Hey There
《花開的頻率》
給古箏、低音豎笛、中提琴
The Frequency of Flowers
for Guzheng, Bass clarinet and viola
（樂器版本世界首演）
“我們可以讓感知系統變得敏感”
– 安娜.瑪莉亞.路德里格談《花開的頻率》（聲音裝置版）
採訪：蘿拉. 昆克爾(Laura Kunkel), 2023年9月柏林藝術週
「花朵透過增加花蜜中的糖濃度來回應蜜蜂翅膀的振動生產， 所以植物沒有耳朵也聽得到聲音。」作曲家 安娜.瑪莉亞.路德里格(AnA Maria Rodriguez )被演化生物學家里拉赫.哈達尼（Lilach Hadany) 的這個觀點吸引，以花朵與傳粉的行為，對應在人類社會中，常被遺忘的交流與對話，並以此建構聲響的模組。
羅德里格斯在接受勞拉·昆克爾的訪談中，告訴我們，為什麼大自然應該作為人類同理心、共鳴和感知的典範。
您的經歷顯示自 2004 年以來，您一直是筆記型電腦的創作者，您的具體工作流程是什麼樣的？
它取決於不同的計畫。我的許多項目都與空間有關，即透過現場的電子設備在空間中放置和設定揚聲器。 你也可以稱之為音樂會裝置。 然後有一段時間我與很多即興創作者一起演出。 當我來到柏林時，遇到了小號演奏家阿塞爾·多爾納（Axel Dörner），對和他的合作感到非常雀躍，而在這次合作中，我進一步開發了我的現場電聲創作，並且在音色和聲音合成方面，下了很多功夫。
關鍵字：即興。即興表演與既定的樂譜的結合，在你的作品中扮演什麼樣的角色？
我大多數的製作一開始並沒有具體的概念，只是一個大致的想法。 只有這樣，我才能制定步驟和策略，來實現這個想法。這可以有不同的形式： 有時樂譜有演奏家必續嚴格遵循的部分組成，有些部分則更加自由。有時我只想控制某些參數，例如頻率或音色，然後我將其他參數自由的保留，讓演奏者接手發揮。 例如，在柏林 Radialsystem 首映的作品《Silver》中，我只著力在頻率和節奏的組成上。
在你的裝置作品《自然即形式》和《緩慢儀式的頻率》之後，《花開的頻率》現在也在Fahrbereitschaft（註）演出，更準確地說，是在 51 號車庫--柏林新音樂室內樂團 的排練場地，是什麼原因，讓這個地點之於你的作品如此獨特？
我對於和視覺藝術的連結，非常感興趣，該空間擁有傳統音樂廳無法提供的有趣的可能性，且這裡更強調實驗性。當我在九十年代從科隆來到柏林時，這裡有很大的轉變。基於市場條件，一個空間往往無法持久，總是在改變，這種永恆的轉變，也正是柏林讓我非常著迷的原因。Fahrbereitschaft 這個空間是對這個時代的提醒，它提供相當大的創作自由。
擁有如此非典型建築結構的展覽空間，為您提供了更多的空間創造力。
是的，我覺得這非常刺激。 《自然即形式》就是這樣的觀點之一，在那裡我發展了幾個面向。 當時我有機會在墨西哥的當代藝術中心Casa del Lago演出這個製作，那裡有一個很棒的公園，我們在那裡露天展示了許多個鑼。 所以我喜歡根據不同的環境，調整展演的形式。
你經常在作品中加入鑼，這次在《花開的頻率》也有。一方面，它們可以創造出非常強大和持久的效果，但另一方面，它們聽起來也非常溫柔和冥想， 鑼的聲響在你的作品中代表著什麼意義？
那是一種讓我體感被收服的經驗。它是揚聲器、樂器和實體物件之間的媒介，它對我的感知打產生很大的衝擊。 在最近的作品裝置中，我使用鑼作為音源，這與我過往在電聲和揚聲器方面的經驗，有很大的不同，與我之前的方法相比，它現在更多是細微的、局部的聲音。
大自然的聲音已經在你的腦海中縈繞了一段時間。 《花開的頻率》與您之前的作品有何不同？
透過這個項目，我對生物與其環境（在本曲中為植物和花卉）之間的交流感興趣。 昆蟲形成有趣的群落，它們集體工作且非常聰明。 這創造了複雜的交互關係，並因此產生許多觀點。
該作品的一部分是對這一概念的隱喻解釋。 一系列的鑼將扮演花朵和蜜蜂的角色， 還有氣氛的因素。 例如，風本身在通訊中發揮著重要作用， 產生的效果不僅會影響植物和蜜蜂，也會影響（環境）聲響效果。 環境中的聲音與移動就像揚聲器的移動。 這部影片作品在另一個層面上，展示了這個溝通的過程。
註：Fahrbereitschaft
曾為柏林市公共交通工具如電車、巴士、地鐵等的調度與修護站。2013年起成為藝術基地，包括展演空間、排練空間，以及藝術家進駐。
We can sensibilise our perceptual system
AnA Maria Rodriguez on "The Frequency of Flowers “(installation version)
Presented in Berlin September in the frame of the berlin Art Week
Interview by Laura Kunkel
Flowers respond to the wing vibration of bees by increasing sugar concentration in nectar production. So plants hear without ears. Fascinated by this insight of evolutionary biologist Lilach Hadany, AnA Maria Rodriguez takes the acoustic relationship between pollinators and flowers as a model for intact communication, which has often been lost in our society. In conversation with Laura Kunkel, Rodriguez tells us why nature should be a model in terms of empathy, resonance and perception.
Your biography shows that you have been working as a laptop player since 2004.
What does your exact work process look like?
It varies and depends on the project. Many of my projects have to do with spatialisation, i.e. with the placement and modification of loudspeakers in space through live electronics. You could also speak of concert installations. Then there was a time when I played a lot with improvisers. When I came to Berlin, I met the trumpeter Axel Dörner and was very enthusiastic about him. During this collaboration I further developed my live electronics and worked a lot with timbre and sound synthesis.
Keyword improvisation: What role does the combination of improvisations and formulated scores play in your work?
Most of my projects come about without a concrete concept, just a vague idea. Only then I develop a strategy to realise this idea. This can take different forms. Sometimes the scores consist of fixed parts that the players have to follow exactly, and some parts are more open. Sometimes there are pieces where I only want to control certain parameters, like frequencies or timbre. Then I leave other parameters free to be taken over by the instrumentalists. For example, in the piece "Silver", premiered at the Radialsystem in Berlin, I was only interested in the composition of frequencies and tempo.
After your installations "In nature alone are forms" and "Slow meditation in frequencies", "The Frequency of Flowers" is now also taking place in the premises of Fahrbereitschaft, more precisely in Garage 51, the rehearsal residence of KNM Berlin.
What makes this location so unique for your projects?
I am very interested in the connection with the visual arts. The space offers interesting possibilities that a traditional concert hall doesn't offer. The experimental aspect is emphasised more here. When I came to Berlin from Cologne in the nineties, there was this movement here that brought a lot of change. Because of the market, spaces often didn't last very long and were always subject to transformation. This kind of perpetual transition fascinated me a lot about Berlin. The Fahrbereitschaft spaces are reminders of this time and offer a certain freedom of creation.
So unusual architectural structures of exhibition spaces allow you more room for creativity.
Yes, I find that very stimulating. The project "In nature alone are forms" was one such point where I developed several facets. At that time I had the opportunity to present the project at Casa del Lago in Mexico. There is a wonderful park there where we presented the installation in the open air with several gongs. So I like to adapt the forms of presentation to the respective environment.
You often include gongs in your work, also this time in "The Frequency of Flowers". On the one hand, they can create a very powerful and insistent effect, but on the other hand, they can also sound very gentle and meditative. What is the significance of the sound body in your works?
It is an experience that physically overwhelms me. The gong is a medium at the interface between loudspeaker, instrument and physical entity. It hits me very much in my perception. I use the gongs in the current installation as an acoustic source, which is very different from my experience with electronics and loudspeakers. In contrast to my previous approach, it is now more about small, local sound.
The sound of nature has been on your mind for a while. How does "The Frequency of “Flowers" differ from your previous projects?
With this project I am interested in the kind of communication between living beings and their environment, in this case plants and flowers. Insects form interesting communities that work collectively and very intelligently. This creates complex interrelationships that offer many perspectives. Part of the installation is a metaphorical interpretation of this concept.
A series of gongs will play the role of flowers and bees. There is also the factor of atmosphere. Wind, for example, plays an important role in the communication itself. The effect created has an influence on the plants and bees, but also on the acoustics. The sound and the movement within the environment are like a loudspeaker movement. The video works visualise on an additional level the communication process.
