If the light bulb be our consciousness, then the shade the constant time of the world, the surrounding things, such as the walls, ceilings, floors, you and me and so on, would mesmerize the eyes of our consciousness.

客觀時間是發生在我們周遭，恆定、共有的時間。「今天是1/20、現在下午2點34分、再過26分活動就要開始了。」這樣的描述都是客觀時間的範疇；主觀時間，由我們的意識生成，其總是圍繞於我們的知覺與經驗。他是私有的、個人的，也因此很難或者無法被測量。

Timeflies 這件設計作品使用了圓周運動的原理，是一個時間感的隱喻。

圓周運動中若是角速度相同，移動速率就和軌跡的半徑成正比關係。燈光透過等速轉動的燈罩，投射至周遭的環境產生光影，這些光影的移動速度並不會像燈罩一樣等速，而是會隨著與光源的距離而有快慢之別：越遙遠的物體，光影在其上的移動速度越快。這就像是我們感受時間的方式，當經驗與我們的意識靠近，主觀時間會變得緩慢（因而覺得世界時間飛快），反之，則會加速。

Objective time is time that happens around us, shared by us and always faithful. “Today is 20th January, and the time is 2:34 pm, 26 minutes before the event.” Those descriptions are classified in the category of objective time. Subjective time, on the other hand, is generated by our consciousness, always haunting our perception and experience. It is private and personal, and therefore difficult, or almost impossible, to be measured.

Timeflies, a mime of circular motion, is designed as a metaphor for the sense of time.

If the angular velocity remains the same in the circular motion, the velocity of movement then will be proportional to the radius of the orbit. The light is projected to the surrounding environment by the lampshade, which is rotating in a constant speed. The projection will not move at the same speed of the lampshade, but will vary according to the distance between the light source and the surface being projected to: the longer the distance, the faster it moves. This is like the way we feel about time: when the experience is close to our consciousness, the subjective time seems to slow down (and thus we feel the objective time goes faster), and vice versa.

《突向持存 Temporality》系列設計中，皆使用了時間意象的元素。Timeflies 使用了工業風格的現成金屬水管組件作為燈架的材料，轉軸的零件也設計成能突顯機構運作的造型，將有時代感的工業機械元素帶入作品中。

燈罩的造型由於接近光源且需加入旋轉機構，以簡約為設計要點，並使用外露的內六角螺絲固定，作為延續工業風格外型的元素之一。

整件作品的表面皆使用消光的黑色，盡可能在保留造型元素的前提下降低作品光影反射的影響，同時帶來沉穩典雅的感覺。

In Temporality, you can see the image of time in every piece of design. Timeflies uses ready-made industrial style metal pipes and additional parts as  lampstand materials. The parts of the shaft are also designed to highlight the operation of the mechanism and the modernist sense of the industrial machinery.

The shape of lampshade is designed with a minimalist tendency. To correspond with the industrial style appearance, exposed hexagon screws are used to assemble the parts.

The surface of the whole piece is colored in matte black in order to reduce  reflection. This way the shape of the work is retained, and a feeling of elegance and tranquility is brought out.

The mechanical clock uses the flame as power source, different temperature generates different operating speed. This causes the clock to tick in a fickle rate, just as how our sense of time is affected by various emotion.

相對論打破了二十世紀之前，人們於物理學上對於時間的想像。愛因斯坦曾用一個淺顯的比喻向他的助理說明何謂相對論：「當你與一位美女併坐兩個小時，你會感覺只經過了短短一分鐘，但當你坐在一個熱爐上一分鐘，你會感覺過了兩小時。」

我們的感受直接的影響了主觀時間，在生活上卻總是使用常與自身經驗經不一致的客觀時間。雖然客觀時間更為方便且效率更高，我們仍然可以試著思考一下使用主觀時間的世界會是什麼樣子。

The theory of relativity breaks the traditional conception of time up until the twentieth century. Einstein used a brief metaphor to explain to his assistant what relativity is: "When you sit with a nice girl for two hours you think it’s only a minute, but when you sit on a hot stove for a minute you think it’s two hours."

Our feelings directly affect the subjective time, but in our life we always use the objective time which is often inconsistent with our personal experience. Although objective time is more efficient and convenient, we may still imagine how the world would be if we use subjective time as measurement.

Relativity 是一個實驗性的設計作品，我試著透過這個作品提出一個質疑：在使用客觀時間作為溝通手段的這個世界上，我們會如何使用主觀時間的時鐘呢？

這座時鐘就像是我們的主觀時間，被不同的情緒（火源）所驅使著，以不同的速度運行。

時鐘底部為史特林引擎模組，將火源的熱能轉化為動能，驅動後方的單向棘輪機構，再隨著不同大小的皮帶輪依序減速，分別成為秒針、分針、時針的動力來源。時鐘機構的支架使用不鏽鋼板雷射切割鈑金而成，其他零件則多由鋁件進行 CNC 加工製成。零件表面沒有經過特殊處理，保留了加工時留下的痕跡，這些痕跡都是促使這件設計作品完整的一道道過程，同時象徵著現代獨有的工業風格。

Relativity is an experimental piece. I try to ask the question through this work: how can we use a clock of subjective time in a world where the objective time is dominant?

This clock is like our subjective time, driven by different emotion, running at different speed.

At the bottom of the clock is the Stirling engine, transforming the heat of the fire into kinetic energy. The engine drives the one-way ratchet mechanism and, as the pulleys of different sizes decelerate sequentially, becomes the power for the second hand, minute hand and hour hand. The clock bracket is made of laser-cut stainless steel sheet metal, while other parts are made of aluminum by CNC . The surface of the parts maintains the traces left during processing. These traces are a part of the very work itself, and is the symbol of the modern industry.

This is a real-time interactive video work extending the sense of time. Retention piles up every moments of ten seconds into what we see in the present.

我對於時間哲學的認識是從現象學開始的。

這個即時互動影像作品即是根據「持存」的概念而命名為 Retention ，在現象學中代表著消逝的當下。我將靜態攝影中長時間曝光的手法，以即時互動影像的方式表現，讓觀者能在一個畫面中看到十秒內的所有瞬間，延長、放大「持存」的意義，試圖營造與平時不同的時間感受。這樣的感受也和佛教中「禪」的概念有相似之處，能讓我們在一個瞬間之內體會到多於那個瞬間的、超越時間之外的感受。

My understanding of the philosophy of time begins with phenomenology.

This real-time interactive video is named Retention as defined in phenomenology, which means every instant escaping from the present. I take the prolonged exposure technique from static photography, and use it in real-time interactive imaging. The viewers will see all the moments within ten seconds in a single picture. This extends the meaning of "retention," trying to create a different experience of time from the daily one. It is also similar to the concept of Zen in Buddhism. Zen allows us to experience more than the moment itself in a moment.

實體裝置選用了映像管電視作為影像的載體。映像管電視是個幾乎已經被時代淘汰的產品，作為一個符號，為這件作品帶來了更濃厚的時代感。

I choose CRT TV as the interface. CRT TV has been abandoned by our time, but revived as a symbol in this work of past time.

Retention captures the images of viewers interacting with the device several times per second through the external camera, and sends the images to the computer for stacking, continuously replacing the old image for a new one.