interior of the body which cannot be disclosed… The voice connects the gap between body and language, belonging to neither, and in fact being placed in a quite paradoxical topological position.” (Dolar 2006: 70-73)
In A Voice and Nothing More, Dolar emphasizes that the voice always exists “in-between”: between body and language, biology and culture, interior and exterior, subject and Other. Frequently, we conflate “voice,” “language,” and “sound” into a single entity, often hiding this hybridity within the image to allow “cinema” to form a “narrative.” These inquiries force a re-tracing of the “Third Voice” in Kun-giân: shifting from the scene toward the sonic path of the soundscape.