Name: 日本聲 by khóo,ka-bîng
Duration: 8 s

賴和，臺灣新文學之父。偶然讀到賴和小說選內的一篇故事「蛇先生」，開啟了我們對賴和先生身處的時代，以及其隱藏在文中，默默反抗、默默隱喻一些重要事情、默默批評了各種階層的人。我們可以用各個角度去理解賴和先生的故事，他的故事專注在他要說的事情上，說完了並不繼續延伸，而是用另篇小說去描寫。

文學與所有學術一樣，都有個與時俱進的時代意義與功能，在環境影響下漸次變遷，新文學就是在此種法則下，循程進化而產生的。我們要以賴和的「新文學」為題，抽出他的故事，抽出他想傳達的思想，轉化到當代時空，說一些在這塊土地上人民一直有的「民族性」。所以，我們不造神、不寫人物傳記，而是試圖詮釋他想跟人民說的事情。把他一生的努力客觀地放在觀眾面前，使其到了今天，依然可以喚醒讓住在這塊土地上的人們去思辨。

日本聲

夜市之歌放輕鬆

My interest in constructing sound elements by imitating the development of hieroglyph, oracle bone script, and pictophonetic characters in the ancient Chinese etymology. The newly constructed "sound words" become living organisms that move, live, prosper, decay, and die.

"Drifting Moon," written for Grafenegg Festival Ink Still Wet and the Tonkunstler Orchestra is no exception to this aesthetic research path. All the sounds are constructed attribute to the movement and the sound of riding traditional Chinese flatboat on the river. And these sound materials tell a story: "If Dharma is the boat we ride on to pass the river of life, we won't need it when we get ashore. Though before we might have a chance to get ashore, we see the moon drifting with the wrecked ships, centuries after centuries."




Conductor: Myself

Drifting Moon 月湧 (2021)

Cynphetic Collective - CRITICAL MISS 3
https://soundcloud.com/cynth-collective

Eventual War (F/C Critical Miss 3)

Meta, Construct within’ Spaces

On Acid?

Non-Confined Space--- La Société Du Spectacle 景觀社會

For Alto Sax, Accordion, Percussion, and E. Guitar
Conductor: Shiuan Chang
Performers: Vincent Daoud (Sax), Luca Piovesan (Acc), Tom De Cock (Perc), and Maarten Stagier (El. Guitar)
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I'm a vegetarian, sadly sometimes I really want to eat meat, and here's my fantasy of the process.
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Movement I     : Mealtime
Movement II   : Devour
Movement III  : Esophagus Counterstream 
Movement IV : Dissave
Movement V   : Purification

Monk II (The One Who Eats Meat) Mov.1 - Mealtime

Our spirit is to embrace the diversity of music forms and create original pieces to represent Taiwan. We will devote ourselves to working with all kinds of Taiwan’s traditional soundscape while portraying the story with our own melody and modern perspectives.

日本聲

khóo,ka-bîng

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