I remember back in 2015–2016, for the IRCAM Forum held in Taiwan, I drew up a big plan and created my first VR game integrated with my own music. At the time, the environment was such that musicians had almost no interest in technology or programming beyond music. Electronic or tech-based music was usually understood as works created with Max/MSP, and other tools were seen as too far from the mainstream, so no one attempted them. My motivation for doing this, in fact, was to escape the closed and lifeless atmosphere of the academic environment.
 

In 2018, I joined an AI company as a researcher. To be honest, I just wanted to make money, which was also a temporary form of giving up on my artistic career; at the same time, I was half-frustrated with the narrow scope of the music academia, frustrated that neither I nor the institution could ever meet each other's expectations.
 

Later, after seeing myself more clearly, I realized that what I am truly suited for is creation—making my own works. Today, the environment has reversed: academia now loudly calls for cross-disciplinary work and AI talent. What was once considered “rebellious” has become mainstream—but I know that path is no longer for me.
 

Fortunately, not liking the mainstream has always been my gift. What the mainstream lacks has become a capability granted to me by fate, giving me things to do in my creative work, allowing me to quietly develop my practice. Although there is inevitably some inner conflict—both hoping that my non-mainstream creations are appreciated, yet not wanting them to become too popular too quickly and turn into a mainstream model to imitate—I still hope to preserve my creative freedom in unnoticed corners. Perhaps, when I am older, my works will receive more attention or study, which may be just as well.

10/20/2025​