林水源傳奇 第四集｜5min｜Video｜2015
抓交替
主要講述的故事內容為在南投地區早期農村社會裡，婦女洗衣都群聚在河川旁，在山裡溪水資源十分珍貴，河川是洗衣聚集之所，也是餐桌上河蝦小魚之佳餚。這些洗衣的婦人，背上著嬰孩；而年歲夠大能行走的孩子便圍著河川邊嬉戲捉蝦。調皮的孩子會在石頭上蹦跳，這些光著腳丫的頑童被母親警告著 :不乖的孩子，好奇心的驅使而遠離眾人的視線，就會被水裡的妖怪抓去成為捉交替的水鬼。而每年都會抓不乖的調皮鬼，而這些鬼怪的故事說的確鑿，為的昰這些調皮不已的孩子，能在母親關愛視線下予以安全的看顧以免發生溺水滑倒而杜撰出的民間故事。而風水師林水源先生便在這樣的農村氣氛下配合演出，而為一個孩子們既畏懼實則保護頑皮孩童的智者。
Shui Yuan Lin Legend –IV Episode｜5min｜Video｜2015
GRASP REPLACEMENT
The story of SHUI YUAN LIN – LEGEND IV GRASP REPLACEMENT takes place in an early rural village in Nantou, where water is rare and valuable in the mountains, so women all come to the river to wash the clothes. The river is the gathering place to do laundry, while it also offers small fish and shrimps for the later meals. Babies or small kids are on their mothers’ backs, and older kids are playing at the river, running around and catching shrimps. The naughty ones are skipping from one stone to another, barefoot, ignoring mothers’ warning that “the misbehaving kids will be taken by the evil spirits in the river as a replacement.” Mothers tell them that every year the evil spirits in the river will take away the naughty kids playing at the river, and the kids taken will become the evil spirits too, waiting for the next kid to come. The made-up folklore sounds so true from these mothers, making sure that the “ghost story” will keep all the kids safe around their moms and away from any river accident. The Fengshui Master Shui Yuan Lin thus follows the rural belief to make himself a wise man who protects the kids by bringing them fear.
彈幕彈幕彈幕 – 第一集：昨天差點GG了｜3 min｜moving image｜2015
彈幕文化，透過在原本影片的敘事中，加上直觀、亂入的討論與感想，讓影片中的世界，與現實世界如平行世界疊合，看似沒有交集，確又依據同一時間軸運行著，這個平行宇宙的觀念，符合當下網路世代的影片取得管道與觀看方式，「平行」與「破壞」變成網路文化(鄉民文化)唯一的語言，這個平行破壞，也如同世界末日的到來般，產生很非常多荒謬的趣味。「昨天是世界末日」，這是一個邏輯上的謬論，末日通常代表著「結束」，而人是無法討論這個問題，除非「平行世界是存在的」。20XX年某月某日知名鄉民網站廣泛的討論此事，讓一個原本應該是結束的事情，如家常便飯的被大家討論著?如同「彈幕」與「影片」之間的關係，彈幕並不存在與原本影片的敘事中，但卻與原本影片使用同一個時間軸，彈幕的網路現象，間接證明了平行宇宙的合理性，影片若記載著某一個敘事時空，彈幕就是一種後社的文本，如同上帝般欣賞與討論著這個世界的一切，所以聽說昨天差點GG了。
彈幕是一種網路文化現象，最早源於2007年的日本影音網站NICONICO動畫，用影片聊天的概念，所建構的視頻聊天功能，其在影像上疊上聊天字幕的方式，讓影像的閱讀多了更多的誤讀，加上網路文化中的「廚」特性，彈幕也因此而生，透過對於影像畫面的破壞，讓大量文字疊在影像上，破壞其閱讀，因此只要在影片中有刺點或爆點時，彈幕就會進行畫面上的破壞(遮蓋)，如影像中男女主角接吻，或關健畫面等。
注一:「廚」是日本的文化名詞，類似台灣的酸民文化，以一個惡搞破壞的出發導向，含有某重見不得人好的概念。
Bullet Screen, Bullet Screen, Bullet Screen – Episode 1: Almost GG’ed[1] Yesterday｜3 min｜moving image｜2015
By adding subjective and random discussions and thoughts to the narrative of the original video, the bullet-screen culture overlaps the world in the video with the real world like parallel universes; the two worlds are seemingly unrelated, but they both progress on the same timeline. This concept of parallel universes is consistent with the contemporary Internet generation’s method of accessing and viewing videos online. “Parallel” and “destruction” become the only language of the Internet culture (the Folks Culture)[2]. This parallel destruction, like the arrival of Armageddon, has resulted in much extremely absurd fun. “Yesterday was Armageddon”, this is a logical absurdity. Armageddon, supposedly, denotes “The End”, and thus people have no chance of discussing this issue, unless “a parallel universe exists.” On a certain day in 20XX, users of a website discuss this issue, turning one topic that originally represents the end into an ordinary subject of discussion. Just like the relation between “bullet screen” and “video”, bullet screen does not exist in the original narrative of the video but shares the same timeline with the video. The Internet phenomenon of bullet screen, thus, indirectly proves the rationality of parallel universes. If the video carries a certain narrative time-space, bullet screen is then a kind of meta-text that watches and discusses all the things going on in that world like God, and therefore it talks about how the world nearly GG’ed yesterday.
Bullet screen is an Internet cultural phenomenon and first originated from Japanese animation portals such as NICONICO. It is an onscreen comment technology developed on the idea of viewers chatting about the video. The way the onscreen technology overlaps viewers’ comments onto the video creates more misinterpretations in the interpretation of the video’s contents; combined with the Japanese cyberculture of “Chuu”[3], the technology has thus given rise to bullet screen. Through the destruction of the video, massive texts are added onto the screen, disrupting the interpretation of the video. When there is a crisis or an exciting segment in the video, such as a kiss between two characters or an important scene, the bullet screen will then start to destroy the video (cover-up).
[1]GG: Abbreviation of “Good Game”. Usually used at the end of a round of a game, elaborated to mean game over or the end.
[2]Anonymous Internet users are generally referred to as “Village Folks” in Taiwan. Folks Culture may thus be understood as an Internet sub-culture.
[3]“Chuu” is a Japanese cultural slang similar to Taiwan’s “Haters Culture”. It refers to a certain cynical nature manifested through parody and destruction.
第拾章 精神在宇宙中漫遊的世界非常遼闊且浪漫
小黑在工廠中的一輩子 2｜10min｜film｜2015
狗頭人是個好用的藍領機器人，事實上能在這種無氧的環境下存活的我們，誰不是機器人呢?只是白領的我們，只宣稱我們是更高階的生物演化種，因此白領的我們才能在這地球艱困環境下存活，誰也不想說出實話吧?這不是能公開討論的話題。更有趣的昰，意識到自己是人造人的我們，是會被認知為程式出錯，必須被殲滅的。因此如果你有意識到自我，千萬繼續要維持跟大眾一樣的思維，來好好保護自己。
這些藍領的狗頭機器人，意識在太空中，無我的不停勞動。這可以促使他們思緒更為單純，也不會反抗。工廠監督者擁有一個遠端紅外線操控組，可以肆意關掉任何一個機器人在任何時刻，因此他們的工資將會被無預警扣損，事實上這讓管理上更加方便，也更加沒有人會反抗和有勇氣去思索哪個地方不對勁。因為這關係到他們食用汽油的配給量，聰明的狗頭人即使系統升級依舊還是遠遠落後記憶體把持的隱形系統，那是他們五百輩子都不會觸及到的知識水平容量。為了保障白領的有效掌握權，誰會蠢到釋放高端技術給這些狗頭人呢?
Chapter Ten: The World Where Spirits Wander in the Universe Is Very Extensive and Romantic
Little Black’s Whole Life in the Factory – Second Episode
Dog-headed robots are useful blue-collar robots. In fact, is not everyone a robot who can survive in this oxygen-free environment? Only us, the white-collars, claim that we are the higher species of biological evolution. As a result, we can survive even under difficult circumstances, yet who wants to tell the truth? This topic cannot be discussed publicly. It is even more interesting that us, humanoid robots, are the ones who are aware of ourselves. It can be perceived as a program error and must be annihilated. Thus, if you are aware of yourself, you have to make sure to maintain the same thinking as other robots and to take good care of yourself.
These dog-headed robots that belong to the blue-collar work non-stop while their awareness is roaming in space. This might encourage them to be more pure-minded and not to revolt. The factory’s supervisor has a remote infrared control, which he can use to turn off any robot at any time. Thus, their wages are being deducted without any warning. In fact, the management is much easier this way and no one revolts, but everyone has the courage to think about the things that are not in good condition. It is all related to the amount of gasoline they consume. Even if they were still far behind the upgrade system, the memory of smart dog-headed robots would still control the invisible system. In this case, their knowledge of five hundred lifetimes is not touched. In order to ensure effective control of the white-collars, who would be so foolish to release high-end technology to these dog-headed robots?
第捌章 問是不是真實肉身是沒禮貌的
完美製造-小甜甜｜Video Installation｜2015
如果我卸下表像面具，你將會發現我擁有一整身的電子內臟。這年頭，誰會說自己不是真實的血肉之身呢?這是羞恥的，從何時開始，我已經不確定，至少在純人類滅絕之前，已經有一個過渡的開始，有些人身上開始擁有局部的金屬和電子結構，一開始是因為戰爭受傷的士兵，為了不浪費對抗敵方戰鬥的臥底實際經驗值，因此促使國防單位積極重新塑造這些國家養成的機器戰士，能恢復成為更尖端的戰爭機器人。而當技術更加成熟後，國家醫療結構也為了支援平衡戰爭的營收，開始將技術拓展到傷殘和愛美人士，這些是要付出極高代價的，當然這些技術為人類帶來更佳的體力、智力、軀殼，漸漸的輪迴成一種人性之惡的妒忌和無限慾望，越是擁有極端財富的人，越有能力長生不老，當然那些肉身已經逐一換取為電子零件，軀殼是年輕的，誰也不知道誰幾歲了?大家都宣稱自己的超強記憶是來自於天生，每一年不老的面容，是依賴有好的保養聖品。每一個你和我都有一個不為人知的故事，而絕對還存在世上的你我，我堅信都不是來自於細胞的生成演化，而是電子零件的替換。
人造人的能力超越古老真實肉身的人類時，每個人都渴望自己能更超越他人，而每一個人都宣稱，自己是真實的血肉之軀，唯有零件修復師才知道每個人的真實。他們是地下國家中最神秘的，也擁有最大財富的隱形兵團。當肉身零件損壞時，我們只需在浮動隱形網址中，填下個人專屬的亂數資料庫，即可通報人員來收取。這些收取的人，並不知道自己在運送甚麼，因為這之間的層級至少有上百萬個結構部門，因此沒有人之大在大數據下的樹枝網路結構中，知道那一個個流動物件是甚麼。在這極端保護個人隱私的世界，所有的保密結構都牽扯到極端的財富和利益，因此沒有人會蠢到去瓜分別人的財富地盤，因為那會促使隱形兵團的介入而被殲滅。當然，握有財富的是極端的少數人造人而已。在這個年代裡，講求的昰秩序、結構和隱私，任何試圖破壞這一切的任何意志或軀體，都會被無形巧妙的殲滅，而不會有任何的新聞、緬懷和依戀。
Chapter Eight: Asking if It Is a Real Body Is Very Impolite
Perfect Cyborg – Candy Candy｜Video Installation｜2015
If I removed my mask, you would discover my whole body to be made of electronic organs. These days, who would dare to say that their own body is not real? It is a pity, but I am not sure when it started exactly, yet surely before the extinction of the human race. At that time some people already had metal parts and electronic structures in their bodies. At the beginning, it was mainly soldiers wounded during the war. In order not to waste the actual experience of fighting the enemy, national defense units reinvented military robots and transformed them into more sophisticated robots. When technology developed, even more, the national health care system also began applying technology for disabled and those who wanted to become more beautiful, thus contributing to war revenues. These procedures were very expensive, but technology allowed to get more physical strength, intelligence, and physical form. Nevertheless, it brought up jealousy and unlimited desire in humans. The richer people were, the longer they could live. Those whose body already had electronic parts also had a young physical form. Who could tell how old they were? Everyone claimed their memories to be natural; the ageless face had to be well maintained. Each of ‘you’ and I, all of us have an untold story, and there certainly is one ‘I’ of the pre-extinct you. I am convinced that all of this happened not because of the evolution of cells, but because of the electronic body parts.
When humanoids had the ability to transcend from human beings, everyone was aspired to get more than others, everyone claimed to have a real body. Only the division responsible for repairing parts knew who had real bodies. This division is the most mysterious in the underground countries and has the biggest wealth among the invisible corps. When body parts are damaged, we only need to float in an invisible website and to fill in a personalized database to ask the personnel to come to collect us. These robots who are responsible for this job do not know what they are transiting because there are at least a million of structural divisions. No one knows what that floating object is. In this world where personal privacy is under extreme protection, all structures of confidentiality involve wealth and profit. No one can divide the wealth of others’ domains, otherwise, the invisible corps might receive the intervention or even be wiped out. Only an extremely small number of humanoids are wealthy. In this era, the emphasis is on order, structure, and privacy. Any attempt to destroy this will or body might be eliminated and there will be no news, memories or regrets about it.
第壹章 那一年的歷史事件
25年前的那夜｜Video｜14min46sec｜2015
這是一份我找到一份很有趣的文獻記載，在西元1990年發生在台灣樹林地區的一個故事。由於當時拍攝製作影像的人，也利用考古的手法，找到了更久以前被封存的影像紀錄。這是拍攝者找回25年前，跟他歷經過同一個災難者的故事。他利用當時隨身的拍攝紀錄，一個畫質不慎高階的廉價掌上型拍攝器所錄製的。我想這個影像紀錄，文字已經述說的很清楚。當然拍攝者他有一些隱藏的文字說明，我想為了研究說明，我也把它們列舉在下方。人類可以跟定時炸彈好好的同時存活在同一個空間而無效抵抗，握有實權的人不畏人言和良知，這真是非常令我對人性感到驚訝的。我想我們好好當一個機器人有時也不見得是壞事，在此刻。
「事件的碎裂藉由僅存的文件補足，而其中尚且存有許多裂縫，藉由口述和各自記憶去補全所謂不可見之部分。追溯二十年前深夜的奔跑和逃離，所竟為何?直至今日從許多細碎的線索，追尋出一個片面，漸漸拓展清晰那個曾經的謎團，即使手中握有的訊息多是官方的信息，但也藉由田野和拜訪去理解部分。
人們身邊有時會歷經一些超脫的詭譎經驗，臨場的當下是激烈的猛烈侵襲。而主體失控和消失的身體性，只得全盤接受現下和所獲得的，亦或吞忍，在這弔詭的社會失序中。
我們在疆界中劃出一個看似安全的界地，放置了一個被再三保證的安全景觀，而實質事件發生後，日晨人口稠密的工業區，深夜寥寥幾人的夜班勞工，也因瓦斯罐裝車疏漏引起的遽然大火而連夜逃命。
我藉由所知的斷裂，去拼湊出所知的歷史，描畫的是當時的人們其當下及日後的身體感知和存有在心中的災後畏懼，藉此慰藉當年罹難的以及逃離中的所有人們。」
Chapter One: Historical Events of That Year
25 Years Ago the Night｜Video｜14min46sec｜2015
I discovered very interesting historical records telling a story, which happened in Taipei’s Shulin district in 1990. Owing to the person who was filming at that time and by means of archeological methods, I was able to find an archived video reflecting a 25 years old story from the perspective of a video maker who was also a victim. The story was recorded by a cheap portable filmmaking device. The narration in this visual documentation is very clear, yet video maker has also added some textual descriptions. I think I should cite them below for a better explanation of the research. What makes me very surprised about human nature is that people can live around a ticking-bomb and to be invalid to confront it. I believe that being a robot sometimes is not necessarily a bad thing.
Only the fissured fragments of the events have remained, but the oral accounts and the memories of various people can help to fill in the cracks. Retrospectively looking back at the late-night escape, which took place twenty years ago, the question ‘why did it happen’ comes to the foreground. Until now, there have been many broken bits of evidence that benefit to unraveling a mystery of the incident. Even though the information I have is from official sources, but the field research and visits will aid us toward understanding.
Sometimes people have to go through some strange experiences when they are facing intense violent attacks. The body goes out of control or it even loses its form, we have to fully accept the present situation and acquisitions that ought to become paradoxical under a social disorder.
We try to create a seemingly safe world at the edge of the border situated at a landscape that seems to be secured. But what really happened was a deadly fire caused by a gas leak in a densely populated industrial area, which triggered a tumult in the middle of the night.
I try to piece back the history with my fragmented memories from that night to illustrate the disaster, to portray the people who have experienced it, and to comfort not only the victims of this incident but also those who were able to escape.