從作曲、電聲、裝置到有機介質，發現所有生命體各承載著不同的電訊號，再到探索不同表演者的獨特性，身體以及空間感知，一切是個驚喜的旅程。2021年開始在歌劇院五樓涵洞種植小樹苗，從種子發芽茁壯至小樹，一路陪伴著駐館製作，也影響著作品。
From composition, electronics, and installations to organic materials, the journey to discovering that all living creatures carry different electrical signals was amazing. Exploring the uniqueness of individual performers, body, and spatial perception, everything was an amazing journey. In 2021, I planted moringa seeds on the fifth floor of the NTT. From these seeds, trees grew and accompanied me throughout my residency, inspiring my work.

Qualia aims to explore the uniqueness of nature and appreciate the primitive and pure individual by exploring the originality of the performer's body and sound. There is no specific role to play on stage, and the only correct way to perform is to express one's own language honestly. However, playing oneself is actually more difficult than playing a predetermined role. This journey is a long road to rediscovering oneself.

這作品委創是來自一位可愛的薩克斯風演奏家—吳痞康。然而，我最終卻比較喜歡這個純電聲的版本。

裡面的聲景部分，除了紐約地鐵的部分是來自朋友，其他皆是我於2012-15年間，拿著zoom h4n在各處車站錄的聲音。裡面包含巴黎、阿姆斯特丹、倫敦、薩爾茲堡、柏林…等。當時似乎也想藉由這個作品整理一下過去的錄音。

Originally commissioned by saxophonist Pikon Wu, this piece was eventually developed as a tape-only version which I preferred over the saxophone version. The soundscape in this piece, with the exception of the New York subway sound, was recorded by myself between 2012 and 2015 using a Zoom H4N recorder, in places such as Paris, Amsterdam, London, Salzburg, and Berlin. I had initially intended to organize my past recording files, which is why I used these materials in this piece.

Dear Yours Mine,

這作品最初的想法源於2015年，對於每個個體獨特的好奇心，當時居住於阿姆斯特丹，一個被各式各樣的人種、國籍、文化包圍的城市，藉由一些文字、問答…等想法，然後這作品就產生了四個不同的結果。然而，在過程中有無數的參與者曾嘗試執行這個作品，我深深感謝所有的參與者。

The very first idea for this project comes from the curiosity of different individuals in 2015 when I was surrounded by varied people/nationalities/cultures in Amsterdam, with a few words, quizzes, then voilà: the project with 4 different results. However, there were numerous people did try this project. Even though not all of them achieve the final step, I still deeply appreciate all of them.
Individuality is the keyword of my work in the past few years. It has been 7 years and I found a clear reason to close this topic.

音樂本身就是個語言，本身不太喜歡對作品解釋太多，或是強加個具象的意念上去，而是讓聆聽者、觀看者自己去感受，既使產生與創作者截然不同的觀點也屬常。

從2014年我開始把Cymatics的現象應用至表演中，在阿姆斯特丹學習期間弄壞了無數學校的喇叭與擴大器元件，2016年才終於把以水為素材的裝置在Darmstadt實踐，17年受合作的樂團We Spoke邀請完成作品。18年改成三重奏編制投新人新視野專案，雖入選但最終未獲補助。今年也將17年版tape的部份改編成裝置的形式於ICMC 2018展出。

因為這整個作品是自己從零建構，包辦了硬體、軟體、製譜、統籌、執行，只有我深知這個作品的發展可能性，其實可能性是多到必須要做適當的選擇 。起初覺得沒拿到補助是件令人傷心的結果，後來才發現這段時間所接受的批判和考驗，是在引導我走向更成熟的創作之路。現在是該回顧一下過程和檢討作品。