Anteriusound Series


Sound Installation / Wave field synthesis
Aluminum structure, electric wood board, speaker driver, Dante amplifier, giga router, power supply. Photo Credit 王士源

隨著當代科技發展的進步與普及,在每個畫面與pixel都斤斤計較的時代,人在視覺上致力的用飽和的色彩、幀數更新率來追求擬真、還原度,甚至利用視覺神經元感受的極限,來創造三圍的環境、景深的重新演算。但在聲音、聽覺上,人渴望的是什麼?從立體聲為始,家庭式的全景聲、多聲道系統到因應虛擬實境發展出的360 sound以及立體混響(High-Order Ambisonic),這些系統對於聲音定位再現的精確度越來越高,代表著人類對於聽覺,除了音質、取樣率的要求外,對於聲音與空間的位置關係,更有著一種對於位置細膩變化的追求。而對我來說,波場合成(Wave Field Synthesis )的聲音合成技術,是一道讓聲音與空間關係,進入到另一個層次的大門。


With the advancement and proliferation of contemporary technology, in an era where every image and pixel is meticulously considered, people strive visually for saturated colors and high frame refresh rates to pursue realism and fidelity. They even push the limits of visual neurons to create three-dimensional environments and recompute depth of field. But what do humans crave in terms of sound and hearing? Starting from stereo sound, the evolution to home-style surround sound, multi-channel systems, and the development of 360 sound and High-Order Ambisonic for virtual reality, these systems show increasing precision in sound localization. This indicates that, besides audio quality and sampling rate, humans have a refined pursuit of the relationship between sound and its spatial positioning. To me, Wave Field Synthesis represents a breakthrough in audio synthesis technology, opening a new dimension in the relationship between sound and space.

This work reconsiders the listening modes shaped by the evolution of sound reproduction in the modern era. When reproduction approaches reality, surpassing current media perceptions, does it also cause a loss of intimacy with sound, leading to a collective anxiety? This is the war sparked by the friction between memory projection and media content.

This is a sound installation research project supported by "C-Lab Creators Creative Research and Development Program".

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