未來逝者的口述檔案 The Oral Archive of the Future Dead
2022
聲音裝置 Sound installation
直徑140公分 140 cm in diameter

撰寫一份關於〈未來逝者的口述檔案〉的文本是矛盾的——我寧願和你當面交談，畢竟它關乎口語。

撰寫這份文本時，我犧牲了所有的精準、猶豫、態度和口音，那是我用我的嘴、我的肺、我的牙齒、我的身體去講述我的故事的方式。

當你看見這件藝術作品時，你所看見的，並不是「未來逝者的口述檔案」——你所聽見的也不是「未來逝者的口述檔案」，而是呼吸，來自不同嗓音的呼吸（你也可能會聽到自己的呼吸）。

〈未來逝者的口述檔案〉尚未存在。

一份口述檔案需要口耳相傳，被記住，被再次講述。講述，讓人記住，這是一個使人筋疲力竭的過程——這是一個古老的技巧。書面文字是一種測量工具，它產生距離，因為它永久的存在給出了參照點；書面文字對我們說：不明白的話，就再讀我一遍！書面文字總是和歷史銘文的虛榮有瓜葛。而口語想要成為被記住的事物，就必須被重複、挪用、重新詮釋和重建。那麼，我們為何需要「未來逝者的口述檔案」？我們為何必須重新引入一個古老的、非仲介性的技術？因為我們需要許多小故事來讓自己被記住，我們需要敘事中的異音合唱來說明活著是值得的。我們需要許多理由來解釋死而無憾。說給年輕人聽、讓他們記住的話語，就是讓你能泰然面對自己死亡的話語。這份〈未來逝者的口述檔案〉是你將和滋養你的世界分享的故事。（文／尼古拉斯．布斯曼）

The Oral Archive of The Future Dead

To write a text about The Oral Archive of the Future Dead is contradictory – I’d rather talk to you in person as it is about the spoken word.

Writing this I sacrifice all the precision, ambivalence, attitude and accent I have in the way I tell my story with my mouth, my lungs, my teeth, my body.

What you see, when you see this work of art is not “The Oral Archive of the Future Dead“ – What you hear is not “The Oral Archive of the Future Dead“ yet you hear a breathing, breathing with multiple voices (you might hear your own breathing too).  

The Oral Archive of the Future Dead does not yet exist.

An oral archive goes from mouth to ear to be remembered to be told again. It is the exhausting process of telling something to be remembered – it is an old technique. The written word is a tool for measurement, it produces distance as its permanent existence gives a point of reference; the written word says: read me again if you don’t understand me! The written word always flirts with the vanity of historic inscription. The spoken word needs to be repeated, appropriated, reinterpreted and reenacted if it wants to become something to be remembered. So why do we need An Oral Archive Of the Future Dead? Why do we have to reintroduce an old, non medial technique? Because we need many little stories to be remembered, we need a heterophonic choir of narratives about why it is worth living. We need a multitude of reason why it is worth to die. The word told to the younger ones to be remembered is the word which makes it easier to die your own death. This Oral Archive of The Future Dead is your story to be shared with the world surviving you. (Text/ Nicholas Bussmann)

尼古拉斯・布斯曼

具有即興音樂創作背景的藝術家暨音樂家尼古拉斯．布斯曼擅長為集體表演創造概念架構與具體場景。他最感興趣的是音樂、社會實踐，以及社會化之間緊密且具有歷史淵源的連結。他經常使用遊戲結構去探索社群、權力和語言等問題。因此，他的大多數作品都是與音樂家、科學家，以及藝術家協作，有時亦包括觀眾的參與。布斯曼目前在德國柏林生活與工作。

Nicholas Bussmann

Nicholas Bussmann is an artist and musician. With a biographical background in Improvised Music, he creates conceptual frameworks and concrete scenarios for collective performances. At the center of his interest lies the tight and historically rooted connection between music, social practice and socialization. Often he uses game structures to explores matters of community, power and language. Most of his work are therefore collaborative and involve musicians, scientists, artists and also sometimes the audience. He lives and works in Berlin now.

特別感謝

Sina Ahmadi
Christof Krauss
Lucile Desamory
Meret Aweng Weber
Alexander Klose
Hildegard Bussmann
Wanda Desamory
Antoine Prum
Yan Jun

Special Thanks

Sina Ahmadi
Christof Krauss
Lucile Desamory
Meret Aweng Weber
Alexander Klose
Hildegard Bussmann
Wanda Desamory
Antoine Prum
Yan Jun