DAC 幫我寫的個展介紹，真精準噢!

意念　誌 – 林豪鏘個展，創作者將自己書寫的詩和記錄的影像解構後，再次建構成另一獨立創作，企圖透過一場沈浸於「數位空靈」的氛圍感展覽，以陳述個人當下狀態的時空光影。[誌]意指將似曾經歷的「當下」事件，斷裂式的記錄與堆疊在同一數碼空間裏重新成像，此展覽中「誌」已轉換成觀眾觀看影像的互動媒介，不同張的明信片因詩的意境差別，喚起的影像給予觀者具超越時間和空間的想像。 

意念　誌 – 林豪鏘個展 Link >

(意念誌個展) 鏘鏘詩輯網頁 (可以閱讀十二首詩)

http://www.dac.tw/event/koong/pome.html

意念誌 (MIND LOG) 英文創作論述

Concept of Creation

This exhibition attempts to declare the background of personal contemporary state through an immersion of “digital vacancy,” the work is stacked on the identical digital space with concurrent portrait and enjoyment. The author allows the audience to generate engagement of ideas from past created videos and poetry using interactive media, which further pushes the audience to wonder what they are expecting and the kind of attention they involve in while waiting. Such as life, the crowd passes each other in the city, alternating and switching consciousness and predicament. Perhaps the image of dust generally contains an ingenious meaning due to naturally-born vision and wisdom; while the condensation of air, image and signs symbolize the endless vacancy. Perhaps the audience has fallen into a conventional mindset. Often times, the audience needs to think again before understanding the definition to his or herself.

Our thinking can be both naïve and profound. Therefore, this work attempts to expand fragments of a series of identify from the phenomenology of inconspicuous things. The work describes the doubt and depression in life, combining with humor of predicament and absurdities of senses. We are the city wanderers who observe various surrounding symbols through constantly muttering without probing into its significance.

After we enter the kingdom of other dimension, we often start immersing in the beauty of ambiguity while thinking about the multilevel of possibility. Such pattern forms cognitive approach to reflect the nature and details of things, while estimating the length and scale of seemingly familiar yet strange surrounding sceneries, giving a little taste of such inspiration. As Claude Levi-Strauss said, “Our eyes have lost the ability to distinguish and we no longer know how to treat things.” Subjective regularity helps us gain insight to streamer and freeze in true cleverness. Our creation no longer belongs to part of theories and we can unlimitedly slow down our pace.

(意念誌個展) DAC 現場佈展文本

而我，或者其他

本作品承載的，既不是文字，也不是圖像。我們企圖體現的，是在文字與圖像相遇、詩句與錄像邂逅的時刻，其所形成的當下狀態。這是種無法說明的不確定性，充滿流動感。作者所關注的，並非只是視覺本體論，更是讓觀眾體現這些感受的過程。
 
藉著這件作品，身體成了媒介，臉部神情成了載體。我們透過面容與詩句互動，揣測軀殼的意義。文字本身僅是認知途徑，朝著自己走過來的方向，看看曾經的細心經營，不期然呀。

幸福常駐於一個思念的刻度

歲月嘗試在我們身體刻劃年輪。答答的風聲、隱約的車水馬龍、人們的竊竊私語，俱皆建構了時間的痕跡。來自熙攘人車的吐納，散佈了唯美嵐霧。而高聳密立的大廈，架構嚴峻叢林壑谷
 
所以今夜無事。我收集草木輕淺的呼聲，「洞悉了所謂幸福之感，」我驚愕發現，是一種莫可名狀的喜悅，值以令人拆卸多餘的思考。「不置可否，原就是故事的表情。」言語甚易揮發。於焉我們不言不語然後將舉止全都層層編了密碼，而預期的該與不該，已待命收割。

存在於身體與歲月軌道之間

遠在他鄉的我，身體錯置於時間與空間交錯形成的虛擬空間裏。透過鏡頭、透過數位媒體，無意中因而去身體化 (Disembodied) 的我，超越了當下我的身體而看到自己的存在。偶爾停格偶爾前進的時針分針秒針，提供了我一個體現人生經驗的網格。影子踏在階道上，卻也臥在歲月的軌道上。這正是存在於我的身體與歲月軌道之間的溝通關係。

我們藉以深刻思考，「我」以及「其他」之間，是否佔據著等量的篇幅；而其間相遇的停格時刻，對真理的追求，何妨適可而止。因此便可瞭解，福禍是否不修邊幅，於焉甚不重要。我們只能這麼說了。心靈角隅一端，優越與其突變的劣等基因，雜沓盤據在意識的剖面；我只能這麼說了，無須重組本質及無法為心情命名，並且風雨驟驚。如此而已。