馬祖特殊的地理位置與歷史背景，形成與台灣本島十分迥異的文化景觀，在「戰地政務」時期封閉的三十餘年，將部分無形的資產保存了下來，另一方面，軍方對於相機的管制，也造成庶民生活的影像記錄缺漏難尋，區域歷史也難以脫離官方色彩。因此，此創作計畫希望透過馬祖耆老肖像、口述，一窺馬祖過去八十年歷史的斷面；也經由老者的面容、生命故事，以替代性的參與重拾對於依公、依嬤溫暖的記憶。此次創作採取「紀實攝影」的方式，結合寫實主義美學，以不編導場景、姿勢，不暗示情緒的「冷面」風格，以「擺拍」的方式拍攝數位馬祖耆老，並輔以現場訪談、文字記錄。最終以展覽的形式整合呈現「攝影敘事」與「圖說敘事」之內容。根據回饋意見，此次的創作成果在體驗與情感方面獲得了不少共鳴，但是展覽呈現仍有改進空間，整體而言，這個主題值得更深入、長久的探索與記錄。 / Due to the unique geographic location and history background, Matsu shows a completely different culture from Taiwan. Matsu has saved the Intangible Cultural Heritage during the military rule that lasting for over 30 years. However, the restriction of camera using caused the difficulty of recording the image and status of the real life within that time. Moreover, the region history is likely to be related to military. Therefore, this project aimed to discover the history of Matsu in the past 80 years through the portraits and oral history of the residents as well as participating the old-days of the “grandparent”. The project has adopted the method of Documentary Photography combining Realism and then illustrated the whole pictures of elders of Matsu in Posed Photography and Deadpan style with the interview and words recording. The project has been presented through an exhibition that integrated Photography Narrative and caption. According to the result, there were a great number of feedback shows this project successfully acquired the feedback both in emotion and personal experience. Although it can be seen that some of improvement are necessary, generally to say, this project is worthy to be developed as a long-term project which can be explored and recorded in deeper and more comprehensive way.

台灣伊斯蘭教(臺灣仍慣稱回教)的發展自古至今分為兩個階段,即明清時 期與 1949 及以後,且皆由中國大陸遷移而來。隨著 1949 年國民黨退居臺灣以來, 數萬信奉伊斯蘭教的軍公教人員分多批次隨之來台,使伊斯蘭教(回教)在臺灣 的發展加入了新的蓬勃血脈,雖然來台原因多有悲情成分,但此卻可謂是伊斯蘭 教(回教)在近現代正式傳入臺灣之始。 作為台灣的極少數族群,僅佔台灣人口 0.23%的台灣華人穆斯林如今已有明 顯的地方化與生活化現象,隨著老一代教胞的逐漸消逝與新生代脫教問題在該群 族中日益顯現,臺灣華人穆斯林的傳承問題便尤為棘手。對於臺灣社會來講,甚 少有人留意這群在臺灣多元社會中來自他鄉的離散者,實踐著與臺灣宗教生活中 佔據主流地方的佛教、道教信仰截然不同之宗教。此番情勢與穆斯林議題在世界 範圍內的討論熱度天壤之別,但卻與台灣在世界版圖中咸少被人提及的情況不謀 而合,而這本身亦是一種「弔詭」的現象值得人們反思。 本創作是台灣首次以民族誌影像的方式,利用紀實攝影手法完成的專題圖片 深度報導,主要拍攝為北台灣華語穆斯林族群,選取台北清真寺及桃園龍岡清真 寺為田野調查點,通過在這兩座清真寺進行日常禮拜的穆斯林,尋找不同年齡 層、不同性別、不同家庭環境的拍攝對象,力圖盡可能全面的再現北台灣華語穆 斯林宗教活動及日常生活的點滴過程,并最終以展覽形式呈現於世人。 / Islam in Taiwan-usually still called Hui Religion-has developed as two stages, Ming & Qing Dynasties and after 1949, which both were originated from Mainland China. Since Kuomintang’s retreat in 1949, thousands of Islamic soldiers came to Taiwan, infusing new blood into Islam’s development. Although the retreat is somewhat tragic, this could be called the formal initiation of modern Islam in Taiwan. Living as minorities in Taiwan with a population of only 0.23% in Taiwan, Asian Islam have been very much localized. Given that old Muslims are passing away and new generations are no longer believing in Islam, the problem of inheritance becomes more and more tough. In Taiwan, few people notice that these travelers have been living a different religious life different from the mainstream Buddhism or Taoism, which is totally the opposite compared with the world scale. However, both being ignored by the world, it coincides with Taiwan’s international position, which is unusual and worth study. This investigative project is designed to show as realistic as possible Asian Islam’s life in Taiwan as a whole by documenting religious and daily lives of Muslims of different ages, genders and families through photography, who are mainly from Northern Taiwan. Field researches have been done in Taipei Mosque and Taoyuan City Mosque. The final product will be a photo exhibition the mass.

本創作的「移動」,意旨在生態系統中,動植物非自然/自願性的移動—即指因 人為活動或需求所造成的移動,在動植物被不同規模的移動後,形成一種隱而難 見的新秩序,這些因人為能力所造成的新移動景象,則為移動過後的痕跡。 這是一份討論人與自然最初關係的創作,藉從「移動」的觀念,觀看城市中 的生態日常。本創作分創作論述與攝影集作品兩部份進行,創作論述從「生態資 本主義」出發,建立作者所提出的「移動」觀念;攝影集作品則以新紀實攝影作 表現手法,再現作者所欲強調的「移動」影像。 本創作價值不以提倡人與自然應和諧相處作最終解答,而是從「移動的痕跡」 影像中,理解人類所創造的移動能力已出乎我們所想像,對於城市中日常的生態 景觀,應開始發展另一種觀看的方式。 「移動的痕跡」攝影集（網路版本）：http://issuu.com/mesyeux/docs/movefinal / “Moving”, in this work, means the movement of animals and plants which is made by human beings rather than by the free will of the moved objects. In other words, the movement is caused by people's activities and demands. After the movement in various scales, a new and obscure order is formed. These newly-formed visions then act as the evidences of artificial movement. This work is about the discussion of the original relationship between mankind and ecosystem by re-observing everyday activities with the point of view of “moving”. This work is composed of two parts: the thesis and the photo album. The thesis part, based on “ecological modernization”, introduces the concept of “moving”; while the photo album part, adopted the new documentary photography style, is the medium to visualize “moving”. The value of this work is not to recommend a harmonious way of living between mankind and ecosystem, but to remind the readers that " moving " made by all mankind has been far beyond our imagination. Therefore, we should re-define our way of seeing the daily life. Traces of Moving (online version) : http://issuu.com/mesyeux/docs/movefinal

本創作分為兩條主軸，一條為攝影作品集取向的攝影製作，另一條為研究結果取向的創作論述與田野研究。兩者在內容呈現上互為輔佐，在方法上互相補充。筆者通過在雲南L市的紀實攝影與相關闡釋，為閱聽人提供一副較為真實的精神病患的生存圖景。 在X精神病院中的醫護人員與病人之間的確存在著巨大的權力落差，其中權力的運作方式基本符合Foucault的描述：與空間緊密的結合。病區中的規章制度與大大小小的日常活動依依顯示出醫護人員對病人的控制。醫生在診斷與治療的過程中並未完全依循西方醫學，而是加入了地方知識。病人也在個體層面上有著微小的反抗，雖然有效，但也未破壞醫院秩序的正常運轉。 而在LJ村拍攝的民族誌影片中，顯示出了村中年輕人與老一輩在地方文化傳承上的斷裂。相較於民俗治療儀式，他們更願意相信西方醫療體系，更加傾向於去現代醫院中進行診斷與治療。 / This paper is mainly based on two guidelines: the photography creation aiming at photo collection, and the discussion and field research for research achievements. Theses two guidelines work as supplement for each other. Through the record by photography and related discussion in L City, Yunnan, I hope that the real current situation for mental patients could be showed to readers. Indeed, there is a great “power gap” between the staff and patients in psychiatric hospital, in which the way the staff use their power almost complies with Foucault’s description: “Space, Knowledge and Power”. All the rules and daily activities in the area indicate the control of the staff to patients in different degree. The doctors don’t completely rely on western medical for healing, instead they add traditional knowledge, for which patients sometimes make small fight for. Although these small fights are effective, they don’t make effect on the normal operation of the hospital. In terms of the ethnography film recorded in L Village, it indicates a disruption between the young and the old on the inheritance for traditional culture. The young generation is more likely to choose modern hospital for disease, rather than relying on traditional method.

新疆塔吉克族的婚禮，目前已是聯合國非物質文化遺產之一。塔吉克族的婚禮方式傳統特殊，有其特定的結婚季節，是塔吉克人引以為傲的慶典。隨著中國大陸「一帶一路」的全球經濟發展策略，塔吉克族的故鄉塔什庫爾干，因為位於一帶一路通往中亞與南亞的重要樞紐上，成為了經濟特區，帶動經濟飛快地發展，卻也造成維護傳統文化上的巨大衝擊。許多塔吉克族的傳統房屋被迫拆除，新建地現代樓房因為室內空間改變，而影響了塔吉克族的婚禮儀式。此外，隨著現代化的影響，許多傳統的禮俗慢慢地流失，塔吉克族特有的樂器鷹笛和羊皮鼓，已漸漸地被電子琴所取代。而騎馬迎娶新娘的儀式，也大多被汽車所取代。因此，此創作計畫透過三個多月的紀錄，將塔吉克婚禮的過程紀實攝影，最終展覽以攝影敘事的方式，結合動態影像與塔吉克鷹舞的互動體驗，以及問卷回饋的形式，反映社會大眾對於不同文化變遷的意見，也希望能特過此創作，對於塔吉克族文化的變遷與流失，做最後的紀錄與保存。 / The Xinjiang Tajik wedding is one of the United Nations Intangible Cultural Heritage. The Tajik wedding is particular, traditional which is only hold in wedding season. The Tajik is proud of their wedding ceremony. Via the One Belt One Road global economic strategy in mainland China, which leads to the dramatically change in Tashkurgan, the hometown of the Tajik. The location of Tashkurgan is in the hub of Central Asia and South Asia. The perfect location make Tashkurgan become the Fourth Special Economic Zone in China. Being the Special Economic Zone brought to the increasing developing, on the other hand, which harmed to the cultural maintenance as well. Most of the traditional Tajik houses were demolished. The China government built the modern house to replace the original tradition one. The change of the house which also changed the indoor space leading to the change to the Tajik wedding ceremony. Otherwise, the modern life also make many customs vanished. Instead of playing the Eagle-flute and Lamb-drum, some wedding were playing the keyboard . The custom about horse-riding to escort the bride was substituted by the car. Thus, this project has recorded the Tajik for three months. The process of the Tajik wedding was recorded with photography documentary. The exhibition that integrated Photography Narrative and dynamic phantom. In the exhibition, with the questionnaire and interaction in Eagle dance, which reflected the audience feedback to the other culture change. Furthermore, I hope that I could make a contribution to preserve images about the culture change for Tajik via this project.