大田高充Takamitsu Ohta
I don’t have any fixed rules when it comes to what I wear for field recording.
我在進行實地錄音時，並沒有固定穿著的規則。
If anything, I try to dress in a way that doesn’t draw attention in the place where I’m recording — so as not to be mistaken for someone suspicious.
如果說有什麼原則的話，那就是盡量穿得不引人注目—— 以免在錄音的地方被誤認為是可疑人物。
(someone listening intently to sound often appears to be staring into space, and such a vacant gaze can seem quite unsettling.)
（專注地傾聽聲音的人，看起來常像是在發呆， 而那樣的凝視有時會讓人感到不安。）
The sounds made by the clothes I wear during recording become signs of the observer’s presence.
錄音時衣服所發出的聲音，成了觀察者存在的痕跡。
They are traces that reveal how I was relating to what I was listening to.
這些聲響揭示了我與所聆聽對象之間的關係。
(like picking out a barely audible humming or the action noise of piano keys in a recording, I enjoy discovering the subtle presence of the person behind the recording.)
（就像在錄音中發現幾乎聽不見的哼聲或鋼琴鍵的動作聲， 我喜歡在聲音裡察覺錄音者微妙的存在。）
When facing a recording subject, I adjust my behavior — Do I stiffen my body, or quietly leave, in order to become transparent?
當面對錄音對象時，我會調整自己的行為—— 是讓身體僵住，悄悄離開，以變得透明？
Or do I allow the rustling of fabric and the sound of my footsteps to enter the scene, taking part in the soundscape as a kind of participant observer?
還是讓衣物的摩擦聲與腳步聲進入場景， 作為某種「參與式觀察者」成為聲景的一部分？
Each time, I tune myself to the landscape and decide how to behave accordingly.
每一次，我都會根據景觀調整自身，決定應該如何行動。
In a sense, the landscape chooses my clothing.
某種意義上，是景觀選擇了我的服裝。
That clothing then guides my movement, and my movements shape the way I record.
而服裝又引導了我的動作，而動作形塑了我錄音的方式。
Field recording—and what I wear to do it—offers a way of understanding how I want to relate to the world I’m listening to.
實地錄音——以及我為此穿著的衣服——提供了一種方式， 讓我理解自己想要如何與所傾聽的世界建立關係。