1989年全台第一家誠品書店座落於敦化南路仁愛圓環旁，1991年擴建搬遷於現址；近20年的文化深耕，讓早年的溝渠與田土如今成為滋養人們心靈的養分；直至今日，誠品書店已然成為台北人視讀文化與藝術的幸福場域之一。

在這座藝文專屬的空間內，此刻透過2008粉樂町，以不同作品之互映和對話，構築起一座關乎自身與城市存在的幽微場域；在暗室內，所有感官體驗因為篩去了龐雜的干擾而顯特別清晰，以致我們能夠張開千百萬個毛孔，澄透浸濡於自我絕對的存在感，聽見慣常被忽略的微渺聲響、看見屢次被拋於身後的視覺光影，以及沉澱出純淨的內心本質，讓人回望、凝聚而後迸發未來前行之能量。

這是起跑前的重要時刻，請穩住呼吸，讓所有心緒沉澱，靜候槍鳴…

The first Eslite Bookstore in Taiwan opened in 1989 on Dun-Hua South Road by the Jen-Ai Circle, and in 1991, it expanded and moved to its current location. With nearly 20 years of dedicated work in culture, the location went from its early farmlands into a site for spiritual enrichment. Up till today, Eslite Bookstore has certainly become a blissful spot for people of Taipei to enjoy the art and culture in reading.

Inside this art specific space, in collaboration with the 2008 Very Fun Park, different artworks are able to interact and create dialogues, and an arena that connects the self existence with the city is created. Inside the darkened room, all the senses are able to let go of any distress and become especially alert. We are able to open up our millions of pores and percolate down to our absolute true self existence, and we are able to hear the faintest sounds that we usually neglect. Upon seeing the visual play of the light and shadow that are being tossed behind us and along with the pure inner quality that has been trickled down, with a glance to the back, an energy to step forward garners and explodes.

This is an important moment before the run begins; please steady your breath and let all emotions subside, and wait quietly for the signal gun to sound…

「有人說雙打就像下棋，每一招都要有目的。」

在生命的歷程中，我們不斷與不同介質互動，包括各類人、事、物；而在城市的生命歷程中，也同等地不斷和其間、其外的各類介質進行互動。互動，構成了世界存在與否的相對意義。透過電腦視覺技術結合簡單的球體滾動，降低摩擦力等物理原理，以互動形式提出新型態影音展演的實驗平台；「雙打」為一互動裝置，也是對於未來的想望。

在看似遊戲的平台下，其中沒有目的、分數、關卡，更沒有互相比拼的必要；僅單純在速度、距離或動作改變下進行探索，企圖將「互動」還原到它原本的樣貌。在一來一回的過程，影像與聲音彷若永無休止的太極推手。潛伏波動的低頻，貼附於光流緩緩運行之處；交會撞擊的閃爍，將高頻毫不留情地爆發宣洩出來；消退之時，隨之而來的是寂靜、是沉默，靜止，直至下一個電光雷火的瞬間。

“Some people say playing in doubles is like chess, where each move has to have a purpose.”

In the journey of life, we are constantly interacting with different things, such as people, events, and objects. In the life journey of a city, it also is constantly interacting with the different things that are situated inside or outside of it. Interaction then becomes a parallel meaning towards the existence or the non-existence of the world. Combining computer visual technology with simple physics of rolling balls to decrease friction, a experimental platform is formed with a new interactive visual presentation. Doubles is an interactive installation, and it is also an expectation for the future.

Inside the game-like platform, goals, points, obstacles and even competitions are unnecessary. The quest is based purely on speed, distance or adjustments in movements, and the purpose is to regress interaction back to its original form. Within this back and forth journey, images and audios appear to be like the relentless pushing hands in Tai-Chi. The underlying progressive low tones stay attached to where the light slowly moves. The flash that sparks from the interactive clash unreservedly let the high pitches explode. When it recedes, silence than comes in again. It stays quiet and still until the next explosive lighting moment.

這是一種自由的方式。

世界，為所有事物劃下一道清晰的界線、創造了一個個完整的形象外衣，透過絕對的資訊，傳遞出絕對的訊息。林冠名選擇在這樣的狀況中「逃逸」；「逃逸」，並非等同畏縮不前或背道而馳，而是在宣判的夾縫中得以暢快…

對他而言，偶然發生在眼前的事情，比一切計畫完美來得更為美妙。作品是某日在臺灣雲林與嘉義交界的河堤外海，偶見一只漁網飄蕩於海面之上，它劃破風平浪靜，隨風盪漾在半空之中，接著又沒入大海…

乍見這偶遇的畫面，令人驚訝；回神後，當你驚覺方才應該試問：「飄蕩在半空的是為何物？」時，已意味著這「是為何物」，早已不以「漁網」現身眼前；「漁網」在那瞬間，「逃逸」了它的絕對性宣判，而形成另一種可能。

在這個過程中，並非漁網選擇了什麼，而是觀看者選擇在這「是為何物」中逃逸一切宣判，「逃逸」了所有既定的規則，重新認識這個世界。

自由最終也不過如此。

This is a style that is free.

The world has formed a clear-cut boundary for everything contained within. Each of the things within is a complete individual outer image, and through absolute information, absolute messages are transmitted. Lin Guan-Ming has chosen to escape in a situation like this; however, escape does not mean cowardliness or to turn in opposite directions. It is a way to gain exhilaration from the crack in judgment.
To the artist, things that are happening at random are ever more striking than anything that is perfectly planned. The artwork takes place at the oceanfront between Yun-Lin and Chia-Yi. The artist has spotted a fishing net floating on the ocean surface. It cuts through the serene water and flitters in mid air, and then is once again engulfed by the waves.

This chance encounter is quite startling, and when he returns to reality and realizes that he should have asked, “What was that flittering in mid air?” At that very moment, the thing is no longer just a piece of fishing net. In that split second, the fishing net has escaped its absolute declaration and has formed another possibility. Through out the process, it is not about what the fishing net has chosen, but it is about the spectator choosing to escape from the absolute declaration with the thought of “what is it?”, and by thinking so, all the existing rules have been escaped, and the world is being relearned in a new way.
Ultimately, freedom is simply just like that.

城市，應該有著什麼樣的獨特風貌？
台北、東京、香港、紐約、巴黎、米蘭…如果抽離了在地化的表象，而以符號進行再詮釋，每個城市的獨特存在感是否依然存在？

在本作品中，●的現身是由數位相片上的被攝影像所轉換而成，●的出現與排列，是以城市的自身姿態做為一種轉譯的再現，而藝術家則像是一位翻譯員的角色，將無數在城市中出現的文字符號，轉譯為一個畫面，最終呈現一個均質可辨的視野，作品恍若城市的再次現身。

所有城市招牌上的文字被●所隱含著，在●的背後，是一種臆測，由記憶來判讀，逼視著熟悉的都市文明與消費社會，假如把城市形容成一個現代文明的霓虹劇場，我們觀望著，我們滿足著，我們為閃爍的燈光產生狂喜而昇華出一股無言的隱匿安全感，於是，被人們所建立起的高樓，成為另一種「原鄉」的所在，一種不斷集體追尋的處境感標示。

What kind of unique traits should a city possess?
Taipei, Tokyo, Hong Kong, New York, Paris, Milan…if the facade of these cities were to be extracted, and instead, symbols were used to redefine each place: would each city still possess its own unique existence?

In the artwork, the appearances of ● are transformed from images captured on digital film. The manifestations and layouts of ● are the reemergence of the transformations of a city's individual stance, where the artist plays the role of a translator, and the numerous symbols for each city are turned into an image, and ultimately, the artwork depicts the reappearances of city-like sceneries in a lucid perspective.

The texts on the billboard signs in the city are concealed by ●, and behind each ● is a speculation that is using memory to decipher the familiar cosmopolitan culture and consumer society. If we were to describe the city as a modern Neon Theater, as we stand and watch and become satisfied, the flashy lights are allowing us to reach ecstasy, and the feeling then transcends to become a sense of concealed safety. The high rises that mankind have constructed then become another form of derivation, or a type of sign that indicates the ceaseless pursuit for a sense of existence.