[出走地平線：複視]
Flattening The Curve: Double Vision
朋友陳中華是民族音樂學家。當時我還是學生，有的是時間。
我們大概這樣聊過：
陳：我需要拿獎學金才可繼續我的創作。
杜：甚麼作品？
陳：挺棒的，必須給世人看看。拿着。
杜：這是相機，我不會用。
陳：舉起來、按快門，就行。
杜：拍甚麼？哪裏拍？
陳：拍我……在工作……到處拍……
於是我們遊逛台南，度過了二十個極其愉快的日與夜。陳中華相較自己年長三倍的前輩，更知曉、更懂得唱客家民歌。農舍裏，稻田中，我拍，他們唱。
兩星期後，我們把底片放出來。屏幕上盡是屋頂瓦片在雨中的濃濃的紅，以及白雲藍天下稻田的鬱鬱蔥蔥。可是，畫面大多昏黑一片，底片根本曝光不足。好些在沉鬱的室內唱歌的片段，都不見了！眼睛看得那麼清晰，出來的影片卻完全不是一回事，我很驚訝，也很好奇。
我想至今我仍然很好奇，也很驚訝。往後的許多日子，我都在設法解決這種視點的分歧。
My friend Chen Zhong Hua was an ethnomusicologist and I was a student. I had time.
Our conversation went something like this:
Chen: I need to get a scholarship to continue with my work.
DKF: What work?
Chen: It’s good work. We have to show them. Take this.
DKF: That’s a camera. I can’t use that.
Chen: Just point and shoot.
DKF: What? Where?
Chen: Me… at work… everywhere…
We traveled southern Taiwan for twenty glorious days and nights. Chen knew and sang more Hakka folk songs than old timers three times his age. Inside rustic farmhouses and out in the paddy fields, I filmed and they all sang.
Two weeks later, we projected the film. The screen filled with the saturated reds of cottage roof tiles in the rain and the lush green blanket of rice paddies under clouded blue skies. But most of the film was black. It was all so underexposed. Nothing of the moody interiors where most of the singing took place! I was shocked and intrigued that what the eye sees so clearly, the film sees in a completely different way.
I guess I am still intrigued and even shocked often enough, that trying to resolve the two is how I fill most days.
圖：在南台灣美濃區工作，最好還是每場之間擋擋陽光。
Photo：Working in the Mei Nong in southern Taiwan, it's best to keep out of the sun between takes.
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