Depictions of all kinds of perceptual experience in everyday life are often accomplished through language (words). Among all senses, visual perception is one that comes through intuitively and aggressively. Recipients of visual stimuli often react visually. Exposed to the same atmosphere or spatial context, hearing and other senses are more likely to be weakened or ignored. For instance, a person sitting in a coffee shop seldom notices what music is played inside. When sound is used as an art medium, it is always given a supporting role, which ironically has given it the edge of being at the forefront of interdisciplinary art.During times where audio equipment was unavailable, how was sound “recorded”? In the earliest days, it was embedded in words, which depicted sounds as they were. In art creation, different fields have employed various methods to interpret hearing. From this, it is known that sound has long existed inside artists, who digested and reproduced sound. The main concept of Descriptions of Hearing is to go beyond pure imitation or reproduction of hearing. The artist needs to reconsider his auditory perception, expand his scope of perception through words, imagery and behavior, and engage in the creation of a “pure” sound art. Descriptions of Hearing is not a reproduction of sound or simply another installation using sound as a medium, but a direct reference to sound itself (sound and time are closely correlated). What I emphasize is how artists raise that moment of auditory perception in their audience.
關於現實生活中各種感官經驗的摹仿經常透過語言和文字觸發聯覺，但在感官的聯覺之中視覺為直覺地、強烈地被接收，或是接收者經常以視覺思維作為出發點，然而在一個氛圍空間裡，聲音和其他感官相較之下容易被弱化或忽略，例如人們在一間咖啡廳時，往往不在意咖啡廳裡播放著什麼音樂；當聲音作為藝術創作之素材，總是處於非主角的位置，反而成為跨領域之始祖。 在沒有收音設備的時代裡，聲音如何被記錄下來，早期它曾出現於文字之中，亦及是以文字創作的方式對用諸多形式詮釋聽覺，由此可見，聲音早已存在創作者的內部，經過消化而產出。《聽覺摹寫》(Descriptions of Hearing ）概念主軸為超越聽覺的模仿或再現，創作者必須重新關心他的聽覺感官，透過文字、影像、行為擴張聽覺的感知，進行一項純粹聲音藝術創作。《聽覺摹寫》非再現聲音，亦非僅以聲音為創作媒材，而直指聲音本身（聲音與時間性息息相關），我關注的是創作者如何喚起觀眾那一片刻的聽覺感知。