The last Sonic Anchor of the season brings a duo of Kwong Wai Yi and Sasa, and Tsun Yeung to the McAulay Studio on June 28th (Tuesday) at 8pm. Kwong Wai Yi an Sasa use sound and moving image in their usual artistic practice - the duo will be pondering on the constant loss of memories and the notion of piecing fragments together to create new impressions of the past. Making his Hong Kong debut since his return to Hong Kong, Tsun Yeung is a computer musician and laptop music improviser. He will be manipulating improvised vocal sounds in the digital realm through live coding on the stage. 

今季最後一場於6月28日(星期二)晚8時的聲音下寨將在麥高利小劇場為觀眾呈獻由鄺惠怡及黃曉晴組成的二人組合以及楊俊的演出。鄺惠怡及黃曉晴慣常使用而不限於聲音及影像藝術手法，他們將透過作品思索不斷遺忘的記憶以及重組碎片以重朔對過去印象的概念。電腦即興創作音樂家楊俊則在回港後的首次演出，他將會以現場編程於數碼世界中操作即興的人聲表演。

Nostalgia is the notion of mourning over the constant loss of things. In this state, our mind reshapes the distorted memories of the long lost events and objects as an evidence of our existence.

The true events would never be remembered in full completeness; a new layer of impression is formed by piecing together memories through fragments of sound. The presence of memories is validated by the echo lingering in the air over time, often its existence is unnoticed until it dissolves.

Only when the sound strikes, we’d realize how much things have gone by.

所謂鄉愁不過是為不斷遺失的事物發愁，在此狀態下，我們會在腦中重塑缺失事物的樣貌構成扭曲的記憶以作為自身存作的證明。

實際發生過的事物永遠不能被完整的記得；每一次以聲音碎片拼湊回憶時都會為記憶加上一層新的印象，回響、縈繞、漸遠的回音證明著記憶的存在，但在聲音消散之前往往不被察覺。

唯有在聲音擊響的一刻，我們才意識到有多少事物經已流逝。

Kwong Wai Yi / Sasa

KWONG WAI YI takes deconstructing media as her artistic practice, mainly with installation, but not limited to live sound experiment and moving image. While everything in the world has been amplified, she is trying not to believe that only the conspicuous ones are worthy.

Sasa (he/they) was a documentary filmmaker in their own family, and they take moving images and sound as their main creative practice. They have an attachment to the "truth" and often feel conflicted.

鄺惠怡/黃曉晴

鄺惠怡創作主要圍繞但並不限於裝置、聲音即興演出和影像藝術。即使世上所有事物都被放大審視，她還是試圖相信，並非只有顯眼的事物才有其價值。

黃曉晴是自己家裡的紀錄片導演，創作媒介為(不限於)影像和聲音，對「真實」有一種執着，因此經常感覺矛盾。

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In this performance, Winston will try to manipulate improvised vocal sounds in the digital realm through live coding (creating computer programmes that generate sound in real time). The vocal sounds will be modified into or substituted by twisting, harsh, and stochastic noises, just like how our voices are treated or interpreted sometimes.

在這次演出，楊俊會利用現場編寫電腦程式的手法，去探索人聲這種比較有機的聲音在數碼領域的可塑性。

Tsun Winston Yeung

Tsun Winston Yeung is a computer musician and laptop music improvisor. Graduated from the University of Birmingham with a PhD in Musical Composition, his outputs mainly explore around the topics of live coding, data sonification, sensor-based performance and multi-channel audio. His recent research investigates computer music performance with the use of data from the human body. The result of his works comprises a variety of genres including acousmatic composition, live electronics performances, as well as installations. His works have been presented and performed in various events around the globe, including New Interfaces for Musical Expression (NIME), International Computer Music Conference (ICMC), International Conference on Live Coding (ICLC), BEAST FEaST, and various Algorave events. 

楊俊

楊俊是一位電腦音樂家和即興演奏者。畢業於英國伯明翰大學，並於2019年取得音樂哲學博士學位。他的作品遊走於不同的範疇，包括數據聲音化、多聲道聲音、現場編程音樂和不同感應器之音樂應用等。他最近的研究包括利用人體產生的數據為聲音創作的素材。他的作品多為電聲音樂，現場電子音樂和聲音裝置藝術作品。曾於不同的音樂節和國際研討會中演出，其中包括國際電腦音樂研討會和國際現場編程研討會。