First solo show of Chi Po-Hao in France

Curated by Ekaterina Shcherbakova and Michela Alessandrini for The Voyerist

On view from February 5th to 10th, 2016

Opening on February 4th, 2016 at 6pm

At Galerie Jed Voras

18, rue de Patay, 75013, Paris

Like a landscape, a soundscape is simultaneously a physical environment and a way of perceiving that environment; it is both a world and a culture constructed to make sense of that world.

Emily Thompson in ‘The Soundscape of Modernity: Architectural Acoustics and the Culture of Listening in America, 1900-1933’, 2002

There is always something happening around us, repeatedly, even if we can barely notice it. Life is repetition and our brain has adapted to this rhythm, sometimes by ignoring it. But if it’s true that our mind retains everything that it perceives through the senses, these lost memories –

including the acoustic ones– can be retraced and experienced again.

REPETEND investigates the interactions between listeners and the environment in both micro and macro time scales. It deals with the topics of Rhythmanalysis, developed by philosopher Henri Lefebvre and with Soundscape, fathered by Canadian composer and environmentalist R. Murray Shafer. These notions revolve around scientific and aesthetic ways of listening: a listener’s relationship to his/her own environment, and the social circumstances that dictate who gets to hear what. A soundscape, like a landscape, ultimately has more to do with civilization than with nature, and as such, it is constantly under construction and always undergoing change.

REPETEND seeks to be considered as a sort of Time-lapse Phonography, a sonic version of the Time-lapse Photography. It presents multiple compressed sounds all at once, creating an immersive noise environment in which each audio driver and its own dynamic rhythm are still recognizable. REPETEND is in fact a condensed recording that shows the rhythm of selected spaces, both private and public, collected by the artist throughout Paris. The playback speed of the recording in a day (24 hours) is accelerated 100 times with a technique called FFT transformation. This is in order to observe the rhythm of those spaces and the repetitions of related soundscapes. Condensing a one-day long field recording into a 10-minute audio file might make the sound unidentifiable, but it can also make us glance at the repetition of activities in one day like the rhythm of the space that withholds time.

It grows naturally out of Chi Po-Hao’s site-specific installation to foster soundscape awareness. The simple exercise of 'framing' environmental sound by taking it out of its context –where it is often ignored– and directing it to the listener's attention reveals a deeper level of significance inherent to the sound. It also calls upon the listener's semantic associations without obliterating the sound's familiarity. Although we may have lost the specific indications, we obtain more than just the abstract audio signal out of indiscernible compressed sounds.

Perhaps we will be able to recognize them, to remember through them.


Chi Po-Hao (TWN, 1989) is a musician and sound artist from Taipei, Taiwan. He has worked in the popular music industry for several years as a songwriter and producer. He concluded his master’s degree at Goldsmiths College, University of London in Studio Composition. His works mainly involve but are not only limited to live electronic, electroacoustic composition, and sound installation. Chi Po-Hao has had presentations and shows in Taipei, London, Bangor, Rotterdam, Beijing, Yinchuan, Lanzhou and Paris. He has been granted residencies at V2_Institute of

Unstable Media, Rotterdam and currently resides at Cité Internationale des Arts in Paris.

His interests revolve around algorithm composing, generative music, and sonification. His undergoing works are mainly concerned with the sensing of rhythm and the interactions around perception at an individual and environmental level. His work tries to investigate how people listen to, interpret, and represent the sound surrounding them, as well as the way sound breaks into space. 

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