D.A.Y.I.N explores ways of presenting and publishing sound and performance, including but not limited to conventional forms, live performance, radio programs, audio-book, alternative publications achieved through internet-based technology such as interactive web applications. DAYIN### tailors conceptual releases. D.A.Y.I.N.fm is a feminist radio program available to Chinese-speaking audience.

Founded in 2012 by Xuan Ye (APA), da-yin.org began as a showcase, gradually developing into her collaborations with various artists as a DJ, composer, performer, designer, developer and curator.

DAYIN002

2015.11.1
CDR
Limited Editions of 10
Improvisation Performance

Three performances that examine voice as an instrument and vibration source.
三個以人聲作為樂器與振源的表演

April 3, 2015 at HB Station Contemporary Art Research Center, Guangzhou, China
二零一五四月三日,黃邊站,廣州

01. Dada Wu, Sound Poetry, Untitled
吳韃靼,聲音詩,無題

02. Xuan Ye & Dada Wu, Voice Improvisation
葉軒 & 吳韃靼,人聲即興

03. Xuan Ye & Dada Wu, Sound Performance, Embed Great Sound of Poetry
葉軒 & 吳韃靼,聲音行為,嵌入巨大聲響的詩歌
*plastic bags, newspaper (Southern Metropolis Daily issued on April 3, 2015)
*塑料袋,二零一五年四月三日出版的南方都市報

To purchase here

Mastered by Li Ping in Hangzhou, China
混音:李平,杭州
Visual Design/Hand-drawing/Text Translation by Xuan Ye in Toronto, Canada
視覺設計/手繪/文本翻譯:葉軒,多倫多

REVIEW

“…every reaching part of the mouth-cord coughing/exorcising wordless barrage. bellow alien-gospel shriek poison for his/her exchange, crazily finding the ritual after displacing the speech. when sung-hit and high-hitting the partnership implodes in primal first sound cave-cry…blasted shout-blues frozen on the one, in the pure now, inside the mirror, using our anxiety against us in no-tools-needed front-and-center being: with their lungs and their throats and their living question marks.”

Rotational Review (read more)

 

 

《樂歌不能》是三個以人聲作為樂器與振源的表演。

葉軒:

人聲是語言前的。人聲存在於所有符號系統之前。人聲承載了久遠的人類文明進程。作為權力的表征,發聲與否、聲音的材料性指向著文化政治的意義。羅蘭巴特在《話語的肌理》(1981)中結語:“人聲是語言與音樂的雙重姿態和產物”。從微觀的角度看,人聲是可以作為直接的振動源同時反作用於人體(口鼻頭胸腹) 即主體形成自身共振的最原初的樂器。我在這樣的認知下,從解放身體所受限的發聲機制出發,從傳統聲樂,延展技巧,語音文本,到任何隨機的聲響輸出,對自然與現代音景本能地模仿,暢通知覺到當下的存在。任聲波寄於吐納在體腔內運轉,誘發身體形而下的混沌,內外部環境調諧統一。

吳韃靼:

1. 我不會唱歌,因為我唱歌跑調,嚴重而正式的五音不全。Amusia 失歌症。
我可以認為自己是一個失去唱歌能力的人。如果你把歌唱定義為旋律的配合,那我就想試試語詞的碰撞。
2. 我聽音樂,各種類型的音樂和聲音,我需要吐出點什麼。
我學語言,各種發音,各種唇齒切磋,各種摩擦咬合,我需要吐出點什麼。
所以我就這麼吐了。
3.
4. 我需要在當下的生活裡尋找到一個缺口/出口,或者生生地鑿一個洞。
就像你在被莫名其妙的打了一頓,肯定要問一句,為什麼。
5. 觀眾是肉體,我需要肉體。
6. 聲音詩,聲音詩,聲音詩。
6. 有情,無理;無義,多情。

AMUSIA is three performances that examine voice as an instrument and vibration source.

Xuan Ye

Voice is pre-language. Voice existed before all semiotic systems. Voice inherits the history of human civilization. Voice is representative of power. “Voice or not” and the materialities of voices signify cultural and political meanings. As Roland Barthes concludes in the Grain of Voice (1981), “voice is in a dual posture, a dual production of language and of music”. From a relatively micro point of view, voice is the most original instrument that functions as a direct source of vibration and meanwhile reacts to the Body (oral/nasal/head/thoracic/abdominal cavity) namely the Subject to form into resonance within, furthermore, as oneself. In accordance with this knowledge, I try to free the natural voice from habitual patterns that are generated from our restrained mechanism of vocal production – from traditional vocal music, extended techniques, phonetic texts to any sonic output; in the form of mimicry to the nature and the modern soundscapes, and the medium to channel consciousness to presence. Let sound waves laden with the breathe circulate within the Body, to induce physical commotion and be in harmony inside and out with the environment.

Dada Wu

1. I can’t sing because I can’t sing in tune. I am officially tone-deaf. Amusia. I am a person who has lost the ability to sing. If you define singing as producing melodies, I think of it as a collision of words and phrases.

2. I listen to music, all kinds of music and sounds. I need to throw up. I learn languages – all kinds of phonetics/all kinds of frictions between lips and teeth/all kinds of articulations. I need to puke.

3.

4. I needed an exit from my present life or to just chisel a hole through it. It’s like when you get hit by shit out without any reason and you gotta ask “why?”.

5. The audience is the flesh. I need flesh.

6. Sound poetry, sound poetry, sound poetry.

6. Emotional reasonless; Meaningless sentimental.