耳邊的鼓聲 Drumming in the ear (2022)
左右耳不定時出現四千至八千赫茲（Hz）的高頻，有時持續五至十秒、有時只出現三秒就停止－－這是耳鳴愈漸頻繁的狀態。隨機出現的耳鳴聲和身體來到不同空間，產生有趣的連結。有時是漸強又漸弱的高頻、有時像進入隧道裡會出現的堵塞風聲，彷彿有樂手在耳裡即興。來到人群吵雜的空間裡，耳鳴又出現了，這個巨大的高頻聲消弭外在聲響，在短暫的十秒內，得到前所未有的寧靜。本作品從樓梯與畸零地之間的過道，以多聲道聲音裝置模擬耳道內的狀態。牆上的鋁管傳出不同型態的高頻聲，隨著身體的移動，不同赫茲的高頻聲因為時間差，出現又消失。來到天井之下，四聲道喇叭所傳出的鼓膜震動與低頻聲，將成為耳道內的即興音景。
竹筍的自白 (2018)
2017年夏天，我訪問了在台灣各地生活的筍農，不同年紀的他們，使用熟悉的語言談論著跟竹筍有關的事。透過敘述例行的農作日常，我錄下他們喚起記憶的當下。而那些被視為非主要字句的停頓點、氣息、呢喃與應答，在以竹筍作為統一的思考對象時，呈現出真實的語氣和情感。讓不相識的彼此在作品中對話，從不同地域來的泥土與田野聲音在同一個空間中迴繞，聆聽與回應的當下，我們不再是竹筍之外的第三者，而是決定介入時間裡的主體。
Cochlea-gigs no.37 (2018)
現場即興作品 Live performance
聲音採集片段、口白、現場長笛
不二擊- 兩個呼吸之間展覽 現場演出 (2019)
與劉芳一雙人現場即興演出
聲音裝置、物件、手風琴、人聲
心的小徑 (2018)
心的畫室 (2018)
獨處之路 (2018)
《心的旅程Où Allez-vous》是一個感官劇場作品，從心臟跳動、血液循環、交換、心房心室的流通與張力出發，探討人「心」究竟為何？這是一個透過提問串連的參與式演出，觀眾透過感官的刺激、擴大、認知與覺察，藉由表演者的提問，創造屬於參與者（觀眾）自己的儀式。
Performing Pigeons (2015)
-track I
Performing Pigeons (2015)
-track II
Disappeared words (2015)
Deficiency of voice (2015)
“Performing Pigeons track I, II” are live recordings of improvisational interaction between pigeons and me in Burgess Park (London). By improvising with eating pigeons then recorded the sound as a live recording, I found that intensions for us are distinct in this performance. Without audiences and stage in the public space, I am the performer who listens to the sound, whereas pigeons focused on the motions of eating, gathering and grabbing the wheat. The rhythms from eating pigeons are random and intensive. Food is the incentive for pigeons, the sound they create while eating is the incentive for me. Listening and playing are not the only intentions in this performance. The connection between us relies on the actions of feeding, eating, listening and playing in this improvisational interaction.
This piece is the following sequence of "Performing pigeons". In general, newspaper is the publication that transmits daily news, informative articles and large delivered in the urban city. The traces and droppings marked by pigeons generate the connotation of invisible, unreadable and inaudible words on the newspaper. These disappeared words influenced the original meaning of text more than the rhythm of reading sound.
For hearing loss people, hearing perception has been restricted at this level of recognizing the spoken words, due to the difficulty to learn spoken words through frequent listening. Deaf people learn the pronunciation and speak the words through touching the sounding body rather than hear the sound. By feeling the vibration on one’s body and imitating the quiver from their throats, noses and mouths, they make sound through perceiving its physical properties rather than correcting the pronunciations by using the ears.
Glasses (2015)
Noise of Noise (2015)
Artificial Nature (2014)
1' 58'' (2014)
This sound work is a response to the artwork called "Pub Crawl" by Christian Marclay. In this video he coaxes sound from empty glasses, bottles and cans that he finds abandoned on the street during early morning weekend walks. For me, he regards the glass as a subject so he tried to use glasses to do something and made it sound. In the opposite way, I want to collect the sound of glasses which already existed in human culture (raise the glass, cheers and Chinese traditional cupping therapy). Listening to the original sound of them.
Regarding women’s body as loudspeakers, as objects, their voices come from mouths and transform into language, then we listen to it through loudspeakers. When we perceive the sound from loudspeakers, the consciousness is the consciousness of loudspeakers, not of sound...By separating women’s voices into two groups (traditional women’s identity versus female artists) with different positions and generations, the voice from female artists is the act of resistance, deploying counter-information as a means of resisting sexism.
Artificially natural landscapes have become a commonplace in our modern environment. There are many architectural landscaping projects in cities of Taiwan, which are produced and funded by city government. This field recording tries to provide an auditory experience of urban and artificial spaces.
The main aim of this piece is to show that how music as language to narrate different kinds of emotions synchronically within 1’58’’
Live recording
- Improvisation (2015)
Radio work (2015)
-Resonance 104.4fm
Live recording
- Piano recital (2008)
Score: Bob Cobbing, Members Only Performed at Raven Row Gallery
"Sound / Critique"
by Miles Bowe, Wan-Chien Cheng and Tomoko Hojo.
Maurice Ravel
"Miroirs"
No.3 Une barque sur l'océan