VIDEO ZINE #5 錄像雜誌第五期 / {SET} #1 Assemblage + Spatial Pressure Calibration {集}1 聚疊＋空間壓力測試 - p.9

有好久的一段時間都沒有聚疊過

There was a long period of time when no Assemblage / Spatial Pressure Calibration happened...

until

2017.05.30

@ Taipei City 台北市

FPC members / 計劃聚集記錄 Record of ensemble-plan
句點藝術群體
(參展成員：張才生、卓穎嵐、王鎮海、黃福權)
計劃聚集 ensemble-plan
＠ ensemble 類聚集台北非常廟藝文空間 VT Artsalon

Full Version of 計劃聚集記錄 Record of ensemble-plan [link]

2018.08.04

The final WCH Assemblage (n-1) before relocation
黃竹坑聚疊 (n-1) – 清場大亂鬥

FP 2.0 began as the Floating Projects Collective relocated to JCCAC (Jockey Club Creative Arts Centre) in late August 2018.
Facing an empty premise with reverb sound had us thinking about the possibilities of our future. While moving out soon, the room gradually returned to its former void. What have we deposited onto the space in 3 full years? How different have we become?
FP 1.0 consummated ritualistically with our signature WCH Assemblage (object installation + performance) three weeks before final clearance. In this game participants were invited to use readily found objects to create an environment within a limited time frame, and interfere with other participants’ actions without losing respect. The premise became a raw experimental space.
Known for its spontaneity, how would the final game of WCH Assemblage evolve towards total evacuation through object assemblage? How would the folks in FP react to the returned-empty space when they had been playing here for 3 years?
Apart from the exhibition itself, on the last day, there would be a collaborative performance based on the settings and objects on the spot, with input from MMI (Moving Moving Image), another of FPC’s components.

2008年8月下旬，「據點 2.0」在石硤尾賽馬會創意藝術中心展開。
黃竹坑聚疊 (n-1) – 清場大亂鬥今天疊，明天鬥，天天都亂，再執好搬家。
面對回復空白卻灌滿回音的單位，我們充滿佈置未來的想像。據點遷出在即，面對還完後的另一種空白又會是甚麼的景象？
在據點遷出前的最後三星期，我們舉行了一場黃竹坑聚疊，那是據點發展出來的一種遊戲－聚疊的參與者會運用隨處拾到的物件，在有限的時間內，即場進行創作，過程中可以互相介入但必須尊重對方－展場變成一個原始的實驗空間。
以機動靈活見稱的聚疊，這次在返回空白的特殊情況下，於這地方渡過了三年的朋友，以甚麼來回應呢？據點在黃竹坑的最後面貌是怎樣的？
除了聚疊展覽本身，眾參與者在最後一天還有以現場物件作為基調的演出。另外，據點的其中一支創作小組MMI（移動移動影像）也在閉幕日首演新作！

這是第一件搬進fp的物件，時為2015年5月，當時在做電影《十年》中的<「冬蟬>」，在電影外的世界我因為想做一段在廢墟中在彈一部壞鋼琴的場景配樂，說是配樂的方式倒是我想以整個身體去代入一下那場景去生成那段場的（環境）音樂。當時我是很懶惰的，看到片子內有琴就什麼也不想什麼氣氛什麼意景什麼調子什麼情緒，直接亂彈一些壞琴樣本就總是差不多了。結果還是覺的去買爛琴sample audio library很貴，買一個二手鋼琴再令它成為爛琴也只是一次尾板車的價錢。於是就在一個尚未裝修的清水房焗住塵和空氣花了很大氣力嘗試把琴弄彎一點，再彈了大概四小時的錄音（利益申報我是沒有學過彈鋼琴的）。最後因為純因為導演權力覺得不合適，沒有在片子中用上。但這鋼琴的生命因為被打開盒子後在其後的fp1.0 再被海量的好奇心延續了三年的生命。我可沒有什麼不捨得，但這生命中的過客總是在每次見面都在好好說再見。
～據點句點成員王鎮海（hoi9）

This is the very first object I moved into FP. It was May 2015. At that time I was working for “Season of the End” in the film Ten Years (2015), on the sound of a broken piano in the ruins. A soundtrack, so I was told; the fact is, I was totally immersed in the scene, my whole body absorbed into creating the environmental (ambience) music. I have to admit that I was a bit taking it the easy way. I saw a piano in the film; so I simply fumbled my fingers on the keyboard and struck randomly to create the sound of a broken instrument, thinking very little about what atmosphere, meanings, tone or emotions I was supposed to make. Rather than spending the money to purchase “a broken piano” from a sample audio library, I decided to purchase a second-hand piano to turn it into a broken one which cost very little. In a barely renovated empty room, I “distorted” the piano and spent four hours recording my totally untrained playing, ignoring the massive dust and stuffiness that surrounded me. My recording was never used – well, the director’s authority dictates. But the life I injected into this piano, ever since I opened it, was sustained by oceans of curiosity in the next three years in FP1.0. I couldn’t say I missed it. But I have never stopped saying goodbye to this “passer-by” – it never stops coming back to my mind. (Wong Chun-hoi)