I will talk about my field recording. It’s not technical talk. About my concept of recording.I was studied western painting in 1980th. So my background is fine art. I have no experience on musical theory and practice. So my recording work is just the same painting the landscape.And how to realize and describe “scenery” or “landscape” for us.
24 pieces of vessels (glass cup or ceramic saucer etc…) and same pieces of vibration plates set(attached) on each vessels. Vibration plate is like a speaker, so playback sine wave from an audio generator (oscillator). Shifting the frequency(pitch of sound) slightly. The plates are shaking on the surface of vessels according the frequency. It is small sound but many kind of sounds occurs according frequency and shape of vessels surface.
For his talk Dan S. Wang will present a picture and theory of America’s Middle West, a region in which the politics of globalization are being played out in socially and environmentally brutal contests.
Media, action and method—rural art practice in Southeast Asia and South Asia
Globalization and Asian localization, urbanization critiqued, identity, body and politics
Hsu Chia Wei’s artistic practice is focused on the imagery from video installations and narrative themes in order to unveil a broader view of various mechanisms in the contemporary age. At the same time, he explores the memory, imagination, identity and other cultural concerns of the place where the filming took place.
The curatorial team of RAM will provide free tour of the exhibition for visitors.
China’s recent museum-building boom has been heavily chronicled—and critiqued. During the last decade, more than a thousand new buildings have opened in China: 100 per year on average, with a peak of approximately 400 new museums in 2011. A default narrative has taken hold. The rate of construction is outpacing available art. Museums are empty or filled with forgeries; they lack visitors, curators, and the weight of institutional direction needed for successful futures.