（很可惜影片不能看了，但我還是把網址保留下來）
有關Laurie Anderson創作白鯨記獨腳戲表演的介紹
In this artistic portrait of the grande dame of all things multimedia, instead of talking about the future of technology, Laurie Anderson ponders on the importance of silence, the similarities between the communication of dolphins, dogs and humans, the tyranny of rectangles, and what she is really interested in: her dog's eyes. In the meantime she also mentions two of her favourite books: Melville's 'Moby Dick' (白鯨記) and 'The Art of Happiness' by the Dalai Lama.
這十幾分鐘的影片，我反覆看了好幾遍，那是因為最近要寫關於她的報告，所以她說的話一定得搞清楚才行，當然也是因為我好喜歡她說的這些。
雖然我不愛講話，不愛道人長短，不沉迷網路，但我每天的生活的確跟一堆恐怖的框框有關。
而看完這段，也讓我想到上禮拜問了那位維也納電聲音樂家的一個蠢問題，因為他演講時談到了自己的準則作曲，之後我就問他是如何研發他的algorithm，結果他回答我，他並沒有特別去想algorithm的問題，只會考慮他的音樂想法，我想了一會，其實在創作這條路上，的確，有人是不斷的研發技術，等擁有所有技術之後，再來拼湊作品，有時候甚至無法很清楚完整的解釋自己的作品到底是要表達什麼，但有人因為總是仔細的觀察了人事物，而一輩子有了一個非常堅定的創作中心思想，無論是艾未未所說做作品是出自於無聊，還是Laurie Anderson所說她只想說故事，他們不介意媒材，不介意技術，反正到最後，這些東西都會跟他們的中心思想有關，也就像李安，他每次拍的題材都跳很大，但是最後都回到他的純與真。
"Language," William S. Burroughs reminded us, "is a virus from outer space." Performance artist Laurie Anderson adds, "That's why I'd rather hear your name than see your face." This metaphor captures beautifully both the power and the danger presented by the task of communicating the "flux of wholeness," as Heather Raikes describes the rheomode. Raikes' use of the rheomode suggests that technology might be seen not just as a channel for communication and performance, but more radically as the environment in which subjects serve as conduits for experience.
沉默是金，這句話不無道理，Laurie Anderson因為講故事，所以也玩語言遊戲，Ludwig Wittgenstein認為語言本身沒有真正意思，它完全是基於使用時所有因素集結而成的意思，能夠操弄語言的人，有時也操弄了人，不聽是金，不說有時也是藝術。
Technological fiction, recorded time and 'replicants' in the concerts of Laurie Anderson
Self experience/self express/
Laurie Anderson's Telepresence
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