王量
台灣
台灣
1995年生於台灣台北，目前就讀於國立臺北藝術大學新媒體藝術研究所。對於裝置的的連鎖反應非常感興趣，並嘗試以不同裝置構成不同節奏來製造聲音。其作品曾入圍2016年「臺北數位藝術獎」。
Wang Liang was born in Taipei, Taiwan in 1995. He is currently studying for his master’s degree at the Graduate Institute of New Media Art, Taipei National University of the Arts. Fascinated with chain reaction triggered by installations, he attempts to create sounds of various rhythm through different installations. He was nominated for the 2016 Digital Art Award Taipei.
Wang Liang was born in Taipei, Taiwan in 1995. He is currently studying for his master’s degree at the Graduate Institute of New Media Art, Taipei National University of the Arts. Fascinated with chain reaction triggered by installations, he attempts to create sounds of various rhythm through different installations. He was nominated for the 2016 Digital Art Award Taipei.
《大地之歌Song of Land》
製造聲音的過程，從最基本使用我們的身體來製造聲音，一直到使用類比或數位電子晶片，這些多少都會經過創造者的思考來設定發聲的時機或音調、音色，連二元運算下的隨機程式都或許有一定的規律。繼上一件系列作品《節奏誘捕器》，這次嘗試將造聲過程中的一個因素交給某個隨機的元素—地形，試著讓裝置脫離控制，發出隨機的音調。創作過程中也發現，除了每次都有驚喜的音調變化，也似乎更能用聽覺來感受平常用視覺才能感受到的事物樣貌。
The sound-making process starts from the most basic sounds produced with our body to those made by employing analogous or digital electronic chips. Whatever the method, its timing, pitch or tone of the sound is more or less pre-designed by the sound-maker. Even random programming controlled by binary operation carries a certain degree of rhythm. After the last series, entitled Rhythm Trap, I try to incorporate a random sound-making element—topography, allowing the installation to be temporarily out of control and produce random sounds. During the creative process, I have also discovered both surprising tonal changes and my growing ability to use my auditory sense to perceive things, which I usually perceive through the sense of sight.
製造聲音的過程，從最基本使用我們的身體來製造聲音，一直到使用類比或數位電子晶片，這些多少都會經過創造者的思考來設定發聲的時機或音調、音色，連二元運算下的隨機程式都或許有一定的規律。繼上一件系列作品《節奏誘捕器》，這次嘗試將造聲過程中的一個因素交給某個隨機的元素—地形，試著讓裝置脫離控制，發出隨機的音調。創作過程中也發現，除了每次都有驚喜的音調變化，也似乎更能用聽覺來感受平常用視覺才能感受到的事物樣貌。
The sound-making process starts from the most basic sounds produced with our body to those made by employing analogous or digital electronic chips. Whatever the method, its timing, pitch or tone of the sound is more or less pre-designed by the sound-maker. Even random programming controlled by binary operation carries a certain degree of rhythm. After the last series, entitled Rhythm Trap, I try to incorporate a random sound-making element—topography, allowing the installation to be temporarily out of control and produce random sounds. During the creative process, I have also discovered both surprising tonal changes and my growing ability to use my auditory sense to perceive things, which I usually perceive through the sense of sight.
