Arnont Nongyao

台 76 線不僅是物理路徑，更是動態力場：車流帶動的風壓、建築結構的震動，以及鄰近社群的微細律動，在此交織。《風動之景，吟唱著》透過聲音探索基礎設施、環境與人類存在間的對位關係。

在這個風車系統中，風是傳播的媒介，攜帶並重新分配來自地景的振動——過往車輛、起伏地形與在地生活的氣息，皆被納入氣流，在那裡匯聚、揉雜並啟動。風成為節奏的載體，宛若是一首記錄路線周邊生命活動的「交響樂」。當風穿透每一座風車，累積的能量被轉化為聽覺。

裝置並不獨立產聲，而是揭示環境中本就持續進行的構圖。回收材料的使用，進一步將本計畫錨定於現地脈絡，讓建築工地的殘餘與地景共鳴。聲音在此成為一種轉換的形式，是物質、運動與大氣匯流。

同樣重要的是參與者的角色。本計畫將在地學生與居民從被動觀察者，重新定位為「共同創者」。透過構築、聆聽與安裝，參與者直接參與了形塑環境的過程。《風動之景，吟唱著》不僅是一件裝置，更是一場集體的工地傾聽行為——環境、物質與社群在此匯聚成一段不斷演進的聲響。

藝術家溫柔提醒您：請勿觸摸作品，歡迎坐在中間、靜心、閉眼片刻來聆聽。

Singing of the Windyscape explores the relationship between infrastructure, environment, and human presence through sound. Route 76 is approached not only as a physical pathway, but as a dynamic field of forces: wind currents disrupted by passing vehicles, vibrations generated by

construction, and the subtle rhythms of nearby communities.

Within this system, wind acts as a medium of transmission. It carries and redistributes vibrations from the landscape—passing vehicles, shifting terrain, and the presence of local life. These forces move through the site, entering the flow of air, where they are gathered, blended, and set into motion. Wind becomes a carrier of rhythms: a moving archive of lived activity beneath and around the route. As wind passes through each windmill, these accumulated vibrations are translated into sound.The rotation of the structures becomes a point of convergence, where multiple forces are condensed and re-expressed. What emerges is not a single voice, but a layered composition—a symphony of the site itself. In this way, the installation does not generate sound independently, but reveals the ongoing composition already present in the environment. Wind carries these conditions forward, transforming them into audible form.

The use of salvaged materials further grounds the project within its context. Elements of the construction site are reactivated, allowing the landscape to resonate through its own remnants. Sound becomes a form of transformation—where material, movement, and atmosphere converge. Equally important is the role of participation. The project repositions local students and residents as co-creators rather than passive observers. Through building, listening, and installing, participants engage directly with the processes that shape their environment. Singing of the Windyscape thus becomes not only an installation, but a collective act of listening where environment, material, and community come together as one evolving voice.

A warm reminder from the artist：Please do not touch the artwork. You are warmly invited to take a seat in the center, settle your mind, close your eyes for a moment, and listen.