/guibog = 鬼大爷。鬼大爷是法国人，70年代出生，曾经在法国做录音师，参与组织户外的电子音乐活动，和警察躲猫猫。后来他离开了这些生活来到中国定居北京，在豆瓣做程序员，和妻子还有三个孩子住在北京的胡同里。

很多年前我去鬼大爷家，发现了那些机器人。鬼大爷收集了很多废弃的电路板（它们大多来自一些电子琴、磁带机的尸体），然后再混搭上一些别的日常材料，一个个不会动的机器人栩栩如生。鬼大爷也会用这些废电路板做音乐，他给这些电路板重新通电，在焊点上短路、跳线，然后让这些电子设备的扬声器发出噼里啪啦的声音。

再后来，鬼大爷把这两个兴趣融汇在一起，而后一发不可收拾。鬼大爷做了更多的机器人，还有一些形态不明的电路板怪物。演出的时候他会把它们都带上。鬼大爷总是说，他干的事情是让这些东西“活起来”。

今年4月，孙一舟带两位韩国朋友去鬼大爷家的胡同小院，我也一起去。在那个带露台的工作室，我被房间里的声音迷住了。鬼大爷和朋友们讨论着，机器发出各种声音——有的是来自扬声器，有的是一些机械的振动/转动/跳动。那些操作机器的人们，他们真的是在演奏吗？他们更像是和这些机器人一起玩，一起生活。

于是我邀请孙一舟和鬼大爷在这个房间里做一次录音。录音是在4月26日。我做的多轨录音，但是在最后的混音和剪辑时，我只选择使用了其中非常有限的一些轨道。这些录音碎片构成了这盘磁带的A面。

然后又录了一次，构成了磁带B面。那天是5月22日，只有鬼大爷自己，录音机架在露台上。这是鬼大爷家深夜日常的一种声音样貌。

4月26日那天，法国朋友Nicolas Schmitt来拍了纪录片。这盘磁带的封面照片就是纪录片里的一帧。（朱文博）

声音：鬼大爷和孙一舟，使用鬼大爷的自制电子设备。

录音：朱文博（A面），鬼大爷（B面）

混音、母带：朱文博

设计：朱文博

Guibog is French, born in the 70s. He used to work as a sound engineer in France, and was involved in organising outdoor electronic music events, often playing cat-and-mouse with the police. Later, he left that life and moved to China, settling in Beijing. He works as a programmer at Douban, living with his wife and three children in the hutongs of Beijing.

Many years ago, I visited him at his house, where I discovered his robot collection. He had collected the circuit boards from discarded electric pianos and cassette players, pieced them together with various everyday materials, and one by one, these stationary assemblages came to life as robots. Guibog was also using circuit boards to make music. Re-powering them and short-circuiting solder points, their in-built speakers emit a stream of crackles and pops. Later these two interests merged into a passion that took on a life of its own. He created more and more robots, and also started building amorphous circuit-board monsters. When he performs, he always brings them along with him. As Guibog often says, he simply allows these things to come alive.

In April this year, Sun Yizhou brought two Korean friends to Guibog’s courtyard house in the hutongs; I came along as well. In his workshop, which on one side opens onto a terrace, I was captivated by the sounds occurring in the room. As everybody was chatting, the robots were emitting varied sounds, some from speakers, others from mechanical vibrations, rotations, and movements. Were the people operating the robots really playing them? It seemed more like humans and robots were playing together, living side by side.

After this, I asked Sun Yizhou and Guibog to do a recording in the workshop. The recording took place on 26 April. I made a multi-track recording, but during the final mixing and editing, I chose to use a very limited number of tracks. These recorded fragments make up side A of this tape. Another recording session on 22 May is the B side of the tape. This time the recording equipment was set up on the terrace, and features Guibog in the workshop by himself, capturing the soundscape of his home deep into the night.

On 26 April, Guibog’s French friend Nicolas Schmitt was also there filming a documentary. The cover photo for each cassette is a different still from the film footage. (Text by Zhu Wenbo and translated by John Wilton)

All sounds by Guibog and Sun Yizhou using Guibog’s self-made electronic instruments.

All recorded by Zhu Wenbo except Recueil 三 was recorded by Guibog.

Mixed and mastered by Zhu Wenbo.

Design by Zhu Wenbo

===============

Guibog hope to quote some text by Gilbert Simondon to explain this album:

« L’opposition dressée entre la culture et la technique, entre l’homme et la machine, est fausse et sans fondement. Elle ne recouvre qu’ignorance et ressentiment. Elle masque derrière un facile humanisme une réalité riche en efforts humains et en forces naturelles et qui constitue le monde des objets techniques, médiateurs entre la nature et l’homme.

La culture se conduit envers l’objet technique comme l’homme envers l’étranger quand il se laisse emporter par la xénophobie primitive. Le misonéisme orienté contre les machines n’est pas tant haine du nouveau que refus de la réalité étrangère. Or, cet être étranger est encore humain, et la culture complète est ce qui permet de découvrir l’étranger comme humain. De même, la machine est l’étrangère ; c’est l’étrangère en laquelle est enfermé de l’humain, méconnu, matérialisé, asservi, mais restant pourtant de l’humain.

La plus forte cause d’aliénation dans le monde contemporain réside dans cette méconnaissance de la machine, qui n’est pas une aliénation causée par la machine, mais par la non-connaissance de sa nature et de son essence, par son absence du monde des significations, et par son omission dans la table des valeurs et des concepts faisant partie de la culture. »

Gilbert Simondon,

“Du Mode d’Existence Des Objets Techniques”,

Aubier/Montaigne, Paris, 1958

English version (translated by Ninian Mellamphy):

“The opposition established between the cultural and the technical and between man and machine is wrong and has no foundation. What underlies it is mere ignorance or resentment. It uses a mask of facile humanism to blind us to a reality that is full of human striving and rich in natural forces. This reality is the world of technical objects, the mediators between man and nature.

Culture behaves towards the technical object much in the same way as a man caught up in primitive xenophobia behaves towards a stranger. This kind of misoneism directed against machines does not so much represent a hatred of the new as a refusal to come to terms with an unfamiliar reality. Now, however strange this reality may be, it is still human, and a complete culture is one that enables us to discover that this stranger is indeed human. Still, the machine is a stranger to us; it is a stranger in which what is human is locked in, unrecognized, materialized and enslaved, but human nonetheless.

The most powerful cause of alienation in the world of today is based on misunderstanding of the machine. The alienation in question is not caused by the machine but by a failure to come to an understanding of the nature and essence of the machine, by the absence of the machine from the world of meanings, and by its omission from the table of values and concepts that are an integral part of culture.”

中文版（翻译：许煜）

文化以及技术的对立，人与机器的对立不但错误而且没有根据；它只是延续了无知以及怨恨。它遮掩了简单的人类中心主义背后，一个包含了人类努力以及自然力量的丰富现实，这个现实构成了技术物的世界，它们是自然和人类的中介。

文化对技术物件的态度，便好像一种原始的仇外。它对于机器的厌新守旧以及对外来现实的拒绝有同份量的仇恨。然而，这个外来者仍是人类，完整的文化必须将其当人类看待。同理，机器是外来者；这个外来者里面包含着的是人性，就算是被轻视、物质化、奴役化，它仍然是人性。当代世界异化的最主要原因是不了解机器，异化并不是由机器引起，而是因为对于它的原理以及本质缺乏理解，以为它在世界中无关紧要，在人类的各种价值以及文化中不占任何位置。（《论技术物件的存在方式》导论）