relative perception N°3

Since human perception can be neither organized by systems nor quantified as precise data, our senses to the subtle nuances in the environment are developed through the
comparison of situations and experiences. In other words, we sense the differentiation of ambient conditions, and thereby shape our “relative perception.Physical perception is a
system of instinctive and intuitive response, through which the human body is able to interpret and respond to the present situation. Human beings have long been relying on vision
to comprehend the world, which is why the first eye contact dictates our digestion and interpretation of the information we received. Relative Perception attempts to help the viewers
transcend the confines of first eye contact, allowing them to acquire additional information by stretching their horizons beyond vision. The conception of this series mainly challenges
the way of viewing and the use of sensory organs.

relative perception N°2

Since human perception can be neither organized by systems nor quantified as precise data, our senses to the subtle nuances in the environment are developed through the
comparison of situations and experiences. In other words, we sense the differentiation of ambient conditions, and thereby shape our “relative perception.Physical perception is a
system of instinctive and intuitive response, through which the human body is able to interpret and respond to the present situation. Human beings have long been relying on vision
to comprehend the world, which is why the first eye contact dictates our digestion and interpretation of the information we received. Relative Perception attempts to help the viewers
transcend the confines of first eye contact, allowing them to acquire additional information by stretching their horizons beyond vision. The conception of this series mainly challenges
the way of viewing and the use of sensory organs.


As a sound installation, Relative Perception Nº2 consists of six metal tubes of different lengths hanging in the exhibition space. Each tube has a built-in electric heating rod, along with a
dripping device installed above it. Each drop of water falling on each metal tube is controlled by a solenoid valve opening periodically. The water drops falling on and shedding along the
metal tubes are bound to vaporize and meanwhile emitting sound due to the high temperature of the heated tubes. The repetition of this process leaves layers of limescale and patches of
rust on the metal tubes, which serves as the visual recordings of the production and vanishment of sound. Throughout the process from liquid to gaseous state, the vaporization of
water drops and its concomitant sound are more a varying continuum than a monotone emitted from a single fixed point. In other words, this work produces different sounds of vaporization
in the exhibition room. The viewers may find aesthetic delight in the nuanced sound palpation offered by the differences in length and temperature among the six metal tubes.

relative perception N°1[0°–N°]

Evolving from the coupling between perceptions and systems to the sounding and volumetric composition in the art museum, CHANG Yung-Ta’s Relative Perception N°1[0°–N°]
addresses the following question: how can we palpate the world with the ear?

CHANG deliberately puts this work in a dynamic state. Instead of installing a sculpture in the art museum, the artist reorganizes the space of the museum and the viewers’ perceptions
with an instrument installation. This work produces different sounds of vaporization in the exhibition room by dropping water on several heated metal plates of different angles of inclination.
In other words, the proportional and material relationships between sounds and volumetric composition are highlighted through the energy conversion carried out by the artist’s installations.

The sounds produces by the work is intimidating not only because the substantial penetrability of the sound waves strongly stimulate the eardrums of the viewers nearby, but also because
the sound of water dropping on the heated metal plates is somewhat compelling. We can never exaggerate it too greatly as a violent sound. The violent sound also dramatizes the conversion of
water from liquid state to gaseous state. It further connects us to the sound-related genealogy, revitalizing the subtle connections between heard sounds and unheard sounds as well as between
material sounds and the unheard sounds of everything.
 
Through Relative Perception N°1[0°–N°], CHANG intends to break our perceptional inertia concerning the environment and highlight the interaction between somatosensory perceptions and
auditory perception. This approach takes the viewers into an uncharted territory mapped with sounding and volumetric composition.