• 複耳工作室 | Mothra Productions
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  • 複耳工作室 | Mothra Productions
  • Info
    • Artists
    • Studio
  • Project
  • Contact

馮志銘|Feng Chih Ming

1986生於桃園,聲音製作人與聲音設計師,生活與工作於臺北。專注於聲音聽覺的雕塑性研究,並時常參與臺灣當代音像藝術作品的聲音製作。創作核心在於探索聲音如何像物質般在腦海中被塑造;作品擷取早期科幻電影中的聲景元素,將其與日常聽覺經驗中的時間層次進行連結與轉化,藉此形塑出具備空間感與物質性的聽覺雕塑。

Born in Taoyuan in 1986, Feng Chih-Ming is a sound producer and sound designer based in Taipei. His practice explores the sculptural qualities of sound and listening, alongside frequent contributions to contemporary audiovisual art in Taiwan. At the core of his work is an inquiry into how sound can be shaped in the mind as if it were a physical material. Drawing on elements from the soundscapes of early science fiction films, he connects and transforms them through the temporal layers of everyday listening, creating auditory sculptures with a sense of space and material presence.

《蟲洞裝置》|Wormhole Device

Light Installation, 49.4ch Ambisonics, Light Sensors

燈裝旋轉裝置、光敏感應器、Maxmsp自動化取樣系統、臺灣聲響實驗室49.4聲道系統|10分鐘|2023
Rotating light installation, light sensors, Max/MSP automated sampling system, Taiwan Sound Lab’s 49.4-channel sound system|10min|2023

        蟲洞裝置是一件位於空間中⼼的旋轉燈光裝置,以及散於空間六個點的光敏感測器,旋轉燈光裝置是以⼀組能夠控制速率的減速⾺達,以及可調變強弱控制的⿄素燈組合⽽成。在展演空間中平均的4-6個點位(依現場調整)安裝光敏感測器,光敏感應器在旋轉燈光裝置運⾏中,會分別將接收到的光源訊號傳到Arduino uno控制板裡,Maxmsp接收到Arduino數據後將設定作為樂曲的基礎參數。

        旋轉燈光裝置的光強弱數值以及旋轉速度,分別會提供Maxmsp接收的量化數字,以及接收時間的間距,Maxsmp內預計會設定幾個階段閘⾨,光感的數值強弱預計會影響電⼦聲⾳的複雜程度,數值越低越是單純的Sine波,數值隨的光源變強變多,聲⾳的複⾳與和聲疊加。ADSR從低數值時候的長⾳,依據數值變⾼,漸轉為短促的粒⼦點狀聲源。聲場設定裡,光敏感應器的位置會直接對應在⾳響發聲的⾓度,聲⾳會跟隨光影以逆或順時鐘的⽅位遊走。

裝置製作:耿傑生
//
WormholeDevice is a sound work by Feng Chih-Ming at Sound Lab. The installation consists of a rotating light at the centre of the space and six light sensors distributed around it. The rotating unit combines a variable-speed geared motor with a dimmable halogen lamp. Four to six sensors are positioned evenly throughout the performance space, with their number and placement adjusted to suit the site. As the light rotates, each sensor transmits its readings to an Arduino Uno board. Max/MSP receives this data and uses it to establish the underlying parameters of the composition.

The light’s intensity determines the numerical values received by Max/MSP, while its rotational speed determines the intervals between incoming signals. A series of thresholds is planned within Max/MSP to map these values to different degrees of sonic complexity. Lower readings produce simple sine waves; as the light grows stronger and the readings increase, additional voices and harmonic layers emerge. The ADSR envelope also shifts with these values, moving from sustained tones at lower readings towards brief, granular sounds at higher readings.

The position of each sensor corresponds directly to a direction in the sound field. Sound follows the movement of light and shadow, travelling clockwise or counterclockwise through the space.

Installation fabrication: Geng Jie-Sheng

《聲音處方》|Mersomilin

Spatial Installation, 16.2ch Ambisonics

與藝術家戴向諶共同製作
Cooperate with artist Immanuel Dannenbring
共振診療室、臺北數位藝術中心16.4聲道系統|30組聲音處方|2022
Resonance Clinic, Digital Art Center Taipei’s 16.4-channel sound system|30 Sound Prescriptions|2022

共振是許多聲音治療實踐的核心。許多經驗讓我們相信某些頻率可以與人體的不同部位產生共鳴,這些共鳴頻率被認為具有放鬆身體、舒緩壓力、精神啟蒙甚至在細胞水平上恢復的能力。然而在科學上表明,只有通過超出聽覺感知的頻率才能實際對身體某些構造的物理共振。另外也還需要考慮其他因素,包含給定空間的聲學性質等等。每個人的身體相似但彼此不同,以及我們的經歷與記憶也會引起另一層次的共鳴,但也是一種主觀詮釋的想像。

「聲音處方」這項將聲音計畫使用 Ambisonics 與接觸式震動喇叭的環繞聲格式搭配,旨在以規範的方式呈現聲音共振的體驗。參與者體驗的聲音將基於他們的分析去做設定,以嘗試與每個人實現更高程度的共鳴。

裝置運用Ambisonics聲音系統與2顆重低音震動喇叭、2顆極重低音喇叭製作,聽者經由診療師(藝術家)心理測驗診斷,依診斷內容排列配置於台灣各地收集到音聲,並產生約15分鐘共鳴聲音,聽者將躺在一張裝有喇叭的床上,四面環繞不同頻率的喇叭,進行聲音處方的作品參與,聽者在沉浸式聲響系統與共振喇叭的聲音配方裡,感受這段聽覺療程。配方裡有各種特殊設定的條件,搭配搭配心理測驗的波型連結,研究身體、空間、物體的共鳴參數,尋找共鳴點並數據化以及統計資料成為下一階段身音處方的系統數據及分類,實際實驗與製造各種可能材質的共鳴聲波,在處方過程中經歷的聲音、身體、心理,三者的關聯上能更精準的連動,最後匯聚成龐大的聲音處方資料庫,用如按摩、針灸、熱療法等身體感知的方式,轉換成聲音進行身體的各種內部感知的聯繫與聯動。
//
Resonance is central to many sound healing practices. Experiences have led many to believe that certain frequencies resonate with different parts of the body. These frequencies are thought to promote physical relaxation, relieve stress, encourage spiritual insight, and even support restoration at a cellular level. Scientific accounts, however, suggest that physical resonance in certain bodily structures requires frequencies beyond the range of hearing. Other factors, including the acoustic properties of a given space, must also be considered. Our bodies share similarities yet differ from one another. Our experiences and memories give rise to another kind of resonance, shaped by imagination and subjective interpretation.

Sound Prescription combines Ambisonics with contact vibration speakers to offer a structured experience of sound and resonance. The sound is configured according to an individual assessment, in an attempt to establish a closer resonance with each participant.

The installation uses an Ambisonics sound system, two bass transducers, and two sub-bass speakers. Following a psychological assessment conducted by the artist in the role of a clinician, sounds collected across Taiwan are selected and arranged into a sequence lasting approximately fifteen minutes. The participant lies on a bed fitted with speakers, surrounded by others reproducing different frequency ranges. Within this immersive arrangement of sound and vibration, the participant experiences the work as an auditory treatment.

Each prescription brings together a set of specific conditions, linking waveforms with the psychological assessment to explore resonance in bodies, spaces, and objects. Points of resonance are identified, quantified, and compiled as data to inform the next stage of the system and its classifications. Experiments with different materials examine how resonant sound waves might bring sound, bodily sensation, and psychological experience into closer relation during each session.

These findings gradually form an extensive database of sound prescriptions. Drawing on the bodily sensations associated with massage, acupuncture, and heat therapy, the project translates these modes of touch and stimulation into sound, exploring connections among the body’s internal sensations and responses.

河川溪流調頻|Tuning into Rivers and Streams

與藝術家倪祥、陳婕希共同製作
Cooperate with artist Ni Hsiang and Chen Chieh Hsi

聲音專輯|30:00|2023-2024
Audio Track|30:00|2023-2024

「流域聲音採集計畫」是複耳工作室於2023至2024年間進行的水下聲音採集藝術計畫,分別以八掌溪與磺溪為採集對象。計畫沿著河川流域,由上游至下游劃分約30至40個錄音節點,透過水下麥克風(Hydrophone)進入水面之下,記錄每個節點約一分鐘的水下聲響。

這些聲音如同河流不同位置的聽覺切片,記錄水流、砂石、生物、人造結構與環境活動在水中傳遞的細微振動。採集完成後,再依循河川的地理順序進行剪輯,將數十個節點重新串連為一張約30分鐘的聲音專輯。計畫試圖將河川的「空間距離」轉換為「聆聽時間」,使聽者透過聲音,從源頭一路移動至出海口,在半小時的聆聽中經歷一條河流。
//
The River Sound Recording Project is an underwater sound recording project conducted between 2023 and 2024, focusing on Taiwan’s Bazhang River and Huangxi River. Following each river from upstream to downstream, approximately 30 to 40 recording points were selected along its course. At each point, hydrophones were submerged beneath the surface to capture approximately one minute of underwater sound.

These recordings function as auditory slices of the river, capturing the subtle vibrations of flowing water, gravel, aquatic life, human-made structures, and surrounding activities as they travel through the water. The recordings are then edited according to their geographical sequence, connecting dozens of individual points into a sound album of approximately 30 minutes.

The project transforms the river’s spatial distance into listening time, allowing listeners to travel sonically from its source to its estuary and experience the course of an entire river within half an hour.

八掌溪流調頻
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Bazhang River Basin – Field Recording Project (2023)
 觸口|茄苳|番路鄉|七里香甕仔雞|仁義潭水庫|蘭潭|白沙屯|海口 
Chukou | Jiadong | Fanlu Township | Seven-Mile Fragrance Jar-Roasted Chicken | Renyitan Reservoir | Lantan Reservoir | Baishatun | Estuary

磺溪溪流調頻
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Huangxi River Basin – Field Recording Project (2024)
擎天岡|竹子湖|大屯瀑布|小油坑|天母公園|磺溪河堤|芝山河口
Qingtiangang | Zhuzihu | Datun Waterfall | Xiaoyoukeng | Tianmu Park | Huangxi River Embankment | Zhishan Estuary

茶的迴音|Echoes of Tea

聲音專輯|12:20|2021
Audio Track|12:20|2021

《茶的迴音》以龍潭客家庄的福源茶廠茶業文化為起點,採集茶葉生產與日常生活中的環境聲響,透過剪輯與後製,編織成一張關於地方記憶的聲音專輯。作品將聆聽作為接近茶業人文歷史的途徑,讓勞動的節奏、生活的痕跡與環境的變化,在聲音中交會,雕塑出一個可被感知的茶鄉空間。茶不只是一種味道,也承載著身體與土地相遇的記憶。透過聲音的採集與重組,那些日常中習以為常的聲響,成為重新認識龍潭茶業與客庄生活的線索,讓地方的歷史在當下的聆聽中產生迴音。
//
Echoes of Tea takes the tea-making culture of Fuyuan Tea Factory in Longtan’s Hakka community as its starting point. Environmental sounds gathered from tea production and everyday life are edited and woven into an album of local memory. The work approaches the cultural history of tea through listening, bringing together the rhythms of labour, traces of daily life, and changes in the environment to sculpt a tangible sense of place.

Tea is more than a taste; it carries memories of encounters between the body and the land. Through recording and recomposing, familiar everyday sounds become ways to rediscover Longtan’s tea industry and Hakka life, allowing local history to echo in the act of listening.

茶的迴音|Echoes of Tea

茶的迴音|Echoes of Tea

Wormhole Device

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Echoes of Tea takes the tea-making culture of Fuyuan Tea Factory in Longtan’s Hakka community as its starting point. Environmental sounds gathered from tea production and everyday life are edited and woven into an album Read more
Echoes of Tea takes the tea-making culture of Fuyuan Tea Factory in Longtan’s Hakka community as its starting point. Environmental sounds gathered from tea production and everyday life are edited and woven into an album of local memory. The work approaches the cultural history of tea through listening, bringing together the rhythms of labour, traces of daily life, and changes in the environment to sculpt a tangible sense of place.

Tea is more than a taste; it carries memories of encounters between the body and the land. Through recording and recomposing, familiar everyday sounds become ways to rediscover Longtan’s tea industry and Hakka life, allowing local history to echo in the act of listening.
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  1. 茶的迴音|Echoes of Tea

《愛情正弦波》|Sine of Love

與藝術家倪祥共同製作
Cooperate with artist Ni Hsiang
電塔裝置、FM覆蓋器、FM收音機、Podcast內容|2020
Broadcast tower installation, FM broadcast override device, FM radio, podcast content|2020

用電波傳遞的惱人電流,覆蓋意識的心靈控制,讓我們可以好好放棄思考。以電台廣播的概念作為作品發想,賣藥電台為模型,製作一系列關於愛情環繞面向的多向度企劃的廣播節目,聽似與愛情無關,卻又無法言語,從開展10:00~20:00的十小時中,各種疑難雜症,都會變得無解。並裝置一件以河堤邊界常見的廣播電塔,焊接一座2m高的電塔模型,模型上裝置廣播蓋台器,能以行動裝置式的方式移動,如同地下賣藥廣播電台的洗腦波,對圓周500公尺的範圍,施展宏觀愛情結界的圓(廣播頻道)。
//
An irritating current carried by radio waves; a form of mind control that blankets consciousness, allowing us to surrender thought.

Conceived around radio broadcasting and modelled on stations that sell medicinal remedies, the work presents a series of programmes exploring love from multiple perspectives. Throughout the exhibition’s ten-hour day, from 10:00 to 20:00, every ailment and complication becomes impossible to resolve.

The installation includes a two-metre-high welded model of a broadcasting tower of the kind often found along river embankments. Fitted with a device that overrides radio broadcasts, the tower operates as a mobile unit. Like the waves of persuasion transmitted by underground medicine-selling stations, it casts an encompassing field of love across a 500-metre radius—a circle defined by its broadcast frequency.

《彼岸》|The Other Shore

與藝術家汪紹綱共同製作
Cooperate with artist Wang Shao-Gang
船型路燈裝置、臺北數位藝術中心18.1聲道系統|2020
Boat-shaped streetlight installation, Digital Art Center Taipei’s 18.1-channel sound system|2020

透過聲音來召喚意識與思念的作品計畫,「有沒有一首歌,是你/妳想送給一位目前不在身邊的人?」將以歌曲與情感記憶出發,從中取樣每個人生命經驗中,那些難以忘懷的故事,開啟一個個與聲音有關的情境場域。此計畫強調了兩種空間形式,第一種是音場空間:將邀請在地居民錄製屬於他們的歌聲,擷取vocal,並到自然環境中取樣海浪的背景音,混音兩者,製造如同在大海中歌唱的情境。第二種是裝置物理空間:將製作一個沉浸式劇場環境,虛擬一艘航行中的船,使觀者身歷在演唱者的歌聲與意識的汪洋之中,感受《彼岸》那關於記憶彼端的想像。
//
“Is there a song you would like to dedicate to someone who is not with you at present?”

The Other Shore is a project that uses sound to evoke consciousness and longing. Beginning with songs and emotional memories, it draws on unforgettable stories from individual lives to create a series of situations and spaces shaped by sound.

The project explores two forms of space. The first is acoustic: local residents are invited to record themselves singing. Their vocals are then mixed with field recordings of ocean waves, creating the impression of singing at sea. The second is the physical space of the installation: an immersive theatrical environment evokes a boat in passage, placing listeners within an ocean of the singers’ voices and consciousness. Through this experience, The Other Shore invites an imagining of what lies on the far side of memory.

彼岸

彼岸

汪紹綱 / 馮志銘

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「有沒有一首歌,是你/妳想送給一位目前不在身邊的人?」

那些難以忘懷的故事,開啟一個個與聲音有關的情境場域。此計畫強調了兩種空間形式,第一種是音場空間:將邀請在地居民錄製屬於他們的歌聲,擷取vocal,並到自然環境中取樣海浪的背景音,混音兩者,製造如同在大海中歌唱的情境。第二種是裝置物理空間:將製作一個沉浸式劇場環境,虛擬一艘航行中的船,使觀者身歷在演唱者的歌聲與意識的汪洋之中,感受《彼岸》那關於記憶彼端的想像。
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    阿宏的心聲 3:44
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    到底愛我不愛 4:14
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    浪花盃 4:22
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    隱形的翅膀 3:41
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    心痛 4:27
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    天黑黑 3:56
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岸濤迴|Back To the Shore

與藝術家張允菡共同製作
Cooperate with artist Chang Yun-Han

錄音帶、錄音機、澎湖南寮村里民廣播系統|2016
installation includes cassette tape, cassette recorder, speaker|2016

透過走訪、採集居民的離鄉故事,重新撰寫後,借用澎湖鄉里間常見的廟口放送的播音系統,朗誦不同時空下屬於年輕歲月時的遠方記憶。不管在台灣/澎湖,人們無法忘記過去,永遠在這遙想彼端的島。
// 
By doing interviews, collectings stories of local people who once left for a foreign land, and rewriting those shared stories, the distant memories of their youth under different time and space would be widely read via the broadcast system of temples, which is commonly used in local community in Penghu. Peple will always remember this islands, both in Taiwan and Penghu.

蟲洞裝置|Wormhole Device (2015)

聲音專輯|29’55
Audio Track|29’55

        科幻片作為音景形塑搭建的經典能夠被想像,雕塑則成為了聽覺意識的建構思維,從身體相應的物理音場上,至腦海意識的音景,聆聽經驗迂迴於生活周遭,當「聽」的方式內化成日常的一部分,聲音場景也將被解放。舊法律如同禁錮的思想和封印的想像,成為空間意識的瓦解灰燼,當下社會和科技以飛快速度日益更新,每日都能成為一幅具獨自意義的末日風景,

        製造空間和毀滅空間成了生活遊戲,人們戴上耳機,沈浸虛構的虛幻景像,製造一間空間音場,換取一首歌又製造另一音場,刪除時,空間也隨著毀滅,是製造或是毀滅,空間流動,而我們身為自身空間的操作者的空間想像,也影響著聽覺意識的方式,音景則由中產生,再隨著聲音的消逝,其也跟隨空間殘響隨之瓦解。
//
Science fiction cinema offers a familiar reference for imagining how soundscapes are formed, while sculpture provides a way of thinking about the construction of auditory consciousness. From the physical sound field that engages the body to the soundscape within the mind, listening moves through the textures of everyday life. As ways of listening become part of daily experience, sonic scenes can open beyond their familiar boundaries. Old laws, like confined thought and sealed imagination, become the ashes of a dissolving spatial consciousness. As society and technology change at an accelerating pace, each day can become an apocalyptic landscape with a meaning of its own.

Creating and destroying spaces becomes a game of everyday life. We put on headphones and immerse ourselves in imagined scenes, bringing a sonic space into being. Changing the song creates another sound field; deleting it dissolves the space. Whether through creation or destruction, space remains in motion. As the operators of our own spaces, the ways we imagine them also shape how we listen. Soundscapes emerge from this process and, as sound fades, dissolve with the reverberations of the spaces they inhabit.

馮志銘 Feng Chih-Ming CV

1986 年出⽣於台灣桃園

學歷

2021 - 台南藝術⼤學 民族⾳樂研究所在職班

2009 - 2015 台灣藝術⼤學 雕塑研究所

2005 - 2009 台灣藝術⼤學 雕塑系

經歷

複⽿⼯作室 | 聲⾳設計,2021-迄今

隧道⾳像社 | 聲⾳設計,2019-2021

其實你不懂我的⼼(藝術團體)| 成員,2019-迄今

我只在乎你(⽂創團體)| 成員,2018-迄今

捷奏錄⾳室,2013-2015

展覽經歷

2025 《如果這都不算Ai,我有什麼好Bi》|新北市美術館|新北市

2024 《是誰躲在風景裡?》|台北市立美術館|台北市

2023 《IRCAM ⼯作坊精選》|台灣聲響藝術實驗室|台北市

2023 《我很失敗》|海馬迴光畫廊|台南市

2022 《新增遺漏的地點》|嘉義美術館進駐計畫|嘉義市

2022 《聲⾳處⽅》|台北數位藝術中⼼|⼠林

2021 《⽇不落城南・漫遊中》|2021 台北當代客家徵件展|台北城南

2021 《逾期⽇常》|中⼭好異融|中⼭區

2020 《愛情數據》|數位藝術節|松⼭菸廠

2020 《辶反風景》|嘉義市立美術館|嘉義

2020 《電⽕.紅⿔.豬公.普傢伙》|台北數位藝術中⼼|⼠林

2017 《Baan Noorg》|打開當代泰國計畫|Thailand

2016 《澎湖⼤⾵藝術季》|南寮村|澎湖

2011 《Lazarea Sculpture Workshop》|Lazarea castle|Romania

2011 《冰⼭體序》|台灣藝術⼤學|板橋

2010 《⼤象在哪裡?》|⽵圍⼯作室|關渡

2010 《島》|台灣藝術⼤學實驗展場|板橋

2009 《從這裡到那裡》|憲光⼆村|桃園

2009 《關鍵字:⽇常 , 雕塑 , 無處》|朱銘美術館|⾦⼭

駐村計畫

2022 嘉義美術館駐館藝術團隊|其實你不懂我的⼼

2019-2023 台北數位藝術中⼼駐館藝術家

2021 臺北客家「全球串流計畫」

2019 港尾國⼩|麻⾖糖業⼤地藝術祭

2017 《Baan Noorg》|打開當代泰國計畫

2016 澎湖⼤風藝術祭駐地藝術家

2011 《 Lazarea Camp》|羅⾺尼雅藝術創作營

//

Feng Chih Ming

Born in 1986, Taoyuan, Taiwan

Education

• 2021 - Present | MA, Graduate Institute of Ethnomusicology (In-service Program), Tainan National University of the Arts

• 2009 - 2015 | MFA, Department of Sculpture, National Taiwan University of the Arts

• 2005 - 2009 | BFA, Department of Sculpture, National Taiwan University of the Arts

Exhibition History

• 2026 | If This Isn't AI, What is Bi?, New Taipei City Art Museum, Taipei, Taiwan

• 2023 | I Am a Failure, Hippo Gallery, Tainan, Taiwan

• 2023 | IRCAM Workshop Selection 3rd, Taiwan Sound Lab, Taipei

• 2022 | Adding Missing Locations, Chiayi Art Museum Residency Project, Chiayi

• 2022 | Sound Prescription, Taipei Digital Art Center (DAC), Taipei

• 2021 | Roaming in the City South, 2021 Taipei Contemporary Hakka Exhibition, Taipei

• 2021 | Overdue Daily, Zhongshan Art Gallery, Taipei

• 2020 | Love Data, Digital Art Festival, Songshan Cultural and Creative Park, Taipei

• 2020 | Re-viewing Landscape, Chiayi Art Museum Opening Exhibition, Chiayi, Taiwan

• 2020 | Lights. Red Tortoise Cake. Pig Sacrifice. Offerings., Taipei Digital Art Center (DAC), Taipei

• 2017 | Baan Noorg, Open-Contemporary Thailand Project, Thailand

• 2016 | Penghu Great Wind Art Festival, Nanliao Village, Penghu

Residency Programs

• 2022 | Artist-in-Residence (Team), Chiayi Art Museum | Actually, You Don't Understand My Heart

• 2019 - 2023 | Artist-in-Residence, Taipei Digital Art Center (DAC)

• 2021 | Taipei Hakka "Global Streaming Project"

• 2019 | Gangwei Elementary School | Madou Sugar Industry Art Triennial

• 2017 | Baan Noorg | Open-Contemporary Thailand Project

• 2016 | Artist-in-Residence, Penghu Great Wind Art Festival

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