「聆聽行走」(audiowalk)在近二十年成為受矚目的一種美學和文化實踐形式，它意指運用個人隨身行動媒體以及耳機，聆聽預先錄製的聲音內容，同時行走於特定場所或特定規劃路線。為了探討聆聽行走作品的獨特敘事特性和實踐意涵，本文以三件當代聆聽行走作品為主要分析對象，它們分別是：《連結》(Graeme Miller, 2003)、《失蹤的聲音：案例研究B》(Janet Cardiff, 1999)與《觀看的機器》(Blast theory, 2010)。這些作品皆以城市公共空間為場景，通過特定事件的佈署將參與者置入獨特行走情境之中。為了理解情境建構過程及其美學意涵，本文從國際情境主義的古典漂移概念及心理地理學地圖的再現語彙來串連此三件作品，並探討藝術家們所運用的口述敘事元素與移動策略。從這個脈絡來看，聆聽行走形成一種獨特敘事體，它壓縮了語言、聲音和媒介於私密聆聽情境，並以參與者個人為思維、空間定位和移動的中心，轉化了日常風景，展現當代聆聽行走漂移的新意涵。

This article analyzes three contemporary audio-walking artworks: Linked (Graeme Miller, 2003), ＂A Machine To See With＂ (Blast Theory, 2011) and ＂The Missing Voice: Case Study B＂(Janet Cardiff; 1999). All deploy sonic technology and verbal narratives to engage participants as they walk in specific sites. The focus is on the narratives and auditory media the artists use in construct ing participatory walks that in tum unfold the multiplicity of urban space. By 'audiowalk' is meant the mobile technologies and personal headphones used as people walk in public areas or a prescribed route guided by recorded sound and voice. The classic practice of disoriented city drift and staged events constructed by the Situationist International are particularly useful concerning the inherent relation between walking practice and the politics of space. The artworks in question demonstrate the artists' strategies in constructing mediated situations that combine vocabularies and media technology in audiowalks. In doing so, the artworks, it is argued, simultaneously engage and yet disturb participants' sense of space and time, thus creating opportunities for revealing the suppressed and hidden spaces with in a city.