Music

廖銘和（Dino）是台灣噪音音樂領域的先驅之一，該領域於1990年代戒嚴結束後興起。他拒絕使用合成器、取樣器和其他數位工具，而是通過簡單的類比設備生成的回授創作電子音樂。Dino熱愛傳統茶道，是一位篆刻家，同時也是古琴演奏者。2022年1月，Dino因食道癌併發症在台北去世。他不僅以藝術造詣被人銘記，也因其隱居的生活方式和獨特的神秘氣質而廣受懷念。顏峻回顧了他的生命與創作。

HH是由台灣聲音藝術家姚仲涵和葉廷皓於2013年組成的聲音影像團體。這個團體在台灣實驗藝術和音樂圈中極為活躍，直到葉廷皓於2024年不幸去世。這個聲音影像團體，探索了噪音、電子舞曲和視覺影像之間交會與互動的灰色地帶。羅悅全（Jeph Lo）曾於2014年底，為《白木耳》的姊妹刊物《潛意識餐廳》第三期，撰寫了關於HH的文章。現在，您可以在白木耳的網站上閱讀到這篇文章。

HH was an audio-visual duo formed by Taiwanese sound artists Yao Chung-Han and Yeh Ting-Hao in 2013. The duo was active in the Taiwanese experimental art and music scene until Yeh’s untimely passing in 2024. HH mined the gray area where noise, electronic dance music, and visual imagery meet, and interact. Jeph Lo wrote about the HH for the third issue of White Fungus’ sister publication The Subconscious Restaurant in late 2014. You can now read the article online.

Morton Subotnick is a name synonymous with the evolution of electronic music. In 1963, he began collaborating with inventor Don Buchla in San Francisco to develop what is widely regarded as the world’s first analog synthesizer. His groundbreaking 1967 album, Silver Apples of the Moon, was the first music commissioned specifically for the LP format. In 2020, at the height of the COVID-19 pandemic, Subotnick appeared on Paul Holdengräber’s podcast, The Quarantine Tapes, to reflect on his life, work, and how he was navigating the challenges of the time. The conversation is now available to read online.

Robert Ashley is widely considered one of the great American composers of the post-Cage generation. Ashley created radical new forms of opera, incorporating electronic music and pioneering the use of opera in television. His multimedia projects expanded upon the form in surprising, often perplexing ways. Kurt Gottschalk spoke to Ashley in 2013 for a major feature in the 13th issue of White Fungus. At the time, Ashley was working on his opera Quicksand, which he completed before his passing in March 2014. The article can now be read online.

Bruce Russell writes about the history of New Zealand DIY electronic music, which he argues sprang from a strategy of “mis-competence”. That is a deliberate misuse of instruments and audio equipment to achieve a sound beyond the machinations of the music industry. Misuse, Russell says, is the defining feature of New Zealand sound work. This article was originally commissioned in 2012 by White Fungus for the first issue of its sister publication The Subconscious Restaurant.