請跟著我的腳步聲走 ─論珍奈‧卡蒂芙行走作品的聲音、行走與風景

Abstract

「聆聽行走」在近二十年來逐漸成為重要的藝術與文化實踐形式。這種邊走邊聽模式運用行動媒體與耳機，讓參與者一面聆聽預先錄製的聲音內容，一面行走於特定場址或規劃的路線。本論文以加拿大藝術家珍奈‧卡蒂芙的行走作品為主要研究對象，探討聆聽行走作為一種藝術表達與參與形式，如何在地理、情感和知覺面向上重新構築當代複雜的城市空間。從以日常生活空間作為行走實踐場域的脈絡來看，五○年代國際情境主義堪稱為計劃性行走的先鋒。但相較於情境主義強調以遊戲的指令與事件瞬間轉化空間氛圍，九○年代的卡蒂芙則結合聲響技術、媒介與聲音策略來建構一個行走的中介世界。那麼，此中介的模態為何？筆者認為，它建立於將所聽與所看分裂成兩個世界的基礎上，所聽聲音內容以卡蒂芙的錄音行走為原型，藉由話語、音景與移動節奏的配置，現實化於參與者的聆聽行走。此部署讓主體當下所聽與所感知的現場地景，產生多重層次的疊映、衝突與變形作用，此過程一方面造成空間的擴延與想像，揭示新空間存在的可能，另一方面則由於感官紐帶斷裂而拉開物我距離，讓參與者覺察中介的製造，與其所反射的現實世界與人的關係。

Canadian artist Janet Cardiff, the prominent artist of “audio walk”, uses pre-recorded audio streams, combining mobile technology with personal headphones, that guide people to walk in a specific area or along a prescribed route. As an increasingly significant mode of artistic and cultural practice over the past two decades, “audio walk” reconfigures contemporary urban spaces in aspects of geographical, affective, and sensory experiences. The artworks of audio walk by Janet Cardiff are fantastic in the sense that they conflated acoustic technologies and narrative strategies to construct a mediated world, and then situated participants in the virtual world that was inextricably intertwined with the physical surroundings. At once as a form of perception and a form of art that emphasized transforming the ambiance of urban spaces rapidly with playful directives and events, her walks can genealogically be traced back to the “urban drifting” of the Situationist International in the 1950s. But this article wants to argue that Cardiff’s walks were built upon what we see and what we hear, namely two different worlds split by earphones listening. The multi-layered sounds in the later were comprised mainly of verbals, soundscape and rhythmic motion reified in Cardiff’s on-site recording and walking. These sound recordings were subsequently relocated and actualized by the participants through listening and walking at the same location. These sounds overlapped the milieu, thereby creating the effects of spatial splices and mis-recognition. This article concludes, by way of examining her major walking artworks, that these sensory gaps and extensions in “audio walk” are worthy of exploration not only because they indicated the possibility for heterogeneous spheres, but also because they served as a reflexive reference that enables the participants to (re)identify the creation of the mediated world as well as their relations to it.