YPhenomenon #1-3[360°]

With YPhenomenon #1-3[360°], CHANG Yung-Ta immerses the viewer in an experience that is both auditory and visual. The work originates from the artist's residency at the Yamaguchi Center for Arts and Media (YCAM) in Japan — the 'Y' in the title refers to the city of Yamaguchi — during which he collected and recorded thousands of everyday sounds: those of the environment, human activities, urban traffic, and even television programs. He then transformed these sounds using digital modulation techniques, erasing the initial references that once made them recognizable.

Like a classical musical score, the composition is divided into three movements: Fermenting Soundscapes, Dissolving and Recomposing Aural Space, and Developing Sound Deformations. In this 360-degree version, twelve projectors are seamlessly blended into a single circular image — the viewer no longer faces the image, but stands within it. A quadraphonic sound system diffuses from all directions, sound and image together constructing a space with neither boundary nor frontality, where sound simultaneously becomes movement and matter. Like a conductor, CHANG Yung-Ta uses 'sound particles' to shape an abstract landscape that fully encloses the viewer: a capsule of light and sound, suspended outside of time and space.

在《YPhenomenon #1-3[360°]》中，張永達使觀者沉浸於一場同時訴諸聽覺與視覺的經驗。本作源自藝術家於日本山口情報藝術中心（YCAM）的駐村計畫——作品名中的「Y」正是指山口（Yamaguchi）這座城市——期間他蒐集並錄製了數千種日常聲響：環境音、人們的活動、都市交通，乃至電視節目的聲音。隨後，他透過數位調變技術將其轉化，抹除這些聲音原初賴以辨識的指涉。

一如古典樂譜的結構，作品分為三個樂章：〈聲景的發酵〉（Fermenting Soundscapes）、〈聽覺空間的溶解與重組〉（Dissolving and Recomposing Aural Space）與〈聲音變形的開展〉（Developing Sound Deformations）。在此360度版本中，十二台投影機無縫拼接成一整圈環形影像——觀者不再面對畫面，而是置身其中；四聲道聲音系統自四方環繞擴散，聲音與影像共同構築出一個無邊界、亦無正面的場域，聲音在此同時化為運動與物質。張永達宛如指揮家，以「聲音粒子」形塑一片將觀者完全納入的抽象地景：一枚懸置於時空之外、由光與聲密合而成的膠囊。