展覽介紹：

有很長的一段時間，我對於從能夠啟發想像力的要素當中創造出一個假想烏托邦的想法很有興趣。有時這些要素被拿來作為象徵符號語言的寫作類型，有時是雕塑物件，其他時候是以樂譜標記法呈現。有時候我還真不知該如何為這種創作類型命名；實驗性的、抽象的，或概念性的?最近我已為這種創作方式找出適當的名稱，最終它將從我們所存在的世俗世界裡被如何定義的真相當中呈現出來。如果它是三度立體，便是雕塑；如果它是平面，便是圖形或繪畫；如果它與聲音有關係，便是樂音。如果它介於上述之間，或是結合起來，它就該依著本身所顯現較佔首位或象徵的樣態被歸類。為此，一個由雕塑物件、構成物、繪畫與打算呈現出假想音樂的樂譜標記法所集成的展覽應該被當作音樂指南來看待。其次，我的作品所表現的事經常不存在，可能被歸類為虛構。而如同虛構故事有一個相對來說較長的形式，我乾脆進一步將其定義為一部小說。這給了我們一個正式的展覽名稱，由兩個常見的分類所組成，就像稍微被修飾過的類別或流派；音樂指南；一部小說----。開幕當天藝術家本人會與現場觀眾互動進行合作表演，而後留為展出作品之一。

Introduction：

For a long time I have been interested in the idea of creating an imaginary utopia from what I think its creative components might be. Sometimes, this has taken the form of writing in a symbolic language, sometimes object making, and other times, notation for music. I am sometimes at a loss of what to call such work; experimental, abstract, or conceptual? I have recently come to terms with the fact that its definition will ultimately lie in how it will be defined in the mundane world in which we exist. If it has three dimensions, it is sculpture. If it is flat, it is drawing or painting. If it is related to sound, it is music. If it is written to be performed, or represents a performance, it is a score. If it is between these, or a combination of them, it should be categorized as the aspect that is most dominant or significant. To that end, a collected exhibition of objects, constructions, drawings and notations intended to represent imagined utopian music should be referred to as a music manual. Secondarily, as the representation is of something that does not exist, it might be referred to as fiction. As this fiction would be in a relatively long form, I would further define it as a novel. This leaves us with a formal exhibition title, made up of two conventional classifications, as a somewhat modified category or genre; Music Manual; a Novel –