Franki Wals
This is an interesting question—one I’ve never really given much thought to. Aside from a teenage phase when my wardrobe was full of Metal band t-shirts, and a brief period in my early twenties when, for some reason, I decided I wanted to dress like Jean-Pierre Léaud in La Maman et la Putain, I’ve never paid much attention to what I wear.
這是一個有趣的問題——我從沒真正認真思考過。除了青少年時期衣櫃裡滿是金屬樂團 T 恤，還有二十出頭那段不知為何想打扮成《媽媽與娼婦》中 Jean-Pierre Léaud 的時期之外，我從來不太在意自己穿什麼。
Most of my field recordings are done while walking through the countryside, so I usually wear the loosest, most comfortable seasonal clothes I own, along with a trusty pair of boots.
我大多在鄉野間行走時進行田野錄音，所以通常會穿上當季最寬鬆舒適的衣服，配上一雙可靠的靴子。
One essential item I always carry is a small backpack, where I keep my recorder, a couple of small omni microphones, and a camera.
我一定會帶的一樣東西是小背包，裡面裝著錄音機、幾支小型全指向麥克風，以及一台相機。
I see recording as an extension of my physical presence and activity in a given location—an embodied way of engaging with the environment—so mobility and minimal interference, whether from gear or clothing, are important.
我認為錄音是我在特定地點中身體存在與活動的延伸——是一種具身地與環境互動的方式——所以無論是裝備還是衣物，機動性與最少干擾都很重要。
There are very few situations where I’ve been conscious of my outfit while recording, but I do recall one moment in the mountains of northwestern Turkey where what I was wearing - or rather wasn't - became a central part of the experience.
我很少在錄音時意識到自己的穿著，但我記得一次特別的經驗——那是在土耳其西北部的山區，那次穿了什麼（或更準確地說，是沒穿什麼）成了整個經驗的核心。
Although it can still be cold at that time of year, the day was surprisingly sunny and warm, the air clear and fragrant with earth and conifer needles.
那時節雖然常還帶著寒意，那天卻意外地陽光普照、暖和宜人，空氣清新，混合著泥土與針葉的香氣。
After a long hike, I reached a forest clearing where a creek flowed beneath a canopy of beech trees.
在長途健行之後，我來到一處林中空地，一條小溪流經山毛櫸樹蔭下。
I dropped my backpack, took a long drink from the fresh water, and felt so absorbed in the moment and place that I just took off my clothes and wandered around for a good while, recorder in hand, following the sounds as they unfolded around me —every inch of skin exposed to the elements, an overwhelming sensation of pure enjoyment.
我放下背包，喝了幾口清澈的溪水，整個人完全沉浸在當下與這片土地中，於是我脫去衣服，手拿錄音機，在林間徘徊良久，隨著聲音的流動四處移動——每一寸肌膚都暴露於自然之中，那是一種純粹而強烈的愉悅感。
Perhaps for the first time, I was listening not just with my ears, but with every pore of my body.
也許那是我第一次，不只是用耳朵，而是用全身的毛孔在聆聽。
— Franki Wals