深深著迷於 Audio-visual 的日本歐基桑 - 田所 淳 訪談

如果你是 OpenFrameworks 的使用者的話，或許你早有所聞田所淳這號人物，在日本，他在 audio-visual 的領域已是老手之一，同時也是電腦音樂以及程式貢獻者。在 1972 年出生於千葉市的田所淳，是一個活耀於 audio-visual 界的新媒體藝術創作者，他在數所大學中擔任講師，像是慶應義塾大學、東京藝術大學、多摩美術大學以及東京工科大學，授予課程跟工作坊的內容除了了 OpenFrameworks 之外，也授予 Processing, Arduino, Pure Data 等項目，十分多元。目前，他的創作專注於演算法與即興創作的音樂和視覺上，近期，他朝向 live-coding 的方向邁進。

背景

田所淳：1990 年時，我曾在慶應義塾大學做電腦音樂的研究，那時我做了人生第一首電子樂曲，然而在研究所畢業之後，我到一間網路工作室工作，有好長一段時間沒有再繼續作曲了。有次在朋友那意外得接觸 OpenFrameworks ，便開始學了起來，這軟體真的在做影像方面非常有效率，想了想，或許這會是一個好主意，將過去在大學中所學的知識結合在一起，然後這也是我為什麼開啟 audio-visual 的表演生涯的原因，直到現在，已經十年了。

您以什麼樣的方式使用電腦來進行音樂的表演？

田所淳：早期的時候，我就只用滑鼠跟鍵盤來控制我的程式，所以在表演前，我已經寫好以及安排好程式了。表演期間，我一步一步的開啟聲音並現場將聲音混合於一體，但我不是很滿意這樣的方式，無論是針對聲音或者是影像上，我總是追求製作即時與即興的創作，最終我決定走向 live-coding。我有時專做聲音上 live-coding 的表演，有時做影像的 live-coding，但是這都是分別去做的事情，我未曾將這兩種可能放在同一場表演之中，所以在未來，我想要將它們融合在我的表演之中，這是我的目標。

就我個人而言，您早期的作品比較沈靜也比較無機的感覺，但是自從2016之後，您的作品變得豐富、複雜，甚至非常的緊湊，您可以說說這樣的變化嗎？您的創作靈感來自於哪呢？

田所淳：嗯嗯......對我來說這是一個困難的問題(創作靈感來源)，我其實做了很多類型的音樂，以前我喜好的音樂類型偏向圓潤以及比較浪漫的感覺，但現在我也做一些很瘋的音樂，我覺得這兩種也都是我喜歡類型，因為我很喜歡去嘗試新的實驗音樂，過程中，我就會了解到哪些聲音要保留下來，哪些聲音我不是那麼喜愛，而且在我寫 code 的時候，想法老是在變化，有時候我意外的發現有些聲音真棒，雖然我無法解釋這些聲音怎麼來的！但是聲音很棒的話，我都會保留下來，然後成為我新的音樂來源。

田所淳：關於影像方面，我會邊聆聽聲音，邊試圖在腦中想像並生成影像，那一刻在我腦海中，聲音跟影像一同於我的想像之中是對我來說最有趣的。

看您在網路上有很多測試版的聲音跟影片，不知道您一天多少時間再程式上？是每天固定都會寫程式嗎？

田所淳：我一天大概會有2-3個小時來寫程式，平均來說，一個禮拜也有四天在寫。有時候也會寫超過十小時，當然也會放假個幾天。

身為一個老師，在您教 audio-visual 程式上時，什麼對您來說是最重要的？

田所淳：我想最重要的還是學習程式最基本的架構，這對我來說非常重要，因為學生們如果無法理解程式的邏輯以及原則，未來他們將非常難以發展自己的想法，當他們了解程式基本的技術原理，他們也可以有能力自由的發揮了。

紀錄與分享經驗對田所淳來說是十分關鍵的事，在他的網站上他寫下大量關於電腦音樂的程式資訊跟教學供初學者與進階者們參考。即便他已經做 audio-visual 領域多年，他仍然有高度的熱誠，彷彿他享受著漫遊在這總是有趣、新奇與無限的程式碼宇宙一般。.

田所淳的網站: http://yoppa.org/

github: https://github.com/tado

tumblr: http://yoppa.tumblr.com/

vimeo: https://vimeo.com/tadokoro

A “Ochi-san”  Who Is Massive Passionate on Audio-Visual  - An Interview with Atsushi Tadokoro

If you are an OpenFrameworks user, you probably know Atsushi Tadokoro, one of of audio-visual pioneer, computer music researcher and code contributor in Japan. Born  in Chiba in 1972 , Atsushi Tadokoro is a new media artist who is active in audio-visual community. He gives not only OpenFrameworks lectures and workshops in several universities such as Keio University, Tokyo University of the Arts, Tama Art University and Tokyo University of Technology, but also Processing, Arduino, Pure Data and so on. He mainly focus on algorithmic music and visual improvisations. Recently, he also started to present his work with live-coding.

Background

Atsushi: I was doing research for computer music in Keio university in 1990. I also made my first digital song during that time. After graduation of master’s degree, I worked in a web studio so I quited composing for a while. However, I happened to know OpenFrameworks from a friend once and kept learning it. It is quite effective to make visual. I thought it might be a good idea to combine what I learned in university. Then, that was my beginning to do audio-visual performances. Until now, I have already done it for a decade.

How do you work on music performance with computer?

Atsushi: In the early age, I only used mouse and keyboard to control my programs. I wrote and arraged programs before conecrt. In the performance, I turned them on step by step or mixed them, but I was not satisfied with it. I always want to make music lives and improvisations no matter audio or visual in my conert. That is the reason why I made my decision to go to the direction of live-coding, I suppose. In my performances, sometimes I do live-coding audio and sometimes I do live-coding visual. However, I only did them individually and have never tried to do both simultaneously yet. In the future, I want to combine, integrate both of them in my performance. This is my goal.

Personally, I think your music is calmer and more inorganic before, however, started from 2016,  it turned to varied, complicated and very intensive. Could you maybe talk about this change? Where are these inspirations coming from?

Atsushi: Well, it’s a difficult question for me (inspiration). I made many different music styles. My music style was mellower and more romantic before, but now I also make super wild music. I think both are my favorite music taste. Because I like to attempt and experience new type of music, then I can figure out which sound I want to keep and which sound I don’t appreciate. Through my coding process, my idea is always changing. Sometimes, I accidentally find out some great sounds which I couldn’t explain how they comes! But it’s really nice, I will keep and collect them to become my new source of music.

Atsushi: I try to make visuals which are generated from my brain when I hear sounds. But I think the most interesting part is a moment that the sounds and visuals are beyond my imagination.

(Embed a video) https://vimeo.com/155370706

You have a lot of test audio and video files on internet. How long do you spend on programming a day? Do you regularly coding everyday?

Atsushi: I do coding for 2 - 3 hours a day. In average, I have four days for programming a week. Sometimes, I spend over 10 hours a day. For sure, I also have few days without programmng.

As a teacher, what is the most important thing to you in teaching of audio-visual programming?

Atsushi: I think it’s really important to learn basic programming skill. That’s the point for me. Because if student couldn’t understand the theory and principle of coding, it’s quite difficult to develop their own idea in the future. When they really understand basic techniques, they will be able to realize their ideas freely.        

Recording and sharing experiences is vital for Atsushi. He wrote abundant infomation and tutorials for beginners and advancers in computer music progamming on his website. Although he has worked so many years in audio-visual, he is still passionate on it as if wandering in a programming universe which is always interesting, new and infinite.

Atsushi’s website: http://yoppa.org/

github: https://github.com/tado

tumblr: http://yoppa.tumblr.com/

vimeo: https://vimeo.com/tadokoro