《有譜計劃：從藝術作為方法到ALIA作為方法》（以下簡稱《有譜計劃》）將亞洲藝術院校聯盟（以下簡稱ALIA）關係網絡視為樂譜，透過製作「盒子－譜2」單元模組，實現校際共同的藝術傳遞計劃。

ALIA是成立於2012年的國際藝術學校組織，國立臺北藝術大學（以下簡稱北藝大）為現任理事主席學校。在星球為背景的視野上，ALIA作為關係網絡具有它空間與時間上的意義。

《有譜計劃》起始於2018年土耳其伊斯坦堡會員大會，北藝大以理事學校的身份發起「ALIA作為方法」的藝術計劃提案，接著於隔年首爾的ALIA理事會議，宣布全面啟動《有譜計劃》。《有譜計劃》給會員學校的指令是，在收到北藝大提供的盒子之後，以各種任意武斷（arbitrary）的方式放入物質或非物質──即「盒子－譜2」，並於2020年初傳遞回北藝大。在不犧牲個別性、不放棄對差異的開放前提下，這些移動中的「盒子－譜2」表演出區域、藝術、關聯、對話、差異、時間、連續體、共同等多重面貌。

今年5月，北藝大從收到的9個盒子中選擇蘇黎世藝術大學的「盒子－譜2」加以實現。該校的「盒子－譜2」名為《實踐1：樂譜／腳本》，是一份以深陷疫病威脅的全球處境為主題的跨域教學計劃書。北藝大將它實現為《疫病、群集、樂譜、指令、表演、無限工作坊》，內容包含三大部分：一、〈前置研究工作坊〉（講師：李尚仁、謝杰廷、王德瑜、郭昭蘭）；二、〈跨域共創工作坊：帶著口罩的人們／在哼著什麼？〉（講師：余政達）；三、〈生物藝術展演性探索〉（講師：林沛瑩、宮保睿、顧廣毅、曹存慧）。最終《疫病、群集、樂譜、指令、表演、無限工作坊》創造出蘇黎世藝術大學《實踐1：樂譜／腳本》的演繹及即興片刻，使它在時間中成為源頭，並停留在時間之中 。

《有譜計劃》展覽利用北藝大關美館橫跨四、五樓的環形雙層空間，實現《有譜計劃》階段性的空間演繹。四樓環形空間（401展間）呈現會員學校從計劃初始醞釀、「盒子－譜2」的製作與投遞、到北藝大對蘇黎世藝術大學疫病教案《實踐1：樂譜／腳本》的實現過程；五樓環形空間（501展間）則是〈帶著口罩的人們／在哼著什麼？〉跨域共創工作坊的發表。同為疫病教案實踐的工作坊內容〈生物藝術展演性探索〉與北藝大自身的「盒子－譜2」《水中音》（創作者：林奕碩）則於展覽開幕活動中現場演繹及發表。

正如亨德里克．佛克茲在春之文化基金會的《聲音想怎樣》論壇所述：譜的存在，永遠等待未來的彈奏，一如彈奏總是與作為源頭的譜既是藕斷絲連，又打破時間順序。《有譜計劃》秉持樂譜對於時間序列的彈性，期許未來任何發生在ALIA會員之間的交流，都將視為「有譜」與「演繹」之間的關係，但這裡所謂的源頭，是在時間中成為源頭，並停留在時間之中。這也說明ALIA成員對關係網絡所報持的開放性與不確定性，其真正的效果將是無窮無盡的綿延。
本計畫將以一部概念性「畫冊」的生產，實驗《有譜計劃》的記譜語言，記下這些物質與非物質事物移動中的美感──儘管它永遠無法完全被記下。

SCORE: Moving from “Art as Method” toward “ALIA as Method” project (hereinafter called the ‘SCORE’) takes Asian League of Institutes of the Arts (hereinafter called the ‘ALIA’) network as a score. With “Box as Score2” as modules, it creates an artistic transmission process between schools.

Founded in 2012, ALIA is an international art school organization with Taipei National University of the Arts (hereinafter called the ‘TNUA’) as the current chair. In the planetary context, ALIA as a network contains a spatial and temporal significance.

At the 2018 member meeting of ALIA in Istanbul, TNUA initiated the “ALIA as Method” project. In the ALIA board meeting in Seoul next year, TNUA announced the SCORE project. After receiving a box from TNUA, member schools can put in materials or non-materials in various arbitrary ways, and send the “Box as Score2” back to TNUA in early 2020. Without sacrificing individuality and difference, these boxes and the coupled with scores perform multiple characters, including region, art, connection, dialogue, difference, temporality, continuum, and common.

In May 2020, TNUA chose to enact the Box as Score2 from Zurich University of the Arts. It was a lesson plan named “Paxis 1: Score/scenario” , a reflective project to the pandemic situation . It reflected timely on global contingency, and facilitated a “Pandemic, Score, Assembly, Instruction, Performance, Infinite Workshop” in TNUA with local context and awareness. It contains three parts: “Preparatory Workshop” (instructors: Shang-Jen Li, Chieh-Ting Hsieh, Te-Yu Wang, Jau-Lan Guo), “Interdisciplinary Co-creation Workshop - What People with Face Masks Are Humming?” (instructor: Cheng-Ta Yu), and “Bioart Performance Exploration” (instructors: Pei-Ying Lin, Paul Gong, Kuang-Yi Ku, Theresa Tsun-Hui Tsao).

When responding or “enacting” scores, interpreters are also co-creators behind the scores. Rather than simply expressing, they complete these scores. Therefore, enacting is not auxiliary to scores. Scores enable and drive live performance and other objects. In this sense, Pandemic, Score, Assembly, Instruction, Performance, Infinite Workshop in TNUA creates interpretation and impromptu moment for Paxis 1: Score/scenario from Zurich University of the Arts.

SCORE exhibition uses the globe space on the fourth and fifth floor in Kuandu Museum of Fine Arts, TNUA, to perform “ALIA as Method”. Gallery 401 presents the project from the beginning, production and transportation of Box as Score2 to how TNUA performing the lesson plan from Zurich University of the Arts. Gallery 501 includes results from Interdisciplinary Co-creation Workshop - What People with Face Masks Are Humming?. Bioart Performance Exploration and “Music Underwater” by I-Shuo Lin (the Box as Score2 by TNUA), are performed and presented at the exhibition opening.

As Hendrik Folkerts said in Sound Matters talk by Spring Foundation, Scores always wait for future performance. Performance always connected to the scores, and breaking time order at the same time. Based on this flexibility on time order, SCORE project sees all engagements among ALIA members as the relationship between scores and enactment. Since Any enactment of a score irrevocably invokes the status of the score as origin, that becomes and remains in time, ALIA members stay open and inclusive to the network, and the real effects of the Score will extend endlessly.

SCORE will develop its notational language through publishing its album to notate materials, non-materials, and the beauty that moves, even though it is yet never fully captured in the notational language.

策展人：郭昭蘭
2020.07.17-08.23
國立臺北藝術大學 關渡美術館 四、五樓

SCORE: Moving from “Art as Method” toward “ALIA as Method”
2020.07.17-08.23
Curator: Jau-Lan Guo
4,5F, Kuandu Museum of Fine Arts, Taipei National University of the Arts

07/17 17:00 /// Opening 直播連結 ///
https://youtu.be/c9sy5pUPXHo