艺术家：李昶
与声音艺术家James Wilkie合作
项目统筹和观念：李昶
摄影和剪辑：李昶
音乐视频编程：James wilkie
长笛：Rossana Ter-Berg
大提琴：Francesca Ter-Berg
打击乐演奏：王贝贝
项目助理：柳青青，Jules Gulon
《林之曲》试图弥合当代科技和自然主义之间的格格不入并且探讨二者之间结合的新可能。运用电脑数据运算本身冷峻的客观性去化解技术本身和自然的两元对立，从而重新建立一种东方主义齐物观。通过电脑对导入数据的分析，植物在风中的运动轨迹被读取，并且输出成为音乐乐谱。其中艺术家将法国作曲家奥利维尔·梅西安（Olivier Messiaen）通过分析鸟鸣并结合印度音乐创造的有限移调调氏编入程序成为乐章的运算法则（章节五和七）。电脑通过读取不同植物在风中的摇曳，谱写出音符。运动越激烈计算机中的影像中就会浮现越多白点，同时“释放”出更多乐谱。尔后每一种植物都因其形态各异被赋予不同乐器，由真人音乐家演奏出来并灌入最后的合声。《林之曲》不仅作为视听装置同时也以现场演奏在多地演出。
Artist：Lisa Chang Lee
In collaboration with sound artist James Wilkie
Project Director: Lisa Chang Lee
Concept, filming & video editing: Lisa Chang Lee
Audio & Video Programming: James Wilkie
Flutist: Rossana Ter-Berg
Cellist: Francesca Ter-Berg
Multi-Percussionist: Beibei Wang (live performance)
Project Assistants: Liu Qingqing, Jules Gulon
“Serenade of the Woods" explores and deduce the boundaries and possibilities between contemporary technology and naturalism, and uses the objectivity of computer algorithms to dissolve the binary opposition between technology and nature, so to restore a kind of oriental uniformity (QI WU theory, Chuangtsu). Through the analysis of computer data, the rhythm of plants in the breeze is read, and “resonated” into musical scores. By applying French composer Olivier Messiaen’s system called Modes of limited transposition, which was inspired by the oriental music and natural birds song, the video clips are digitized then analysed by computer algorithms. Algorithms process the movement of the plants swaying in the breeze - the stronger and more frequent the movement, the more the algorithm unlocks notes of a secret melody for the plant to play. Each plant is given a musical instrument that corresponds to the synesthetic form of sound referred to the relationship between visual forms and sounds explained by Wassily Kandinsky in "Point and Line to Plane" as scientific experiments. “Serenade of the Woods" reverses this audiovisual synesthesia to create a symphony of various instruments. The musical scripts written by nature are then played by human performers as live performance as well as audiovisual installation.