合成/调制: 一种弥散的介质 | Synthesized Recall-A Despersive Medium 

表演讲座｜Lecture Performance｜ 50 min

合作表演 | Performer Invited：于哲鸣，赵浩淼｜Yu zheming，Zhao Haomiao

“合成/调制”借用的是音乐领域中对于电子合成器，尤其是那些复古模拟合成器使用中的术语。通过不同电路之间的跳接与调制让合成器产生出经验中的或者是认识之外的声音；而在不同的应用语境中这一组合则显示了它多义而含糊的指向，正如面对“记忆”这个概念时，在不同学科领域中显露出的宽泛的理解。

"Synthesized Recall" is a term derived from the electronic music that refers to the use of synthesizers, particularly those vintage analog ones. Synthesizers generate empirical or unrecognized sounds by patching and modulating, in different contexts this combination of phrase reveals itself to be ambiguous and multifaceted, much like the notion of "memory," which is broadly construed in different disciplines.

本次表演讲座，我尝试将合成器现场表演与影像作品的制作背景阐释混合。合成器制造的声音，以及我与现场演员的嗓音不仅作为表演推进的听觉动能，同时也作为被叙述对象的隐喻而存在。而在谈论创作源起的同时，则将话题引向“记忆”本体的讨论。

In this lecture-performance, I aim to blend live electronic music with the background stories of my recent video works. The sound produced by the synthesizer, along with the voices of the actors and myself,not only funtion as the auditory kinetic energy driveing the performance but also serve as a metaphor for the narrated object. As i delve into the origin of my creations, the discussion naturally extends to the ontology of "memory ."

在我所谈论的三部影像作品里，“记忆”是作品原初的起点，那些散落的个人记忆在与历史的碰撞中触动着我，命途多舛的故人纪事也促使我去重新思考那些我们早已习惯的“认知与判断”；在这儿，记忆本身成为了被质疑的对象，因为当我们谈论“记忆”的时候，它狡猾的显示出了多重理解的面向。根据其中一些理解，记忆在本质上是个人的；而根据另一些理解，它却根源于社会制度和文化形式。对于有些人来说，它是过去经历的遗存；而对于另一些人来说，它在本质上是立足于当下的对那些过去经历的重构。

In the three video works I discuss, "memory" serve as the original starting point. The scattered personal memories esonate with me as they collide with history, and the chronicles of the ill-fated lives prompt me to reevaluate the "perceptions and judgments" we often take for granted. This leads me to question memory itself, because, when we delve into the concept, it cunningly reveals multiple directions of understanding. According to some perspectives, memory is inherently personal; according to others, it is rooted in social institutions and cultural forms. For some, it is a remnant of past experiences; for others, it is essentially a reconstruction of those past experiences grounded in the present.

同样的疑问进而指向了记忆传递所附身的载体：图像、文本、纪念物、亲历者的口述构成了基本的记忆承载对象；然而在今天由“媒体”主导的文化环境中，这些对象更是不再稳定。尤其是那些被反复重温的“习得性”记忆，由于非自身经验所获得；使得这一“记忆”被迫与想象产生了更为微妙的认知关系，化身为杰弗里.丘比特称之为的“一种弥散的介质”，作为意识的对象被留存下来。或许也正是因此，“记忆”这一描述回想性过往的概念在构成历史叙事的同时也与其始终保持着弹性的距离。

The same question arises about the vehicles through which memory is transmitted: images, texts, objects, and oral testimonies of those who lived through them constitute the basic components of memory. However, in the contemporary cultural landscape dominated by media, the durability and the stability of these objects is no longer evident. Particularly those “learned” memories that are revisited repeatedly but not derived from personal experience, are forced into a more subtle cognitive relationship with the imagination, transforming them into what Geoffrey Cubitt calls a "dispersive medium" that remains an object of consciousness.Perhaps for this reason,"memory", which depicting the past and constituting a historical narrative, also maintains a certain distance from it.

注：“小公园”在这次表演中作为记忆的喻体；可以被不断的返回、描述、分析与曲解。

Note: "Little Park" serves as a metaphor for memory in this performance; it can be returned to, described, analyzed and misinterpreted over and over again.

点按下图观看影片|Click image below to watch the video

高清影像 / Hd video / 47:07 / 2023

现场图片提供：李冰清玉，姚梦溪 ，田真 ，张紫薇｜Photo Credit:Li Bingqing，Yao Mengxi，Tian Zhen，Zhang Ziwei