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In Yao’s creations, he tried to deconstruct sound by eliminating the elements of sound in traditional musical instrument, and further refined pure and accurate sound. In recent years, he realized that abstract and cold sound creates distance between the artworks and audiences’ physical experiences, as well as oppress hidden sentimental needs inside human beings, thus he started bringing warmth of humanity to abstract sound through is creation.

DzDz blurs the boundary between sound installation and live performance. Yao attempts to question his older works that were colder, more abstract and that were very particular in the aesthetics of order through his recent works. Simultaneously through the interference and interaction of audiences with light beams, he explores corresponding relation between rhythms of audiences and noise created by fluorescent light.

創作過程中，姚仲涵常嘗試將聲音解構，去除傳統樂器的聲音元素，進而提煉出純粹而精準的聲響。然而近幾年，他認為抽象冷調的聲響，常使作品與觀眾的身體感知產生距離，壓抑住人性中潛藏的感性需求，因此開始嘗試將抽象的聲響帶入人性的感知溫度。

作品《動次動次》模糊聲音裝置與現場演出的界限，對其過去作品較為冷調、抽象、講究整齊的美學提出疑問，同時也藉由觀眾對於光束的介入與互動，探討觀眾與日光燈噪音之間的節奏對應關係。

To me, "sound" is not just music, but also includes "noise"； Music could be the sound of an instrument, and noise could be defined as the sound other than music. To understand the material, I would say noise may not be annoying and music may not be graceful.

And Light is a fascinating material; it fills up a space quickly and when the light goes out, the space turns dark immediately and forms another space. And laser light can draw a perfect straight line in a space, which unlike the straight line of a piece of wood that needs loads of human care and attention.

Then comes to the “position, which I believe "positions" should be absolute and as same as coordinates. It can be a pixel to a pixel matrix dot, or a centimeter, a meter...

And then Human, of course it’s very important. If human does not exist, the three elements, "sound, light and location" would have lost the meaning of existence.

「聲響」對我來說，除了「樂音」以外也包含了「噪音」。樂音即是指樂器所發出的聲音，噪音可以定義為樂音以外的聲音。從材料的角度來解釋：噪音不一定會惱人，樂音也不一定會優美。

「光」是一個很迷人的材料，光可以很快地充滿一個空間。當光熄滅之後，光亮的空間瞬間變黑，成為另一個空間。雷射光可以瞬間在空間中呈現一條完美的直線，不像木材的直線，需要從頭到尾都被我們照顧到。

「位置」對來我說比較接近座標上的絕對位置，可能是一個像素與一個像素的矩陣網點，或是一公分、一公尺.....。

「人」就很重要了，若人不存在，上述的三個要素「聲響、光、位置」都失去了存在的意義。

Working as an educator, artist and designer during the day, Yao Chung-Han swings his body between noise and dance music during the night.

YAO obtained his M.F.A degree from Graduate School of Art and Technology, Taipei National University of the Arts. His works recall conversation and contrast between fluorescent light and sound, and furthermore trigger physical imagination of audiences. As a pioneer in Taiwan’s light and sound art, Yao Chung-Han was the recipient of First Prize in Digital Art Festival Taipei for Sound Art category. He was invited to participate in Fukuoka Asian Art Triennale, NTT ICC-Emergencies!014, STEIM - Massive Light Boner and many others events. He is currently the assistant professor at Shih Chien University.

日間工作混合教育、創作與設計，夜晚的身體擺盪噪音與舞曲之間。

姚仲涵為臺北藝術大學科技藝術研究所碩士，作品透過日光燈與聲音之間的呼應和對比，觸發觀者對自身體感的想像。作為臺灣聲光藝術先驅，姚仲涵曾獲臺北數位藝術節聲音藝術首獎，並受邀參加日本「福岡亞洲藝術三年展」、「NTT ICC-Emergencies!014」、荷蘭「STEIM - Massive Light Boner」等盛會，作品多發表於國際性展會，目前任教於實踐大學建築設計學系助理教授。