World Homeopathy Day 2019

今天是World Homeopathy Day, 也是我的濕疹由Homoepathy 醫好了的第五年了。沒有翻發也停了有關的remedy 4年了。
想在這天World Homeopathy Day 好好的寫下這件事,這件從病中與身體的反應啓發自己對生命與生活的看法。
記得我的濕疹應該是大概一年內好翻,還記得上次最後一次見Arden 醫師的時候,他說:”你見埋我呢次,食埋呢次Remedy,之後唔洗再來了。”
丫,那時聽到他這樣說,我也有點半信半疑,是不太相信自己的身體已經好轉了,並懂得如何應付與濕疹相關的壓力與情緒。
那好吧,一別4年了,自己也忘了,是真的濕疹沒有翻發了!

回想之前濕疹的日子,不論在情緒上或身體日復日的loop,很無助與很難受,很討厭自己,什麼對自己的負面情緒都有,那身體上的症狀同時發生,精神好差,體力很差,情緒也因症狀無限loop。試過以SRT 問如何heal,答案是Homeopathy, 當然那時候我沒有選擇,因為那時對這種醫學不太了解,但到了某天,得到朋友介紹Arden與bella 合作做的7 Flower Luna Balm ,濕疹開始好轉了,這時我才認真想一試Homeopathy吧!
第一次見Arden,用了1小時應診,問了很多我從來都沒想過有關的問題,很記得問了與媽媽的關係和自己成長的背景,那時才醒覺自己的性格與如何處理情緒和壓力是跟成長背景有關。最感到有救既時候,是應診時吃了Arden開了第一隻remedy後,即時!我的胃氣不停吐出來,胃氣脹了幾個月了看了幾次中醫都沒有解決,[我是從一開始堅決不看西醫,不用任何類固醇,當然我也不知道那中醫給我的藥膏有沒有類固醇,但肯定的是,搽了也沒有好轉過!],濕疹高峰期是一直口渴,不停飲水都很口渴。那時,竟然一吃Homeopathy 的remedy 即時有反應,也因為胃部放鬆了,我的臉也同時放鬆了。那我就明白了身體上兩者的關係。
Arden在一年內的診斷,一直向好的方向進展,身體力量多了,精神好多,整個人也感到輕鬆了,心情與情緒不再反覆憂傷。直到一次,有一件事與我做的project 有關,被上司迫做一點我不擅長又趕到仆街的事。我沒有直接告訴自己的看法,心裡屈著怨氣地通頂做,濕疹即時爆發。那次之後,我明白了自己的性格在遇上類似的事,我不可再怕別人怎看自己了!遇上不想做的事,堅決拒絕,之後我的濕疹沒有再爆發了!

自濕疹好轉後的這四年的藝術生涯,遇上種種projects, 不同的邀請,當中拒絕了不少。也是基於我學會了聽自己的身體(大部份時間),知道怎樣才是自己最合適的創作與休息模式。也試過有前輩邀請展出展覽,但因時間緊接前一個project, 我婉拒了。他笑說我是懶惰呢。但誰會比其他人更了解自己的身體狀況?也感受到像這般社會的約制下,如實告訴他人要休息是不可能的。為何要每一個人這樣燒盡自己?

最近,人生第一次鼻竇炎,鼻梁位置好痛。當初以為普通感冒,吃了中藥一星期都沒有太大好轉,那我就回去請教Arden,可能當時自己也發現情緒也影響病情不少。同樣地,食了remedy後也是很快好轉了。而這次在休息期間想通了一點事。是來自2016年一種emotional shock,也是反覆徘徊在我的心靈中,而現在找到對的出口與學習動機,一直以來感到下一次再深造的東西不會是與藝術有關,也不會是正統大學裡的課程,因我忍受不到這種學院遊戲。在自我康復期間,醒覺我們一出生都未曾認真了解自己的身體與情緒如何運行,那為何更進一步了解這世界?我們都習慣地、理所當然地與這靈與身體共存,沒有好好的照顧和認識自己。再想到希望將來成為更好的自己,與了解兒童成長,決意放慢腳步,認真學習Homeopathy。

Homeopathy 是一種跟自己的世界觀相近的學術研究與實踐。
感謝Samuel Hahnemann 對醫學的反思,感謝200多年來一直在高壓的西方醫學與思想威迫下仍堅持的homeopathic doctors 與 patients.

Weakness of vision

My eyelids are keep closing when I m in front of any emitted light device, like Computer monitors and screens.

Selection by Tomoko Sauvage

Fiona Lee Wing-shan – From Civic Square to City Hall
DAY AFTER [Soundpocket]

Tomoko Sauvage – 483 – Electronic Explorations by Rob_Booth | Rob Booth

Tomoko Sauvage, Japanese musician and artist active since mid 2000’s, investigates the sculpturality of sound and improvisation in relation to the environment. Mainly known for a musical / visual research about ‘natural synthesizer’ of her invention, composed with diverse fluid, bowls, ceramic, light and underwater amplification, Sauvage’s approach is attached to questions of alchemy, meditation and balance between hazard and mastery.

• Akio Suzuki – Ha Go Ro Mo
Odds and Ends [Hören]
• Momus – Costume de Lapin
Cagesan – I Love Machine [Beaubrun]
• Fiona Lee Wing-shan – From Civic Square to City Hall
DAY AFTER [Sound Pocket]
• Native Instrument – Live Berlin Atonal – NK presents at OHM
soundcloud Native-instrument – Live-atonal-2
• Andrew Pekler – Theme From Tristes Tropiques / Avian Modulations / Life In The Canopy
Tristes Tropiques [Faitiche]
• Alice Coltrane – Altruvista
A Monastic Trio [Impulse Records]
• Terry Riley – Music for the gift (Part 3)
Music For The Gift [Elision Fields]
• Theo Parrish – Summer Time Is Here
Parallel Dimensions [Sound Signature]
• Y.M.O. – Happy End
B.G.M. [Alfa]
• Felicia Atkinson – Monstera Deliciosa
Hand In Hand [Shelter Press]
• Killer Whales
Songs of the Whales and Dolphins [The Nature Company]
• T.R. Mahalingam – Thulasi Vilva
Ennadu Jootuno – Flute [Kosmik]
• Emmanuel Allard – L’Art Noir
Nouvelles Upanishads Du Yoga [Baskaru]
• Alvin Lucier – Music for Gamelan Instruments, Microphones, Amplifiers and Loudspeakers
Theme [Lovely Music]
• Akio Suzuki – Ha Go Ro Mo (replay)

I grew up with American-influenced Japanese pop music and classical piano training. Akiko Yano greatly influenced me to cultivate my passion for jazz. Also Tokyo in the 90’s was multicultural and I was listening a lot to soul, funk, brazilian and “world” music… When I moved to Paris after studying jazz piano in New York, I started to study Indian music (Paris has some Indian musicians via Pondicherry). Through Alice Coltrane and Terry Riley, I became interested in Indian music and that lead to the birth of my electro-aquatic waterbowls instrument. When I played my instrument using water drops in Japan, people said that it sounded like suikinkutsu – a traditional sound decoration system in Japanese tea garden – ceramic vase buried under the fountain. It’s like I made a round the world tour to find my own roots.

I loved the coincidence that made this playlist filled with singing birds – either accidentally recorded ones, synthesizers sounding like them or sampled sounds of a domestic bird (named Cagesan). Also Mahalingam’s flute is my favorite bird mimicry…

More text / info – please visit >

Joy of gravity , dripping from 5/F @ Morrison Hill IVE.

I was so obsessed on this stair once I have a visit to Morrison Hill IVE. I have an idea to develop the idea of water droplet even it just only five floors in total in this building. I assume that the droplet takes shorten time to travel from the top(5/F) to the G/f. Anyway, I would like to listen and see how long does a water droplet drip to the G/F in a performance setting!
It is my 2nd time that direct the performance with others, we learn a lot from each other! it is an amazing thing happen during the process of performance!
The setting of a water droplet is the original plan, in which I was thinking of something that responds to it and moves from the G/F to 5/F. So I hope to include Tama’s weaving action into this performance. She weaves the cloth in a normal tempo, but the weight of the yarn is a bit higher which hanged with some bells on it, so she needs more time to weave. I assume that the bell rings according to the action of weaving.
Besides, Tina is the one who focuses on the bell rings and her action on walking and the rotation of a marble on a plate, when she meet the water droplet, she will place the plate to catch those droplets. It is a simple rule for notation and human movement. That makes a certain tempo and yet would deliver an amazing moment with others in certain kind of moment.
For the interaction with Tam Man Ho, and I myself, we jammed a bit and I felt that he was used to playing sound with others. That is a great experience that improvises with youth. The experience is great and teachers also found how amazing he could perform in this situation.
Never the less, Thanks for Una! She gives a pop hand to help in handling the fish pole and rolling the radio back to the 5/th floor. An important timekeeper for the performance, though we adjust the time when we are playing.

In this piece, I was thinking of music composition through the arrangement of human actions, daily objects and spaces. I hope to deliver an other perspective of performing art for youth. I was so happy that a youth told me about how he felt about the performance. He said that he found the audience is being part of the performance as well when they are moving.
Nice comment!

Fiona Lee & Jasper Fung Dou set @ Beta Night , Twenty alpha , Live streaming by HKCR

Beta Night of Twentyalpha HK @ Foo tak Building!
Live streaming by HKCR

It is the first duo of Fiona Lee & Jasper Fung. They were using coil and transducers for their sets , which combined with different daily objects. While Fiona Lee was making use the physics phenomenon of the electromagnetic field , which drives the magnet spinning in a glass bowl, Jasper Fung was using the sound of feedback to drive the transducers.

Those were exploring the alternatives ways of the use of “speakers” within this performance setting.

Uchronia , Compilation Project by Syphe

https://syrphe.bandcamp.com/album/uchronia

49 artists and bands from 32 Asian countries and the diaspora
3 CDs + one booklet that includes an essay, contacts and biographies of the artists. Handmade covers, limited to 1000 copies.
The digital version also includes the booklet as PDF, you can also access all biographies when clicking on info (next to the tracks).

Lebanon (Sharif Sehnaoui, Jad Atoui & Jawad Nawfal, Stephanie Merchak, Rhéa Dally feat. Will Llewellyn)
Iran (Xerxes The Dark, NUM)
Iraq/Kurdistan (Hardi Kurda, Khabat Abas, Wirephobia)
Sri Lanka (Isuru Kumasaringhe, Dinelka, hygy hairr, )
Vietnam (Cao Thanh Lan, Phu Pham)
Myanmar (Phyu Hnin Thwin, Crazy Eels Society, Ito)
Malaysia (Kok Siew-Wai)
Hong Kong (Fiona Lee, Dickson Dee)
Sri Lanka/Japan (Kei Watanabe)
Georgia (TeTe Noise)
India (Sarmistha Talukdar)
Syria (Eyeless in Damascus)
Turkey (Tuna Pase, Gülce Özen Gürkan)
Taiwan (Li Chi Hsiao)
Macao (e:ch)
Philippines (Children Of Cathode Ray, Teenage Granny)
Maldives (Autonomotor)
Thailand (Liew Pichanan Niyomkarn)
Armenia (VHSound)
Palestine (Asma Ghanem, Dirar Kalash)
Singapore (Lydia Ang)
Jordan (Yousef Kawar)
Kuwait (Ali Alsarraf)
Azerbaijan (Violet Cold)
India/UK (Churulian, Poulomi Desai)
Bangladesh (sinin)
China (Hui Ye)
Kyrgyzstan (broxxz)
Uzbekistan (Orgatanatos)
Kazakhstan/Turkey (Saadet Türköz, Zeynep Sarıkartal, Başar Ünder)
Bahrain (Hasan Hujairi)
Indonesia (Sarana, Theo Nugraha feat. Jeritan)
South Korea (Sabina Hyoju Ahn)
Japan (Yuko Araki). 

A great interview of Umeda Tetsuya

A great interview of Umeda Tetsuya
http://www.performingarts.jp/E/art_interview/1707/1.html

 

the ambience in iceland


photo by soni cheng

A short journey and field recordings at Jökulsárlóni, Iceland

That’s a 9 days trip in Iceland. It is too short for listening and spreading time to be there ,just in a daze.
The ambience sound in Iceland is so significant, which is made by wind and elements in the nature . The immersive and impressive feelings of Iceland which could not merely recorded by images.

After Being There 京丹の後

22.11.2017 (Wed 三) 8:30pm

@ Desk-one 溫室
23/F, Chung Kiu Commercial Building, 47-51 Shantung Street, Mongkok, Kowloon, Hong Kong
香港九龍旺角山東街47-51號中僑商業大廈23樓

:: Participating Artists 參與藝術家 ::
Samson Cheung Choi-sang 張才生
Arumimi Hifumi 有耳非文
Fiona Lee Wing-Shan 李穎姍
Frank Tang Kai-yiu 鄧啟耀

From 28 August to 10 September 2017, soundpocket and Hong Kong-based artists Samson Cheung Choi-sangArumimi HifumiFiona Lee Wing-shan, and Frank Tang Kai-yiu travelled to Kyotango, Kyoto, Japan for a two-week residency titled “BEING THERE 2017”. Together with the participating artists from Japan, they explored art, sound, places, and space in the city of Kyotango. They also engaged in dialogue with the local residents while wandering around this lovely city on the coast of the Sea of Japan.

“After BEING THERE” is the extended programme of “BEING THERE 2017”, in which the four Hong Kong-based artists will present to and share with the Hong Kong audience works and ideas that are both reflections and expressions in response to their experiences in Japan.

聲音掏腰包與藝術家張才生有耳非文李穎姍鄧啟耀於本年度8月28日至9月10日期間曾到訪日本京都京丹後作為期兩周的駐留計劃「BEING THERE 2017」,期間聯同一眾來自日本的參與藝術家於京丹後市進行有關藝術、聲音、地方與空間之探索;他們在這個日本海沿岸城市遊歷之時,也與當地居民作交流分享。

《京丹の後》為BEING THERE 2017 的伸延活動:四位駐香港的參與藝術家將旅途的所見、所感、所想化成一次在地演出及一場演後分享會,回溯與回顧京丹後之旅的點滴。

Ticket Price 票價:$80/$60*
* Full time students. Please provide image of valid student card. 全日制學生,須出示有效學生證。

>>> Book tickets now 立即訂購門票 <<<

Tickets available at Desk-one and on the soundpocket website
網上門票於溫室及聲音掏腰包網頁發售
www.desk-one.hk
www.soundpocket.org.hk

Enquires 查詢:3954-5584 / listen@soundpocket.org.hk

愛の渦

The exhibition @ Art camp tango is finished~
Got the parcel of my work カリカリの渦( kari-kari- no uzu )from the team and Akio 。Akio and the team made a DIY Film wheel to roll the film that I show in my installation.

so much love & resonances contain in this parcel! always keep my heart warm <3

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