2017年9月中旬，以荷蘭阿姆斯特丹為基地，由泛中亞背景演奏家組成的「輿圖樂團」（Atlas Ensemble）以及指揮家Artyom Kim訪台，與臺灣一群訓練背景各自不同的演奏家合作，展開為期一週的輿圖工作坊，規劃在期間催生一首「集體創作」（collective composing）的音樂作品，於《新點子樂展》的年度音樂會演出。在語言、音樂訓練、及文化背景各自相異的情況下，Kim與音樂家在練習過程中並非直接訴諸常見的樂譜寫作，而是透過異於歐洲古典音樂系統語彙的抽象概念、肢體動作、與視覺圖像來媒介彼此，從中逐步發展出一個彼此認同的聲音「草圖」（sketch）結構，但不定稿的音樂作品。本文透過練習過程的田野調查以及訪談，觀察紀錄了這個集體創作意義發生的互動過程。本文認為，藉由語言的抽象使用、身體動作、圖像，輿圖工作坊（Atlas Lab）建立了供集體意義之聲音創造過程發生的不同「媒介」（mediations），演奏家們在其間藉著跳脫熟悉的音樂語彙，共構彼此相互理解的溝通基礎；本文主張這個初步合作（collaborative）關係、期間使用的諸多媒介工具以及觸發的媒介∕再媒介過程，以及所產生的「草圖」為這個音樂實踐的主要意義，而非演出時的聲響訊息。一方面基於這個仰賴跨感官媒介的溝通模式，延伸至聲音素材的想像、展示、發展與交換，來體現音樂活動後端的思維過程，另一方面透過最初高度異質的合作關係逐漸趨近作品最終追求的集體意涵，促成集體意義的音聲產製。藉由分析交織在創作過程的各種草圖化的媒介，本文從關係建構的角度來理解刻意與歐洲傳統記譜媒介及產製方式保持距離的狀態下，輿圖工作坊如何實踐一種音聲現象（音樂）的集體創作。

In mid-September 2017, five Central Asian instrumentalists of the Atlas Ensemble based in the Netherlands traveled to Taipei to work with eight Taiwanese musicians for a concert that also features a collective creation, a piece of music combining musical instruments of European and Asian origins, within one week of intensive workshop and rehearsals. This paper is based on fieldworks on this collaborative process through the “Taipei Atlas Lab” led by the Korean-Uzbek conductor Artyom Kim with the two groups of musicians from diverse musical backgrounds: The Taiwanese musicians receive their early education in Taiwan but most of them then studied in either Europe or the United States; musicians from the Atlas Ensemble come originally from traditional music backgrounds in Central Asia and Turkey without being trained to read Western notations. By observing the working process of this joint creation and its mediations through body, instruments, visual representations and abstract concepts, this paper argues that it is the sketches produced during the rehearsal process that mediates the whole process and becomes the meaning holder in this collective creation. Through establishing a network of mediation by including different media in the process of rehearsals, musicians in “Taipei Atlas Lab” collaboratively establish their communication. This paper discusses how graphic and schematic representations and metaphors were used to make possible during non-verbal communications and how this process eventually transforms into a sonic event that was conventionally called music.