YPhenomenon[Quadrophonic ver.1]

With YPhenomenon, CHANG Yung-Ta immerses the viewer in an experience that is both auditory and visual. During a residency at the Yamaguchi Center for Arts and Media in Japan (the ‘Y’ in YPhenomenon refers to the city of Yamaguchi), the artist collects and records thousands of everyday sounds: those of the environment, human activities, urban traffic, and even television programs. He then erases the initial references that made these sounds recognizable by transforming them using digital modulation techniques.

Like a classical musical score, the composition is divided into three movements: Fermenting Soundscapes, Dissolving and Recomposing Aural Space, and Developing Sound Deformations. The quadraphonic diffusion, characterized by its use of four sound channels instead of the two used in stereo, envelops the audience. Five screens in front of the viewers create a space where sound simultaneously becomes movement and matter. Like a conductor, CHANG Yung-Ta uses ‘sound particles’ to shape an abstract landscape: a sonic and visual capsule located outside of time and space.

在《YPhenomenon》中，張永達使觀者沉浸於一場同時訴諸聽覺與視覺的經驗。駐村於日本山口情報藝術中心（YCAM）期間——作品名中的「Y」正是指山口（Yamaguchi）這座城市——藝術家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）。有別於立體聲的雙聲道，四聲道的聲響擴散將觀眾環繞包覆；眼前的五面螢幕則構築出一個場域，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」形塑一片抽象地景——一枚懸置於時空之外、由聲音與影像構成的膠囊。