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104 台北市內湖區港墘路221巷39-1號 Tel : (02)2657-1666 Fax : (02)2657-1555 Email : annie@abook.cc Website : www.abook.cc

監製

造型總監

Supervisor

Styling Director

張艾嘉

林夢薇 Monfi Lin

創意總監

翻譯編輯

Creative Director

Translation Editors

林炳存 Joshua Lin

姜怡帆 Annie Chiang 姜怡如 Connie Chiang

發行人 Publisher

行政管理

意團隊有限公司 Abook Studio

Administration 張騰元

視覺主編 Design Director

英國特駐

Alex Chang

Overseas Editor Linda Cooper

文字主編 Editor

執行公關

趙鑫 Vincent Chao

Marketing / PR

周亦宣 Alice Chou

星予公關 Starfish Concept

攝影總監

印刷

Photography Director

Printing

林炳存 Joshua Lin

煒揚印刷企業有限公司 WEI-YANG Printing Enterprise Co., LTD.

攝影編輯 Photography Editors A Yuan / Kuan / Ash / Alex 採訪編輯 Assistant Editor Ash

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凜冽的寒冬,街道懸掛起華麗的燈飾、街道充斥喧囂的人潮,看著圈內 人群的笑靨、聽著人群的笑鬧聲,歡愉遺忘了佇立邊緣的靈魂。縱使 有再多的陪伴、再多的朋友、再多的問候,都還是會感到一絲絲的寂 寞,這種寂寞在社會心理學上稱「情緒性寂寞」(emotional loneliness) ,指的是一種無法得到所愛的強烈情緒。「魂在圓心、魄在邊緣」 ,原來-你我在邊緣。

The freezing winter, elaborate lights line up the streets, noisy crowds gather. Looking at people’s smiles, listening to their laughter, our soul that guards the boundaries of our being, seems to have been forgotten by brief moments of joy. No matter how much company you have, how many friends you have, how much you are cared for, a slight feeling of loneliness still exist. This is what social psychology calls “Emotional Loneliness”, which points to a lack of strong emotional love. “A central soul with a borderline spirit”. Turns out we are all standing on boundaries.

「魂」在虛幻的浮華世界遊走,我帶著「愛」走向「魄」的世 界,讓「魄」不再愛缺,唯有魂、魄合而為一的時候,才能被稱之為 「人」。虛幻的浮華世界你已過度熟悉,我將引領你探索那缺愛的 「魄世界」。 最諷刺的是在這個世界,有人的魂被隔離在浮華世界外,無法踏入那個 絕對禁區。在這虛擬節慶的時刻,透過窗孔細閱他們的故事,駐足細閱

Our souls walk in this superficial society. I hope to take my love and bring it towards the spirit world, and allow the spirit to no longer be a loveless one. Only when the soul and spirit are combined, will one be called man. We are so accustomed to this superficial society, so I shall bring you to discover the lackluster world of the spirit world.

流浪漢的故事、傾聽媼翁不見兒返家,潸潸淚似麻的思念,這般孤寂的 故事瑟縮在浮華世界的角落。 我們瘋狂追逐著虛擬的節慶,它的存在是為了消弭寂寞,我們歡騰融入

What’s so ironic, is that some souls are barricaded from the superficial world completely, never allowed to step in this prestigious zone. During these artificial holidays, we discover their stories. Stop and listen to the story of the homeless man, the story of the mother whose children no longer return home. These stories of loneliness happen in all corners of this superficial society.

西方的文化,逐漸淡化東方的文化,那麼東方文化的能量將會逐漸的 逝去。但,文化間相互撞擊和融合卻是成長蛻變的能量。文化的基石與 蛻變的能量兩者如何相互抗衡,則需仰賴人類的智慧延續傳承。充滿 故事的社會才有價值被傳頌、流傳和延續,經由歲月的累積成為文化 ,那是先人耗費多少心血和氣力的成果?自我文化認同-是目前最應該

We desperately chase after these artificial holidays. Its existence to help us cope with loneliness. We joyfully incorporate Western ideals in to our own, while downplaying our own Eastern culture. Yet, isn’t the clash between cultures the power for growth and change? The balance between the foundations of a culture and the ability for it to adapt and change lies in the hands of human intellect.

被省思的課題。當東方的水滸傳遇上西方的希臘神話,你會記得李師師 還是雅典娜?

A society full of meaningful stories makes it worthy of being preserved and continued; these stories turn into the society’s own culture. Can you imagine how much work was put into the establishment of culture? To accept one’s culture is perhaps the challenge of today. When Chinese classic literature “Outlaws of the Marsh” meets Greek mythology, will you remember Li Shi Shi or will you remember Athena?

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Fringe

行走在情緒邊緣的我們,偶爾會懷疑 高低起伏的自己。然而,沿著邊緣也 可以是所謂的正常。

Fine Art Photography KRYSTAL LIN 8

We tend to linger in between emotions; we ponder over drastic changes in our personality. And so, walking along obscure borders can be nothing but normal.


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Facebook @ krystallinphotography Instagram @ krystallinphotography

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一張照片的震撼教育!先退回原點,才能知道怎麼往前。 廖鎮漢的減法生活:「永遠要比別人先看見自己的不足。」 A Picture Speaks A Thousand Words. To Move Forward, You Must Look To The Past. Henry Liao’s Addition By Subtraction Is To “See Your Own Insufficiencies Before Others Do”.

圖 Joshua Lin 文 Princess A

   前陣子,公司收到客人的一封來信,信件內容是一張照片,他

A while ago, the company received a letter from a customer. In the letter was enclosed a picture. The picture showed one of our cleaning ladies very hard at work, scrubbing the floors until it was immaculate. The customer wanted to let us know how diligent our employee was and how coming to Breeze Center was like coming home.

拍下了我們辛苦的清潔人員,非常認真打掃,將地板擦拭得乾乾淨 淨的畫面,讓客人感受到他的對這份工作的用心,以及來到微風就 像是回到家一樣的溫暖感動…    因為這張照片,讓我更加思索自己的存在價值,加倍感受放慢

This picture really made me think about the value of our existence, and how it is so important to slow down, and listen. The picture reminded me of an experience back in school where our teacher asked the whole class about what our dads did for a living. I remember a classmate of mine raised his hands proudly and told everybody that his dad was a janitor. I remember being very surprised at the time, but it made me realize that nothing in this world escapes marginalization. However, as long as you work hard at what you do, and maintain a humility and modesty, then you can always shine at what you do.

腳步、傾聽的重要!這也讓我回想到就學時期,老師問了全班一個 問題:「你的爸爸是做什麼工作?」有個同學非常以父為榮驕傲地 回答:「我爸爸是清潔工!」當時我非常訝異,也才真正領悟到這 世界上沒有任何一件事是不被邊緣化的,但是只要做好自己本分 工作,保留赤子之心,就能找回屬於自己的光芒。

堅持「做給自己看,不是做給別人看。」 要做就要做到最好 否則就不做!

“Do it for yourself, not for somebody else”. Aim for excellence, not mediocrity.

   不走官威霸權的方式管理,而是用親民的態度走入底層員工 的心裡,不用等別人提醒,他總是能在第一時間發現最細微的地

Rather than an authoritarian management style, Liao opts for a friendlier approach that is empathetic with his employees. He doesn’t wait to be reminded, but can always be first to notice the tiniest details. Much like the interior décor of Breeze Center, when people walk in it makes them feel as if they’ve entered a luxurious boutique. From the chandeliers, to the high-end sofas, to the full-length mirrors; consumers don’t need to spend any money to experience the utmost luxury. To Liao, it’s the details that matter.

方-就像是微風百貨最讓人驚豔的廁所裝潢,推開門總讓人誤以為 來到精品店,從水晶燈到沙發、全身穿衣鏡,常常讓人一進去就 流連忘返捨不得離開。廖鎮漢用最高規格的款待,讓你不必做任何 消費,就可以享受至高無上的優越感,這些平常人不會在乎的小 細節,都是他最堅持的!    也許是因為成長環境的關係,看盡商場上的人情冷暖,所以他

Perhaps it is in his upbringing and the fickleness of human nature that he has seen in the business battleground; Liao constantly reminds himself that you must look beyond the surface of things, and to never become the guy that everyone hates. As a Taurus, Liao gives people the impression of being rational in his actions, but sensible in his thoughts. He knows how to keep a low profile, and to slow down to discover his own values and self worth. The Henry Liao in the past had to socialize and network with a lot of people, but the Henry now is learning to let go of many things, both at work and in his personal life; giving back to the community and helping under privileged children through the Foundation that his father created, is one of his ways of returning to his roots, and being inspired once again by the most simple and genuine things in life.

更警惕自己很多事情不能只看表面,更不想成為那種人人口中最討 厭的公子哥!金牛座的廖鎮漢總給人「行為非常理性,思想卻非常 感性」的細膩穩重感,因為懂得放下身段,停下腳步放慢認真思索 自己的存在價值,現在的他想開始拓展自己的減法生活:「以前我 會為了工作認識很多人,現在想好好聯繫知己好友、學習放手將工 作交給專業的同仁、繼續全力投入爸爸所創立的基金會、幫助面臨 社會邊緣的小孩…等。」廖鎮漢說:「慢慢退回原點,反而讓我思 索並得到更多啟發,接下來想好好實踐自己最單純的理念初衷!」 - end

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THE CORVIDS NES Photographer ISHMIL WATERMAN Stylist MAIDA GHIDE Creative Direction MAIDA GHIDE & ISHMIL WATERMAN Location AEROSPACE MUSEUM / FACTORY, TORONTO CANADA Model MIMI ABA-OLEMA

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圖 Joshua Lin 文 許常德

每個人都渴望向邊緣靠近 Everyone craves to be on the fringe 因為那裏沒有統一的制服 因為那裏沒有光明的檢視 因為那裏沒有道德在撐腰 因為那裏有一種解放可能 因為那裏是盡頭也是開始 因為那裏有一群人在聚集 因為那裏比較能保有自己

Because there’s no uniform Because it’s not bright enough to clearly see Because there’s no moral critique Because it’s liberating Because it’s an end but also a beginning Because there’s a crowd that gathers Because it’s easier for individuality

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人生沒有用不到的經歷 詹仁雄用12年堆砌出的「歸零哲學」 No experience is too much experience. A 12-year journey. James Chan’s “Back to Zero” Philosophy

圖 Joshua Lin 文 PRINCESS A

It’s like a movie that took 12 years to film. From childhood to adulthood, it encapsulates all the struggles and obstacles that have taught us the most important lessons in life- to face conflicts with a smile and embrace the changes that come our way.

   一部電影,拍了12年;從小孩長成大人「年少時代」拍出每個人 成長過程中所經歷的迷惘煩惱,堆砌出對人生的含笑以對。    一個節目,做了12年;那些曾在「康熙來了」不計形象代價 、赴湯蹈火的大小人物縮影,不只像是陪伴每個人度過開心低潮的

“Kang Xi Lai Le” is a show that has been on air for 12 years. All the guests that have been on the show have contributed to the happiness, sadness, laughter, and tears that the show has brought audiences. As for the show’s producer James Chan, the show has also allowed him to discover his “Back to Zero” Philosophy.

噓寒問暖,更讓詹仁雄找出了自己的「歸零哲學」。

「當別人覺得這應該是你最糟的時刻,可能也是你 這輩子最美好的時刻。」

“When people think you are at your worst, it may actually be the best moment you’ve ever had in your life.”

   「不要太習慣舒適圈!」是編輯從訪談中感受到詹仁雄對自己人 生歷練的簡單縮寫,就像你我熟知的電影經典台詞「After all tomorrow is another day.」在他的世界裡你看不到太多的負面悲觀,因為當 別人還在為他一手打造的「康熙來了」落幕感到低潮時,下一秒他早

“Don’t stay in your comfort zone”, is pretty much what sums up James’ life journey to this day. After speaking with James, you can strongly feel his sense of confidence and the positivity that he exudes. While people are seemingly grieving over the discontinuation of the show, James is already way beyond it, and planning his next move.

已想好他的下一步!    正所謂12年磨一劍,從傳統電視圈轉投資網路,就像當初他找 蔡康永和小S主持康熙,許多人都會質疑他這樣真的可行嗎?但他還 是維持一貫沉穩堅定、不假思索的去做,因為他說:『這就像是一個

Like the saying goes, a sword takes twelve years to sharpen. James has now changed his focus to online platforms rather than traditional television production. Many people question his decisions to do so, but he remains persistent. To him, it’s like “the end of the year where we celebrate Chinese New Year. It’s an end but also a new hope and a new beginning.” All things must return to zero, for you to detach yourself from a life you’ve become so used to, and to really start fresh.

年的結束,中國老祖宗所流傳的過年,其實是給了我們一個「全新的 希望」!是為了讓你重新歸零,重新抽離自己原本的生活』    不管是你想要換一群新的朋友、轉換新的工作跑道、學習新的語 言,隨時保持歸零的心態,你就不怕被世界邊緣化淘汰!他說:「台 灣演藝圈就是需要一些傻瓜去試、去闖!」永遠要記住「當別人覺得 這應該是你最糟的時刻,可能也是你這輩子最美好的時刻。」轉身離

Whether you want to change your circle of friends, get a new job, or learn a new language, you must always be ready to go back to zero. “The Taiwanese entertainment industry needs a few ruthless fools to open doors” and James believes that “when people think you are at your worst, it may actually be the best moment you’ve ever had in your life.” To be able to turn away, walk away, and go back to zero, is not denouncing things you’ve worked so hard for in the past, but rather, it is allowing you to take those positive experiences and create another magnificent 12 years ahead.

開是另一個開始!歸零人生,並不是要你把那些過去曾經的努力砍掉 重練,而是將那些歷練幻化成精華養分,再去創造下一個新的12年!

「人生沒有用不到的經歷,往後的12年還需要你們 的支持鼓勵。」 - end

“In life, no experience is too much. I still need your support in the next 12 years to come.” - James Chan - end

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BORDERLINE VICTORY 邊 緣 角 力

Photographer JOSHUA LIN Make-Up PO TSANG HO Hair DERECK CHEN @ FOUR HAIR CONCEPT Text PRINCESS A / SHOCK / MURONG Model TOM / JEAN Special Thanks SALVATORE FERRAGAMO / SHIATZY/ IMMENSE / DLEET / DKNY / DOUCHANGLEE / ADIDAS / MCM / LONGCHAMP

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圓墨鏡 Immense 圓點裝飾針織上衣 DOUCHANGLEE 卯釘襯衫(綁腰)DOUCHANGLEE 皮鞋 Salvatore Ferragamo 右_

竹製遮陽帽 Immense 透明雨衣 Longchamp 針織高領毛衣(綁腰)DKNY 白鞋 Immense

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圓墨鏡 Immense 圓點裝飾針織上衣 DOUCHANGLEE 卯釘襯衫(綁腰)DOUCHANGLEE

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竹製遮陽帽 Immense 透明雨衣 Longchamp 針織高領毛衣(綁腰)DKNY

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卯釘襯衫(綁腰)DOUCHANGLEE

圓點裝飾針織上衣 DOUCHANGLEE

圓墨鏡 Immense


竹製遮陽帽 Immense

透明雨衣 Longchamp

針織高領毛衣(綁腰)DKNY

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序於點,險於污點,兩點延伸一道隱隱傷疤,一分為兩; 兩權相衡遂見邊緣,魂在圓心盤旋,魄在邊緣躊躇; 躊躇在矛盾之間,曖昧之前,表裡之間,掙扎之後,演一齣搖搖欲墜的妥協。 表面和平滲著單面的勝利,便以雙全作結。

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圍巾枕 Dleet 背心夾克 Shiatzy 箱型包 MCM 手飾 Immense 右_

長版襯衫(內搭)Dleet 皮製短袖上衣 Immense 圍巾枕 Immense 水桶包 MCM 皮長褲 Shiatzy

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銀色騎士外套 MCM 鋪棉壓紋大衣 Dleet 掛布長褲 DOUCHANGLEE 右_

鋪棉壓紋大衣 Dleet 拼布單片裙 Immense 西裝長褲 Salvatore Ferragamo

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針織長圍巾 Salvatore Ferragamo 內搭褲 Adidas 運動鞋 Adidas 寬版皮手環 Immense 皮手套 Immense 右_

高領上衣 Pleats Please Homme 百褶單片裙 Immense 西裝九分褲 DOUCHANGLEE 運動鞋 Adidas

A journey of a thousand miles begins with a single starting point. Growing up under different skies, each individual is forced to move away from the core, splitting into distinguishable characters when crossing the line between childhood and adulthood. This journey may be filled with contradiction and capitulation as we move forward and seek the balance of life, and the victories we conquer require a series of compromise along the way.

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高領上衣 Pleats Please Homme 百褶單片裙 Immense

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針織長圍巾 Salvatore Ferragamo

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Photographer ALEXANDER SUPERTRAMP Lighting A YUAN CHANG Make-Up HUNGYI LI Hair ODYE @ FOUR HAIR CONCEPT Stylist XIWI. CHANG Model GUL @ ISIS MODEL

A COLORLESS SOLITUDE 無色的孤寂 42


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如同被人遺忘的蝴蝶,你的破繭卻成了無色的孤寂。

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LIKE A FORGOTTEN BUTTERFLY. A LONELY AND COLORLESS COCOON.

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我的翅膀只有白與黑 沒有你們想要的色彩

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MY WINGS ARE BLACK AND WHITE, WITHOUT THE COLORS THAT YOU WANT. 54


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Photographer KUANÂ Make-Up HUNGYI LI Hair ODYE @ FOUR HAIR CONCEPT Stylist XIWI. CHANG Model LEMKE @ DOLLS MODEL Clothing TUANTUAN Special Thanks TUANTUAN

BREAK THRO the BOUNDA 56


OUGH ARY 57


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一直侷限在既有的框架中 漸漸不再安於現狀 藉由不斷的探索並勇於嘗試 終於跳脫出理所當然的小宇宙 進入新的境界 不再留戀

To stay in an existing frame Is to Become unsatisfied Keep on exploring and trying new things To finally break out of the old world And into a new universe No longer lingering

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Photographer A YUAN CHANG Make-Up 詹惟晴 Hair ODYE @ FOUR HAIR CONCEPT Stylist TOBY YANG Model 劉欣瑜 @ FASHION MODEL

BORDER 66


R ROLE 67

邊 緣 座 次


黑色平口禮服 Jamei Chen 寬版腰帶 Dazzling

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透視連身衣 Vivienne Westwood 內衣內搭褲 Chantelle

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黑色平口禮服 Jamei Chen 寬版腰帶 Dazzling

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透視拼接襯衫 Shao Yen 珍珠耳環 UnderCover

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唇若塗朱,睛如點漆,Heavy Metal的狂吼咆 哮,重量感及破壞性元素唱出繞樑聲,聽鼓板 喧雲、藝苑專精,遍體花繡,似玉亭柱上鋪著 軟翠,我是施耐庵筆下的浪子燕青,躊躇在次 文化的邊緣。

Lips are red, eyes are black, the hollering screams of heavy metal music, and it’s destructive strength imprints the rhythm in our heads. Beats of the drum, the tattoos on the body, is like a white canvas adorned with fresh strokes. I am an warrior of Shi Nai’an, skilled in combat, and wandering the borders of a forgotten subculture.

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「累積價值,創造經典」— 鄭健國    「Hello!」鄭健國((Roger Zheng))踏入攝影棚的瞬 間,熟悉的親和力招牌笑容,籠罩紫爆的迷濛,瞬間晴 空萬里…即使你不熟識鄭健國((Roger Zheng)),但你一定

力量相當薄弱。目前的環境不斷消費「迅速 竄紅」的「藝人」,但對我來說「藝人」不

圖 Joshua Lin 文 周亦宣 Alice Chou

響?夢想與小確幸是拉鋸還是共生?對於娛樂圈新、舊 世代的轉移,價值觀以及道德觀是否有其他改變?頻於 提攜新生代的大師-鄭健國((Roger Zheng)有什麼看法?

是免洗筷,消費完就被丟棄、遺忘,應是陳

對於新生代的又有什麼建議?

年老酒,越陳越香,成為經典。以台灣和中

  

國娛樂圈為例,台灣並無中國「北京電影學

   網路時代的發展是雙面刃-能讓台灣躋

魯縞也;台灣現今走在失落的邊緣,面臨這樣子的衝

院」、「上海戲劇學院」…等紮根基底教育

身全球平台亦能抽離人與人之間的溫度。因

擊,鄭健國((Roger Zheng))有著很深沈的感觸,望著台灣

和訓練,這是差異性;台灣以及中國皆有自

為網路的發展、收視習慣的改變,新生代面

網路竄紅的「藝人」,但除了這個速食捷徑

臨的衝擊是令人瞠目結舌的!網路無國界迅

外,中國亦保留紮根基底訓練的面向,用多

速發展擴張,讓台灣新生代面臨的挑戰擴及

   「唯有累積價值,才能創造經典。」在

重面向去培植娛樂產業的「藝人」。但,台

全世界,「懷才不遇」在網路發達的世界已

現今資訊爆炸的環境下,造就了「速食文

灣僅剩「速食」面相,教育培植體系需要負

不復存在,因此自身儲備的能量新生代與舊

化」,累積經驗的價值是貫穿世代主軸永恆

相當大的責任。

世代相較是龐大許多,尤讓我心疼。以日本

不變得定律。每個世代舊生代與新生代觀念

   我在培植人才的過程會遇到基礎專業度

為例,致力於過去傳統文化的保留,透過網

永遠都是不對盤,曾經我還是新生代的時候

不足,造成培育時程延宕,進而影響到速度

路被全世界看見,我們應鼓勵新生代透過網

我也曾經碰到過。

和競爭力。「速食文化」的時代汰換速度遠

路,擴張自身視野、吸收能量。

   現今台灣的社會充斥著「New Crea-

比我們這個世代更為快速,要在速食文化中

   但,也因為網路時代的發達,人與人互

tion」的氛圍,但「New Creation≠New Gen-

躋身為「菁英」,是需要完整充分的累積,

動的溫度已經消失殆盡,人的情感之所以可

eration」,過去台灣之所以迷人是過去我們

否則被取代只是一個瞬間!教育新生代不應

貴是因為擁有溫度,社群網路是一種「虛擬

在文化、教育…等各個層面,做很深廣的培

用粉飾太平的方式無視,剝奪新生代施展空

溫度」,一旦互動的「真實溫度」消逝,則

養;現今台灣的美學是沒有深度的,可以

間的能量,重視精神、態度進而轉為文化素

互動的深度也會跟著消失,溫度應該是能夠

自生活美學、視覺美學感受到正逐漸消逝當

養,培養具有「深度」的「專業」人才。

被觸摸不是虛擬的。文化是靈魂的培養,當

從別人口中聽說他的細膩與執著。    20年前的台灣,曾經是亞洲娛樂產業的砥柱,過去 20年間,娛樂產業原地踏步,有如強弩之末,勢不能穿

娛樂產業站在失落的邊緣,走訪多國累積價值,不斷創 造經典的大師的觀點是什麼呢?

中。現今美學多半都是重新排列組合,真正

所有一切都朝著「速食主義、放棄累積、虛

的「創意美學」已快消失殆盡,借鏡韓國、

政治綁架文化

泰國…等,在過去十幾年間超越台灣。‭

   美學和文化不應該被政治綁架,「如

   台灣蘊藏的資源以及台灣人的天資與發

果」你認為台灣是一個有獨立自主權的國

追尋夢想,享受小確幸

展性,不應止步於此,但因為「速食文化」

家,更不該憎恨中國(打壓),應將中國視

‬ “Men are great for the dreams they have”

的關係,整體環境充斥著迅速收割、短視近

為「一個國家」,用「真愛」讓台灣文化深

利的氛圍,不斷的將人才當免洗筷消費,這

度發展,放下既有族群偏見和歧視,才能晉

樣的方式,文化是無法積累與傳承,也是台

升為一個真正獨立自主的國家。

   現今台灣環境的氛圍充斥著「しょう

灣走在失落邊緣的重大因素。我們應正視檢

   憎恨中國的情結是文化和政治偏見,也

かっこう」 註。但是,夢想與小小確定的幸

討為何台灣近十幾年發展邊緣化的如此嚴

是造成台灣倒退的重要原因之一。面對中

福是能夠並存的。人應該擁有夢想,「同

重?才能重拾那消逝的美學。

國,台灣人不應該自我矮化,應該思考產業

時」享受小小的幸福,享受しょうかっこ

的未來發展、規劃藍圖;政府應規劃相關產

う  註   不「躲」在しょうかっこう  註   的井

文化美學的硝石

業配套措施,不應淪陷在文化和政治偏見的

裡,不甘於しょうかっこう  註,勇於突破、

   「New Creation」碰上「速食文化」,

鴻溝裡,台灣才能自邊緣重返圓心。

成長,這是能量的激發,台灣的能量不僅是

這兩者的化學效應不是火花,而是「火藥」

   近年來台灣許多產業外移(當然也包括

造就一個安逸的社會,應擁有更多使命、躍

,轟炸台灣過去底蘊的根基。對於美學應

娛樂產業),產業外移很容易就被冠上「不

進轉型。

致力教育下一代台灣故事的源頭,歷史是一

愛台灣」標籤,但卻沒有正視這個問題的來

個過程,它造就文化,讓下一代理解過去的

由;「愛台灣」也是一個標籤,但「真愛」

歷史連結進而了解文化的價值,如此深度的

和「偽愛」是截然不同的,而過去的20年間

教育以及傳承,才能向下扎根、往上生長。

「偽愛台灣」的群體一直不斷的在消費台灣

上一代教育我如何自我累積,而我們這一代

過去積累的能量,我們應該省思的是20年前

應該思考如何傳承、教育下一代,轉換成

的台灣為何能夠走出康莊大道?現今的台灣

封號,至今他依舊努力的累積自身的價值,並傳承給下

為符合新生代所需要的能量。當台灣選擇

已變成「都是They的錯」。

一個世代。

創造「自己」的文化和歷史時,相對的就必

   不抱著「標籤化」的態度以及觀念,台

須做切割(文化),但切割和積累卻是背

灣才能正向發展;政府應該在各個層面保護

   鄭健國((Roger Zheng):「政治從來不是

道而馳、相互衝突。以建築為例,台灣的

人民,釋出良好的配套措施照顧、安置百

我的專業,我也不知從何改變。但是,文化

建築風格代表有閩南風格、日式殖民風

姓。正向的改革爭議性很強,我們應該緊握

深度的推廣、紮根以及教育下一代是我的使

格…等,切割、分離之後,台灣僅剩的風格

理智跟判斷,拒絕讓政治綁架文化,無論哪

命。我深愛台灣這塊土地,用我的專業為台

是(什麼)?我們無法預知下個世代未來

個政黨執政皆應該思考如何打開大門讓台灣

灣盡一份心力,讓文化延續、傳承,遠離邊

的走向,但忙於切割、為了反對而反對的

走出去?台灣才能遠離邊緣,觸摸希望曙光

緣,走向圓心。」

心態,是相當險峻的。

的溫度。‭

   台灣娛樂圈的本質是優秀的,具備培植

茁壯的潛力,但台灣教育培植體系明顯不足

“A dog in the manager”‭-‬by Aesop’s Fables. 這是新生代

且民間企業的社會責任以及政府配套措施的

擬溫度」發展,那麼靈魂將不復存在。

-Nietzsche.

   台灣籠罩在霧霾紫爆的天空下,但我彷彿感受到鄭 健國((Roger Zheng)闡述的那道曙光的溫度。在鄭健國 ((Roger Zheng)還是新生代的那個年代,他曾經抱持著夢 想、曾經叛逆過,為了追尋夢想而離家,給自己設下三 年的底線,累積價值,最後被業界封上「彩妝大師」的

- end

對於舊生代的怨懟。網路時代的發展以及收視習慣的改 變,對於娛樂產業以及台灣新生代的未來發展有什麼影 註:しょうかっこう:翻譯小確幸,亦指小小確定的幸福。

77


“Accumulate value, create classics.”-Roger Zheng

“Hello!” As Roger Zheng steps into the studio, his

torical link to the past and to understand the value

familiar smile and friendly attitude seems to lift up

of culture is vital for creating deep cultural roots

the atmosphere of the room, revealing a sense of

and future growth. The previous generation teaches

fresh air. Even if you don’t know Roger personally,

one how to self-accumulate, and the generation now

you would have heard about his delicate yet persis-

must focus on how to pass on tradition, to educate

tent personality.

the next generation on how to turn tradition into a needed force that is sought after by young people.

20 years ago, Taiwan was the pillar of the Asian en-

If Taiwan chooses to create a culture and history

tertainment industry, but within these 20 years, the

of its own, then we must sever from our past. Take

industry has been at a stand still, like a faltering force

architecture as an example, representations of the

unable to break through. Taiwan’s entertainment in-

Taiwanese architectural style is rooted from the Min

dustry now stand on the sidelines in comparison to

Nan style, the Japanese colonial style, etc, and when

other countries, and Roger feels very strongly about

these are severed and separated, what remains of the

this. He shares with us his thoughts.

Taiwanese style? We can not predict the future, but we should not busy ourselves with severance and op-

“Only the accumulation of value will allow you to

posing things for the sake of opposing. There should

create memorable classics”. With the explosion of

be unity.

information in our society today, we have created a “fast culture”. However the one thing that never

The essence of the Taiwanese entertainment industry

change throughout generations, is the importance

is good and has the potential to cultivate greatness,

of accumulating valuable experiences. The val-

but the Taiwanese educational system is insufficient;

ues of an older generation will never be the same

training and social responsibility of corporations and

as the younger generation; Roger has experienced

government supports are weak. The current enter-

this difference in values first hand. Taiwanese soci-

tainment industry profits from “overnight sensa-

ety today is filled with “New Creations” but “New

tions” and “one hit wonders”. But to Roger,

Creation≠New Generation”. In the past, Taiwan was

“artists” are not disposable chopsticks, but instead

so enticing because our culture, education etc. were

they should be like a bottle of old wine, the more

widely developed and promoted; but now Taiwan-

timely the more classic. Comparing Taiwan to China

ese aesthetics has no depth, the aesthetics of everyday

for example, Taiwan does not have schools like Bei-

life, visual aesthetics are gradually fading away. Now

jing’s Film Academy, or Shanghai’s Theatre Acad-

our aesthetics are merely reorganized forms, the real

emy that trains and builds an artist’s skills from the

creative aesthetics have almost vanished completely.

foundation upwards. There certainly are Internet

Korea, Thailand have surpassed Taiwan in the last

sensations both from Taiwan and China, but apart

few years.

from this, China provides training for artists where Taiwan doesn’t. Our educational system needs to

The development of resources and talents in Tai-

take responsibility for this and the consequences.

wan should not cease, but due to a“fast culture”, our society is now filled with an incomplete and short

When we are training new talent, we often face a

sighted industry, using and throwing away real tal-

lack of basic professionalism, which leads to a delay

ent like how we do with throw-away chopsticks.

in cultivating new stars and affects our competitive-

This is why culture is not cultivated and passed on, it

ness. In an era of “fast culture” the speed of an artist

is why we are walking on the sidelines compared to

becoming forgotten and eliminated speeds up. To be-

other countries. We should look back and learn from

come a true “star” one needs to accumulate enough

such setbacks in the last 10 or so years so that we can

experience and skills, or they will be replaced in an

recover our lost sense of aesthetics.

instant! When educating the younger generation,

The Foundation of Cultural Aesthetics

we should not ignore and take away their room to

When “New Creation” meets “Fast Culture”, sparks

Politics has Kidnapped Culture

don’t exactly fly, instead it creates a dynamite, blasting away Taiwan’s deep cultural roots. Aesthetics should reach to educate the next generation about

explore, but should focus on the right energy and attitude and cultivate talent that is professional and intelligent.

Taiwanese origins, for history creates culture. Al-

Culture and aesthetics should not be overtaken

lowing the next generation to understand the his-

by politics; if you think Taiwan is an independent

78


country, then you should not hate China. Instead,

cause of this, the need for the younger generation to

you should view China as its own country, then

self prepare is much greater than in the past. Take

help to continue Taiwan’s culture by dropping all

Japan for example, they are committed to the reten-

your prejudice, this is the only way for Taiwan to be

tion of tradition, but also promotes their culture to

truly independent. A ‘hate’ for China is the result of

the world via the Internet. We should encourage Tai-

cultural and political prejudgments, and is a main

wan’s new generation to expand their global views

reason why Taiwan is moving backwards and not

and to self improve. On the other hand, the devel-

forward. When faced with China, Taiwan should

opment of the Internet has lead to diminished per-

not trivialize ourselves but should spend more time

sonal interactions between people. Human emotions

to think about the future growth of industries and set

are valuable, but the emotions on social media seem

out a blueprint; the government should also plan and

phony, and when this happens, interactions between

implement support systems. Not allowing ourselves

people become shallow and less valuable. One’s soul

to be drowned by cultural or political prejudice will

is cultivated by culture so when everything is focused

help us back on our feet.

on the development of “fast culture”, giving up of self improvements, and “shallow interactions”, then

In recent years, many Taiwanese companies have relocated out of Taiwan (including ones in the entertainment industry) and such actions have been labeled by the Taiwanese as traitorous. However the real problem beneath this phenomenon is rarely ad-

the soul is forced to disappear.

Chase Your Dreams, Enjoy the Small Things

dressed. He/She “loves Taiwan” is also another common label people use, but “true love” and “fake love”

“Men are great for the dreams they have”-Nietzsche.

are obviously quite different. In the past 20 years,

Taiwan is full of small joyful blessings. Having

people with a “fake love” for Taiwan have been

dreams and acknowledging your blessings are not

draining all the positive energy out of the country.

contradictory. Everyone should have dreams, but at

We must look back and find out how just 20 years

the same time enjoy what you have at the moment,

ago we had such a bright future awaiting us, yet now

as long as it is not used as an excuse to not break-

Taiwan has become a country just full of blame. To

through or grow. Taiwan should not be content with

develop, we should stop with the labels and govern-

just a peaceful society, but should instead have higher

ment should protect the people by coming up with

prospects.

better support systems and care for citizens. A reform may be full of disputes, so we must hold on to

It is a dark time in Taiwan’s development history, but

our rationality and clear judgment so we do not fall

you can definitely see the light at the end of the tun-

at the hands of politics. Doesn’t matter which politi-

nel. When Roger was young, he also had dreams, was

cal party is in office, the priority of the government

rebellious, and even left home to chase his dreams.

should be guiding Taiwan away from the sidelines

He gave himself a 3 year deadline to accumulate

and towards a better future.

as many skills as he could. Now being deemed the “Makeup Master”, he continues to increase his self

“The Dog in the Manger”-Aesop’s Fables. The story

value and works at passing on his knowledge and

represents the new generation’s resentment towards

inspiring the next generation.

the old. How has the Internet era and change in media viewing habits affected the entertainment industry and the new generation? Can dreams and fortuity co-exist?

For the entertainment indus-

try, has its values and morality changed during the switch between the old and new generation? The Internet era is a double-edged sword. It can allow Taiwan to connect with the world, but it can take away human bonds. Due to the development of

“I have never been a political person, and I don’t think I could ever change. My mission is to promote culture and educate the next generation. I love this country deeply and I will use my professional background to make sure that our culture is passed on and continued, and that our country gets back on the road to prosperity.” - Roger Zheng. -end

the Internet and changes in media viewing habits, the younger generation will be widely impacted. The Internet has no boundaries, young people will face challenges from across the globe. Now new talents will not go unrecognized due to the Internet and be-

79


Photographer ASH Make-Up NASH Hair DERECK @ FOUR HAIR CONCEPT Model TEQUILA Designer OU YANG JIA WEI

F R O S T I N G 80


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抵達最稀薄的表面後,才使強大的孤寂翻騰。

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Tolerance to the brink of Intolerance is like treading on thin ice.

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「我就是貔貅,貔貅就是我」- 在創作的鏡子中看見映射的自我。    葉至偉(Jeffrey Yeh)一個外表跟內在迥然相異的大男孩,他俊俏的外表總 讓人誤以為是模特兒、冷傲的氣息總讓人覺得難以親近,淺嚐他的作品可窺 知他內心世界一二;細閱他的作品則可感受其內心世界的獨特與澎派。    從事插畫藝術工作10餘年,他的作品可於各媒體、出版平台所見,同時 跨界與各大品牌連結、整合創作。葉至偉(Jeffrey Yeh)尤其擅長具故事性的創 作以及角色設定,他近期的作品取材自中國古書記載的神獸,並給予蟄伏已 久的角色、人物重獲新生的生命力。

Photographer KUAN Interview ALICE CHOU 周亦宣 Stylist SERENA CHUNG Clothing C L A S H (BAZAR-14)

你如何知道自己對插畫的熱愛?

右,因此也比較好發揮。商業插畫的部

自小看了許多國外繪本童書,啟蒙我對於繪

份,其實只要跟客戶多溝通相互了解,就能

這次去上海開展有什麼心得或是好玩 的事嗎?

畫的興趣,每當我右手握著筆、左手拿著速

準確抓到他們需要的畫面。每個人處理方式

比較好玩的是-看展的人在我面前猜我畫的

寫本,就會無法自拔的揮舞創作。

不同,有時我會直接帶速寫本,現場直接把

角色是何種生物?大多數的人都猜它是一隻

客戶要的畫面繪製出來,如此一來可大大的

藍色的豬!

畢業於舊金山的藝術大學;在國外的 藝術熏陶下,對於插畫風格或技巧是 否有影響呢?

縮短溝通的時間。

最喜歡的插畫家?為什麼? 充滿趣味性及故事性,看著他的作品圖就走

別於台灣的作品,因此我接觸的風格較為廣

現在許多商業攝影也利用插畫來為廣 告加分。你對於這兩種媒材的結合有 什麼看法?

泛,同時讓自己慢慢開啟屬於自己且特別的

我覺得兩種不同手法結合會撞擊出絢麗的

繪畫技巧也是很扎實的。

繪圖風格。

火花,讓畫面更生動有趣。

你的創作通常都很童趣也充滿想像 力。這些想法都是哪裡來?

「貔貅」是一個穿越時光的快樂神 獸。這個角色是如何誕生的呢?

我隨時隨地都會有不同的想法,這些創意

貔貅是我在2013年所創造出來的角色。我跟

和靈感大都來自「生活」。我尤其喜歡獨

朋友去酒吧喝酒時,跟朋友借了一本「山海

你畫下的最後一個作品會是什麼?

自在咖啡廳畫草圖,觀察路人會帶給我許多

經」來翻閱,書中發現到中國文化有許多妖

應該會是我的自畫像,但希望我到時手別抖

靈感。

怪或怪獸,但已經逐漸被大家遺忘。於是我

得太兇。

有的!影響非常之多且廣,在國外看了許多

我喜歡的插畫家叫Norman Rockwell。他的圖 進他的繪畫世界,讓人引起共鳴!當然他的

近期會在台灣展嗎? 2016年中,預計會與另一位畫家在台北舉辦 聯展。

想到用「吉祥的貔貅」做我的角色!創作期

你覺得一個成功的插畫家需要具備什 麼個性或是條件?

間我也嘗試過許多其他的神獸,但最終還是

對你來說邊緣對你來說代表什麼?

選擇了貔貅。

邊緣是一個臨界點,如孤獨。在某些時刻, 我還蠻享受自己與自己的對話。

具備能屈能伸的個性,無論是面對客戶或是 面對自己。

貔貅想表達涵意是什麼? 傳統的貔貅大多是兇猛的長相,讓人有壓迫

商業插畫跟個人創作的差異性?如何 抓到客戶要的畫面?

感,於是我把傳統中國圖像、元素以及符號

商業插畫通常會遵循客戶的需求進行創作;

時也希望能讓年輕一輩的小朋友更了解中國

自己的創作想像空間較大,無須受他人左

文化中的神獸。

簡化。讓大家覺得是可愛且接受度高的,同

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“I am Pixiu, and Pixiu is Me” Understanding oneself through creative reflections. Never judge a book by its cover. For those who don’t know Jeffrey, you might think he is hard to approach, for his good looks and quiet demeanor makes him look like a supermodel on mute. However, if you look at his work and illustrations you might be able to notice a few extra things about him. If you really put in the effort though, to understand his work, you’ll discover an artist full of fire, introspection, and individuality. Having been in the industry for over 10 years, Jeffrey’s work can be seen in different platforms, publications, as well as in crossover projects with various clients. With extensive experience using different mediums to create his pieces, Jeffrey’s forte is in storytelling and conveying a soul and distinct character in his drawings. His latest work was inspired by ancient Chinese folklore, and through Jeffrey’s brushes, he gives life to a character that has long been forgotten.

WHEN DID YOU REALIZE YOUR LOVE OF ILLUSTRATION? When I was young I read many illustration books from overseas, and it really generated my interest. Whenever I have a pencil in one hand, and a drawing book in the other, my creativity just runs wild.

YOU GRADUATED FROM THE ACADEMY OF ART IN SAN FRANCISCO; HOW HAS STUDYING ABROAD AFFECTED YOUR ARTISTIC STYLE OR TECHNIQUES? It has affected me a lot! It allowed me to come in to contact with different types of illustrations that you don’t see in Taiwan. It broadened my scope, and really led the way to me discovering my own individual style.

YOUR ILLUSTRATIONS ARE OFTEN VERY CUTE AND FULL OF IMAGINATION. WHERE DO THESE IDEAS COME FROM? Most of my inspiration comes from life around us. I’m always full of ideas. I enjoy sitting alone in a coffee shop and just sketching and watching different people walk by.

WHAT SORT OF QUALITIES DOES A SUCCESSFUL ILLUSTRATOR NEED TO HAVE?

obviously have more room to be creative. However, as long as you communicate clearly with the client, and try to understand their needs as much as you can, it shouldn’t be difficult to satisfy their expectations. Everyone has their own way, but I tend to bring a sketchbook to meetings so that I can show the client my ideas right away. It saves you a lot of communication time.

YOU RECENTLY HAD AN EXHIBIT IN SHANGHAI. ANY FUN OR INTERESTING THINGS HAPPEN?

NOWADAYS, MANY PHOTOGRAPHERS ADD ILLUSTRATIVE ELEMENTS TO THEIR PHOTOGRAPHS. WHAT DOES THE COMBINATION OF THESE TWO MEDIUMS MEAN TO YOU?

My favorite illustrator is Norman Rockwell. His work is so full of life and has a story to it. When you look at his drawings it’s like entering into the world he has created. It really resonates with me. Technically of course, he has a lot of skill as well.

I think the combination of the two mediums can bring about innovation, and really give life to the picture.

PIXIU IS A HAPPY, MAGICAL CREATURE THAT TRANSCENDS TIME. HOW WAS THIS CHARACTER BORN? I created Pixiu back in 2013. I was at a bar with a friend and came across this book of Chinese myths called “Classics of Mountains and Seas”. I was flipping through it and realized that there are actually many different deities and goblins in ancient Chinese myths, but people seem to be unfamiliar with these characters. Thus I came up with the idea of using the Pixiu, which represents fortune and protection, in my work.

Resilience. Whether it is towards a client or towards oneself.

WHAT DO YOU HOPE TO PORTRAY THROUGH PIXIU?

WHAT IS THE DIFFERENCE BETWEEN COMMERCIAL AND ARTISTIC ILLUSTRATIONS? HOW CAN ONE FULFILL WHAT THE CLIENT WANTS?

The traditional Pixiu actually looks a bit scary and so I wanted to simplify the way it looked and turn it into something that people can find cute and welcoming. I hope that children and younger generations can start to find out more about Chinese mythical creatures through Pixiu.

In commercial illustrations, you have to give the client what they want. In your own creations you

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I thought it was funny that many people were trying to guess what kind of animal Pixiu was. Many people thought that he was a blue pig.

WHO IS YOUR FAVORITE ILLUSTRATOR AND WHY?

ARE YOU PLANNING AN EXHIBIT IN TAIWAN? I plan to have a joint exhibit with another illustrator next summer.

YOUR LAST ILLUSTRATION, WHAT WOULD IT BE? I think it would be my own self-portrait. I hope my hands won’t be shaking too badly when the time comes.

WHAT DOES BORDERLESS MEAN TO YOU? Borderless means the edge; it means a critical point. It can relate to loneliness. - end


祥雲

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邊緣人生−王偉忠 Living Outside the Norm

Photographer JOSHUA LIN Hair DERECK CHEN @ FOUR HAIR CONCEPT Text WANG WEI CHUNG

   做電視節目40年,我不完全是個娛樂圈的人;來跑個趴吧?不 去!跟明星們吃個飯吧?不必!雖做主流的事,卻活得像個邊緣 人,有時間寧可跟家人吃飯、去書店找書、在出太陽的街上亂逛, 不做無謂應酬。    做節目也是如此,很多人以為我專做主流節目,其實不然 ,我的節目開端都是邊緣另類,能把邊緣題材做成主流,才有 意思,接下來,再找個邊緣題材、重新來過。    有朋友問:「有空就去熱鬧一下嘛!什麼都不去不寂寞嗎?」 有些歌手很怕演唱會結束,當自己情緒還高昂,所有觀眾走了,幕 後人員也吃完慶功宴、散了,獨自一人,所有空虛湧上來,不知所 措,趕緊找人做伴。    我卻享受這時光!以前錄過年特別節目,用最高規格、找最 大牌藝人、錄最困難的內容,大家在超大壓力下忙碌幾個月,總 算在過年前最後一個上班日錄完所有內容,這時我請工作人員先回 去,趕車的趕車、出國的出國,我來收尾。       安安靜靜的攝影棚有種特殊魔力,我像老影集「勇士們」 (沒看過吧?證明我真的非主流)裡面的老鳥,所有兵先走,我來 斷後!曲終人散的攝影棚異常謐靜,腳步還能產生回音,有人覺得 空盪盪,我倒覺得無比自由。    好萊塢大明星基努李維是主流中的非主流代表人物。他片酬 幾千萬美金,但不買豪宅、不買超跑、不請造型師搭配日常外出 服,出門不必大禮車,他搭地鐵,想穿什麼就穿什麼;不想剃 鬚,就留著;走累了,就坐在公園長椅上休息,跟眾人一樣活著, 唯一與眾不同的是當他看到想幫助的人,就捐錢給他,而且可以捐 一大筆錢,多自在!    久了,就知道寂寞是種休息,繁華必定落幕。能夠寂寞、能夠 落幕,是好事,因為有高必有低,任何的擁有都是暫時的,好比藝 術品,我們沒辦法「擁有」藝術品,只能夠陪伴這個作品一段日 子,接著我們走了,換另一個人來陪伴。將時間拉長來看,每個人 也都是在歷史上遊蕩的HOMELESS,沒人會永存不朽。    這次林炳存邀約,說要拍我、以一個流浪漢(目前文雅的說法 是「寒士」)的概念。我說:「好!隨便你整,都無所謂。到這年 紀還能任人擺布,沒什麼不好!」 - end

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I’ve been in the TV industry for over 40 years. But I don’t see myself as an “industry” person. I don’t go to parties. I don’t dine with celebrities. My work may be mainstream, but I certainly don’t make it my life. I rather spend time with my family, go to the book store, or enjoy the sun out on the streets. To some people they may think it’s strange. They ask me whether or not I get lonely. My TV shows are sort of like this as well. Many people think I produce mainstream shows. But not really. My shows start off with an abnormal idea, and I make that idea into something that is accepted by the mainstream. That’s what makes it interesting. When my friends ask me, why I don’t go out more often, I just tell them, I quite enjoy my quiet time. Unlike big celebrities and singers who start panicking after a concert, or after the crowds have dispersed; to me, an empty studio or quiet time is much more appealing to me. For our Chinese New Year shows, my colleagues work their butts off for months, trying to get all the pre-recorded episodes done. On the last day before the holidays, I usually tell them to all go home, and I myself will finish the last bits of work. The quietness during that time emits this magical power. I’m like the veteran in the TV series “Combat” (you’ve probably never seen it and it proves I’m definitely not mainstream!); when all the rookies have gone, the veterans finish the job. In an empty studio you can hear the echoes of the last footsteps leaving the room. Some think it’s gloomy and sad, but I find it liberating. Keanu Reeves is the epitome of this non-mainstream character in a mainstream industry. He gets millions for one film, yet he doesn’t spend his money on mansions, sports cars, or stylists. He takes the subway, he wears what he wants, he doesn’t shave. He can sit in the park like everyone else and live like everyone else. The only thing different about him is that when he sees someone who needs help, he can donate. He can donate a lot of money. How great! After a while, you start to realize that loneliness is a vacation. All good things must come to an end. To be able to be lonely, to be able to let it all go, is a good thing. Because the world is dichotomous, if there is a high there must be a low. All things are temporary. It’s like art. We can’t “possess” art because we can only accompany this art piece for a certain amount of time. After we are gone, another person will accompany this art. If we look at the big picture, every single person on this earth is but a tiny part of history. We are homeless in this perspective as no-one lives forever. For this issue, Joshua Lin called me up and said he wanted to photograph me as a homeless (for the lack of a better word) person. I said okay, do whatever you want, doesn’t matter. Because when you get to my age, it’s a good thing you can still let people manipulate you into doing whatever, right? - end

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Photographer JOSHUA LINÂ Stylist MONFI LIN

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霾。 北方的霧霾讓人們見識到污染的威力 及不留情面,因為它會擴散從北方跨 海到台灣,從現實闖進心靈。 Haze. The haze has the power to destruct and pollute. It can spread like a disease, and cross oceans. Creeping from reality into the soul.

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Photographer JOSHUA LIN Stylist MONFI LIN

復調樂音 手稿譜表化做壓罐的鏗鏘、碎紙 的窸窣,你所吟唱的詠嘆,由我 為你翻奏回收的琴弦,鑿璧的 音符、幫浦的升降、呢喃的頓 停,成就輝煌的樂章。落葉寫下 的籤詩是秋風的歸屬,莫辭更坐 談一曲,為君翻作琵琶行。

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“Any fool can be happy. It takes a man with real heart to make beauty out of the stuff that makes us weep.”- Clive Barker 105


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川 劇 人 生

MY THEATRICAL LIFE 笑靨描述我的憤怒、憤怒顯露我的哀傷、哀傷掩飾 我的歡愉、歡愉隱藏我的淚痕,川劇人生上映中。

A smile can portray anger, anger can uncover up sadness, sadness can cover up joy, joy can hide tears. My theatrical life is now playing...

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唯一|無限 趙鑫

圖 Joshua Lin 文 Vincent Chao

類比時代是有趣的。

大塑膠袋的底片泡水腐爛或是被誤丟,就再

人溝通的主流工具之一。

也找不回來。

   數 位 時 代 改 變 了 影 像 工 作 者 的 生 產 模

   在那個時代,完成創作是一個幸苦的過

   也 就 是 因 為 類 比 時 代 的 創 作 、 生 產 、

式,也重新定義了創作者和欣賞者之間的關

程,無論文字、音樂、影像,創作人大部分

拷貝和保存的工序,如此之艱困,任何一個

係,也顛覆或說是重新創造了視覺的美學。

的時間,都必須依賴自己的雙手。作家要在

創作人要能成為「師」,都歷盡千辛萬苦。

數位時代帶來了無限可能。

有綠色格子600字稿紙上,逐字逐行緩慢地寫

除了入行面臨師徒制的嚴苛考驗,還要摸索

   我 們 無 須 歌 頌 類 比 時 代 的 Good Old

下每一個字;一首歌曲的製作,靠著人聲、

器材機械的操作,成長過程中不僅動腦還要

Days, 當 然 也 不 存 在 唾 棄 與 鄙 視 ; 相 對 而

樂器一軌一軌的收錄,經過調和編成,然後

動手,在一次次必然的失敗中,完成成功的

言,數位科技帶來的強大力量,我們在熱烈

mix進盤帶當中;而攝影師必須憑藉經驗,調

作品。

擁抱之餘,或許也該抱持戒慎恐懼的心情。

整光圈快門,然後在漆黑的暗房中,沖洗底

   就這樣痛並快樂著,讓類比時代的創作

   因為,當用iPhone搭配某個app軟體,就

片,一切創作的完成,都將面對時空之中的

充滿了趣味。

能隨後拍出一張照片一段影片的時候,更低

不可控因素,驚喜和風險並存。

   沒 有 多 久 , 數 位 時 代 來 了 , 其 演 化 速

的入門檻,能造就更多的大師嗎?

   所以,空氣中的微小粒子,能影響一張

度如此迅猛,整個世界進步到難以想像的

   因為,當製作過程越來越簡便,製作成

照片的顯影,改變視覺的感受;呼吸之間

地步。

本更加便宜低廉,創意的價值是不是被人忽 略或被輕賤看待?

絲毫的雜音,也會融入實況,增加聽覺的 複雜性。

數位時代是一個無限的時代。

   因為,當網路上隨意擴散和漫天傳播的 同時,創作人是該滿足鄉民不可捉摸的欣賞

   類比時代的創作,痕跡累累,豐富而帶 有細節。

   不管文字、音樂、影像的紀錄,都可以

水準還是堅持自己的初衷?

   也因為受限於載體,創作當下的影音一

在看不見的晶片上被存取,並透過印著104個

   或許我們從某些流行事物中,能找到端

旦被紀錄下來,通常難以再修改、再改變,

字符的鍵盤來操控,還有無數的程式軟體來

倪:當黑膠唱片變成收藏品,當經典老電影

時空逝去,就難以重來,讓類比時代的創

調光、調色、調音、調整修改甚至抹去任何

被數位修復,看來某些作品,能不受時間空

作,充滿了唯一性。

不完美的部分,而且,基於安全起見,所有

間的束縛,甚至運用進步科技的幫助下,將

   行 業 裡 的 專 有 名 詞 : 「 母 片 」 、 「 母

檔案都可以備份,保存在硬碟,甚至上傳雲

永遠流傳。

帶」,就是反映了這種狀態。攝影師按下快

端,永遠地存在。

   「科技始終來自人性」的另一種說法,

門的瞬間,捕捉了世界上,獨一無二的時

   現 在 , 攝 影 師 再 也 不 用 擔 心 失 誤 , 因

是科技要能服務與人性。不管類比時代還是

刻,洗出的底片,也只有一張,世界上唯一

為膠卷底片的浪費,造成預算爆表,相反

數位時代,感動觀看者的,是按下快門當

的,不可能再多有的一張。底片就像母體,

地,數位化的製作特性,更容許或是鼓勵

下,攝影師眼睛裡、腦海裡、心靈裡捕捉世

無論後續再多次的沖印拷貝,全都基於這個

我們在有限時間內,大量地反覆地去捕捉,

界那個瞬間的思緒和誠意,那是機械無法模

本體來繁衍,甚至會因為隔著不同子版本的

去多按下快門或是多拍攝一個take,量變影

擬的,那是電腦無法演算的,那是人類獨有

複製,而逐漸衰減變形。

響質變,失敗的風險降低,相對提高了拍

的智慧與情感合體,所創造的偉大能量。

   經 歷 過 那 個 時 代 的 人 都 曾 有 過 , 用 兩

攝的成功率。

   我相信,在這個無限巨變的時代,依然

台卡帶式錄音機對錄,自己製作流行歌曲

   另一方面,科技讓設備器材輕便化、親

有些事情卻能始終如一,穿越過去現在到到

精選輯的經驗,當然,後來欣賞十首愛情

民化,甚至可以把比以往機械結構強大十

達未來的,就是人心而已。

金曲的時候,還能聽見貓叫狗吠垃圾車

倍百倍的功能,放進極薄的手機和平板電腦

「給愛麗絲」的音樂;或是說,我們人生童

中,加上網路的傳播擴散,不再受到時間空

年某個階段,都曾因為放在儲藏室角落的一

間的侷限,視覺影像的創作,幾乎成為人與

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Irreplaceable. Limitless. The analog era was so interesting.

Back then, to produce something was a tedious and long process. Doesn’t matter if it was written words, music, or imagery, the creator had to spend a lot of time, and rely on his bare two hands. Writers had to painstakingly write down every letter and every word. Music producers had to focus on the vocals, the instrumentals, and fine tune each pitch and melody before mixing it all together into a song. Photographers too, had to rely on experience, adjustments of light, skills in the darkroom, and even a bit of luck, before being able to produce one great photo. Everything then required so much time, and had so many unpredictable elements, surprises, and even risks. Even one small particle in the air can effect the outcome of a picture. Static, our breathing, and murmurs in the air, can also add to the reality and complexities of sound. The creations of the analog era was so rich and full of detail. Once written or recorded, it was hard to edit, change, or redo. The era created things that were unique and irreplaceable. Industry terms like “master” or “master tape” , reflects this irreplaceability. For example, when the photographer presses the shutter, he/she captures a unique moment in time. That moment can only be found on one negative, in one roll of film. That negative is like the original. No matter how many copies you make, it is all derived from that original. Most that have witnessed the era, probably have the experience of creating their own unique playlists with two cassette tape recorders on at once. Though many of these “unique playlists” probably have dogs barking in the background, or garbage truck music accidentally mixed in. For many of us, these are our memories, our childhood, or a certain stage in our life. Sadly, it is all probably lying in some big garbage bag in the basement, amidst all the rusting tapes and film, with a good chance of never being found again. The analog era and its complicated creation, production, preservation, and duplication process, made it extremely difficult to be a “master”

at anything. The apprentice to mentor relationship was also a strict and disciplined one. You had to use not only your brains but also your hands to learn through trial and error. Each failed attempt took you one step closer to a successful one. It was painful, but also rewarding. The analog era was so interesting. Not long after though, the digital era came. The evolution of it all was so rapid, and the world seemed to jump forward in unimaginable leaps. The digital era is an era without limits. Doesn’t matter if it is written words, music, or imagery, it can all be recorded on a chip you can’t see. Writers can compose with buttons on a keypad. Photographers can use countless different softwares to edit, tone, take away, or add to any picture. All files can even be backed up, saved on a harddrive, or even put in cloud space, forever stored. Nowadays, photographers don’t need to worry about messing up the shot, wasting film, or going over budget. The unique characteristics of the digital era, allows and encourages us to capture as many shots as we can, to decrease the risks of failure, and improve rates of success. Technology is now light, accessible, and people oriented. Machines that used to be big and bulky can now be condensed into the cell phone or tablet, and the dissemination of information is no longer restricted by space or time. Visual imagery has already become a tool of communication in mainstream culture.The digital era has changed the industry and those that work in it. It has redefined the relationship of creator and audience, and most importantly brought about endless possibilities. There’s no need to reminisce the “good old days”, but there’s also no need to despise or look down on the past. Technology has given us great power, but before we rejoice and welcome everything with open arms, we should be more cautious and critical of the effects technology has on all industries.

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The iPhone makes a photographer out of all of us. It’s easy to take a photo, but where is the professionalism? The production process is easier now, and production costs have dropped. When creativity becomes mundane, is it easily taken for granted? The internet gives everyone a voice. Should an artist listen to critique and difference in standards? Or should they stick to what they believe in? Perhaps the answer lies in those things that have remained popular through time. Vinyl have become collector items. Classic movies are being digitalized. It seems like some things aren’t bound by time and space, and can rather live on eternally with the help of technology. Technology stems from human nature. Another way of interpreting this, is that technology must serve human nature. Whether it is analog or digital, what moves and inspires audiences, is the thought and soul that the photographer puts into the photo, when he captures that exact moment. Machines and computers cannot calculate thoughts and sincerity. The human intellect and emotions combined, creates an energy that cannot be surpassed by any machine. I believe that in this ever-changing era, there are still some things that remain the same. In the past and in the future, the only thing that will remain consistent, is the human heart, and it alone. - end


Photographer JOSHUA LIN

真正的舞台在街頭

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Profile for ABOOK MAGAZINE

ABOOK MAGAZINE Issue 26  

Cover Star: 王偉忠

ABOOK MAGAZINE Issue 26  

Cover Star: 王偉忠

Profile for partime

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