First Ultra Sound Festival
第一屆超響
Source: Sound Scene — Taiwan: The “Divergence” and “Reflection” of Sound Art/Music 2000–2010
From: Today Arts, Issue 222
Date: March 2011 · Author: Wu Mu-ching
The information revolution of 2000 clearly became a watershed for Taiwanese sound art. In terms of the creative ecology, the new generation of art school graduates gradually replaced the student-movement generation’s underground cultural brigade as the main force of the sound scene. In 2008, artist Wang Fu-jui, while teaching at the Arts and Technology Centre of Taipei National University of the Arts, curated three consecutive years of the large-scale “tranSonic” sound event, focused on the performance and presentation of sound media. Its most important significance was “the pursuit of a more mature performance” — while many small events were positioned as “experimental works in progress,” it was simultaneously necessary to present more refined possibilities. In Wang Fu-jui’s view, a mature performance did not have to depend on internationally renowned artists from Japan or Europe and America (as with larger events such as the second edition of “Bias” in 2005 or “Weather in My Brain”) to be called mature. After years of exploration, the self-demanding rigour and accomplished technique of Taiwan’s local creators were also a very important maturity index. In the recent example of the 2010 tranSonic sound assembly — in which more than half the programme was composed of Taiwanese creators — one can perceive Wang Fu-jui’s hopes and desires for experimental refinement in Taiwan’s local sound creators.