笆札筏的大洪水 The Great Deluge: Oral History from Pacavalj

2025，單頻道彩色影片18分57秒，展出與委託製作於 如果我們的語言是……
Video 18" 57', artwork commissioned by "Sounds of Babe"
2024，十字繡於棉布上Cross-stitch on cotton cloth, 12 cm x 1500 cm

1935 年小川尚義、淺井惠倫以萬國發音記號、日語標注的合著《原語による高砂族傳說集（原語實錄臺灣高砂族傳說集）》，其中一篇採集自 Pacavalj（現台東大武鄉大鳥村）的傳說；講述一對兄妹在遭遇大洪水滅村之後努力存活下來並以亂倫婚姻來延續後代，從近親生產出殘缺的子孫，慢慢到幾世代後漸漸形成一個正常人類的聚落，也是部落的起源。這個敘事採集我的故鄉，後代在2011年為此故事製作繪本，並重新以自己的排灣族語講述這個故事。對於上述諸多語言翻轉的狀態感到有趣，我特地拜訪一群研究南島語的朋友為我解讀《原語による高砂族傳說集》，也近一步探究他們如何將被判定為死語的西拉雅語，如何透過參考《諸羅縣志》（1717）或對照《新港語馬太福音》（1888）去解碼及復活發音系統。

In 1935, OGAWA Naoyoshi and ASAI Erin published ‘A Collection of Formosan Aboriginal Folktales in the Original Language’, employing the International Phonetic Alphabet (IPA) alongside Japanese annotations. One tale recorded from the Pacavalj tribe (present-day Daniao, Dawu Township, Taitung County). It recounts how a brother and sister survived after their village was destroyed by a great flood. They sustained their lineage through an incestuous union, producing deformed offspring from this close kinship. Over several generations, these descendants gradually evolved into a community of normal humans, marking the tribe's origin. This narrative was collected in my homeland. Later generations produced a picture book based on this story in 2011, retelling it in their own Paiwan language.

Intrigued by these linguistic transformations, I sought out scholars specialising in Austronesian languages to decipher ‘A Collection of Formosan Aboriginal Folktales in the Original Language.’ This led me to explore how they decoded and revived the pronunciation system of Siraya—a language deemed extinct—by referencing the ‘Zhuluo County Annals (1717)’ and cross-referencing with "The Gospel of St. Matthew in Formosan, Sinkang Dialect) (1888) to decode and revive its phonetic system.

植物誌轉印術-給離鄉族人的備忘錄 Ethnoplants Transfer Printing- a memorandum a memorandum for distant clansmen

 

圖片提供森川里海藝術季 photo by Mipaliw land art

2024，木材、石膏板，350x180cmx60cm 

參展於「2024森川里海藝術季－銜接」，圖片提供森川里海藝術季

追朔「備忘錄」拉丁語字源 memoro所形成的動名詞，意為「應該被記住的」。阿美族語 mi 為「拿取」的驅動詞，也是生命與生存的原始驅動，不論是在原鄉採集與傳統文化慣習有關的實用植物，或是都市原住民收集廢板材在城市邊陲建構生存空間，將兩者生活經驗做一個造型結合；拓印植物就像遠古壁畫或化石留存，廢板材經歷使用與歲月痕跡呈現生命力，將此集合物置於自然林間讓陽光灑落呈現光點斑塊，藉此進行一個記憶的行為。備忘錄 (MOU) 也是各方採取行動的協議，透過補遺兩端的動作去演示生態豐富島嶼的當代史。

2024, discarded wood, plasterboard, 350x180cmx60cm.

At " 2024 Mipaliw land art - articulation ", Fakong village, Fengbin Township, Hualien, Taiwan.  (photo by Mipaliw land art)

Tracing back the Latin root of "memorandum," memoro is a verbal noun meaning "something that should be remembered." In the Amis language. "mi" is a verb meaning "to take" and also represents the primal drive for life and survival; whether it's gathering useful plants tied to traditional cultural practices in the indigenous homeland, or urban Indigenous peoples collecting discarded wood to build survival spaces on the outskirts of cities, this piece merges both life experiences into a singular form. The plant imprints resemble ancient cave paintings or preserved fossils, while the discarded wood bears the marks of use and time, reflecting vitality. This assemblage is placed in the natural forest where sunlight filters through, creating patches of light, engaging in an act of memory. A memorandum (MOU) also signifies an agreement for action between parties. By attempting to bridge the gaps, this work seeks to reenact the contemporary history of an ecologically rich island in Taiwan.

笆札筏的大洪水 The Great Deluge: Oral History from Pacavalj

攝影朱軒志 Photo by Hsuan-Chi Chu 

Artwork commissioned by 2024 Taipei Dangdai and the Ministry of Culture (Taiwan).

2024，十字繡於棉布上，12 cm x 1500cm 
族語翻譯（羅馬拼音）：張美瑛, 潘世珍
2024, Cross-stitch on cotton cloth, 12 cm x 1500 cm
Paiwan language translation ( Romanization System): Karui Tjuljaviya, Saivi Langalj 

遇上大浩劫爾後倖存的人們如何記錄經歷？且沒有文字的原住民族似乎僅能以口傳去延續這段歷史記憶。刺繡的上的羅馬拼音敘事，採自1935年小川尚義、淺井惠倫以萬國發音記號、日語對照的合著《原語による高砂族傳說集（原語實錄臺灣高砂族傳說集）》，其中一篇採集自Pacavalj（現台東大武鄉大鳥村）的傳說；內容大略是一對兄妹在遭遇大洪水滅村之後努力活下來並以亂倫婚姻來延續後代，從近親生產出殘缺的子孫，慢慢到幾世代後漸漸形成一個正常人類的聚落，也是部落的起源。刺繡卷軸裡使用難以理解的字符，鏡像去呈現這世界不斷重演的歷史。

How would the survivors record their experiences after a great catastrophe? For indigenous peoples without a written language, oral tradition seems to be the only way to pass down this historical memory. The Romanization System narrative in the embroidery is derived from the 1935 collaborative work "A Collection of Formosan Aboriginal Folktales in the Original Language" by Shouichi Ogawa and Keirou Asai, which uses an International Phonetic Alphabet and Japanese control. One of the collected stories is a legend from Pacavalj, which tells of a brother and sister who survived a great flood that destroyed their village. They struggled to survive and continued their lineage through an incestuous marriage, initially producing offspring with defects. Over several generations, these descendants gradually formed a normal human settlement, marking the origin of the tribe. The scroll embroidery uses incomprehensible characters in a mirrored fashion to represent the seemingly endlessly repeating history of this world.

Rawus Tjuljaviya 與表姐們 Rawus Tjuljaviya and Her Cousins

攝影黃雅農，均勻製作提供
Image courtesy of the Goldilocks Production, photo by HUANG Ya-Nung

2023，編織、單頻道彩色影片14分39秒。展出於2023綠島人權藝術季「傾聽裂隙的迴聲」，新生訓導處，台東
2023, Weaving, video 14” 39’. At 2023 "Green Island Human Rights Art Festival – Listening to the Overtones of Fissures", Green Island White Terror Memorial Park, Taitung. 

她們人很好也很單純。

我的族名叫 Rawus，承自 Larepaq 的外祖母，是熟悉族名排序分配、嫻熟母語的表姐告訴我的。我和表姐們同屬臺東大鳥村裡的 Tjuljaviya 家族，1950-1960 年代出生的她們，似乎安於異族的統治，如同其他鄉里那些安分求生存的人，也可能是黨國體制的一員，或是外來宗教的虔誠擁護者。藉由共同的展覽工作試著進一步理解她們，希望不同光譜的兩端，以藝術為名去連接起來。影像記錄表姊們使用羊角勾勾法編織sikau（排灣族傳統網袋）的過程，以及我們之間的對話。

They are nice and simple people.

My indigenous name is Rawus, which is inherited from my maternal grandmother from Larepaq – a piece of information that I got from my female cousins who are familiar with the order of our family names and native language. My cousins and I all belong to the Tjuljaviya family living in Pacavalj . They were born during the 1950s and the 1960s, and seem to be contented with the rule of the foreign race. Like other law-biding people who only seek to make a living, they are probably followers of the party-state regime or devout supporters of foreign religions. I try to get a deeper understanding of them through our co-creation for this exhibition, hoping to bridge the two opposites of the spectrum through art. The video documents my cousins using goat’s horns as needles to weave sikau (traditional Paiwan woven bags) and our conversations. ( Translation provided by Goldilocks Production, translated by HUANG Liang-Jung ) 

園區／生活・家屋／蝸牛 Cultural Park / Life・Traditional Dwelling / Snail

園區／生活・家屋／蝸牛（2021）彩色單頻道影片，8分7秒（現地製作）
 "Cultural Park / Life・Traditional Dwelling / Snail "(2021) , video, 8"7'  (made in situ).

張恩滿＋Sedjam Takivan Kavunga

駐園計劃（攝影芮斯影像，原住民族文化發展中心提供）
En-Man Chang＋Sedjam Takivan Kavunga
Residency Program, image courtesy of the

Indigenous Peoples Cultural Development Center (Taiwan), photo by ReMix. )

台灣原住民族文化園區作為匯集島內正名16族族群文化展示與推廣的場域，在諾大半山園打造一棟棟各個部落的傳統建築與家屋。短期進駐的藝術家如何去思考與空間的關係？身為溯源血脈的一員，在對空間感到陌生與距離的實在感受下，邀請擁有老人靈魂的排灣族文化青年Sedjam Takivan Kavunga（漢名林志祥，台東pacavalj部落）合作，實際生活在園區，於完美建物裡呈現某種開墾狀態；他熟嫻各項傳統文化與知識，我以蝸牛系列創作為介面，在擬態的場所棲居活動，討論傳統意義中的日常，實踐家屋意象與時空場景的縫合。

當裊裊炊煙升起，代表人／生命在建物裡活動，是傳統意義上重要的生活象徵，以生活的痕跡去呈現空間性的轉換。Sedjam在模擬的傳統家屋開啟的日常生活，展演期間他也不時出現於展場／家屋，與〈蝸牛〉系列展開對話。

The Taiwan Indigenous Peoples Cultural Park, as a venue for the exhibition and promotion of the cultures of the 16 ethnic groups on the island, has created a series of traditional buildings and houses of each tribe in the vast Mid-Levels Park. How do short-term artists think about relationship with the space? As a member of the traceability lineage, I invited Sedjam Takivan Kavunga (Chinese name Lin Chih Hsiang, Taitung pacavalj tribe), a young Paiwanese cultural youth who possesses the soul of an old man, to collaborate with me, as I actually live in the park, and present a certain kind of reclamation state in the perfect building; he is well versed in various traditional cultures and knowledge, and I have used the Snail series as an interface for inhabiting and moving about in an imaginary place, discussing everyday life in the traditional sense, and practicing the seamlessness between the imagery of the house and the spatial and temporal scenes in the imagery of the house.

When the smoke rises, it represents the movement of life in the building, an important symbol of life in the traditional sense, and the traces of life are used to present the transformation of spatiality. Sedjam's daily life in the simulated traditional house, and his frequent appearances in the exhibition venue/house during the exhibition, are a dialogue with the "Snails" series.

眺島 Milky way

影片截圖 Screenshots 

花窗彩繪攝影曾能章 stained glass, photo by ZENG, Neng-Jhang

2020 / 單頻道彩色影片8分15秒、花窗彩繪（450x250cm）

展出於2020綠島人權藝術季 ，《如果，在邊緣，畫一個座標》

2020 / video (single channel, 8' 15"), stained glass (450x250cm)

At "If on the margin, draw a coordinate", 2020 Green Island Human Rights Art Festival

火燒島、大島與蘭嶼島，它們鄰近可以彼此眺望， 在有意識與無意識被禁錮中，平行乘載歷史之業。回首洋流，浪頭隨潮波， 仰望同個星空，藉由希拉女神的乳汁連結跳島，連結政治治理下的分裂時空。

Fire-licked Island, Main Island and Orchid Island are so close geographically that they are within one another’s sight. In the fell clutch of circumstance, whether self-imposed or involuntary, they share a turbulent history. Apart from looking back at the ocean current and the crest of tidal waves, they look up at the same starry sky. I plan to associate Hera’s breast milk with island-hopping, with the split space-time under political governance. ( Translations by 2020 Green Island Human Rights Art Festival)

蝸牛樂園 Snail Paradise (2019)

刺繡屏風 300x200cm，食譜，影像

展出於2019新加坡雙年展

2019, Site-specific installation: videography, embroidery and recipes, dimensions variable

Singapore Biennale 2019 commission (Images courtesy of the SB)

“How to make a snail food?”

這句子是軸心，不僅僅是cook更是make，去進行一個製圖（mapping）工作；審視與逆返非洲大蝸牛的遷徙途徑，試圖描繪出牠們的生態歷史的大航海時代。

非洲大蝸牛原生於東非，1933年日本殖民政府官員從新加坡引進臺灣發展食用養殖。這雨後會出現在路邊的生物，在相近的時期分別侵入夏威夷群島、印尼、北婆羅洲、馬來半島等地。這些地區共同經驗了帝國傳播拖曳的痕跡，轉化出了不同的自我文化的發展。

蝸牛成為探討介面，去思考各地方文化的混雜性；啟航至作為轉運站的新加坡，與當地藝術家合作，探索蝸牛作為各種食譜成分的態度，成就一個研究進程不斷累積的食景圖譜。

 又該如何思考食景地圖的繪製？「Map」詞源於拉丁文「Mappamundi」，原始語意是「將世界繪在布上」。應用台灣原住民族於傳統服上的刺繡方法，以針代筆、以線代墨的針路書寫去探究；而「針路」又指稱為「航道」，蝸牛是這計畫的指南針。


“How to make a snail food?”
This sentence is the axis, not only to cook but more to make, of this mapping project. Reviewing and rewinding the migration route of the Africa Land snail (Achatina fulica), I attempt to portray their Age of Discovery in ecological history.

The Africa Land snail has its origin in East Africa; it was introduced to Taiwan from Singapore by a government official during the Japanese colonial period in 1933 for the purpose of food farming. This creature that appears after rain separately invaded Hawaiian Islands, Indonesia, North Borneo, Malay Peninsula, etc. at similar times. These regions shared the experience of empire’s spreading and dragging, while transformed to one’s own cultural development.

The snail has become a discussion interface to think about the hybridity of local cultures; set sail to Singapore, collaborating with local artists to explore attitudes towards the snail as an ingredient in a range of recipes, and achieve an accumulating map of foodscape during the research process.

How to think about mapping a cookbook? “Map” original came from “Mappamundi” in Latin, which means “draw the world on a cloth.” I will apply the embroidery of Taiwan indigenous  on traditional costume while using needle as pen, sewing as ink to write and to research; As “needle road” implies the “seaway  map,”  snail is the compass in this project. (Most translations by  San-San Liu)


群島資料庫10（與新加坡藝術家ila以及 Kin Chui的訪談與食譜）
NUSANTARA ARCHIVE 10 (Interview with Singaporean artists ila and Kin Chui, and who make the snail recipes)

食譜下載
 Snail recipes download

蝸牛樂園－前導篇 Snail Paradise: Preface

2019, 複合媒材，影像3分25秒，三組傳統男子刺繡後敞褲片，尺寸依場地。
展出於「留洋四鏢客」，TKG+，內湖，台北。
2019, mixed media, video 3' 25", 3 traditional men's rear open pants with embroidery, dimensions variable. At “The Middleman, the Backpacker, the Alien Species, and the Time Traveler”, TKG+, Taipei, Taiwan. (Courtesy of TKG+)

當非洲大蝸牛出現在台灣本地熱炒料理“炒螺肉”，成為熱門下酒菜，尤其受台灣原住民族族人的歡迎，甚至納入珍貴的傳統食物裡；牠似乎出乎1933年引入食用養殖日殖官員的預料之外，且台灣的原生物種構樹葉子能夠輕易地去除牠的黏液。

通過非洲大蝸牛行走遺留的黏液，逆返審視牠的傳播路徑（台灣→新加坡→東非），探詢它拖曳過的痕跡；先是作為轉運站的新加坡，與對牠原生地非洲的想像，做一「啟航」的宣示。此蝸牛旅程系列「前導篇」，借用了母親家鄉「大鳥部落」(pacavalj)男子傳統服褲片的樣式，設計了與蝸牛料理有關的植物轉為刺繡圖騰，用此形式書寫地方或世界的一段歷史。

It must not have been foreseen that the African snails became a very popular dish usually enjoyed with beer in Taiwanese stir fry restaurants and also a precious traditional dish among indigenous group of people when they were introduced to Taiwan in 1933 by Japanese officials.  
Moreover, leaves of the local common paper mulberry could be used to remove its trail easily.


By the trail left along the way, the artist examines African snail's dissemination route in reverse from Taiwan to Singapore and then back to East Africa. The preface of the journey depicted in this project presents a period of local and international history on embroideries rendering the plants relate to the snail dishes. The patterns are designed by the artist out of male pants from Pacavali, a tribe where the artist's mother originated. (Translated by Chun-Ying Lin)

重如鴻毛 As Heavy as a Feather

影片擷圖 (Aerial Photography Vikung Lalengeang)

《重如鴻毛》，影像裝置，依場地大小，2016
風箏投影13分45秒
主影像，42分48秒
重如鴻毛〈小豆篇〉，29分44秒

「重如鴻毛」典故出自西元前兩百年的中國諺語「重於泰山，輕於鴻毛」，論人們如何看待生存並活出自己的價值；這裡將語意重組，藉由反常的量感，探究渺小的對象其生命的重量，並通過影像描繪出某種抽象的力量，企圖展開別於單一資本體系價值的想像。位於台灣台東的杉原海灣，在阿美族的傳統地名是 fudafudak，為閃閃發光之意，也是緊鄰的小部落的名稱。fudafudak 就如同許多偏鄉地區，面臨青壯人口外流與文化流失等問題；而這個不起眼小村莊的自然生活領域，有許多大型開發案正虎視眈眈的包圍著。跟著從事部落文化重建工作的社會運動者進入部落，藝術家藉由加拿大展覽機會，與族人展開了合作項目；製作與重現傳說中會發出聲響的大風箏，並在其中談及長老兒時記憶中的傳奇走唱藝人 Ngayaw，以及傳唱他的歌。


"As Heavy as a Feather", Video installation, dimensions variable, 2016
Kite, bamboo, canvas, projection: 13’ 45”
“As Heavy as a Feather” Main video: 42' 48"
“As Heavy as a Feather” Chapter: Lin Dou: 29’ 44”

The allusion of “Heavy as a feather” is inspired from a Chinese idiom 200 B.C. ago: “The death may be heavier than Mount Tai but lighter than a feather.”  The original intention is to point out the way people value themselves and live out their lifes with own value in the limited lifetime.
Here the meaning is reconstructed by altering the sentence. From the inverse semantics, the artist tries to explore how people with tiny power value and look at their own lifes. By portraiting a kind of abstract power through video images, the artist intends to expand own imagination besides from a singular capitalism value.
Shanyuan Bay locates in Taitung county of Taiwan, its traditional name in Amis language is called Fudafudak, means “a glittering place”, it is also name of a small neighbourhood tribe. Same as many other remoted townships, Fudafudak is facing problems of outward migration and culture loss. Meantime, the natural living area of this tiny village is coveted by many large investors for land development project. By following social activists who work for native culture re-built, take advantage of opportunity to exhibit in Canada, the artist enters into the tribe and co-work with the natives: to produce and reappear the huge legendary sound kite. The video also features scenes that elders tell the story of legend Ngayaw from their childhood memories and sing the song of Ngayaw. (Translated by: Lucyann Tung)

台灣原住民獵槍除罪化 Decriminalization of Taiwanese Indigenous Hunting Rifles

2014，影像，31分40秒 
＊本影像作品非經作者授權，不得任意轉載與公開播映。 Works without the author's authorization, shall not arbitrarily reprint and open broadcasting.

「除罪化」意指將一個原本是犯罪的行為規定為非犯罪；反之將一個原本不是犯罪的行為而定義犯罪，稱為「入罪化」。在所謂的文明社會裡，原住民狩獵文化何以成為異文化法制下審視的客體？昔日部落驕傲的獵人，在這個後來的年輕國家的律法下卻成為了罪犯，多元文化的尊重竟是現今經政體難以面對的課題，甚至是守護傳統的人們。

影片透過單一案例採訪映現議題，並佐以案例提供的紀錄影像，以及自撰的口傳故事穿插其中。

2014, video, 31' 40"
The term “decriminalization” refers to a situation where a previously illegal activity or action is designated legal. When legal behavior is suddenly reclassified as illegal, that is called “criminalization.” In a civilized society, how is it that the traditional hunting of indigenous peoples results in them being subject to the legal system of a different culture? In the past, hunters were the pride of the tribe, but they are now labeled criminals by the legal system because the prevailing political-economic system declines to respect cultural diversity. By focusing on one example and creating a work , the artist identifies this phenomenon and highlights the contradictory nature of existing law. ( Translation by TB2014)

taqetaq

相紙輸出 15x20cm，燈箱 90x65cm，2014

「嘿！別那麼匆忙朋友，把你的屁股借放在這裡一回兒」

上面的字句，是排灣族語 taqetaq 的意思，也是指家門前的涼亭或涼台。涼亭／台這種簡單結構的建築，在台灣原住民族的不同族群裡，都有其空間作用與傳統意涵；這樣的非長駐空間，卻有著邀請、分享與交流的功能性。而在現代化的部落社會裡，所延續的建築樣式，呈現了人們的心靈空間。

taqetaq, digital print with lightbox, 15x20cm, 90x65cm, 2014.

"Hey friend, don’t be so rush! Please put your button down, having a seat for a while here!"

The sentence above is the meaning of taqetaq in Payuan, language of Paiwan. Taqetaq is also an arbor made in very simple structure. This kind of architecture for a short time docking contains traditional meaning and functions in different Taiwan indigenous culture. For example, functions of invitation, sharing, or communication. Since in the tribal society, which has been modernized, the form of architecture last now reflects the mental space of people.

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Translated by :Yi-Cheng Sun
攝影 Photographer: (L) Varanuvan Mavaliw, (S) Kalesekes Ljakadjaljavan.

蝸牛料理影音訪談計畫－台9線篇 Snail Dishes Interview Program: Highway No. 9.

《蝸牛料理影音訪談計畫-台九線篇》選取台九線東部南迴段範圍成為主要的探訪取徑，並藉由這個路徑去感受一個社會的地理紋理，試圖尋找出如食物鏈般的連結來描繪這個文化地景。

台九線路段，對許多人來說，除了火車，它就是唯一一條能回家的道路；而蝸牛料理在這條路上，如何去提示生活記憶的味道？如何在這條線／鏈上串聯出與『家』的共同感受？

在這個計畫裡，邀請部落族人以蝸牛為主食材，為我們演繹許多在地料理，通過其中的訪談對話，開啟與介紹不同面向的文化味蕾，繼續的去挖掘或披露生命裡更深層的黏稠關係。

From city to countryside, body is moving along route like a detector. The plan covered the south part of the Provincial Highway No. 9 on the east coast of Taiwan. I tried to find the connections through the route and turned them into depiction of the cultural landscape and social scenes with cuisines and record. Provincial Highway No.9 is the only way to go home in addition to railway. This is also the route I took to explore the island and the cultural identification, while picturing ‘home’ as if a wanderer. In this interview program, I invited the people from the aboriginal village to show the snail dishes. Meantime, I hope to introduce their unique culture and the connections with life via the interviews and conversations.

競技場 Arena

2012年，影像，7' 51"

＊本影像作品非經作者授權，不得任意轉載與公開播映。 Works without the author's authorization, shall not arbitrarily reprint and open broadcasting.

因為一部泰拳練習場紀錄片的引發，去進行一個探訪原住民部落的拳擊練習場的對話影像。像是藉由兩個地點的聯繫而進行的旅程，去簡單繪製一個社會的地理景觀；而競技場在某種­意義上來說像是個舞台，上演的是如何選擇生存的現實，想揭示的內容或隱或現，去等待似乎可想像的後續鋪陳。

"Arena", 2012, Video, 7' 51"

These are images from a documentary film of a Thai-boxing practice arena in Ching-Mai, forming dialogues to a boxing practice rink in an aboriginal tribe located at the foot of a mountain in southern Taiwan. Through the connection of the two locations, a simple social geographical spectacle is thus delineated. The boxing arenas are in a sense like performance stages, whereupon the live show we witness reflects the reality of survival and the audience becomes the authoritative viewers, offering the narrative and characters of the story fictional and realistic qualities.

網路公播活動 Facebook Premiere

https://www.facebook.com/events/520761247942664/

狼煙榖雨祈福行動

圖源：方言藝術空間

創作年代：2011
尺寸：約20分鐘
媒材：Performance Art
展演紀錄連結

【展演資訊】
谷雨行動第五回
日期：2011.4.25
地點：水泉山莊，西安

台灣原住民族的「狼煙」是部落傳遞訊息的方式，或有目的訴求的媒介物 。引用「狼煙」施作地點位於大陸西安東郊洪慶山農家樂，那兒是一個因應社會急速城市化後，農業作為經濟政策推動休閒產業的地方，一個被劃為國家風景區明令禁火的場所，卻隨處可見如房子般高的柴堆；身處於大陸農地去思考著「狼煙」的意義，以及以土地為生的人民與政府的關係。

這是一個在想像中去開展冒險的旅程，由曾接收到的訊息感受到某種禁忌，懷著目的去摸索與探測地表的緊張身體，劃出從台灣到大陸的一個游標物位移路徑。過程中愛(艾)與Ui(未)的出現，其字音與淺顯字義在這裡成為一個象徵或符號，通過拙劣的巫師把戲去壓蓋與失控對應前者。最後發放裝著紅色染料的小噴壺，想陷參與者之手於難以清洗的不義之中。