請原諒我使用這麼強烈的字眼．這篇文章並非針對懵懂的表演者，而是針對那些為作秀而蹂躪歌劇的成人。
Please forgive my strong language. This article doesn't mean to point finger at the young innocent performers. It is, in fact, to those grown-ups who think they know "opera" but only violate it in the public media.
普契尼歌劇強尼史基基中名曲「喔！我親愛的爹地」，已經變成當今所有小女孩的「神童認證曲」．全世界的「好聲音」節目不斷地推崇各地唱得出這些音符的小女孩們．我讚揚這些小女孩們的勇氣，以及在擴音後能唱出這些音的能力．可是每次聽到嚴重的口音，以及毫無文字概念沒表情又到處亂呼吸的時候，我就有股無法抑制的衝動想把她們的「專業」老師以及毫無歌劇知識的「專業」裁判與節目製作拿來擦屁股．我很想知道義大利人看到這些節目的感想是什麼？覺得年輕人很可愛？或者他們會因為全世界輕忽他們的語言而感到被冒犯?
"O mio babbino caro" has become the "certificate" as a proof of child prodigies on talent shows around the world. I praise and admire their courage of being on stage and the ability to sing all the notes clearly through the PA system. However, it bothers me when their "professional" teachers, "professional" judges and media praise them as goddesses when they clearly show no understanding of words by making all kinds of mispronunciations starting from breaking the words with random breaths every other syllable and etc. It makes me sick, sad and angry. I wonder how Italians feel when they see these on TV. Cute perhaps? Or they may feel offended because the media around the world seems to care very little about their language?
也許會有人覺得我幹麻這麼嚴苛？我並不覺得這是嚴苛的要求而是對演出者的尊重，因為好的樂評就會從這種基本面開始仔細檢視職業歌手．相反的，若指導者的態度是年輕人怎樣都沒關係，其實是對年輕人能力不信任的差別待遇與輕視表現．事實上，我很期待能聽到成功表現出音與意的年輕人．畢竟，文字是歌劇的根基．若有人只是想炫耀高音，可以尖叫或把自己母語會唱的歌移高就好．如果有人想引歌劇之名，請尊重歌劇藝術腳踏實地準備起．
People may wonder why must I be so critical. I don't think I am being critical but respectful to any performer who claims to sing any opera. This is the least the professional music critics do when they review professional artists. On the contrary, if anyone lets the young singers have all-they-can-make mistakes because this person assumes that they are too young to understand, it just shows how ignorant this person is. And in fact, I am very looking forward to hearing young beautiful voices with full knowledge of words. After all, words are the heart of operas. If anyone wants to show how high the voice can go, just scream or just transpose any other tune he or she has known in his or her mother tongue. If anyone wants to relate himself to "opera", please have some respect to the art form by preparing from the root of the opera first.
我小時候不懂為什麼有人會說「這曲子太大了」，現在明白造成曲子太大的原因是只求會發出聲音的不求甚解．當孩子年輕時，能幫助孩子理解的其實是家長與大人．如果社會媒體師長親友不斷捧紅年紀越來越小自以為唱歌劇卻對文字完全沒有概念的歌者，讓他們以為這樣就能登天，當面臨年輕牌過期職場四處碰壁時所產生的疑惑、低潮，或更甚之負面情緒，是誰會出來為他們負責？
When I was little, I couldn't understand the sentence, "This repertoire is too big". Now I know that it means a sound making result without understanding why thoroughly. When kids are young, it's the grown-ups' duty to help them comprehend. When the society keeps praising younger and younger singers making pretty sounds without knowing what the words mean, these singers may think "it's enough" without the will to learn more. Until the day they stop being young, they may have confusion, depression, or even worse negative feelings because of the rejections from the professional stage in reality. And when the time comes, who will stand out for them?
寫到這，如果有人很想了解到底歌者對歌劇歌詞了解多寡，以下提供最基本辨識方法（已經足以打翻一船人了）：
So, if anyone wants to know how to tell if somebody understands the words in any opera, here is the easiest way,
上網找出歌詞，然後邊聽邊跟著字走．若無特殊戲劇理由，通常作曲家不會要歌手在字講到一半時換氣．因此，若有人在字中換氣，要不是英雄氣短就是對這些字毫無概念．
Find the lyrics online. Follow the words while listening to the singer. Usually, without any dramatic effect, composers don't want singers to break the phrases by taking breaths between syllables in a word. If someone does break randomly a lot, it means that his/her air capacity is not capable of singing this repertoire or he/she has no sense of words at all.
有些藝術家朋友常抱怨「普羅大眾」只會跟隨媒體附和，而不懂藝術的好到底在哪．也許媒體要付些責任，但「知者」也要有勇氣說明，才有機會讓大家免於盲從．
Some artist friends complain about that the general public only follows the media without knowing the essence of true great art. Well, the media is only partially responsible. The people who KNOW the art form also have to be brave enough to point things out from time to time. Otherwise, can anyone really blame the public for blindly following the only voice they can reach in public?
寫到最後，勉勵有才年輕人以及有才年輕人的家長們，有好聲音值得開心與鼓勵，若真對歌劇有愛，請尊重這項藝術，多花點時間好好學習它的根基．期待這些嶄露頭角潛能無限的年輕人，在未來有更傑出的表現！
At last, for the young talents and their parents, it's precious and wonderful to discover beautiful voices. If you really love "opera", please take it more seriously by spending time studying its base. I am very looking forward to applauding for more and more extraordinary performances by these young talents with infinite potential.
Tuesday, May 27, 2014
Friday, May 23, 2014
鄭捷沒有正解
新聞讓我越看越覺可惜...。大家急著追究責任，很希望能在鄭捷身上找到正解，於是每一件他做過的事情都瞬間被大作文章。也許我們最害怕的是無法找到原因，得永遠活在恐懼之中。
創作殺人小說或血腥暴力作品的人多的是，但希區考克也好好的活到80。
打電動的人多的是，用高爾夫球桿電鋸球棒武士刀鍋子Ｋ僵屍爆頭的遊戲我也愛。搞不好他是打得不夠認真，獲得成就感不足，才有時間策劃進行這些。
週邊認識幾個被1/2過的人、一些明著表達對活著沒有期待的人、受過達到判刑程度被家暴的人、想做大事的人、想交女友一直沒交到的人、喜歡看變態或血腥暴力影片的人，應該也有想殺人但不敢承認的人...。但實際的暴力行為，跟我們以為的原因或甚至他自稱的原因，可能都沒有絕對的關聯性。
反廢死刑者馬上跳出來要求社會背書致之死地，但廢除與否跟預防這種行為並沒有直接相關性。相反的，依此個案，死刑反而是如他不敢自殺的求死所願。對他而言最大的折磨，反而是讓他無限期無望的繼續活下去。
我不太相信鄭捷口中的"無感"。看越多跟他的個人相關報導，越覺得他應該是感到"無望"。那種無論做什麼都無法堅持到底而爬不到任何一座山頂享受任何一次遠眺美景的半桶水(有報導說他聰明書念得不錯，但還是免不了被當掉；有尋死念頭卻不敢自殺；現在希望國家能殺他，但廢死刑聲浪有可能會再次讓他失望...)。這種明明自知活著卻又無法從他人眼中看出自己存在感的痛苦，是教育、是家庭、是每個認識他的人，也是整個社會造成的。
之前我常說愛表演藝術的原因，不但因為它的美好，也因為它給我正當理由與機會抒發掉所有負面情緒。當我看到新聞時，腦海中浮現許多"如果"。如果他的負面情緒得以從正面管道得到足夠抒解、如果把他放在戰場上，如果...
搞不好我們會多一個恐怖文學大師
搞不好他會成為捍衛國家的英雄
當社會朋友與親人讓自己感到沒有存在感時，「自我感覺良好」與「快樂半桶水」變成最不可缺的保命機制。多數的人其實是無法成為專門領域的佼佼者，如果我們沒有最基本欣賞自己優點以及隨遇而安的能力，成就與存在感只能靠外力才能獲得正解，那我們任何一人隨時都有可能突然變成鄭捷，這才是我覺得最可惜又最可怕的部份。
我從摯友口中獲得「不要以為自己有多偉大」以及「小步成就法」，讓一度憂鬱又躁鬱的我想通。之後，無論是演講、表演，或在兒福機構服務時，我都更積極鼓勵並引導學生從小元素開始創作。我藉蛛絲馬跡多了解個人，大家有機會抒發情緒，並從發洩情緒的活動中獲得成就感而減少未來情緒累積達爆點的狀態發生。
我個人力量相當有限，對於無法挽回的無辜逝者感到非常沉痛與婉惜。說這些話其實是希望更多人能學會關愛自己與週遭親友（甚至陌生人），讓這樣的悲劇不再輕易發生。
創作殺人小說或血腥暴力作品的人多的是，但希區考克也好好的活到80。
打電動的人多的是，用高爾夫球桿電鋸球棒武士刀鍋子Ｋ僵屍爆頭的遊戲我也愛。搞不好他是打得不夠認真，獲得成就感不足，才有時間策劃進行這些。
週邊認識幾個被1/2過的人、一些明著表達對活著沒有期待的人、受過達到判刑程度被家暴的人、想做大事的人、想交女友一直沒交到的人、喜歡看變態或血腥暴力影片的人，應該也有想殺人但不敢承認的人...。但實際的暴力行為，跟我們以為的原因或甚至他自稱的原因，可能都沒有絕對的關聯性。
反廢死刑者馬上跳出來要求社會背書致之死地，但廢除與否跟預防這種行為並沒有直接相關性。相反的，依此個案，死刑反而是如他不敢自殺的求死所願。對他而言最大的折磨，反而是讓他無限期無望的繼續活下去。
我不太相信鄭捷口中的"無感"。看越多跟他的個人相關報導，越覺得他應該是感到"無望"。那種無論做什麼都無法堅持到底而爬不到任何一座山頂享受任何一次遠眺美景的半桶水(有報導說他聰明書念得不錯，但還是免不了被當掉；有尋死念頭卻不敢自殺；現在希望國家能殺他，但廢死刑聲浪有可能會再次讓他失望...)。這種明明自知活著卻又無法從他人眼中看出自己存在感的痛苦，是教育、是家庭、是每個認識他的人，也是整個社會造成的。
之前我常說愛表演藝術的原因，不但因為它的美好，也因為它給我正當理由與機會抒發掉所有負面情緒。當我看到新聞時，腦海中浮現許多"如果"。如果他的負面情緒得以從正面管道得到足夠抒解、如果把他放在戰場上，如果...
搞不好我們會多一個恐怖文學大師
搞不好他會成為捍衛國家的英雄
當社會朋友與親人讓自己感到沒有存在感時，「自我感覺良好」與「快樂半桶水」變成最不可缺的保命機制。多數的人其實是無法成為專門領域的佼佼者，如果我們沒有最基本欣賞自己優點以及隨遇而安的能力，成就與存在感只能靠外力才能獲得正解，那我們任何一人隨時都有可能突然變成鄭捷，這才是我覺得最可惜又最可怕的部份。
我從摯友口中獲得「不要以為自己有多偉大」以及「小步成就法」，讓一度憂鬱又躁鬱的我想通。之後，無論是演講、表演，或在兒福機構服務時，我都更積極鼓勵並引導學生從小元素開始創作。我藉蛛絲馬跡多了解個人，大家有機會抒發情緒，並從發洩情緒的活動中獲得成就感而減少未來情緒累積達爆點的狀態發生。
我個人力量相當有限，對於無法挽回的無辜逝者感到非常沉痛與婉惜。說這些話其實是希望更多人能學會關愛自己與週遭親友（甚至陌生人），讓這樣的悲劇不再輕易發生。
Wednesday, May 7, 2014
花蓮少家、凱歌園與我的三角關係 第一幕第二景 The Open Relationship bt MS Youth Home, Agape House, and me Act 1 Scene 2
開心地喝完隆元的招牌咖啡，凱歌園的車就來接我了。（應該有人會想問我到底隆元付我多少錢打廣告，答案是沒有，我只是享受這間店的老闆員工與產品，希望他們能一直順利地經營下去。）
After the shot of House Special at Long-Yuan, the van from Agape House arrived. (Perhaps you would love to know how much Long-Yuan paid me for advertisement? The answer is not at all. It's just my innocent gioia provided by their food, drinks, employees and employers. I hope that they can keep it up as long as possible.)
凱歌園跟少家很不一樣，首先是座落於更偏僻的地點，主建物四、五樓高，旁邊零星輔建物，外圍完全沒有柵欄或圍牆。大概是正好碰到社工與輔導人員支援其他活動，進去後沒碰到學員以外的對象。
Agape House is very different from MS Youth Home. First, it locates at a more rural place. There's an about 5 story main building with few 1 story constructions around. There are no fences or gates around at all. My timing wasn't good that I only met 2 adults during the whole trip.
凱歌園的男孩們每一位都散發強烈存在感，從他們的衣著、髮型，與言行表露無遺。很多學生上課勇於發言、提問（我喜歡學生有反應，即使是來亂的，我也聽得很開心），有些學生甚至能正中我設計好的＂正確答案＂。
Every student from Agape House has his strong existence shown from the clothing, hair style, language and body movement. Many students dared to express, to question, and to challenge.(I love students who respond. I am happy even when my students are saying nonsense.) Some of the students actually got the "correct answers" to the questions I designed.
第一堂課一直有學生進進出出，一開始還能記名字，到最後我的腦袋變成一團漿糊。簡單講了一下五線譜與五線譜上的記號。我說不用太擔心調性，若這些都看懂，至少已經能戳出所有音符了！我穿梭於白板與鋼琴間，偶爾解釋，偶爾彈作曲家片段，讓大家能看著白板上冷冰冰的線條與圖案，轉換作曲家二元世界至僅存當下的愛恨情仇。
There are people coming and going throughout my first hour. I could remember some names at the beginning, and by the end, my brain turned into a mush. I only introduced them staff, two clefs, and sharps and flags. I told them, "Not to worry about keys yet. If you understand all these, you can already poke out every note from the score already". I shuffled beteen the white board and the piano. Sometimes I explained, and sometimes I played the actual fragments just to make the students feel transformation from composers' two dimensional world with cold lines and symbols into the only-at-the-moment vivid love and hatred.
第二堂課只剩兩隻小貓，我指出中央Do在剛琴與譜上的位置，寫出一個八度Do大調音階，教他們基本音階琶音指法並解釋練習這些指法以及指法編排的原因。分別看他們彈，講述整體放鬆姿勢、如何預測預備以便彈下一個或下一群音符...
There were only two students left in the second half. I pointed the location of middle C at the piano and on the staff. I wrote an octave scale of C major. I taught them basic fingerings of the scale and the arpeggio. I told them why practicing scales is important and how the fingerings come along. I watched them try separately, taught them how to maintain a more relaxed posture, and how to predict and prepare for the next (group of) note(s)...
時光飛逝，於是我彈了些C大調音樂，然後跟他們說這兩週必須要練習並手寫C大調音階琶音四個八度，我下次上課時會隨便指譜上音符要他們馬上在鋼琴上找出來。另外，我要他們自己寫出G大調音階與琶音，同時先練G大調四個八度音階與琶音。
Time flew by, I played more C major music, and gave them some assignment. They have to practice and write out C major scale(with arpeggio) in four octaves. Next time, I'll point at notes on the sheet and ask them to find them asap on the piano. Other than that, I asked them to figure out what a G major scale and arpeggio in writing and in playing and of course in 4 octaves.
下次上課計畫主軸
少家：＂...＂的創作
凱歌：譜的簡單運用與創作（使用鋼琴與爵士鼓顯示出譜上節奏與時間的概念）
Main ideas for my next classes:
MSYH: What "..." could be
AH: Simple use of the score (Use the drumkit and the piano to demonstrate the concepts of time and rhythm)
是的，在凱歌園下課與坐火車回高雄之間，我又跑去隆元喝杯咖啡，哈哈！
And yes, after I dismissed the class and before I took the train back to KS, I went back to Long-Yuan for another cup of coffee again, Bwahahahaha!
After the shot of House Special at Long-Yuan, the van from Agape House arrived. (Perhaps you would love to know how much Long-Yuan paid me for advertisement? The answer is not at all. It's just my innocent gioia provided by their food, drinks, employees and employers. I hope that they can keep it up as long as possible.)
凱歌園跟少家很不一樣，首先是座落於更偏僻的地點，主建物四、五樓高，旁邊零星輔建物，外圍完全沒有柵欄或圍牆。大概是正好碰到社工與輔導人員支援其他活動，進去後沒碰到學員以外的對象。
Agape House is very different from MS Youth Home. First, it locates at a more rural place. There's an about 5 story main building with few 1 story constructions around. There are no fences or gates around at all. My timing wasn't good that I only met 2 adults during the whole trip.
凱歌園的男孩們每一位都散發強烈存在感，從他們的衣著、髮型，與言行表露無遺。很多學生上課勇於發言、提問（我喜歡學生有反應，即使是來亂的，我也聽得很開心），有些學生甚至能正中我設計好的＂正確答案＂。
Every student from Agape House has his strong existence shown from the clothing, hair style, language and body movement. Many students dared to express, to question, and to challenge.(I love students who respond. I am happy even when my students are saying nonsense.) Some of the students actually got the "correct answers" to the questions I designed.
第一堂課一直有學生進進出出，一開始還能記名字，到最後我的腦袋變成一團漿糊。簡單講了一下五線譜與五線譜上的記號。我說不用太擔心調性，若這些都看懂，至少已經能戳出所有音符了！我穿梭於白板與鋼琴間，偶爾解釋，偶爾彈作曲家片段，讓大家能看著白板上冷冰冰的線條與圖案，轉換作曲家二元世界至僅存當下的愛恨情仇。
There are people coming and going throughout my first hour. I could remember some names at the beginning, and by the end, my brain turned into a mush. I only introduced them staff, two clefs, and sharps and flags. I told them, "Not to worry about keys yet. If you understand all these, you can already poke out every note from the score already". I shuffled beteen the white board and the piano. Sometimes I explained, and sometimes I played the actual fragments just to make the students feel transformation from composers' two dimensional world with cold lines and symbols into the only-at-the-moment vivid love and hatred.
第二堂課只剩兩隻小貓，我指出中央Do在剛琴與譜上的位置，寫出一個八度Do大調音階，教他們基本音階琶音指法並解釋練習這些指法以及指法編排的原因。分別看他們彈，講述整體放鬆姿勢、如何預測預備以便彈下一個或下一群音符...
There were only two students left in the second half. I pointed the location of middle C at the piano and on the staff. I wrote an octave scale of C major. I taught them basic fingerings of the scale and the arpeggio. I told them why practicing scales is important and how the fingerings come along. I watched them try separately, taught them how to maintain a more relaxed posture, and how to predict and prepare for the next (group of) note(s)...
時光飛逝，於是我彈了些C大調音樂，然後跟他們說這兩週必須要練習並手寫C大調音階琶音四個八度，我下次上課時會隨便指譜上音符要他們馬上在鋼琴上找出來。另外，我要他們自己寫出G大調音階與琶音，同時先練G大調四個八度音階與琶音。
Time flew by, I played more C major music, and gave them some assignment. They have to practice and write out C major scale(with arpeggio) in four octaves. Next time, I'll point at notes on the sheet and ask them to find them asap on the piano. Other than that, I asked them to figure out what a G major scale and arpeggio in writing and in playing and of course in 4 octaves.
下次上課計畫主軸
少家：＂...＂的創作
凱歌：譜的簡單運用與創作（使用鋼琴與爵士鼓顯示出譜上節奏與時間的概念）
Main ideas for my next classes:
MSYH: What "..." could be
AH: Simple use of the score (Use the drumkit and the piano to demonstrate the concepts of time and rhythm)
是的，在凱歌園下課與坐火車回高雄之間，我又跑去隆元喝杯咖啡，哈哈！
And yes, after I dismissed the class and before I took the train back to KS, I went back to Long-Yuan for another cup of coffee again, Bwahahahaha!
Tuesday, May 6, 2014
花蓮少家、凱歌園與我的三角關係 序曲至第一幕第一景 The Open Relationship bt MS Youth Home, Agape House, and me Overture - Act 1 Scene 1
約三週前在我心愛的隆元手作坊吃點心打卡後不久，接到彭教授電話，問我是否人在花蓮，想不想去凱歌園看看。當天，花蓮崇她社為凱歌園少年們辦了驚喜派對，送他們一台鋼琴與一台電子琴，鼓勵孩子們習樂。到場後，崇她社媽媽姐姐們告訴我凱歌園有個天才男孩，在完全沒學過鋼琴也不會看譜的前提下，用看youtube的方式，自己學會彈夢中的婚禮。聽她們一說，我更迫不及待想會會這位才子。
About three weeks ago, when I just "checked in" at my favorite coffee shop in Hualien, Long-Yuan, I got a call from Prof. P. He was wondering if he could interest me in a trip to visit another Youth Home in the area. There was a surprise party for the boys in Agape House. Because of a gifted boy who learned to play R. Clayderman's Dream Wedding from scratch by only watching Youtube videos online, the ladies from Zonta donated a piano, a keyboard, an awesome dinner, and lots of love to encourage more boys study and appreciate music and art. When I heard about the young genius, I couldn't wait to meet him, either.
驚喜派對充滿歡笑、美食！有歌唱、爵士鼓，以及我與那位男孩的音樂交流！他說自己花了兩小時時間看影片學會那首歌，於是我跟他說：「天啊！土法煉鋼都能讓你在兩小時內練成了，你能想像當你會看譜的時候，兩小時內能學會多少曲子嗎？」他看來很興奮也很期待！
The party was full of laughter and great food! There were some singing, some drumming, some piano playing by the talent and me. He told me that it only took him two hours to learn that piece from watching people playing online. I told him, "Gosh! Think about how much more and faster you will learn if you can read the music on your own!" He was very excited and very looking forward.
當我回到高雄後接到凱歌園的電話，希望能盡快開始為園內有興趣學琴的孩子上課。於是凱歌園希望我能向少年之家提議穩定的隔週課程時間，只要少家繼續提供我上課時的落腳的地方，凱歌園會支出我所有的交通費。這樣的提議讓三方面很快地達到共識，於是上週六，我們很開心地正式開始這段三角關係！
After being back in Kaohsiung, I got a call from Agape House. They were hoping to provide their boys piano lessons as soon as possible. So, they had a proposal to me and MS Youth Home. If MS Youth Home can keep hosting me when I am in Hualien, Agape House will take care of all my transportation reimbursement. It sounded good for all of us, and our threesome officially began from last Saturday!
週六早上的課在少家，只有六個學生。由於其中一位＂很久不見＂（他曾擅自離院不歸），外加新同學一名，我再次使用了羅妲個人資料記憶遊戲。這次，新同學竟然說出我期待已久的＂超人＂作為自己未來想成為的職業（終於有人看過Marvel的超級英雄電影了）。
I had only six students in MS Youth Home on that Sat morning. One of them had disappeared for quite a while(he just decided not to come home for some reasons twice and I missed him for two months), and one of them was new to me. Once again, I used Rhoda's memory game, and this time, the new student said "Superman" as his dream role to be. (Finally, someone has seen a Marvel hero somewhere!)
這堂課中，我終於找到機會實行之前沒完成的信任遊戲－抬人上半空中－。我果然被要求當第一個被抬的，先告訴他們我很重之後，就只好相信這六個小毛頭了。孩子們力氣很大，感覺很輕鬆就離地了（大概有＂摔老師就沒好日子過了＂或是＂絕不能被老師小看＂的念頭驅使），被躺著抬到半空中的感覺很棒，抗拒地心引力飄浮讓我有種難以形容的喜悅（也許是實現了大學啦啦隊無法當飛人的夢想），很想就留在那兒！等每個人都嘗試過後，我問大家在空中時有沒有特別的感覺，但孩子們除了很想趕快回到地面以外，還來不及思考別的。於是我提到信任的重要，最基本的信任無法達到，根本無法談任何延伸感受。而藝術發展就像這樣，一個無法信任社會恐懼與別人相異的人只能成為複製者，很難成為藝術家。就算不提藝術，基本信任也是社會穩定不可或缺的基礎。
In this lesson, I finally got the chance to accomplish the final trust game -being lifted in the air-. Of course, the kids asked me to be the first one lifted. After telling them that I'm heavier(and taller) than any of them, I could only trust these 6 kids. It was very impressive. It felt very easy for them to lift me up in the air.(Maybe they were pressured by the thoughts "Dropping her means a terrible time" or "We can't be looked down") Being lifted in the air was amazing. I don't know how to exactly describe the joy of fighting gravity and floating in the air. I knew that I wish it would never end. (It must be the left over cheerleader flying desire in me...) After everyone had finished his turn, I asked the boys if they'd felt anything special being lifted in the air. They all told me that they were eager to return to the solid ground without thinking of anything else. Thus, it was time to bring "trust" on the table again. I told them that without having enough trust, no one would be able to talk about other feelings nor anything further like artistic ideas. When we look at art, the person who is afraid of being different or unaccepted to the public can only play the role of a copycat. Without being original and organic(truthful to oneself), one would hardly become a real artist. Besides art, trust also plays a critical part as the base of our society.
課堂中有個孩子石門水庫大開，還有個孩子當著我的面突然起立伸手調整寶貝袋。於是我很輕描淡寫地提醒孩子水庫大開，也很輕鬆地問了另個孩子「你怎麼了？需要新褲子嗎？」（我是認真的問，褲子太鬆太緊悶熱或發癢都很有可能發生），這兩個孩子都能笑一笑置之，之後也沒看到其他人在我面前放抓或調整飛禽。我也有想過，當我注意到這些事情的時候，應該是自己持有偏見，自以為循社會道德規範，一廂情願覺得褲子拉鍊＂沒拉好＂，也一廂情願覺得當眾挖鼻孔抓屁股整鳥會受人指點，其實這些孩子的舉動顯現出他們的單純與脫俗。就因如此，我下意識的掙扎阻止我說＂請拉上拉鍊＂或＂請不要在人前這麼做＂，我只是單純地希望他們能隨時掌握自己的狀態與行為，若他們有意識地保持這些行為與狀態，也許我們能看到新麥可傑克森舞步也不一定！？
There was a boy who forgot about his zip the pants, and there was another boy suddenly standing up to adjust his "package" in front of me. I told the first kid that his zipper was open and asked the other "What's wrong? Do you need new pants?" (I was very serious. You know how lousy and annoying the pants can get sometimes) Two boys took my words with laughter. Before the end of the class, I didn't notice any other bottom related activities. I actually thought that I might be holding grudges to those behaviors for no good reasons. When I noticed the "situation", it meant that I was already contaminated by the potential impurity educated through our society. The kids weren't aware of what the behaviors may be interpreted. These so called situations happened when they just simply forgot(nothing wrong with it, in fact) or simply not aware of what the judgmental world may use to define them. My subconscious mind stopped me from saying, "Zip it up" or "You shouldn't do that in front of others". Instead, I only pointed those out hoping that they were aware of what they might not be aware of. If they become aware of what they do and insist on what they do, perhaps we'll get to enjoy more crazy moves like MJ's!?
讓我感動的故事分享發生在Freeze遊戲中，其中有個學員定在撿東西的姿勢上，於是我上前叫他爺爺，扶他坐下，請他告訴我爺爺奶奶的戀愛故事。於是爺爺（十四歲少年）告訴孫女（我）自己從小學六年級就跟奶奶在一起了，而認識的原因是因為學校飲水機出問題，他用力一拍機器之後，旁邊女孩看了覺得很好笑也跟著一拍，然後兩人繼續發笑拍打飲水機，認識彼此然後就這麼在一起一輩子。（天啊！好可愛又好浪漫的故事）活動結束後，我問這個學員那個故事是自己編的還是實際經驗，答案是取於生活經驗，而那個女孩正是他現在的女朋友。我樂得在大家面前謝謝他分享自己的故事，讓我們原本純粹創意發揮好玩的遊戲提升到與生活經驗結合的層面。我也在次告訴學員們，Freeze遊戲的目的並不是要他們無中生有，而是希望大家能細心聆聽對方提供的線索，結合自己的生活經驗後做出反應。
Another touching story happened when we were playing FREEZE. When a student was frozen while picking up something, I walked up to call him "grandpa" and helped him to a chair. After sitting down, I asked my grandpa to tell me the story of how he met grandma again. He told me that once upon a time, there was a malfunctioned water machine in his elementary school. He was so angry with the machine that he gave it a kick. A girl saw that and thought it was funny. So, she came to the machine and gave it a kick as well. Just like that, they laughed and learned about each other. Since then, they became best friends and life partners forever.(Gosh! What a funny and romantic story!) After the scene ended, I asked the student how he came up with the story. He told us that was how he met his girlfriend and they're still together. I was so thrilled to learn the story and thank him for sharing his story in front of the class. He definitely took the FREEZE up a notch by combining creativity to real life events. Once again I told the students, FREEZE doesn't require anyone to make up something from nothing. All they have to do is to listen carefully to the clues they've been given from their partners, and react with their own life experience.
下課後按例溜去隆元喝杯咖啡。
Once the class was dismissed, I immediately excuse myself to grab a cup of coffee at Long-Yuan.
About three weeks ago, when I just "checked in" at my favorite coffee shop in Hualien, Long-Yuan, I got a call from Prof. P. He was wondering if he could interest me in a trip to visit another Youth Home in the area. There was a surprise party for the boys in Agape House. Because of a gifted boy who learned to play R. Clayderman's Dream Wedding from scratch by only watching Youtube videos online, the ladies from Zonta donated a piano, a keyboard, an awesome dinner, and lots of love to encourage more boys study and appreciate music and art. When I heard about the young genius, I couldn't wait to meet him, either.
驚喜派對充滿歡笑、美食！有歌唱、爵士鼓，以及我與那位男孩的音樂交流！他說自己花了兩小時時間看影片學會那首歌，於是我跟他說：「天啊！土法煉鋼都能讓你在兩小時內練成了，你能想像當你會看譜的時候，兩小時內能學會多少曲子嗎？」他看來很興奮也很期待！
The party was full of laughter and great food! There were some singing, some drumming, some piano playing by the talent and me. He told me that it only took him two hours to learn that piece from watching people playing online. I told him, "Gosh! Think about how much more and faster you will learn if you can read the music on your own!" He was very excited and very looking forward.
當我回到高雄後接到凱歌園的電話，希望能盡快開始為園內有興趣學琴的孩子上課。於是凱歌園希望我能向少年之家提議穩定的隔週課程時間，只要少家繼續提供我上課時的落腳的地方，凱歌園會支出我所有的交通費。這樣的提議讓三方面很快地達到共識，於是上週六，我們很開心地正式開始這段三角關係！
After being back in Kaohsiung, I got a call from Agape House. They were hoping to provide their boys piano lessons as soon as possible. So, they had a proposal to me and MS Youth Home. If MS Youth Home can keep hosting me when I am in Hualien, Agape House will take care of all my transportation reimbursement. It sounded good for all of us, and our threesome officially began from last Saturday!
週六早上的課在少家，只有六個學生。由於其中一位＂很久不見＂（他曾擅自離院不歸），外加新同學一名，我再次使用了羅妲個人資料記憶遊戲。這次，新同學竟然說出我期待已久的＂超人＂作為自己未來想成為的職業（終於有人看過Marvel的超級英雄電影了）。
I had only six students in MS Youth Home on that Sat morning. One of them had disappeared for quite a while(he just decided not to come home for some reasons twice and I missed him for two months), and one of them was new to me. Once again, I used Rhoda's memory game, and this time, the new student said "Superman" as his dream role to be. (Finally, someone has seen a Marvel hero somewhere!)
這堂課中，我終於找到機會實行之前沒完成的信任遊戲－抬人上半空中－。我果然被要求當第一個被抬的，先告訴他們我很重之後，就只好相信這六個小毛頭了。孩子們力氣很大，感覺很輕鬆就離地了（大概有＂摔老師就沒好日子過了＂或是＂絕不能被老師小看＂的念頭驅使），被躺著抬到半空中的感覺很棒，抗拒地心引力飄浮讓我有種難以形容的喜悅（也許是實現了大學啦啦隊無法當飛人的夢想），很想就留在那兒！等每個人都嘗試過後，我問大家在空中時有沒有特別的感覺，但孩子們除了很想趕快回到地面以外，還來不及思考別的。於是我提到信任的重要，最基本的信任無法達到，根本無法談任何延伸感受。而藝術發展就像這樣，一個無法信任社會恐懼與別人相異的人只能成為複製者，很難成為藝術家。就算不提藝術，基本信任也是社會穩定不可或缺的基礎。
In this lesson, I finally got the chance to accomplish the final trust game -being lifted in the air-. Of course, the kids asked me to be the first one lifted. After telling them that I'm heavier(and taller) than any of them, I could only trust these 6 kids. It was very impressive. It felt very easy for them to lift me up in the air.(Maybe they were pressured by the thoughts "Dropping her means a terrible time" or "We can't be looked down") Being lifted in the air was amazing. I don't know how to exactly describe the joy of fighting gravity and floating in the air. I knew that I wish it would never end. (It must be the left over cheerleader flying desire in me...) After everyone had finished his turn, I asked the boys if they'd felt anything special being lifted in the air. They all told me that they were eager to return to the solid ground without thinking of anything else. Thus, it was time to bring "trust" on the table again. I told them that without having enough trust, no one would be able to talk about other feelings nor anything further like artistic ideas. When we look at art, the person who is afraid of being different or unaccepted to the public can only play the role of a copycat. Without being original and organic(truthful to oneself), one would hardly become a real artist. Besides art, trust also plays a critical part as the base of our society.
課堂中有個孩子石門水庫大開，還有個孩子當著我的面突然起立伸手調整寶貝袋。於是我很輕描淡寫地提醒孩子水庫大開，也很輕鬆地問了另個孩子「你怎麼了？需要新褲子嗎？」（我是認真的問，褲子太鬆太緊悶熱或發癢都很有可能發生），這兩個孩子都能笑一笑置之，之後也沒看到其他人在我面前放抓或調整飛禽。我也有想過，當我注意到這些事情的時候，應該是自己持有偏見，自以為循社會道德規範，一廂情願覺得褲子拉鍊＂沒拉好＂，也一廂情願覺得當眾挖鼻孔抓屁股整鳥會受人指點，其實這些孩子的舉動顯現出他們的單純與脫俗。就因如此，我下意識的掙扎阻止我說＂請拉上拉鍊＂或＂請不要在人前這麼做＂，我只是單純地希望他們能隨時掌握自己的狀態與行為，若他們有意識地保持這些行為與狀態，也許我們能看到新麥可傑克森舞步也不一定！？
There was a boy who forgot about his zip the pants, and there was another boy suddenly standing up to adjust his "package" in front of me. I told the first kid that his zipper was open and asked the other "What's wrong? Do you need new pants?" (I was very serious. You know how lousy and annoying the pants can get sometimes) Two boys took my words with laughter. Before the end of the class, I didn't notice any other bottom related activities. I actually thought that I might be holding grudges to those behaviors for no good reasons. When I noticed the "situation", it meant that I was already contaminated by the potential impurity educated through our society. The kids weren't aware of what the behaviors may be interpreted. These so called situations happened when they just simply forgot(nothing wrong with it, in fact) or simply not aware of what the judgmental world may use to define them. My subconscious mind stopped me from saying, "Zip it up" or "You shouldn't do that in front of others". Instead, I only pointed those out hoping that they were aware of what they might not be aware of. If they become aware of what they do and insist on what they do, perhaps we'll get to enjoy more crazy moves like MJ's!?
讓我感動的故事分享發生在Freeze遊戲中，其中有個學員定在撿東西的姿勢上，於是我上前叫他爺爺，扶他坐下，請他告訴我爺爺奶奶的戀愛故事。於是爺爺（十四歲少年）告訴孫女（我）自己從小學六年級就跟奶奶在一起了，而認識的原因是因為學校飲水機出問題，他用力一拍機器之後，旁邊女孩看了覺得很好笑也跟著一拍，然後兩人繼續發笑拍打飲水機，認識彼此然後就這麼在一起一輩子。（天啊！好可愛又好浪漫的故事）活動結束後，我問這個學員那個故事是自己編的還是實際經驗，答案是取於生活經驗，而那個女孩正是他現在的女朋友。我樂得在大家面前謝謝他分享自己的故事，讓我們原本純粹創意發揮好玩的遊戲提升到與生活經驗結合的層面。我也在次告訴學員們，Freeze遊戲的目的並不是要他們無中生有，而是希望大家能細心聆聽對方提供的線索，結合自己的生活經驗後做出反應。
Another touching story happened when we were playing FREEZE. When a student was frozen while picking up something, I walked up to call him "grandpa" and helped him to a chair. After sitting down, I asked my grandpa to tell me the story of how he met grandma again. He told me that once upon a time, there was a malfunctioned water machine in his elementary school. He was so angry with the machine that he gave it a kick. A girl saw that and thought it was funny. So, she came to the machine and gave it a kick as well. Just like that, they laughed and learned about each other. Since then, they became best friends and life partners forever.(Gosh! What a funny and romantic story!) After the scene ended, I asked the student how he came up with the story. He told us that was how he met his girlfriend and they're still together. I was so thrilled to learn the story and thank him for sharing his story in front of the class. He definitely took the FREEZE up a notch by combining creativity to real life events. Once again I told the students, FREEZE doesn't require anyone to make up something from nothing. All they have to do is to listen carefully to the clues they've been given from their partners, and react with their own life experience.
下課後按例溜去隆元喝杯咖啡。
Once the class was dismissed, I immediately excuse myself to grab a cup of coffee at Long-Yuan.
Thursday, May 1, 2014
誓發一百零一張問卷的唐吉訶德 -第三天-
第三天：讀完＂核電員工最後遺言－福島事故15年前的災難預告－＂ 問卷進度0
第二天晚，政府宣布＂核四停工＂（但非停建, 根據江某說法），讓我突然開始懷疑環聯的問卷是否還有必要性。剛好第二天跟珊瑚姐請了＂核電員工最後遺言－福島事故15年前的災難預告－＂一書，決定第三天好好讀書，看看日本核電配管師傅、核電設計人員、外包工人（包含私下與菊地洋一自述的台灣工人）...等為什麼越來越多了解核能電廠運作與設計的人公開自己反對核能的原因。讀完後，順便看了些美國的研究，自覺燃料棒問卷還是得繼續發下去，一是怕政府又突然反悔殺個大家措手不及，二是燃料棒等於核電廠心臟，若能成功制止心跳，就算其它器官都已連結好也無法使用。有人說題目訂得不夠明確，在看完書之後我反而覺得問卷題目不但對症下藥，而且能免於在目前公投高門檻未修前被執政黨利用作假民意的風險。（若題目是很直接的＂是否支持廢核＂，若投支持廢核人數多過反對廢核者，但因總投票數不過門檻而不成功，民意可能會被曲解利用成＂反廢核＂。）若有人對這本書很有興趣，歡迎向我借。（我大力推薦，爹娘正在看）
以下是看完書後無法忘記的部分：
1. 建築與維修人員的來歷
對核電危險認識的人根本不想也不敢接近，因此離反應爐越近的通常都是沒有後路或是專業知識嚴重不足的素人。而所謂的監工或檢查，也只是輕描淡寫走過而已（因為這些人都知道危險性很高因此根本不敢多待啊！）。由於全球性反核聲浪，習綠能者愈加，而核能專長者愈少。等到經驗值高的老師傅退休（也不會老到哪去，由於長時間＂內曝曬＂－無法去除的吸入核輻射－平井很早被診斷癌症，五十三歲就過世了），人才培訓不及，核電廠的未來也只能自求多福。
2. ＂內曝曬＂的可怕
廠內人員附著在身體上的核輻射也許能被完全洗掉，但每次因操作時吸入身體內的核輻射＂內曝曬＂只會不斷累積，造成許多相關人員年紀輕輕就診斷出癌症病變等。
3. 歧視
當核汙染不再是秘密而成為＂房間裡的大象＂，就算嘴巴上不談，實際生活上不但想盡辦法遠離那些地區，為求安全，還有家長要求自己子女別跟來自核電廠附近的人來往。
4. 核能電廠目前是無法戒掉的毒癮，一旦啟用就無法擺脫的核能電廠與其汙染
A. 冷卻水的需要
一旦開始運轉之後，就需要大量的冷卻水降溫，即使停轉後，機器與使用過燃料及廢料都會持續發熱，因此，就算決定廢除核電廠之後，還是需要大量的冷卻水。水很可能會造成銹蝕，需要人力檢查與更新。因此，一個不再供電的電廠，還是會繼續無限期消耗民脂民膏。
B. 排入大海的高溫水
剛提到的冷卻水，最後會變成高溫水進入海洋，影響生態。近年來一直討論全球暖化與二氧化碳之間關係，乍看之下核電廠的二氧化碳排放量低，但高溫水入海等於是直接幫助全球暖化。海溫改變後，生態組成會跟著改變，同時影響附近漁獲買氣。
C. 核廢料處理無解
書中提及各種核能發電連帶產生的高級至低及核廢料，目前的處理方式都是存放某處祈禱在有生之年內不會發生災害
根據原子能委員會2013-10-15更新的認識核廢料（可直接點選開啟該頁面）自我感覺良好，把無法銷毀或回收而只能不斷累積的灌水泥封存低階核廢料當葵花寶典（又根據原子能委員會102年蘭嶼儲存廠廢棄物營運管理年報第九頁底下文字，得知該年該廠對該廠相關人員進行輻安職前訓練僅三小時而工安職前訓練僅四小時），又說我們沒有高階核廢料（目前台灣沒有再加工用過核燃料之技術也沒有資源發展該科技，而書中也提到日曾委法做高階核廢料處理，被法國用作核彈試爆，該舉對曾遭原子彈爆炸的日人說來諷刺，後來中止該合作關係），技術性跳過殺傷力最大也最不穩定的＂用過核燃料（Spent Fuel）＂存在與處理方式，然後告訴我們絕無安全隱憂。燃料棒壽命三到六年，除役後得在冷卻池泡十至二十年才有可能讓輻射降低到容許被處理階段（至於時候到了可以如何處理，現在沒有人說得出來或沒膽量說出來）。
另外，從該書中得知冷卻池的結構並不堅固，2011年三月的福島核災時由於地震加海嘯，三個屋頂損毀的冷卻池發生池水蒸發，一號機無冷卻水空轉、二三號機僅有四分之一冷卻水而導致核心熔毀。雖然判定是人為疏失，其實平井先生很早就警告過大家核電廠系統複雜可能很容易發生無法避免的人為疏失。
自福島核災發生後，日本於2012年開始5月5日起進入零核時代。由於先前替代能源以及綠能發展不足，得出高價從國外進口無數資源替代核能。原本就面臨挑戰的日元，突然劇增更多經濟壓力，加上2020年世運所需，安倍宣布即將重啟核電的局勢，就算成功，也不能說是日本人民支持核電，只能說他們發現目前經濟能力可行的廢核腳步得放慢，讓其它可再生能源發展足夠之後才能全面廢核（預計2030年）。而安倍所說的重啟也非全面重啟，而是避開地震帶的重啟，外加重新評估與設計的配合措施。
這裡得特別提到的是1979年三哩島核災（Three Mile Island Accident）善後，光是為二號機造成的輻射汙染，就用了美國十二年時間以及九億七千三百萬美元花費，而單就三哩島核電廠財產損失而言就高達二十四億美元。1985年Forbes Magazine(富比士雜誌)2月11日號封面專題Nuclear Follies（核瘋，或核愚）寫了這段話：
＂The failure of the U.S. nuclear power program ranks as the largest managerial disaster in business history, a disaster on a monumental scale … only the blind, or the biased, can now think that the money has been well spent. It is a defeat for the U.S. consumer and for the competitiveness of U.S. industry, for the utilities that undertook the program and for the private enterprise system that made it possible.＂－自譯：美國核能計畫失敗標出了商業史上最大的管理災害，一個如紀念碑般的災害... 只有瞎了或偏差者現在還以為這些錢花得好。這（該災害）能說是對那些促成這計畫之美國消費者、美國工業激烈競爭、允許這計畫實行，以及私人企業系統來說最大的失敗。－
對於這段資料有興趣者，可參考美國的核能發展。
隔年，車諾比核電廠就出事了。
美洲與歐洲多國紛紛出現反核聲浪，在福島不幸成為亞洲代表後，也堅定了數國人民反核的決心。但很可惜地，除了大洋洲與南極洲還沒有核電廠以外，經過幾年的爭議，也許是不見棺材不掉淚，擁核份子又打著用電與經濟需要出現為核電護航。
我是個刪預算時第一個被刪掉的娛樂業者，而這行在人類用電以前就存在。在台北念大學時，與五位室友住在夏天無冷氣的小小宿舍房間將近四年。為了逐漸達到全面廢核，我願意永遠放棄使用家中用電量最高且為全球暖化原因之一的冷氣。台灣的冬天，我也不需暖氣。曾經歷過北美2011年9月大洪水造成的連續停電（停最久的地區超過兩個月，據官方說法無人員傷亡，但PetCo的無知讓一百多隻無辜動物因該洪水喪生），知道就算停電，人類還是能繼續生存。但目前還沒經歷過核災，也非常不希望再看到任何國家經歷核災。
在我看來，成功廢核如戒抗憂鬱藥般，同是長期抗戰（我某前任是活生生的例子），得逐步減量並配合替代物或活動（我的存在似乎是他當時的抗憂鬱藥替代），突發性驟減藥量可能會造成身體嚴重不適或情緒崩潰（當我得去外地工作幾個月而他還繼續減量時發生情緒崩潰，就把我給休了），就算有明確計畫也可能會碰到狀況而必須延遲減量（把我休了之後藥量再次增加），但只要能不怕挫折堅持下去（他找到新對象又再次開始減量），就會有成功的一天（後來和這個像連體嬰一樣分不開的女人結婚，他不但成功戒藥，還成為作家，可喜可賀！）。
最後想說的是，反核其實不只是反核，底下來自＂遠見雜誌2012年9月號＂
＂2011年，台電平均售電成本2.82元∕度‧家用電價2.7568元∕度，共用電416.5億度，台電虧26.32億元‧工業電價2.3536元∕度，共用電1079.41億度，台電虧503.43億元＂
不想多砍樹想借書的，來找我吧！
第二天晚，政府宣布＂核四停工＂（但非停建, 根據江某說法），讓我突然開始懷疑環聯的問卷是否還有必要性。剛好第二天跟珊瑚姐請了＂核電員工最後遺言－福島事故15年前的災難預告－＂一書，決定第三天好好讀書，看看日本核電配管師傅、核電設計人員、外包工人（包含私下與菊地洋一自述的台灣工人）...等為什麼越來越多了解核能電廠運作與設計的人公開自己反對核能的原因。讀完後，順便看了些美國的研究，自覺燃料棒問卷還是得繼續發下去，一是怕政府又突然反悔殺個大家措手不及，二是燃料棒等於核電廠心臟，若能成功制止心跳，就算其它器官都已連結好也無法使用。有人說題目訂得不夠明確，在看完書之後我反而覺得問卷題目不但對症下藥，而且能免於在目前公投高門檻未修前被執政黨利用作假民意的風險。（若題目是很直接的＂是否支持廢核＂，若投支持廢核人數多過反對廢核者，但因總投票數不過門檻而不成功，民意可能會被曲解利用成＂反廢核＂。）若有人對這本書很有興趣，歡迎向我借。（我大力推薦，爹娘正在看）
以下是看完書後無法忘記的部分：
1. 建築與維修人員的來歷
對核電危險認識的人根本不想也不敢接近，因此離反應爐越近的通常都是沒有後路或是專業知識嚴重不足的素人。而所謂的監工或檢查，也只是輕描淡寫走過而已（因為這些人都知道危險性很高因此根本不敢多待啊！）。由於全球性反核聲浪，習綠能者愈加，而核能專長者愈少。等到經驗值高的老師傅退休（也不會老到哪去，由於長時間＂內曝曬＂－無法去除的吸入核輻射－平井很早被診斷癌症，五十三歲就過世了），人才培訓不及，核電廠的未來也只能自求多福。
2. ＂內曝曬＂的可怕
廠內人員附著在身體上的核輻射也許能被完全洗掉，但每次因操作時吸入身體內的核輻射＂內曝曬＂只會不斷累積，造成許多相關人員年紀輕輕就診斷出癌症病變等。
3. 歧視
當核汙染不再是秘密而成為＂房間裡的大象＂，就算嘴巴上不談，實際生活上不但想盡辦法遠離那些地區，為求安全，還有家長要求自己子女別跟來自核電廠附近的人來往。
4. 核能電廠目前是無法戒掉的毒癮，一旦啟用就無法擺脫的核能電廠與其汙染
A. 冷卻水的需要
一旦開始運轉之後，就需要大量的冷卻水降溫，即使停轉後，機器與使用過燃料及廢料都會持續發熱，因此，就算決定廢除核電廠之後，還是需要大量的冷卻水。水很可能會造成銹蝕，需要人力檢查與更新。因此，一個不再供電的電廠，還是會繼續無限期消耗民脂民膏。
B. 排入大海的高溫水
剛提到的冷卻水，最後會變成高溫水進入海洋，影響生態。近年來一直討論全球暖化與二氧化碳之間關係，乍看之下核電廠的二氧化碳排放量低，但高溫水入海等於是直接幫助全球暖化。海溫改變後，生態組成會跟著改變，同時影響附近漁獲買氣。
C. 核廢料處理無解
書中提及各種核能發電連帶產生的高級至低及核廢料，目前的處理方式都是存放某處祈禱在有生之年內不會發生災害
根據原子能委員會2013-10-15更新的認識核廢料（可直接點選開啟該頁面）自我感覺良好，把無法銷毀或回收而只能不斷累積的灌水泥封存低階核廢料當葵花寶典（又根據原子能委員會102年蘭嶼儲存廠廢棄物營運管理年報第九頁底下文字，得知該年該廠對該廠相關人員進行輻安職前訓練僅三小時而工安職前訓練僅四小時），又說我們沒有高階核廢料（目前台灣沒有再加工用過核燃料之技術也沒有資源發展該科技，而書中也提到日曾委法做高階核廢料處理，被法國用作核彈試爆，該舉對曾遭原子彈爆炸的日人說來諷刺，後來中止該合作關係），技術性跳過殺傷力最大也最不穩定的＂用過核燃料（Spent Fuel）＂存在與處理方式，然後告訴我們絕無安全隱憂。燃料棒壽命三到六年，除役後得在冷卻池泡十至二十年才有可能讓輻射降低到容許被處理階段（至於時候到了可以如何處理，現在沒有人說得出來或沒膽量說出來）。
另外，從該書中得知冷卻池的結構並不堅固，2011年三月的福島核災時由於地震加海嘯，三個屋頂損毀的冷卻池發生池水蒸發，一號機無冷卻水空轉、二三號機僅有四分之一冷卻水而導致核心熔毀。雖然判定是人為疏失，其實平井先生很早就警告過大家核電廠系統複雜可能很容易發生無法避免的人為疏失。
自福島核災發生後，日本於2012年開始5月5日起進入零核時代。由於先前替代能源以及綠能發展不足，得出高價從國外進口無數資源替代核能。原本就面臨挑戰的日元，突然劇增更多經濟壓力，加上2020年世運所需，安倍宣布即將重啟核電的局勢，就算成功，也不能說是日本人民支持核電，只能說他們發現目前經濟能力可行的廢核腳步得放慢，讓其它可再生能源發展足夠之後才能全面廢核（預計2030年）。而安倍所說的重啟也非全面重啟，而是避開地震帶的重啟，外加重新評估與設計的配合措施。
這裡得特別提到的是1979年三哩島核災（Three Mile Island Accident）善後，光是為二號機造成的輻射汙染，就用了美國十二年時間以及九億七千三百萬美元花費，而單就三哩島核電廠財產損失而言就高達二十四億美元。1985年Forbes Magazine(富比士雜誌)2月11日號封面專題Nuclear Follies（核瘋，或核愚）寫了這段話：
＂The failure of the U.S. nuclear power program ranks as the largest managerial disaster in business history, a disaster on a monumental scale … only the blind, or the biased, can now think that the money has been well spent. It is a defeat for the U.S. consumer and for the competitiveness of U.S. industry, for the utilities that undertook the program and for the private enterprise system that made it possible.＂－自譯：美國核能計畫失敗標出了商業史上最大的管理災害，一個如紀念碑般的災害... 只有瞎了或偏差者現在還以為這些錢花得好。這（該災害）能說是對那些促成這計畫之美國消費者、美國工業激烈競爭、允許這計畫實行，以及私人企業系統來說最大的失敗。－
對於這段資料有興趣者，可參考美國的核能發展。
隔年，車諾比核電廠就出事了。
美洲與歐洲多國紛紛出現反核聲浪，在福島不幸成為亞洲代表後，也堅定了數國人民反核的決心。但很可惜地，除了大洋洲與南極洲還沒有核電廠以外，經過幾年的爭議，也許是不見棺材不掉淚，擁核份子又打著用電與經濟需要出現為核電護航。
我是個刪預算時第一個被刪掉的娛樂業者，而這行在人類用電以前就存在。在台北念大學時，與五位室友住在夏天無冷氣的小小宿舍房間將近四年。為了逐漸達到全面廢核，我願意永遠放棄使用家中用電量最高且為全球暖化原因之一的冷氣。台灣的冬天，我也不需暖氣。曾經歷過北美2011年9月大洪水造成的連續停電（停最久的地區超過兩個月，據官方說法無人員傷亡，但PetCo的無知讓一百多隻無辜動物因該洪水喪生），知道就算停電，人類還是能繼續生存。但目前還沒經歷過核災，也非常不希望再看到任何國家經歷核災。
在我看來，成功廢核如戒抗憂鬱藥般，同是長期抗戰（我某前任是活生生的例子），得逐步減量並配合替代物或活動（我的存在似乎是他當時的抗憂鬱藥替代），突發性驟減藥量可能會造成身體嚴重不適或情緒崩潰（當我得去外地工作幾個月而他還繼續減量時發生情緒崩潰，就把我給休了），就算有明確計畫也可能會碰到狀況而必須延遲減量（把我休了之後藥量再次增加），但只要能不怕挫折堅持下去（他找到新對象又再次開始減量），就會有成功的一天（後來和這個像連體嬰一樣分不開的女人結婚，他不但成功戒藥，還成為作家，可喜可賀！）。
最後想說的是，反核其實不只是反核，底下來自＂遠見雜誌2012年9月號＂
＂2011年，台電平均售電成本2.82元∕度‧家用電價2.7568元∕度，共用電416.5億度，台電虧26.32億元‧工業電價2.3536元∕度，共用電1079.41億度，台電虧503.43億元＂
不想多砍樹想借書的，來找我吧！
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