！！潛意識餐廳 x 台北國際書展 《 白木耳 》發行 聲音藝術活動表演！！
SUBCONSCIOUS RESTAURANT TAIPEI BOOK FAIR EVENT
潛意識餐廳 x 台北國際書展 發行活動
NEW ZEALAND x TAIWAN
紐西蘭 x 台灣
ARTISTS:
Campbell Kneale （NZ）
Greg Malcolm （NZ）
Jeff Henderson （NZ）
Wang Fujui （TW）
Noise Steve （TW）
Sonic Deadhorse （TW）
VENUE:
Huashan Creative Park Sake Factory Building
華山文創基地清酒工坊
TIME:
18:00 February 14 （SAT）
ENTRY:
300NT （including a copy of Subconscious Restaurant 4）
紐西蘭為2015年台北國際書展的榮譽嘉賓，為了慶祝這件佳事，來自紐西蘭的白木耳創辦人Mark Hanson及 Ron Hanson兄弟，發行了特別副刊：潛意識餐廳。這份中英雙語雜誌中，由Hanson兄弟精選，將介紹紐西蘭當代實驗音樂及文學給台灣的讀者。刊物將在2月14日發行。當晚，一場聚集台灣與紐西蘭最精彩的聲響藝術表演者活動，將在華山文創基地上演。邀請你齊聚一堂慶祝這盛大的時刻。
New Zealand is the Guest of Honor at the 2015 Taipei Book Fair. To celebrate the occasion, White Fungus founders, the New Zealand brothers Ron Hanson and Mark Hanson, have created a special issue of their sister publication the Subconscious Restaurant. The bilingual magazine will introduce to Taiwan some of the Hansons' favorite currents of New Zealand experimental music and literature. The publication will be released on February 14 at Huashan Creative Park with a sound art event which will bring together some of the best sound artists from New Zealand and Taiwan. Please join us for this momentous moment.
This event is kindly supported by the New Zealand Commerce and Industry Office Taipei
Campbell Kneale
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Campbell Kneale unleashes a transformative cacophony, finding and pushing the edges of where aural transitions into the physical and in so doing creates spaces both annihilating and meditative. Kneale developed his project Birchville Cat Motel in hermetic solitude in a shed in Lower Hutt. His sound art has traveled internationally like sonar, finding points of resonance the world over and creating a feedback loop leading to collaborations under various monikers with Lee Ranaldo, Phill Niblock, Nadja, Tetuzi Akiyama and countless others. Kneale has been performing as Our Love Will Destroy The World since 2008.
Campbell Kneale 解放了改革性的雜音。在聽覺轉化成實體的邊界處，時而依循遊走時而激進推翻，藉由如此，創造出一個滅絕及冥想並存的空間。Kneale 在威靈頓的與世隔絕的小屋中祥和地進行他 Birchville Cat Motel 的系列作品創作。而他的聲響，如聲納般在國際間深傳遠播，與世界角落與不同的創作者產生共鳴，激起漣漪回傳，更進一步的與 Lee Ranaldo、Phill Niblock、Nadja和秋山徹次與其他無數的創作者們共同創作。2008，Kneale開始以 Our Love Will Destroy The World 之名演出。Campbell Kneale 解放了改革性的雜音。在聽覺轉化成實體的邊界處，時而依循遊走時而激進推翻，藉由如此，創造出一個滅絕及冥想並存的空間。Kneale 在威靈頓的與世隔絕的小屋中祥和地進行他 Birchville Cat Motel 的系列作品創作。而他的聲響，如聲納般在國際間深傳遠播，與世界角落與不同的創作者產生共鳴，激起漣漪回傳，更進一步的與 Lee Ranaldo、Phill Niblock、Nadja和秋山徹次與其他無數的創作者們共同創作。2008，Kneale開始以 Our Love Will Destroy The World 之名演出。
Greg Malcolm
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Greg Malcolm是紐西蘭聲響實踐最重要的領航員之一。近年專註於其倍數吉他同步演奏（SSPMGPs）的獨奏。Malcolm 曾與秋山徹次、Bruce Russell、Jon Rose、Jenny Ward、Campbell Kneale、Alan Licht及 Eugene 共同創作。音樂廠牌 Kraak、Corpus Hermeticum與Braille Records皆發行過他的專輯；Malcolm 也曾受邀在音樂季演出：包括Safe is Milk（挪威）、What is Music?（雪梨、墨爾本及布裏斯本）和 Lines of Flight（紐西蘭）。資深樂評Edwin Pouncey在The Wire雜誌中寫到“偶然的、探索與革新，Malcolm為吉他演奏的辭彙註入了詩意的新字。”
Greg Malcolm is one of New Zealand’s leading sound practitioners. Currently focusing on his solo simultaneously-played multiple-guitar performances （SSPMGPs）, Malcolm has collaborated with musicians including Tetuzi Akiyama, Bruce Russell, Jon Rose, Jenny Ward, Campbell Kneale, Alan Licht and Eugene Chadbourne. He has released albums on labels including Kraak, Corpus Hermeticum and Braille Records and performed at festivals including Safe is Milk （Norway）, What is Music? （Sydney, Melbourne and Brisbane）, and Lines of Flight （Dunedin）. Edwin Pouncey wrote in The Wire, “By chance, exploration and invention, Malcolm has introduced a poetic new vocabulary into the lexicon of acoustic guitar playing”
Jeff Henderson
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Jeff Henderson著實為紐西蘭新銳音樂的變種體。縱火邊際的爵士樂；因即興而賜與其生命的詭異搖滾；及古典精緻的樂章，他皆以一種超越／不屑的態度演出著。惡名昭彰的，不僅是Henderson的招牌薩克斯；音樂種類亦或器材，皆不限制他的旋律調色盤－一個吹管達人，雙簧管及薩克斯風，他同時彈奏吉他、班卓琴（以不同方式加以改裝）鼓與其他打擊樂器，並與其共同咆哮，尖叫與低吼。在他的音樂生涯上，那種狂野收錄在無數的錄製作品，不論是在團體之中，如Syzygy（他的第一個樂團）及The Bad Statistics（他在其中扮演一個角色“Thebis Mutante”）也包含他的單飛作品。Henderson剛接任 Audio Foundation的總監一職，為紐西蘭實驗音樂中一 個不可或缺的齒輪。
Jeff Henderson is a true mutant of New Zealand new musics, performing incendiary free jazz, improvised incarnations of weird rock and roll, and classically refined compositions all with equal abandon. Henderson is infamous for his signature far out sax. But his polyphonic palette is neither limited by genre nor instrument- a reedsman fluent in clarinet and saxophone, he also plays guitars and banjos （in various states of modification）, drums and assorted percussion, howls yelps and growls. Something wild gets brought on numerous recordings throughout his musical career, both in groups like Syzygy （his first band） and The Bad Statistics （taking on the persona of "Thebis Mutante"） and on his solo recordings. Henderson is the new director of Audio Foundation, a vital cog in the New Zealand experimental music scene.
Wang Fujui 王福瑞
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1990 年代噪音及前衛聲響的引進者之一，台灣傳奇噪音雜誌「NOISE」主辦人，現任教於北藝大，不少學生在其鼓舞下投入聲音藝術領域。近年演出及展覽頻繁，往 來香港、澳門、中國、日本、德國、美國、澳洲與紐西蘭，作品融合電子脈衝聲響與直勾耳膜的高頻噪音，加上動態凜冽的幾何影像，十足未來感，細緻的氛圍中不 失狂野與暴力。
Taiwan and founded “NOISE”, the island’s first publication and label dedicated to the new music. In 2013 he had a solo exhibition at the Museum of Contemporary Art in Taipei, Hyper-transmission. He has performed all over the world including at the Re-Opening of Queens Museum in New York, Transmediale in Berlin and at Ars Electronica Center in Niels, Austria.
陳史帝 Noise Steve
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1990 末期，隨著 rave parties 在臺灣漸受歡迎， 陳史帝和幾個誌同道合的朋友在本地的髮廊甚至烤鴨店門口開始組織起一系列的革命性原創。在無意中觀賞了王福瑞的noise art表演 Static Riot 後， 陳史帝決定更換方向，研討有聲藝術。 2002年，在台中合創了 Malt Fermentation Workshop，也成為首都臺北外最能發揚實驗電子音樂的場所。他們主辦了台中的第一屆有聲藝術節， Electroacoustic Counterattach。
Influenced by the rave parties popular in Taiwan at the end of the 1990s, Chen and some friends began to organize a series of do-it-yourself, guerrilla-style raves in such locations as a hair salon and outside a roast duck shop. After viewing the noise art performance Static Riot by Wang Fujui, Chen decided to change course and pursue noise art. In 2002, Chen co-founded the Malt Fermentation Workshop in Taichung City, one of very few venues promoting experimental electronic music outside the capital city of Taipei. The group organized Taichung’s first noise art festival, Electroacoustic Counterattack.
音速死馬 Sonic Deadhorse
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latop 宅錄geek，台北各大live house票房毒藥，以live looping與controllerism這種如果一不小心就會出錯連連的表演方式形塑不一樣Glitch/idm/drill'n bass的現場風格。都會寂寞男女文藝青年搖滾漢子電音駭咖最適合聆聽的音樂，70年代的放蕩、80年代的哀愁、90年代的虛無與新世紀的孤絕自作聰明吱吱紮紮暴力小電音與假裝悲傷咿咿嗚嗚的破搖滾。當一切都隨著TR808 那低沉bass drum遠去，屬於愛情的屬於年少懵懂無知的，似乎也在楚浮的電影裡跟著消失了。所有的一切都發生在莫名的情感被抽離之後目前是大腦控制手指，指尖製造聲響，聲音觸發畫面的一人數位影音多媒體互動團隊。
Sonic Deadhorse is a one-man band which is occasionally joined by other musicians. The band is named in reference to “Sonic Death Monkey”, the fictional band formed by Barry, the lippy clerk, in the novel “High Fidelity”. Sonic Deadhorse gathers together all the genres it loathes, including heart-bleeding pop, and mixes them together into chaotic combination that can be at one moment glitch, another moment drum & bass, with snatches of wayward pop anthems, purposely anarchic.
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