Concealed Spaces

Research Background Concealed Spaces extends my long-term investigation into how sound and image can reveal the hidden dimensions of built and natural environments. Informed by contemporary practices such as Christina Kubisch’s investigations of hidden electromagnetic infrastructures and Jana Winderen’s ecological listening, the project mobilises recording and perceptual strategies as tools of inquiry. This approach situates sonic practice within debates around perception, infrastructure, and ecological precarity, asking how subterranean and alpine architectures embody cultural memory, ideology, and human–environment relations. Research Significance By directing attention to concealed infrastructures—bunkers, dams, shelters, and industrial sites—the project contributes to broader discourses on how environments are shaped by secrecy, surveillance, and civil protection. Through immersive recording, deep listening, and photographic documentation, Concealed Spaces captures the acoustic, spatial, and material qualities of sites that often remain inaccessible or overlooked. The work highlights latent histories embedded in these architectures while interrogating their ongoing cultural, political, and ecological resonance. Research Contribution The project generates new artistic works that advance the methodological use of sound as both a mode of inquiry and expression, offering transferable approaches for artists and researchers engaging with fragile ecologies and contested infrastructures. Its significance is evidenced by support from the Creative Australia International Engagement Fund, the Verbier 3-D Foundation, and the Valais School of Art, and by its premiere commissioned by ANAT for the RECIPROCITY Festival. Together, these outcomes establish Concealed Spaces as a high-quality, internationally recognised project that strengthens Swiss–Australian cultural exchange while positioning Australian sound art within global conversations on ecology, geopolitics, and hidden architectures.

研究背景：《隐匿空间》（Concealed Spaces）延续了笔者长期以来的研究脉络，聚焦声音与图像如何揭示人工与自然环境的隐匿维度。本项目借鉴克里斯蒂娜·库比施（Christina Kubisch）对隐匿电磁基础设施的研究、亚娜·温德伦（Jana Winderen）的生态听觉实践等当代创作思路，将录音与感知策略作为核心探究工具。该研究路径将声音艺术（sound art）实践置于感知、基础设施与生态脆弱性的讨论框架之中，探究地下与高山建筑如何承载文化记忆、意识形态以及人地关系。

研究意义：本项目将关注焦点投向隐匿基础设施——涵盖掩体、水坝、避难所与工业场地，为探讨"环境如何被保密机制、监视行为与民防体系所塑造"的更广泛学术话语提供了支撑。通过沉浸式录音（immersive recording）、深度聆听（deep listening）与摄影记录，《隐匿空间》捕捉到那些常难以抵达或被忽视的场地的声学、空间与物质属性。该作品凸显了嵌入这些建筑中的隐匿历史，同时审视其持续释放的文化、政治与生态回响。

研究贡献：本项目创作了全新艺术作品，推动了声音作为探究与表达双重路径的方法论应用，为从事脆弱生态与争议性基础设施研究的艺术家与研究者提供了可迁移的研究范式。其学术与艺术价值得到了澳大利亚创意国际参与基金（Creative Australia International Engagement Fund）、韦尔比耶三维基金会（Verbier 3-D Foundation）与瓦莱州艺术学院（Valais School of Art）的资助支持，同时其首展由ANAT委托为"互惠艺术节"（RECIPROCITY Festival）呈现。上述成果共同确立了《隐匿空间》作为高质量、获国际认可的项目的地位，该项目强化了瑞士与澳大利亚之间的文化交流，同时将澳大利亚声音艺术置于全球关于生态、地缘政治与隐匿建筑的对话框架之中。