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HOW do we feel Good(s) - Week 1

Updated: Jun 14, 2022


(直播中 live streaming)

Han Week 1


There was two significant impetus that happened since this project began. One is the Daily Observation Wave launched, another is the facilitator meeting up.


First, is the Daily Observing homework. Wave suggests the daily work to ourselves is observing the “feeling good” feeling with random objects that I am wearing, using, and operating. what would be the reason for feeling good with that object when it connects to our senses? Also, we could observe other people when they are using( wearing, operating) something, what do we see as the ‘possible’ good feeling when we see somebody else using something.


I found two points during my daily, one is the way of wearing clothes, and another is the body movement. Besides the formal wearing, I am a sloppy clothes dresser. Not only grabbing the random clothes but also inappropriately wearing them.


For example:

When the jacket accidentally became like this:



I wouldn’t pull it on my shoulders, I’ll let it hang on my arms. physically it comes up with a little sense, the edge of the jacket marks an edge line on my arms, one side is hiding another side is showing 'off'. therefore, I considered that, at that snap moment, I successfully play a stereotypical image of a character. like I am a lady who can show the sexy part of my body. And I found that the image, gesture, and body movement of the specific character have a “power” the culture shapes them. But does our culture empower the strength of different genders in satisfied images? and I'm happy with that? Could I say we are in a phenomenon of : all we are carrying Stockholm syndrome?


I haven't found it out, but keep thinking.

(maybe the thought above is the underneath drive in doing my drag)



Han週記1


自520計畫開始,兩個比較明顯的變化發生在兩個事件;第一是由搭檔智翔發起的日常觀察計畫、第二是與剛華的協作者會議。


日常愉悅觀察計畫,給我們兩人自己的功課是,從日常生活中去發現、意識,有哪些在我們身上發生的、眼睛所見別人發生的,物與人產生的愉悅感:自己的感受或對別人的猜想。

我觀察到的部份成兩個方向,一是「穿著的方式」,另一個是「習慣動作」。穿著的方式是因為我很清楚知道我穿衣習慣是,只要今天不是需要出席正式場合、不是要跟長輩相處,我衣服基本上都是亂穿,亂穿的意思除了是隨便拿隨便穿之外,還有穿著他的方式很隨意。


like

我不小心落肩了我就落肩,不會刻意拉回來:而這個意外與反應有一個奇妙的擺盪-有時候我是有意為之。也許就在這麼幾分之一秒,我決定外套左肩需要落下,因為這樣的身體遮蔽與露出,是某一種類型的性感的象徵與表達;落肩衣服與我手臂之間的那條界線,一邊是遮一邊是漏,然後這個邊界滑過我的手臂上的某一條排排站好的細胞與神經元,那是我的快樂。

因此,在那幾分之一秒,究竟什麼發生了。這不是問句

我想給給看肯定句


我在完成這樣的愉悅動作的瞬間,我完成的是一個我的文化中對某一種,權力與魅力的扮演,我獲得的不見得是滿足了自戀的自我人格,更可能的是完成一個權力的表彰。

為什麼賦予特定角色特定形象,我扮演成功我還欣喜若狂?我被什麼綁架了?


我尚未明白。我想繼續看看這個邊界:一邊是隱匿的安全;另一編是裸露的快樂。




(團體合照 group photo)

Wave Week 1


Before the official start of the residency on May 20 this year, we had several discussions with each other. Dialogue is the basis and form of our project “feel Good(s)”. Han is a drag artist with rich acting and creative experience, and I'm just a gay who is attracted to drag performances. The project unfolds from our extreme differences: why do I like to watch, but never think of "becoming" the cross-dresser to be watched? What is the charm of drag shows, which are becoming more and more popular in Taiwan as one of the entertainment items?


I started to ask how he prepared, and soon we talked about wigs. He mentioned that there are recognized differences in wigs internationally, which are related to materials, origins, and also involve ethnicity, class, history, and culture. He insists on making the apparel and styling by himself as much as possible, which is an important creative concept for developing a cross-dressing character. Even if using ready-made objects, they have to be combined and processed. From this, I noticed the importance of "hands" in drag performance, which is related to creative imagination and practical power, and even the power to disrupt the established order.


"How do drag performers perform objects that can bring pleasure to the audience and themselves?" This question arouses our curiosity. Our facilitator, Kang, mentioned that his observation of the entertainment of drag performances may be related to regional development and the tourism industry in the world. It may not be limited to the discussion of objects at the beginning. However, if we focus on the object first, perhaps the focus will be on "how to perform" it, and then the question arises: what is the object for us?


For the first week, we designed a live stream with a pleasure consultant to chat with the audience in front of the webcam. For us, a consultant can be anyone, and anyone should be their pleasure consultant. The objects in the small talk may be unrelated to each other. We hope to start from arbitrariness and gradually approach the exploration of "feel Good(s)" in our minds. So, what goods make you feel good? Under what circumstances? And why?



Wave週記1


在今年5月20日計畫正式開始前,陸陸續續與夥伴詩翰已有幾次討論,「對話」始終是我們執行這個計畫的基礎及形式。他是具有豐富表演、創作經驗的變裝實踐者,而我只是深受變裝表演吸引的男同志。這個計畫便從我們高度的差異裡展開:為什麼我喜歡觀看,卻從未想過「成為」被觀看的變裝者?變裝表演究竟有何魅力,在台灣越來越受歡迎,成為娛樂項目之一?


我從他如何準備問起,很快地我們聊到假髮,他提到國際上假髮有公認的差異等級,與材質、產地有關,也牽涉族群、階級、歷史及文化層面。他堅持造型盡可能親手製作,那是養成變裝角色重要的創作理念。就算使用現成物,也得經過組合、加工處理。由此,我注意到「手」在變裝表演的重要性,關聯著具創造性的想像力與實踐力,甚至是破壞既定秩序的力量。


「變裝表演者是如何操演物件,而能為觀眾與自己帶來愉悅感受?」於是成為《好感物》計畫的一個開端。協作者剛華在了解過後,提到他對變裝表演娛樂化的觀察,在國際間可能和區域發展、觀光產業有所關聯,未必一開始就只能限縮在物件的討論。然而,若是先聚焦物,也許重點會是「如何表演」它,那麼問題就來了:對我們來說,那個「物」會是什麼?


第一週,我們設計了一場對談直播,另邀請一位愉悅顧問,一起與鏡頭前的觀眾閒聊。對我們而言,顧問可以是任何人,任何人都應當是自己的愉悅顧問。閒聊的物件可能互無關聯,希望能從任意性開始,漸漸靠近我們心目中「好感物」的探索。什麼東西能使人感到愉悅?在什麼情境下?為什麼呢?


(Wave 抓周 Wave grabbing)






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