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「 Interview with Ai Hasegawa EP.1」 Sun Yi-Cheng

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Chen Ting-Jung: Auf Wiedersehen, Sweetheart

3 episodes in total. (Duration: 15-20 minutes)
During World War II, swing and big band were used as propaganda broadcasting tools in both the Allies and Axis powers. I am very interested in how “popular music” becomes “sonic warfare”.
I took swing music pieces which launched in this period as reference material. Beside the joyful rhythms, I put my focus also very much on the characteristic lyrics which are filled with whispers between lovers, contentment and happiness of life and rosy dreams of the future. Based on these elements, I brought out a three scenes love play.

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Yang Cheng: Family of the Puppeteer

3 episodes in total. (Duration: 15 minutes per episode)
Family of the Puppeteer is a radio program unfolding in “Motif Notation” (a dance notation workshop). In this workshop, we found that the dancers, be they professional or amateur, have their sui generis ways of physical expression. They even know how to move their bodies by drawing on past experiences to the accompaniment of some music—just like a puppeteer who has a manual on puppet manipulation. Starting from an interpretation of a instruction/guide to the workshop, this program collects the data about the ways people in different areas use their bodies, whereby it not only produces the body-usage manuals behind the audio files in these episodes, but also pieces together the puzzles as to how a broadcasting system manipulates body movements and group behavior.

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Huang Ding-Yun, Henry Tan: Sweet Potato in the Air

4 episodes in total. (Duration: 20 minutes per episode)
Sweet Potato in the Air is a series of extended interviews from the program IsLand Bar in the 2019 Taipei Arts Festival. Each episode conducted an exclusive interview with a foreigner who has long resided in Taiwan. Treating the individual experiences of migration, dwelling, and identity as the point of departure, we invoke the metaphor of sweet potato to represent localization, discussing the localization in different aspects of our life experiences.

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Yang Zixuan, Hsiulien Chen, Huang Yuling: Noise Radio

6 episodes in total. (Duration: 25 minutes per episode) 
Be they ideas not mature enough to be termed discourses, familiar or unfamiliar friends, items on the agenda or not, issues not seen as politically correct yet, and even the social existence of all stripes that cannot be fully grasped yet, we decide to come forward for these noises, occupying the space-time and allowing them to sprawl from the cracks.

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((( UNCONTROLLED ● RADIO )))

3 episodes in total. (Duration: 15-20 minutes per episode)
This project features a fictional radio show titled “UNCONTROLLED RADIO.” Different from ordinary radio programs that tend to broadcast single, linear sound messages without ambient sound, this show attempts to introduce the sound narratives like never before. Consisting of three different “stories” set in the radio station, this show offers the audience varied experiences when listening to the sui generis sound narratives.

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Tzu-Huan Lin, Campbell Watson: How is the weather?

4 episodes in total. (Duration: 15-25 minutes per episode)
The first person to ever issue a weather forecast was Robert FitzRoy. He was also Evolution’s Captain, taking Charles Darwin around the world on the HMS Beagle. FitzRoy improved the way the weather forecast was performed through telegraph messages, observing a wide range of weather information to make more accurate weather forecasts. How is the weather? is an experimental radio program created by scientist Campbell Watson and artist Tzu-Huan Lin. Started by “How is the weather?”, each episode collects responses from interviewees, slowly expanding the scope of the conversation and finally reaching a core topic.

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Jian Ming ZHU: The Vision Between Us

1 episode in total. (Duration: 20 minutes)
Have you a vision-welled person ever imagine what the world is like to the visually impaired? This program The Vision Between Us will broadcast answers of interviews with visually impaired people and the vision-welled. We can only distinguish the oral descriptions of experience and imagination told by the both groups through the hearing sense that we only shared. The distinction between the visually impaired and the vision-welled will be blurred. Can we really tell the difference or distinguish a lack of visual experience? Perhaps, when prejudice is softly put down, what we see on what they see is just ordinary in varied ways as it should be.

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