gaze．space

眼神張力的純粹，被表現，藉由按下快門。不論是恐懼、驚訝、迷惑或者煽情，照片裡的眼神往往是整體視覺的焦點。因為，眼神在面對相機時洩漏了不坦白的一面。照片中的單向眼神，與觀看者構成雙向的交流，反之，竊取觀者的眼神即捉住觀者的心。過於真實的眼神存在於不甚真實的空間中，氛圍就此被營造。而，照片中眼神的出自於電視機，多一層媒體的放映，多一層詭蹫誇張的意境，媒材與空間之間的對話，倒數開始。
電視機所扮演的媒介，是傳達眼神的工具，因而造成畫面中多重框架的意義。透過觀景窗做了第一次的框架，畫面中的電視機又將眼神做了再一次的框架。靈魂的出處，瞳孔；電視機，則身負給予宰制力量的媒介物。靈體與物體的相抗衡之下，照片中畫面裡的環境場域顯得充滿著曖昧氣氛。這曖昧，或許亦牽涉攝影學中真實性的存在意義。或許是不斷創作中亦不斷撞見的問題。

To seek for a pair of eyes is a photographer’s ultimate target.

trainspotting

" Choose life. Choose a job. Choose a career. Choose a family. Choose a fucking big television. Choose washing machines, cars, compact disc players and electrical tin openers. Choose good health, low cholesterol and dental insurance. Choose fixed interest mortgage repayments. Choose a starter home. Choose your friends. Choose leisurewear and matching luggage. Choose a three-piece suite on hire purchase in a range of fucking fabrics. Choose DIY and wondering who the fuck you are on a Sunday morning. Choose sitting on that couch watching mind-numbing, spirit-crushing game shows, stuffing fucking junk food into your mouth. Choose rotting away at the end of it all, pishing your last in a miserable home, nothing more than an embarrassment to the selfish, fucked up brats you spawned to replace you. Choose your future. Choose life. "

賠上了選擇，也賠上了不選擇。
如果電視機、膽固醇、開罐器都成了約束的那一天。

的確，沒有可以暫留的層面，
所以不斷狂奔不斷做愛不斷注射，
再一次，賠上平庸，賠上背叛，卻贏得咬牙切齒的青春。

猜。火車

" But who would I want to do a thing like that? I choose not to choose life. I choose something else. And the reasons? There are no reasons. Who need reasons when you've got heroin? "

back．bias

被影的成份，總充斥著成打的偏見。

百分之零點六，路燈的光暈打造了洛可可式寓言；
網襪於是阻街，高居四分之三；
過半的不認為，主角成為觀眾是有可能。

這讓我想起楊德昌的一一，同樣是背影，電影裡的角色成了電影裡的觀眾。可能性，成立。