《似不像：靖傑 樂器創作展》
傳說，天神創造了許多動物，祂把剩下的材料拼裝成一隻四不像，也就是馬來貘。日本人將其稱為 baku（バク），並相信牠能夠把噩夢吃掉。
🗓 2026/3/14 ~ 5/14
⏰️ 週三、四、五（12:00 ~ 19:00）
⏰️ 週六、日（12:00 ~ 18:00）
📍 堯平，三店（臺南）@yaopingbrownie
■ 靖傑 CJ Artecent
樂器設計師、Before Watt 的負責人。他近年的創作與研究著重於「擬仿」，透過聲音物件探索「像」與「不像」的邊界，其跨國背景與跨領域經驗，也讓他自稱「四不像」。
他曾擔任勞動部計畫《造噪再聲》的總導師，也曾受邀為臺博館、兩廳院、臺南市民族管弦樂團、朱宗慶打擊樂團等單位進行創作。靖傑目前為成大博士候選人，專攻現成物與音樂人類學，並從科學哲學的觀點來研究藝術創作，其成果已刊登於國際學術期刊。同時，他也在大學教授人文與藝術創作等課程。
【𝐁𝐀𝐊𝐔: 𝐈𝐧𝐬𝐭𝐫𝐮𝐦𝐞𝐧𝐭 𝐂𝐫𝐞𝐚𝐭𝐢𝐨𝐧 𝐨𝐟 𝐂𝐉 𝐀𝐫𝐭𝐞𝐜𝐞𝐧𝐭】
In a time of legend, the gods created different animals, and the leftover fragments of creation were gathered to form the "Si-Bu-Xiang" (四不像). This ancient Mandarin name for the Malayan tapir literally means "resembling nothing."
The Japanese call it Baku (バク), believing it possesses the power to eat people's nightmares. I found it easier to pronounce than "tapir," so it finally became the title of my exhibition.
🗓 2026 March 14 ~ May 14
⏰️ Wed, Thu, Fri（12:00 ~ 19:00）
⏰️ Sat, Sun（12:00 ~ 18:00）
📍 Yao Ping, 3rd Branch (Tainan)
■ 𝐂𝐉 𝐀𝐫𝐭𝐞𝐜𝐞𝐧𝐭
An instrument designer and founder of Before Watt. His recent creations and research focus on the concept of "simulacra," exploring the boundaries between "resemblance" and "dissonance" through sound objects.
He served as the Chief Mentoring Officer for the Ministry of Labour's instrument design project. He has also been commissioned to create artworks for the National Taiwan Museum, the National Theater and Concert Hall, the Tainan City Traditional Orchestra, Ju Percussion Ensemble, etc. Currently a PhD candidate who studies readymades and music anthropology, he researches artistic creation through the lens of the philosophy of science, with his findings published in international academic journals. Simultaneously, he teaches courses on humanities and artistic creation at the university level.
📽 : @lemon.hsuan
#readymades #diy
#contemporaryart
#musical_instrument_design
#homemade_musical_instrument
互動海報設計：真的可以彈奏🎸🪕🎻
《似不像：靖傑 樂器創作展》
傳說，天神創造了許多動物，祂把剩下的材料拼裝成一隻四不像，也就是馬來貘。日本人將其稱為 baku（バク），並相信牠能夠把噩夢吃掉。
🗓：2026/3/14 ～ 5/14
📍：堯平布朗尼（三店），臺南
■ 靖傑 CJ Artecent
樂器設計師、Before Watt 的負責人。他近年的創作與研究著重於「擬仿」，透過聲音物件探索「像」與「不像」的邊界，其跨國背景與跨領域經驗，也讓他自稱「四不像」。
他曾擔任勞動部計畫《造噪再聲》的總導師，也曾受邀為臺博館、兩廳院、臺南市民族管弦樂團、朱宗慶打擊樂團等單位進行創作。靖傑目前為成大博士候選人，專攻現成物與音樂人類學，並從科學哲學的觀點來研究藝術創作，其成果已刊登於國際學術期刊。同時，他也在大學教授人文與藝術創作等課程。
【𝐁𝐀𝐊𝐔: 𝐈𝐧𝐬𝐭𝐫𝐮𝐦𝐞𝐧𝐭 𝐂𝐫𝐞𝐚𝐭𝐢𝐨𝐧 𝐨𝐟 𝐂𝐉 𝐀𝐫𝐭𝐞𝐜𝐞𝐧𝐭】
In a time of legend, the gods created different animals, and the leftover fragments of creation were gathered to form the "Si-Bu-Xiang" (四不像). This ancient Mandarin name for the Malayan tapir literally means "resembling nothing."
The Japanese call it Baku (バク), believing it possesses the power to eat people's nightmares. I found it easier to pronounce than "tapir," so it finally became the title of my exhibition.
🗓：2026 March 14 ~ May 14
📍：Yao Ping Brownie (3rd branch), Tainan
■ 𝐂𝐉 𝐀𝐫𝐭𝐞𝐜𝐞𝐧𝐭
An instrument designer and founder of Before Watt. His recent creations and research focus on the concept of "simulacra," exploring the boundaries between "resemblance" and "dissonance" through sound objects.
He served as the Chief Mentoring Officer for the Ministry of Labour's instrument design project. He has also been commissioned to create artworks for the National Taiwan Museum, the National Theater and Concert Hall, the Tainan City Traditional Orchestra, Ju Percussion Ensemble, etc. Currently a PhD candidate who studies readymades and music anthropology, he researches artistic creation through the lens of the philosophy of science, with his findings published in international academic journals. Simultaneously, he teaches courses on humanities and artistic creation at the university level.
📽✂️: @lemon.hsuan
#readymades #diy
#contemporaryart
#musical_instrument_design
#homemade_musical_instrument
《似不像：靖傑 樂器創作展》
傳說，天神創造了許多動物，祂把剩下的材料拼裝成一隻四不像，也就是馬來貘。日本人將其稱為 baku（バク），並相信牠能夠把噩夢吃掉。
*由於場地空間有限，想參加開幕活動的朋友，請私訊我報名留位🫶
■ 靖傑 CJ Artecent
樂器設計師、Before Watt 的負責人。他近年的創作與研究著重於「擬仿」，透過聲音物件探索「像」與「不像」的邊界，其跨國背景與跨領域經驗，也讓他自稱「四不像」。
他曾擔任勞動部計畫《造噪再聲》的總導師，也曾受邀為臺博館、兩廳院、臺南市民族管弦樂團、朱宗慶打擊樂團等單位進行創作。靖傑目前為成大博士候選人，專攻現成物與音樂人類學，並從科學哲學的觀點來研究藝術創作，其成果已刊登於國際學術期刊。同時，他也在大學教授人文與藝術創作等課程。
【𝐁𝐀𝐊𝐔: 𝐈𝐧𝐬𝐭𝐫𝐮𝐦𝐞𝐧𝐭 𝐂𝐫𝐞𝐚𝐭𝐢𝐨𝐧 𝐨𝐟 𝐂𝐉 𝐀𝐫𝐭𝐞𝐜𝐞𝐧𝐭】
In a time of legend, the gods created different animals, and the leftover fragments of creation were gathered to form the "Si-Bu-Xiang" (四不像). This ancient Mandarin name for the Malayan tapir literally means "resembling nothing."
The Japanese call it Baku (バク), believing it possesses the power to eat people's nightmares. I found it easier to pronounce than "tapir," so it finally became the title of my exhibition.
＊RSVP via private message is required due to venue capacity limits🍻
■ 𝐂𝐉 𝐀𝐫𝐭𝐞𝐜𝐞𝐧𝐭
An instrument designer and founder of Before Watt. His recent creations and research focus on the concept of "simulacra," exploring the boundaries between "resemblance" and "dissonance" through sound objects.
He served as the Chief Mentoring Officer for the Ministry of Labour's instrument design project. He has also been commissioned to create artworks for the National Taiwan Museum, the National Theater and Concert Hall, the Tainan City Traditional Orchestra, Ju Percussion Ensemble, etc. Currently a PhD candidate who studies readymades and music anthropology, he researches artistic creation through the lens of the philosophy of science, with his findings published in international academic journals. Simultaneously, he teaches courses on humanities and artistic creation at the university level.
📽 : @hckai_2026
📷 : @krishaamer
#自製樂器 #實驗音樂 #當代藝術
#musical_instrument_design
#homemade_musical_instrument
《似不像：靖傑 樂器創作展》
傳說，天神創造了許多動物，祂把剩下的材料拼裝成一隻四不像，也就是馬來貘。日本人將其稱為 baku（バク），並相信牠能夠把噩夢吃掉。
*由於場地空間有限，想參加開幕活動的朋友，請私訊我報名留位🫶
■ 靖傑 CJ Artecent
樂器設計師、Before Watt 的負責人。他近年的創作與研究著重於「擬仿」，透過聲音物件探索「像」與「不像」的邊界，其跨國背景與跨領域經驗，也讓他自稱「四不像」。
他曾擔任勞動部計畫《造噪再聲》的總導師，也曾受邀為臺博館、兩廳院、臺南市民族管弦樂團、朱宗慶打擊樂團等單位進行創作。靖傑目前為成大博士候選人，專攻現成物與音樂人類學，並從科學哲學的觀點來研究藝術創作，其成果已刊登於國際學術期刊。同時，他也在大學教授人文與藝術創作等課程。
【𝐁𝐀𝐊𝐔: 𝐈𝐧𝐬𝐭𝐫𝐮𝐦𝐞𝐧𝐭 𝐂𝐫𝐞𝐚𝐭𝐢𝐨𝐧 𝐨𝐟 𝐂𝐉 𝐀𝐫𝐭𝐞𝐜𝐞𝐧𝐭】
In a time of legend, the gods created different animals, and the leftover fragments of creation were gathered to form the "Si-Bu-Xiang" (四不像). This ancient Mandarin name for the Malayan tapir literally means "resembling nothing."
The Japanese call it Baku (バク), believing it possesses the power to eat people's nightmares. I found it easier to pronounce than "tapir," so it finally became the title of my exhibition.
＊RSVP via private message is required due to venue capacity limits🍻
■ 𝐂𝐉 𝐀𝐫𝐭𝐞𝐜𝐞𝐧𝐭
An instrument designer and founder of Before Watt. His recent creations and research focus on the concept of "simulacra," exploring the boundaries between "resemblance" and "dissonance" through sound objects.
He served as the Chief Mentoring Officer for the Ministry of Labour's instrument design project. He has also been commissioned to create artworks for the National Taiwan Museum, the National Theater and Concert Hall, the Tainan City Traditional Orchestra, Ju Percussion Ensemble, etc. Currently a PhD candidate who studies readymades and music anthropology, he researches artistic creation through the lens of the philosophy of science, with his findings published in international academic journals. Simultaneously, he teaches courses on humanities and artistic creation at the university level.
📷 : @wutsongtai
#readymades #diy
#contemporaryart
#musical_instrument_design
#homemade_musical_instrument
《似不像：靖傑 樂器創作展》
傳說，天神創造了許多動物，祂把剩下的材料拼裝成一隻四不像，也就是馬來貘。日本人將其稱為 baku（バク），並相信牠能夠把噩夢吃掉。
■ 靖傑 CJ Artecent
樂器設計師、Before Watt 的負責人。他近年的創作與研究著重於「擬仿」，透過聲音物件探索「像」與「不像」的邊界，其跨國背景與跨領域經驗，也讓他自稱「四不像」。
他曾擔任勞動部計畫《造噪再聲》的總導師，也曾受邀為臺博館、兩廳院、臺南市民族管弦樂團、朱宗慶打擊樂團等單位進行創作。靖傑目前為成大博士候選人，專攻現成物與音樂人類學，並從科學哲學的觀點來研究藝術創作，其成果已刊登於國際學術期刊。同時，他也在大學教授人文與藝術創作等課程。
【𝐁𝐀𝐊𝐔: 𝐈𝐧𝐬𝐭𝐫𝐮𝐦𝐞𝐧𝐭 𝐂𝐫𝐞𝐚𝐭𝐢𝐨𝐧 𝐨𝐟 𝐂𝐉 𝐀𝐫𝐭𝐞𝐜𝐞𝐧𝐭】
In a time of legend, the gods created different animals, and the leftover fragments of creation were gathered to form the "Si-Bu-Xiang" (四不像). This ancient Mandarin name for the Malayan tapir literally means "resembling nothing."
The Japanese call it Baku (バク), believing it possesses the power to eat people's nightmares. I found it easier to pronounce than "tapir," so it finally became the title of my exhibition.
■ 𝐂𝐉 𝐀𝐫𝐭𝐞𝐜𝐞𝐧𝐭
An instrument designer and founder of Before Watt. His recent creations and research focus on the concept of "simulacra," exploring the boundaries between "resemblance" and "dissonance" through sound objects.
He served as the Chief Mentoring Officer for the Ministry of Labour's instrument design project. He has also been commissioned to create artworks for the National Taiwan Museum, the National Theater and Concert Hall, the Tainan City Traditional Orchestra, Ju Percussion Ensemble, etc. Currently a PhD candidate who studies readymades and music anthropology, he researches artistic creation through the lens of the philosophy of science, with his findings published in international academic journals. Simultaneously, he teaches courses on humanities and artistic creation at the university level.
📷 : @wutsongtai
#readymades #diy
#contemporaryart
#musical_instrument_design
#homemade_musical_instrument
Readymades Series: Dr. Flute (Full Set)
Created by CJ Artecent in 2026
This is our latest STEAM educational kit! It’s designed for children to explore the world of music and the physics of sound through the most common, everyday objects they know!
#diy #soundart #steameducation
#homemade_musical_instrument
#musical_instrument_design
Readymades Series: Dr. Flute (var. 2)
Created by CJ Artecent in 2026
The creation of this work aligns perfectly with my research on readymades and Actor-Network Theory (ANT)✨️
Recently, I was invited to conduct a workshop to teach children how to craft DIY instruments and introduce them to the physics of music, all under the constraint of an extremely low budget.
Balancing profit margins, time pressure, educational depth, technical difficulty, and aesthetic quality was a complex puzzle. I searched extensively for suitable components until I discovered the syringe; it fit the specifications of my existing material kits perfectly!
This creation stands as a compelling case study, perfectly demonstrating the agency of readymade objects. By "collaborating" with the material in this way, the process yielded results that were both unexpected and rewarding.
#diy #soundart #steameducation
#homemade_musical_instrument
#musical_instrument_design
Readymades Series: Dr. Flute (var. 1)
Created by CJ Artecent in 2026
The creation of this work aligns perfectly with my research on readymades and Actor-Network Theory (ANT)✨️
Recently, I was invited to conduct a workshop to teach children how to craft DIY instruments and introduce them to the physics of music, all under the constraint of an extremely low budget.
Balancing profit margins, time pressure, educational depth, technical difficulty, and aesthetic quality was a complex puzzle. I searched extensively for suitable components until I discovered the syringe; it fit the specifications of my existing material kits perfectly!
This creation stands as a compelling case study, perfectly demonstrating the agency of readymade objects. By "collaborating" with the material in this way, the process yielded results that were both unexpected and rewarding.
#diy #soundart #steameducation
#homemade_musical_instrument
#musical_instrument_design
Readymades Series: untitled (Pending)
Created by CJ Artecent in 2025
May we, like the Earth’s revolution, always find our way back to where we began, and stay true to our original intentions.
2026, marks my 13th year of instrument making. It all began with my first readymade instrument, a recorder fitted with a sax mouthpiece. That set me on this path, that has unfolded through many unexpected turns.
In the early stages, I worked as an R&D engineer in a big factory. I witnessed firsthand the environmental impacts, labour rights issues, and the standardised aesthetics driven by industrialism. Seeking a different view, I pursued a Master’s degree in Ethnomusicology. This allowed me to examine the instrument industry through the critical lenses of anthropology and sociology.
I founded Before Watt to promote DIY instrument culture through education. This initiative led to my role as Chief Mentoring Officer for a Ministry of Labour project, sparking a series of ongoing collaborations with various public sectors. Eventually, through my experiences in public art, I returned to the core of sound. Currently, in my doctoral studies, I specialise in Sound (Installation) Art, integrating my background in STS.
The university courses I teach span beyond instrument design and sound art, they include humanities, ritual music, and cross-linguistic discourse (my PhD dissertation utilises etymology as a primary methodology). While these subjects may seem unrelated to instrument making, they are the very elements that shape the spirit of my work.
Though the road has been full of diversions, everything has fallen into place perfectly. I started with a simple readymade instrument, after 13 years of exploring these different paths, I have returned to the realm of readymades, but with an entirely transformed perspective.
The piece in this photograph is the final work I completed in 2025, and the first creation to emerge after a long period of philosophical research. It resembles no existing instrument, yet shares certain affinities with many.It remains unnamed because, as I argue in my research, it is simply itself, it is its own pure simulacrum.
