contactless technology
As a bridge between the journey of bygones and the future, contaclessness seems to be hazy here and now. Are people accustomed to a moment that has been calculated through several rounds of process?
More radically, when perceptions are merely served as communications between neruoelectricity, 'contact' could be the only probe that will be poked into the forehead.
Being a creator lies on the tactile sensation, I am not yet ready to enter this kind of time ahead. How about you?
零接觸似像是一種接連起過去與未來的一段旅程，是迷離奇幻的當下。是否人們習以為常的一瞬，不知背後已經演算幾輪的進程？
再極端一些，當所有的感知僅剩下神經電流的傳訊，剩下的所謂「接觸」就只剩這戳進腦門的探針了。
作為一個觸覺型的創作者，我還無法進入那樣的未來，你呢?
王仲堃/ Chung-Kun Wang
王仲堃的聲音作品具有一種音樂性，刻意把「聲音」的抽象性解放出來，轉化為較為具象的音樂。對作者而言，聲音作為一種概念的傳達，必須從對其意義及內涵理解；而音樂的情感表達能融入一種真實情境讓我們從中感受。用心理層次來看，透過聲音與音樂之間的流轉，聽者得以以理性、邏輯的方式去掌握聲音，同時以感性與體驗的方式去感受音樂，作品就是存在一種體驗式的感知，但這無非意味著聲音不能用語言翻譯，它只能成為它本來的東西。
The sound art of Chung-Kun Wang possesses a musicality, consciously liberating the abstract nature of sound and converting it into a more concrete form of music. For the artist, sound serves as a means to convey concepts; one must start by comprehending its meaning and implications. And the emotive expression of music is able to incorporate real scenarios, which we are able to feel. Viewed at a psychological level, through the interflow between sound and music, the listener grasps the sound rationally and logically yet also feels the music viscerally and experientially. Thus, an experiential perception exists within the work. Yet this is nothing other than the implication that sound cannot be translated into language, but can only become the thing it intrinsically is. The work causes visitors to sense the presence of shapeless sounds within a space, and sounds express the materiality of the space, which has a shape. When visitors move around in the vicinity of the work, they can feel with their own bodies an aural space, which in fact comprises a dynamic sound image.
