A STREAM A PATH

一條坑 那條路

這是一段聲音考察的旅程，啟發自川龍村村民曾劍文先生（文哥）訪問中關於童年在通山玩的事蹟。作品包括一系列受川龍啟發的樂器《余憶童稚時——以川龍為樂》、樂曲《黑鬼遊》、報紙以及田野錄音地圖。

作品聚焦於童年經歷，以及聲音或聲音遊戲如何喚起記憶，或重新具象化一個地方的感受，特別是一些已然不在的經驗：消失的物種，改變了的自然環境，改變了的物質生活。在這種情況下，通過從聲音感知的角度，作品想像喚起一條充滿風和松樹的山路，幻想採摘西洋菜時用的鐵指甲會彈出怎樣的一首樂曲？執柴執松針去透火，若不是苦差，執與拾可以是一種演奏的動作嗎？在沒有自來水和電的物資匱乏時代，孩子們如何在山中自娛作樂？

這也是思考「聲音作為載體」的重要性：聲音像一個第三者，可以編織過去和現在。用身體聆聽，考察人事物種、地方歷史之間的微妙關係，並透過工作坊研發一種共學與連結的方式。

A Stream A Path is a sound exploration journey inspired by the childhood stories of Mr. Tsang Kim Man (Man Gor), a resident of Chuen Lung Village, about playing in the mountains. The work includes a series of Chuen Lung-inspired instruments Reminiscences of Childhood—Taking Chuen Lung as Instrument, the sound piece Black Ghost Trail, a newspaper, and a field recording map.

The work focuses on childhood experiences and how sound or sound play can evoke memories or re-materialize the feelings of a place. Especially some experiences that no longer exist: extinct species, changed natural environments, changed material life. In this context, the work imagines evoking a mountain road full of wind and pine trees from the perspective of sound perception. It fantasizes about what kind of music would be played by the iron fingernails used to pick watercress? Collecting firewood and pine needles to make a fire, if not a chore, can the act of collecting and picking be a form of performance? In an era of material scarcity without running water and electricity, how would children entertain themselves in the mountains?

This also reflects on the importance of "sound as a carrier": sound, like a third party, can weave together the past and present. By listening with the body, it explores the subtle relationships between people, species, and geographical history. Additionally, through workshops using these instruments, we develop a method of co-learning and connection.