Marianne Jacquet
法國
法國
目前居住並工作於柏林的藝術家瑪莉安．賈克以多形態創作橫跨多種媒體，運用聲音，科技及原始風格的繪圖創作，引發動物行為學、概念藝術、音樂及表演之間趣味盎然的對話，自2012年起，她開始研發聲音創作系列《ESC 3.0》現地互動裝置，依據反映在人類溝通系統中的原始網絡藝術所打造的這件裝置作品，曾在不同地點以不同形式展出，包含柏林的傳奇夜店Berghain。
這件裝置作品將夜店內使用中的房間連結至電腦紀錄檔的迴路彎曲網絡，揭示建築中隱藏的訊號及人們的動作，猶如鬼屋中作怪的幽靈，聲音扮演神喻者的角色，與大衛．林區執導的《雙峰》電視劇中著名的角色「原木女士」互動，ESC運用以柏林地區為主的Meeblip技術，將紀錄檔的重影訊號轉換為聲音，觀眾有機會扮演神一般的角色，控制神喻般的吟唱，將合唱的樂聲專橫地異化為混亂之音。
Marianne Jacquet is a polymorphic artist who lives and works in Berlin. In her cross-media practice, she creates a playful dialogue between ethology and conceptual art, music and performance using sound, technology and primitive drawings. Since 2012 she is developing the sound series ESC 3.0 a site specific interactive installation. Based on a primitive net art reflection upon our communication systems, the installation has been presented in various format and venues including Berlin's legendary club Berghain. The installation connects the operating room of the club to a circuit bending network of logs that reveal the hidden signal of the architecture and the people’s movement. Just like a ghost in a haunted house, the sound plays the role of the oracle as a reference to the famous character The Log Lady in the TV show directed by David Lynch “Twin Peaks”. Esc is using the Meeblip Berlin based technology, transforming the ghost signal of the logs into tons. The audience will have the opportunity to play gods and take over the control on a the oracle chant, turning the choir into a despotic chaos.
這件裝置作品將夜店內使用中的房間連結至電腦紀錄檔的迴路彎曲網絡，揭示建築中隱藏的訊號及人們的動作，猶如鬼屋中作怪的幽靈，聲音扮演神喻者的角色，與大衛．林區執導的《雙峰》電視劇中著名的角色「原木女士」互動，ESC運用以柏林地區為主的Meeblip技術，將紀錄檔的重影訊號轉換為聲音，觀眾有機會扮演神一般的角色，控制神喻般的吟唱，將合唱的樂聲專橫地異化為混亂之音。
Marianne Jacquet is a polymorphic artist who lives and works in Berlin. In her cross-media practice, she creates a playful dialogue between ethology and conceptual art, music and performance using sound, technology and primitive drawings. Since 2012 she is developing the sound series ESC 3.0 a site specific interactive installation. Based on a primitive net art reflection upon our communication systems, the installation has been presented in various format and venues including Berlin's legendary club Berghain. The installation connects the operating room of the club to a circuit bending network of logs that reveal the hidden signal of the architecture and the people’s movement. Just like a ghost in a haunted house, the sound plays the role of the oracle as a reference to the famous character The Log Lady in the TV show directed by David Lynch “Twin Peaks”. Esc is using the Meeblip Berlin based technology, transforming the ghost signal of the logs into tons. The audience will have the opportunity to play gods and take over the control on a the oracle chant, turning the choir into a despotic chaos.
ESC 3.0
瑪莉安．賈克的創作旨在透過現地裝置發展具敏感性的空間，運用聲音及物件揭示建築、自然和人為衝擊之間不可見的關係。
以有機生態系統為發想原點的ESC是以過程導向為主的裝置系列，讓觀眾有機會與環境互動，在空間中扮演不同的位置角色，藉由放大其肢體行動，將這些動態吸納入現場的音樂譜曲之中，ESC讓我們可以聽見無形且隨機的元素，猶如樂器演奏般，將類比及數位、自然及超自然混合為一。
Marianne Jacquet in her practice aims to develop sensitive spaces with site specific installations that use sound and object to reveal non visible relation to architectures, nature and human impact.
Conceived as an organic ecosystem, ESC is a process oriented installation series that gives the viewer an opportunity to interact with the environment and re-enact his or her position within the space. By amplifying the body movement and absorbing it to a live music score, ESC tends to give the invisible to ear and the randomness to play like an instrument mixing the analog and the digital, the natural and the supernatural.
瑪莉安．賈克的創作旨在透過現地裝置發展具敏感性的空間，運用聲音及物件揭示建築、自然和人為衝擊之間不可見的關係。
以有機生態系統為發想原點的ESC是以過程導向為主的裝置系列，讓觀眾有機會與環境互動，在空間中扮演不同的位置角色，藉由放大其肢體行動，將這些動態吸納入現場的音樂譜曲之中，ESC讓我們可以聽見無形且隨機的元素，猶如樂器演奏般，將類比及數位、自然及超自然混合為一。
Marianne Jacquet in her practice aims to develop sensitive spaces with site specific installations that use sound and object to reveal non visible relation to architectures, nature and human impact.
Conceived as an organic ecosystem, ESC is a process oriented installation series that gives the viewer an opportunity to interact with the environment and re-enact his or her position within the space. By amplifying the body movement and absorbing it to a live music score, ESC tends to give the invisible to ear and the randomness to play like an instrument mixing the analog and the digital, the natural and the supernatural.
