This work was commissioned by the National Taiwan Museum of Fine Arts for its anniversary program. Using different recording methods, the work captures activities and sonic phenomena within the museum that are normally inaccessible to visitors, including exhibition installation, maintenance, cleaning, enclosed spaces, and electromagnetic activity.

Recordings were made at seven locations throughout the museum. Based on my spatial perception and imagination of each recording site, I compressed, stretched, and transformed the original sounds, arranging them according to the structure and function of each space. The recordings were developed into seven sound pieces, each approximately three minutes long. During the museum’s anniversary program, playback devices were installed at the original recording locations, allowing visitors to encounter and collect these sounds as they moved through the museum.

The work was later extended into a performance version. The visual component begins with the idea of a moving viewpoint. I experimented with fixing the camera’s gaze at the center of the image while moving it along trajectories generated from spherical equations, allowing the viewpoint to travel unpredictably through a virtual space. The virtual environment and its movement are adapted to the architecture of each performance venue.

The sound follows a similar idea of moving through space. The edited recordings are redistributed across a multichannel sound system, crossing and circulating through the performance space. The performance is largely improvisational: in response to the live sound and atmosphere of the venue, I adjust parameters such as the speed and frequency of these movements, as well as the probability of different sounds being triggered.

這是一件由國立台灣美術館委託創作的作品，配合其館慶活動，這件作品透過不同的錄音方法錄下一般觀眾無法接觸到的美術館活動，像是布展、維修、清潔、封閉空間、電磁活動等。一共有七的地點，透過我對於錄音地點的空間想像，將原始的聲響重新壓縮、拉伸或變形，並依照空間的結構或是用途編排成七段大約3分鐘的聲音作品。在館慶活動期間這些聲音會透過播放裝置被放置在這些聲音被記錄的地方供觀眾聆聽搜集。

這件作品另外衍伸出了一個演出版本，表演的視覺是由移動的視角出發，我實驗將鏡頭固定在畫面中央並讓它沿著以球體公式隨機繞行的軌道運動，穿梭在虛擬的空間中（在不同的場地演出時會針對演出空間做調整）。聲音也是以穿梭為主要概念進行，這些被我編輯過後的聲音會重新在多聲道系統中交錯移動，過程是以比較偏向即興的方式演出，我會以現場聲音及氛圍調整這些聲音移動的速度、頻率及觸發的機率等。