D’après Ravel 致拉威爾致拉威爾

I love the way water moves through Ravel’s music, sometimes light and quick, sometimes deep and elusive. As I listen, I picture tiny creatures gathering, then swimming apart. Ondines and Jeux d’eau grew from those images. They are my way of responding to music I love and sharing the scenes it brings to mind.我喜歡拉威爾筆下的水，既有輕巧的跳動，也有幽深、難以捉摸的一面。聽著琴聲，我常會想像水裡住著一群小小的生命，忽然聚攏，又各自游開。《水妖》與《水之嬉戲》就是從這些想像發展出來的。我想用自己的方式回應喜愛的音樂，也與別人分享聆聽時浮現的畫面。

In Ondines, I left the background black so blue-green forms could emerge and fade back into the dark. Their overlapping trails suggest fleeting glimpses of life beneath the surface. Jeux d’eau opens onto a brighter pond, with fewer points of light and more room to wander. I wanted the first work to feel mysterious, and the second to feel carefree and playful.在《水妖》裡，我把背景留黑，讓青藍色的身影從暗處浮現，再隱回去。牠們游過時留下交疊的痕跡，像是偶然被看見的水中生物。《水之嬉戲》則換成明亮的池面，光點少一些，活動的空間也更開闊。我想讓前者帶點神祕，後者則輕鬆自在，像在水裡玩耍。

Ravel himself chose a line by Henri de Régnier for the opening page of Jeux d’eau: a river god laughing as the water tickles him. I hope visitors will stay and play for a while, following a cluster of light or waiting for it to swim past. The images I find in the music become something we can enjoy together.拉威爾本人在《水之嬉戲》的樂譜首頁引用了 Henri de Régnier 的詩句：「河神因水的搔癢而發笑。」我也希望觀者能在畫面裡玩一會兒，追著一群光點走，或停在原處，等牠們游過來。聽音樂時生出的想像，就這樣成了可以與人分享的樂趣。

In 2024, I created Ondines in Processing to turn the water scenes I imagined while listening to Ravel into an interactive work. In 2026, I worked with Codex for the first time, adapting Ondines for the browser and building on it to create Jeux d’eau.2024 年，我把聽拉威爾時浮現的水中景象做成互動作品，以 Processing 創作了《水妖》。2026 年首次與 Codex 協作，我將原作帶進瀏覽器，並延伸創作《水之嬉戲》。

Both works are rendered in Three.js. The recordings are analyzed in advance, and the browser uses that timing to guide changes in movement. Ondines responds to low-register accents by changing the forces acting on the particles; Jeux d’eau does this every four estimated beats. The particles retain their momentum as they turn, tracing continuous paths that gather and disperse with the piano.兩件作品都以 Three.js 繪製，光點隨音樂轉向。程式先分析錄音，再由瀏覽器依節奏帶動畫面，《水妖》遇到低音重音就重新配置力場；《水之嬉戲》則推估拍點，每四個拍點調整一次。換向之後，粒子仍帶著原先的慣性繼續游動，讓琴聲帶動畫面的聚散，也讓每一道軌跡自然接續下去。