關於我所看見

本作品分為兩個段落，前段影片為『關於我所看見』後段影片則是『關於我，所看見』
『關於我所看見』中跳動的格子在我眼中所看見就如同在編曲軟體中跳躍的音量，因此在製作時不同的格子代表不同聲音，而駁二又是充滿年輕氣息的地方，在節奏上讓人有輕快的聯想
同時結合了我所看見的高雄特色，在作品中加入輕軌到站提示聲、大港迴聲的鐘聲等，最終形成了我眼中所看見，富有活力又充滿特色的高雄
這就是『關於我所看見』的高雄

『關於我，所看見』中的絨毛玩偶一開始是天真、活潑的，所以一開始都為輕快、可愛的，木管為主溫和的聲音，但由於後來執著於成為自己眼中覺得比較好看的存在而失去一切，不惜改變自我最終卻換來被丟棄的結局，導致後半段的配樂從令人緊張的合成器聲響到最後卻轉變成一種難以言喻的滄桑感
跟我現實中對自己的外貌感到不自信，羨慕他人長得很好看等等的處境很相似，『關於我，所看見』的常常是不滿意的外表及想成為的別人
在『關於我，所看見』中因為很多現實中細微的動作，因此我採用了大量Foley使其聽起來較接近現實
而種種也形成了『關於我，所看見』

而不論哪段，都是我眼中，關於我所看見的世界

The Things I See

This work is divided into two sections.
The first part is “The Things I see,” and the second part is “The thing I see.”
In “The Things I see,” the jumping grids resemble, to me, the visual movement of volume levels in DAW. Each grid represents a different sound element.
By blending lively 8-bit elements with the light rail sound effects and the bell near the Pier-2 Art Center bridge, I aim to capture the energetic and vibrant spirit of Kaohsiung as I perceive it.

In “The thing I see,”the doll begins as innocent and lively. Therefore, the early part features light, and warm sounds, primarily led by woodwinds. However, as it becomes obsessed with transforming into what it perceives as a more desirable version of itself, it gradually loses everything. In the end, despite altering itself, it is discarded.
Because the piece contains many subtle, realistic actions, I incorporated extensive Foley techniques to enhance its sense of realism. All these elements form “The thing I see.”