Selected work

《時間層理》將人類對物質理解的基礎單位為題，以聲音與生成影像在穹頂中構成共同的感知空間，透過紋理堆疊、節奏重組與空間坍縮，透過數學、光、生物等演算法，並以人類時間尺度、存在主義叩問，觀看與聆聽成為感知時間的方式。Temporal Strata takes the fundamental units of our understanding of matter as its subject. Sound and generative image form a shared perceptual space inside the dome. Through layered textures, rhythmic recombination and spatial collapse, and through algorithms drawn from mathematics, light and biology, the work poses existential questions at the scale of human time, where watching and listening become ways of sensing time.

《靈魂的副翼：呼吸》從呼吸介於自主控制與無意識運作的雙重性出發，探索氣息、銅管樂器與電子聲響之間的交換。低音號、現場取樣與即時生成影像共同構成演出，透過空間音訊，觀察聲音如何介入並改變呼吸的狀態。Aileron of Soul: Exhalation begins from the dual nature of breathing, poised between voluntary control and unconscious operation, and explores the exchange between breath, brass and electronic sound. Tuba, live sampling and real-time generative image together form the performance; through spatial audio, it observes how sound intervenes in and alters the state of breathing.

《折疊合聲》以光的粒子與波動特性為創作出發點，透過程式碼生成影像，探索聲音、光線與空間的交互關係。像素被拆解為具有不同運動與速度的粒子，並在穹頂投影中延展為空間結構；聲響與光點的聚散、明滅相互呼應，改變觀看與聆聽的尺度。Folding Harmonies takes the particle and wave nature of light as its point of departure. Generating images through code, it explores the interplay between sound, light and space. Pixels are broken down into particles with distinct motions and speeds and extended into spatial structures under dome projection; the gathering and dispersal, the flicker and fade of sound and light answer one another, shifting the scale of watching and listening.

《向泠》是藝術家從生成式視覺脈絡的研究，延伸的一套空間音訊生成的演算法。它將聲音質地，以人耳的尺度分析出特徵（Signature）降維投影成空間座標。節目以生成的結果歸納出三個階段，編成一道拱形的敘事架構，從下降持續至上升，以模糊的起點與盡頭為目標，場內近乎全暗，坐著躺著都好。當聲音不再從正前方來，讓方位感重新排列，最終將停在某處，等待意識緩慢地回到地表。Descent into Zero is a set of spatial audio generation algorithms developed from the artist's research into generative visuals. The algorithms analyze sonic textures at the scale of human hearing to extract their signatures, which are then reduced in dimension and projected as spatial coordinates. This program gathers the generated results into three phases, forming an arching narrative that moves continuously from descent towards ascent, its beginning and destination alike indistinct. The venue remains almost entirely dark, allowing audiences to experience the work either seated or lying down. As sound no longer arrives from directly ahead, the sense of orientation rearranges itself, eventually coming to rest somewhere, as consciousness slowly returns to the surface.

《回聲室》為陳乂、王仲堃與吳秉聖的共同創作，2025 年於 C-LAB 聲響藝術節 DIVERSONICS 發表，結合現場演出與聲音裝置。Echo Chamber is a collaboration between Chen Yi, Wang Chung-Kun and Wu Ping-Sheng, presented at the 2025 C-LAB Sound Festival: DIVERSONICS, combining live performance and sound installation.

《疊加(s, t)》為吳秉聖與王之筠的共同創作，是一件低音提琴與即時音像的現場作品，由張凱婷擔任低音提琴演出。2025 年於林茲 Anton Bruckner Privatuniversität 的 Sonic Lab 演出，為 C-LAB Taiwan Sound Lab 與 Ars Electronica 2025《Polyphony》節目之一。Superimposed (s, t) is a collaboration between Wu Ping-Sheng and Wang Chih-Yun, a live audiovisual work for double bass performed by Chang Kai-Ting. It was presented in 2025 at the Sonic Lab of the Anton Bruckner Privatuniversität in Linz, as part of C-LAB Taiwan Sound Lab and Ars Electronica 2025 Polyphony.

《情緒儀式之書寫》為吳秉聖與王之筠的共同創作，2025 年於聲響藝術節《新銳當代音樂聲響聯合展演》發表。Emotional Ritual: Script is a collaboration between Wu Ping-Sheng and Wang Chih-Yun, presented in 2025 at the Sound Festival programme Emerging Contemporary Music Showcase.

《暗宇之感》由 YILAB 與蘇文琪創作，以地底暗物質實驗室的科學研究為題，透過 3D 掃描、動態捕捉與沉浸式聲響，將不可見的物質轉譯為可感知的空間經驗。吳秉聖擔任聲音設計，2025 年於墨爾本、烏特勒支與臺北三地巡演。Sensing Dark Matter, created by YILAB and Su Wen-Chi, takes research at an underground dark matter laboratory as its subject. Through 3D scanning, motion capture and immersive sound it translates invisible matter into a perceptible spatial experience. Wu Ping-Sheng is the sound designer; the work toured Melbourne, Utrecht and Taipei in 2025.

《感覺的邊界》為 SYNZR 的室內互動型音像現場演出，2024 年於臺中國家歌劇院 NTT Arts NOVA 首演。以空間音訊與多頻道影像包覆感官，探索光、聲音與時間之間的感知關係，並以遊戲引擎即時運算將互動模式嵌入敘事。The Boundary of Sense is an indoor interactive audiovisual live performance by SYNZR, premiered at the National Taichung Theater’s 2024 NTT Arts NOVA. Enveloping the senses with spatial audio and multi-channel image, it explores the perceptual relationships between light, sound and time, embedding interactive modes into the narrative through real-time game-engine computation.

《靈魂的副翼：穹丘》是「靈魂的副翼」系列的穹頂版本，2023 年於 C-LAB FUTURE VISION LAB 的球型劇場發表，以生成影像與空間聲響構成的穹頂音像作品。Aileron of Soul: DOMOUND is the dome version of the Aileron of Soul series, presented in 2023 at the dome theatre of C-LAB FUTURE VISION LAB as a fulldome audiovisual work of generative image and spatial sound.

《光的時間量子》為國立臺灣美術館 U108 沉浸式空間的音像裝置，結合 14 公尺地面投影、360 度環形投影與空間音訊設計，延續 2022 年生成藝術作品的主題，以光的波動形態描繪時間的伸縮與延展。Quantum of Time Inside Light is an audiovisual installation for U108, the immersive space of the National Taiwan Museum of Fine Arts, combining a 14-metre floor projection, 360-degree panoramic projection and spatial audio design. Continuing the theme of a 2022 generative art work, it portrays the contraction and extension of time through the wave forms of light.

2026 年 PXP（Perspectives × Public Visuals）音像藝術節臺北場的現場演出，部分橋段為《折疊合聲》現場版。Live performance at the Taipei edition of the 2026 PXP (Perspectives × Public Visuals) Audiovisual Arts Festival; part of the set is a live version of Folding Harmonies.

2020 年臺中國家歌劇院《夏夜光音祭：城市聲溫》為十位聲音藝術家共同創作；開場段落為戶外大螢幕音像作品。Lights On, Sound Aloud! at the National Taichung Theater in 2020 was a collaborative work by ten sound artists; the opening section was an audiovisual work for the outdoor large screen.

《聲音路徑》以現場觀眾口袋裡的手機組成「複合聲場」：演出中藝術家透過區域網路控制每一支手機，以單聲道的個別裝置建構多聲道的空間，形成一個演出結束後即消失的聲音空間。聲場有多少聲道，取決於現場帶來多少支手機。One hundred personal devices create a new dimension of sound space at a live event, a space that disappears after the performance ends. The Sound-path project builds a “composite sound field” from the mobile devices in our pockets: during the performance the artist controls each phone through a local network, turning every device into a speaker. How many channels this brief sound space has depends on how many phones you bring.

《Space in Space》為共同創作的音像演出與裝置，將民俗喪葬儀式中的紙紮與物件、以及東方的聲音元素，轉譯進數位空間。觀眾進入展場即啟動一場觀看儀式；VR 作為抵達作品核心的途徑，將人帶入現實與虛擬之間的空間。Space in Space is a collaborative work that brings sacrificial dolls and objects from folk funeral rituals, together with oriental elements of sound, into an audio-visual performance and installation. By converting the ceremony of death through digital space, it searches for an alternative viewing experience: upon entering the gallery, viewers initiate a viewing ritual, and virtual reality transports them into a space between reality and virtuality.

從立體聲、多聲道到高階 Ambisonic，聲音再現對定位的精確度越來越高，顯示人對聲音與空間位置關係的追求。波場合成（Wave Field Synthesis）是讓聲音與空間關係進入另一層次的大門。《投聲計畫》重新思考當代聲響再現所形塑的聆聽模式：當再現接近真實、超越既有媒體認知，是否也讓人失去對聲音的親密感，產生一種集體焦慮。From stereo to multi-channel systems and High-Order Ambisonics, sound reproduction has pursued ever finer spatial localisation. Wave Field Synthesis opens a new dimension in the relationship between sound and space. Anteriusound Series reconsiders the listening modes shaped by this evolution: when reproduction approaches reality and surpasses current media perceptions, does it also cause a loss of intimacy with sound, a collective anxiety sparked by the friction between memory projection and media content?

數千年來，紙是記載人類歷史與文明的媒介；新媒體出現後，我們的知識結構擴張到宇宙邊緣，卻來不及消化大量訊息，目光黏在各種螢幕上。《脆弱的透鳴》以物理振動把媒體轉化為一種物質性：透過裝置形成的聲場，將真實生活的記憶混入作品，讓紙張細緻而透光的質地，為觀者帶來另一種共鳴。For thousands of years paper has been the medium of human history and civilisation. With new media our knowledge structure has expanded to the margins of the universe, while our eyes stay glued to screens. To challenge the dominance of vision, this installation transforms media into a kind of materiality through physical vibration: within the sound field it creates, memories of lived experience blend into the work, and the delicate, translucent texture of paper offers the viewer an alternative resonance.

透過聲音，我們可以認識空間。《何處》使用宣紙作為裝置發聲的基礎，以一種探索的姿態座落於空間中；觀眾聆聽紙張震動的聲音，透過重新建構聽覺經驗，體驗聽覺所延伸出的想像，或喚起記憶中的對照物。裝置的機構緩慢轉換方向，在左與右、動與不動之間，觀眾得以確定自己所在的位置；空間中的殘響是聲音對空間最直白的描述。Through sound we come to know space. 'Where' uses rice paper as the sounding element of the installation, placed within the space with an exploratory ethos. Listeners hear the vibrations of the paper and, through a reconstructed auditory experience, enter the imaginings it evokes or the memories it resonates with. The mechanism slowly alters its orientation; between left and right, motion and stasis, visitors locate themselves in the space, where reverberation is sound's most direct description of the room.

《黑洞博物館＋身體瀏覽器》為 2021 年的 VR 作品，結合 Ambisonic 與波場合成（WFS）的空間聲音系統。Black Hole Museum + Body Browser is a 2021 VR work combining Ambisonic and Wave Field Synthesis spatial sound.