For English, please scroll down.
一份檔案，如下：
| 檔名 | 肖像擺 |
| 副檔名 | 場景九 |
| 密碼 | archive_zero |
| 屬性 | 一份菜單以及一張歌單與地圖。 |
| 著錄 | 《盧皆得深夜食堂》以味蕾作為回憶的途徑，上菜伴隨著講古，在白灼蝦、鵝肉冷盤與客家小炒等既道地又家常的通俗廚菜之間，展開一段段生命敘事。 |
| 《甘寧涼歌謠巡禮》以打帶跑的說唱方式，探看老時代底層的生命政治，拉開想像的嫁接，在大稻埕街區啟動一種另類的在地歌謠史導覽。 | |
| 參照點 | 「世間的一切都以『是的』開始。一個分子向另一個分子說了一聲『是的』，生命就此誕生。」節自李斯佩克朵《星辰時刻》第一頁第一句話。 |
| 關鍵字 | 零度、原樣、缺席、中性、生命、在地、檔案 |
| 存參ㄧ | 「生命中對你而言最具代表性的動詞是什麼？」黃大旺：「自然醒。」 |
| 存參二 | 盧皆得：「人生不是每天都有柏油路可走！」 |
| 簽名檔 | 一位非當機中後媒體時代吟遊詩人、即興表演家、聲音wiki活體百科以及一位典型臨時工。 |
以及，一些備註：
若是以第一人稱的角度下註，我會這麼解釋的，與其書寫《盧皆得深夜食堂》以及《甘寧涼歌謠巡禮》各自的脈絡，不如梳理兩者之間所共構的互文。此處存在著一個聚合關係，其指涉出兩個潛在項次之間的對立，對立結構出意義，亦即產生聚合，而破除聚合的方法則是直陳式的中性，作為趨向零度的指向性動作。若說檔案本身是為一個集合名詞，以及，零度本身是為一個象徵性形容詞，具有存在的簡單缺席以及想像的在位 ; 而在面對生命史如此異質材料的同時，肖像擺最終章亟欲以一種後設意圖，置身於歷史的光圈之外探看個別、集體及總體的生命景深，並反身撿拾那些遺漏於觀景窗之外的生命檔案，以揭示一種非視網膜所能呈像之可能。那麼，更加微觀一點的說吧，場景空間可見的去結構化展示物件則作為一種歸零的宣示，在這無差別的解構中，卻意外再度結構了過往遞次場景間所積累的大量線索，於透明性的展示設計中，企圖以倒敘攪動敘事載體，並對頁攤開肖像擺一路延展至今的層層矛盾、失序以及種種實驗，以一個抽離的動詞作為句點。
附註：
由於《盧皆得深夜食堂》以及《甘寧涼歌謠巡禮》為非語感形式的存在於展覽中，就此羅列出一個「零度」空間場域。場景九並無配置圖，以上的檔案及備註僅作為空間配置的線索提供。
An archive as below:
| File Name | Portrait Portrait |
| Subname | Scenario＃9 |
| Password | archive_zero |
| Archive Catalog | A menu and a songlist with map |
| Archival Description | Midnight Diner with LU Chieh-Te presents the diner’s menu includes dishes such as boiled shrimp, cold goose, Hakka fried shredded pork with cuttlefish and more, served alongside LU Chieh-Te’s life stories as route to open up the individual/collective memory. |
| Taking the format of off-stage talk-show in the neighbourhood blocks, Walk Local, Sing Local tours through Dadaocheng. Acting as an alternative tour of local history told through folk songs it looks at the disappearing individual / collective biopolitics from old times traced back in nonlinear ways. | |
| Main Reference | “Everything in the world began with a yes. One molecule said yes to another molecule and life was born.”
― Clarice Lispector, The Hour of the Star |
| Reference One | When asked “what is the most influential verb to you in the life?” Dawang HUANG said: “to wake up.” |
| Reference Two | LU Chieh-Te said: “There is not always a concrete road to walk.’ |
| Keyword | Zero, the original, absence, neutral, biography, local, archive |
| Signature by | A half-crashed post-media bard, improviser, living sound Wikipedia and a typical freelance worker. |
A note:
If there is a first-person voice, then there is an explanation. So here we give some account of ourselves. The text here shows the context of these two pieces and their intertextuality. There is an aggregation which means a pre-existing opposition that produces a meaning and constructs a relationship. To break the aggregation is literally to neutralise the narrative without anything further being hidden. It is a zeroing action. So, let’s say that the archive is a collective noun. The zero is a symbolic adjective. It infers a simple absence albeit with an existing location, an imaginary position. Our meta-intent here, in the final scenario, is to draw a non-visual picture of the individual/collective bio-archives which lie outside the frame of the systemic viewfinder. For further insight, the deconstructed exhibition as an manifest of zeroing is coincidently reconstructing all the traces that accumulated through the previous scenarios. A transparent display, it replays the scenarios’ narratives to open up the layers of contradictions, disorders and experiments. A departing verb is to be the full stop here.
One more note:
There isn’t an exhibition floorplan available for this scenario as Midnight Diner with LU Chieh-Te and Walk Local, Sing Local are presented formlessly in the show. Please find the clues of works from the above text.
