抓住一个声音，闻闻它的肚子，把它放进文件夹里
作者：Laetitia Sonami
发表时间：2007/11
翻译：Xiao Jia
原文链接：SEZING A SOUND AND SMELLING ITS BELLY TO FIT IT IN A FOLDER
I collect sounds. I don’t record them as often as I used to, but I now collect them in my mind, where they become placeholders for hazy landscapes. As I write this, I hear some crows in the night, and now they’ve gone in some crow place in my head, alongside babies and doors. With them come the sounds of the sleeping city around them, the sounds that cannot be seized, shadows of opposite luminescence. I have been wondering how people think about sounds, but more precisely how they classify and categorize them. This obsession may find its source in my French genes. Though, I have to admit I never read Schaeffer’s Traité des Objets Musicaux, I like the idea of a catalog of descriptions: organized drawers of essentials and accessories to be used in different settings. I have often felt if I only knew how to hear a sound, if I could just measure its trails and know where the well’s bottom stand, if I could just stop one sound for a second- long enough to grasp it and weigh it, feel its belly and smell it, I could make sense of where I am.
我收集声音。虽然我现在不像以前那样经常录制它们，但我现在在脑海中收集它们，它们变成了朦胧景观的替代品。写这篇文章时，我听到了一群在夜晚中的乌鸦，现在它们已经在我的脑海中成为了一些乌鸦的地方，还有一些婴儿和门的声音。伴随着它们的是周围城市睡眠的声音，那些无法被抓住的声音，相反的发光阴影。 我一直在想人们是如何思考声音的，更确切地说，他们如何对声音进行分类和归类。这种痴迷可能源于我的法国基因。 虽然如此，我不得不承认我从未读过谢费的《音乐物品论》。但我喜欢一个描述目录的想法：有条不紊的抽屉里放着在不同环境下使用的必需品和配件。我常常觉得，如果我只知道如何听到一种声音，如果我可以只测量它的轨迹，知道井底的位置，如果我可以把一种声音停在一秒钟的时间里，足以抓住它，称量它，闻闻它的肚子，我就可以了解我在哪里。
So,... Categories: why, do you say? Well, like many, I am tethered to sounds caged in laptops, I need to store them in overcrowded memory spaces and recall them on the fly with the gestures of a hand and release them in some odd formations. I need to know where to find them and which recipes to apply. There is not much time for existential pondering when you are trying to make the dance look effortless. On good days, I might rely on some smart algorithmic process where sounds will be an after thought, but if I wait long enough, even that hardly won exercise disappears in the maker’s next OS iteration.
那么，... 分类：你问，为什么？好吧，像许多人一样，我被关在笔记本电脑里的声音所束缚，我需要把它们储存在过于拥挤的记忆空间里，用手势飞快地回忆它们，并以一些奇怪的形式释放它们。我需要知道在哪里找到它们，应用哪种配方。当你试图使舞蹈看起来毫不费力时，没有太多的时间去思考存在性的问题。在好的情况下，我可能会依靠一些聪明的算法过程，在那里，声音将是一个事后的想法，但如果我等待足够长的时间，即使是那些来之不易的练习也会在制造商的下一个操作系统迭代中消失。
After 30 years of aimless wandering, I came up with a way of categorizing sounds. I think of them as distances – mainly distances from me but also distances from each other;geographical distance, or psychological distance, or distance on an imaginary line which stretches from iconic realism to abstraction. For example, the sound of a dog panting is close, the time it takes to understand IT IS a dog is very fast, hence a short distance. It is iconic, it is inscribed. There is probably a dog in my mental continuum and inside dog and outside dog are finally meeting. 经过30年的漫无目的的游荡，我想出了一种对声音进行分类的方法。我认为他们的距离 - 主要是从我的距离，但也从对方的距离;地理距离，或心理距离，或在一个想象中的距离，从标志性的现实主义延伸到抽象的。例如，狗的喘息声很近，理解它是一只狗所需的时间非常快，因此是一个短距离。它是标志性的，它是刻意的。在我的精神连续体中可能有一只狗，里面的狗和外面的狗最终相遇。
Speech and vocal sounds can be mapped to all kinds of scales and territories. Voices over PA systems are a current attraction – they are usually unintelligible, yet appear close from a point of view of authority – people who know how you should stand, walk, bet and die, barking orders, expecting you to execute commands. But these voices are actually pretty far: you are never addressed singularly, you can extract yourself. The rodeo PA’s, the Japanese politician PA’s, the police PA’s : they all speak in the void.These sounds carry the air with them, and they drift, never reaching destination unless followed by the more iconic explosions of guns. Guns reduce distances very quickly, their bullets ripping through folders, spilling contents, obliterating the need for categories..
语音和声乐可以被映射到各种音阶和地域。扩音系统中的声音是现在的一种--它们通常是无法理解的，但从权威的角度看却显得很接近--人们知道你应该如何站立、行走、下注和死亡，发出命令，希望你能执行命令。但这些声音其实很远：你从来没有被单独称呼过，你可以自己提取。竞技场的扩音机、日本政治家的扩音机、警察的扩音机：他们都在空旷的地方说话。这些声音带着空气，它们漂浮着，永远不会到达目的地，除非后面有更具标志性的枪声爆炸。枪支迅速缩短了距离，它们的子弹撕开了文件夹，溢出了内容，抹去了对类别的需求。
One more example… rivers, let’s say brooks. They can be right in your ears, but then you carve out some partials, mix some reverse molecules, may be smooth out the bottom end and they drift away like ruffles. Suddenly, open fields appear waiting to be populated. You can leave them as is, and thus exaggerate the vastness of the emptiness that lies in front of you, or you can place paths and objects, indicating points of references and angles of perspective.
还有一个例子......河流，比方说小溪。它们可能就在你的耳朵里，但随后你雕刻出一些准音，混合一些反向的元素，可能是平滑的底端，他们像荷叶边一样飘走。突然间，开放的领域出现了，等待着被填满。你可以让它们保持原样，从而夸大你面前的空旷，或者你可以放置路径和物体，指示参考点和视角的角度。
Loud sounds are usually very far, quiet sounds are very close and if they are quiet enough, you may hear the furthest of sounds and space then collapses onto itself. And here comes the urge to constantly juggle distances by shifting sounds like a card trickster in the hope that it is the listener who will move freely between imaginary anchors.
大声的声音通常很远，安静的声音通常很近，如果它们足够安静，你可能会听到最远的声音，而空间也随之坍缩到自身。在这里，有一种冲动，就是不断地玩弄距离，像耍牌一样变换声音，希望听众在想象的锚点之间自由移动。
I have not yet figured out actual measuring systems, whether I should use the metric or British imperial system. Should I adhere to the Western American landscape with folders dedicated to the horizon? Or to the European landscape with neatly parsed folders? There could be the 0.1mm sound folder, up to the ∞ one, and all folders in between. For now I only have:
我还没有弄清楚实际的测量系统，我是否应该使用公制或英制系统。我应该坚持美国西部的景观，用文件夹专用于地平线？还是坚持欧洲的格局，用整齐划一的文件夹进行解析？可以有0.1毫米的声音文件夹，一直到∞的文件夹，以及两者之间的所有文件夹。目前，我只有
• the VERY, VERY CLOSE folder • the SOMEWHAT CLOSE folder • the PRETTY CLOSE • the NOT SO FAR • FAR • SO, SO FAR • etc…
·非常，非常近的
·某种程度上近的
·非常近的
·没那么远的
·远的
·遥远的
·等等
You get it. The problem is that distances always shift: what is far today may be further tomorrow. So you just hope that you and your folders shift together, spinning somewhat in the same orbits, and if you do collide, that unknown sets of baby folders will spring out on their own. I haven’t even started thinking about folders for spaces between sounds, for spaces that lie behind sounds and which exist where no sounds exist. I probably need a new operating system.
你明白了吧。问题是，距离总是在变化：今天很远的东西明天可能更远。因此，你只是希望你和你的文件夹一起转移，在相同的轨道上有点旋转，如果你真的碰撞，未知的新文件夹会自己产生。 我甚至还没有开始考虑文件夹的声音之间的空间，为空间，位于后面的声音和存在的地方没有声音存在。我可能需要一个新的操作系统。