「記得（record）愈多，記得（remember）愈少。」這句雙關揭示了當代人在數位時代中面對記憶轉化的矛盾處境：記得（紀錄，record）代表的是資料的保存與再現，而記得（remember）則指涉主體性的、帶有情感與感官的回憶。
由Bernard Stiegler 所提出的「第三持存」（tertiary retention）概念延伸，即記憶的技術性外部化。在他看來，技術不僅是輔助工具，更是構成記憶形式的媒介。當我們仰賴照片、筆記、社群平台等外部系統來記錄生活，也正是將記憶從個體經驗中拆解、外包至技術結構中。記憶的主導權逐漸由個人移轉至技術系統，人們愈來愈依賴數位紀錄，卻也愈難喚起內在的情感與經驗。
本創作作品《記憶收據》透過互動裝置回應上述現象：參與者上傳一張珍藏的記憶相片，經過系統數據化處理，最終列印成正式文件般的資訊數據資訊，提供觀眾自由帶走或棄置現場，希望藉由透過記憶與數據間的反差性，引發參與者重新思考如何在數位化潮流中保持自身記憶與情感記錄間的平衡，重新感受並思考數位科技對自身記憶模式所造成的影響。
當回憶從個人的主動建構，變成數據檔案時，我們是否仍擁有這些回憶，抑或它們已經成為了冰冷的數據碎片？科技幫我們記住了所有細節，但「如何去記」與「為何而記」的主動權，仍然需要由我們自己掌握。

In the digital era, the act of recording memories has become increasingly externalized through technologies such as cloud storage, social media, and AI platforms. This project, Memory Receipt, explores how memory, once rooted in subjective experience, is gradually outsourced to data-driven systems. Through an interactive installation, participants upload a personal photograph, which is then analyzed and transformed into a receipt-like document that quantifies memory as data. The work reflects the paradox of contemporary memory practice: while technology enables us to record more than ever, our emotional connection to these memories diminishes. Referencing theories such as Stiegler’s tertiary retention and the Extended Mind Hypothesis, the project questions how digital structures reshape not only how we remember, but also who holds the authority to recall. Ultimately, Memory Receipt serves as a poetic critique of memory’s dehumanization in a systematized, algorithmic society.

Plato. (2005). 斐德羅（陳康 譯）。商務印書館。（原著出版於公元前370年）
Ong, W. J.（翁格）(2002). 口語與書寫：語言的科技化（李永平 譯）。書林出版有限公司。（原著出版於1982年）
Heidegger, M.（海德格）(2006). 存在與時間（王慶節 譯）。生活·讀書·新知三聯書店。（原著出版於1927年）
LeDoux, J. E. (2002). 情緒腦：我們如何學會恐懼與愛（江漢 譯）。商周出版。
Mayer-Schönberger, V.（麥爾-荀伯格）(2013). 大數據：隱私篇：數位時代，「刪去」是必要的美德（左怡君 譯）。八旗文化。（原著出版於2009年）
Nora, P.（諾拉）(2017). 記憶與歷史之間——記憶之場（黃煜文 譯）。收錄於黃煜文（編），記憶之場（頁 19–56）。行人文化實驗室。
許家維（2017）。飛行器、霜毛蝠、逝者證言 [四頻道錄像裝置]。台灣數位藝術資料庫。https://www.digiarts.org.tw/DigiArts/DataBasePage/1_219568471811175/Chi
鄭先喻（2020）。這可能是你 [互動裝置作品]。https://www.shianyucheng.com/thiscouldbeyou
Art Emperor 非池中藝術網. (2021). 比爾．維歐拉《無垢者》於北美館登場，亞洲首次完整回顧展。https://artemperor.tw/focus/5519
Anadol, R. (2017). Archive Dreaming [AI data sculpture installation]. https://refikanadol.com/works/archive-dreaming/
Clark, A. (2004). Natural-born cyborgs: Minds, technologies, and the future of human intelligence. Oxford University Press.
Clark, A., & Chalmers, D. (1998). The extended mind. Analysis, 58(1), 7–19. https://doi.org/10.1093/analys/58.1.7
Domestic Data Streamers. (n.d.-a). The Citizens’ Office of Synthetic Memories [Art project]. https://www.domesticstreamers.com/art-research/work/the-citizens-office-of-synthetic-memories
Foster, H. (2004). An archival impulse. October, 110, 3–22. https://doi.org/10.1162/0162287042379847
Heersmink, R. (2020). Distributed identity and epistemic agency in human‐technology partnerships. Philosophy & Technology, 33(3), 445–460. https://doi.org/10.1007/s13347-019-00360-5
Henkel, L. A. (2014). Point-and-shoot memories: The influence of taking photos on memory for a museum tour. Psychological Science, 25(2), 396–402. https://doi.org/10.1177/0956797613504438
Husserl, E. (1991). On the phenomenology of the consciousness of internal time (J. B. Brough, Trans.). Springer.
Iles, C. (2003). Into the light: The projected image in American art, 1964–1977. Whitney Museum of American Art.
Libby, L. K., Eibach, R. P., & Gilovich, T. (2005). Here's looking at me: The effect of memory perspective on assessments of personal change. Journal of Personality and Social Psychology, 88(1), 50–62. https://doi.org/10.1037/0022-3514.88.1.50
Locke, J. (1975). An essay concerning human understanding (P. H. Nidditch, Ed.). Oxford University Press. (Original work published 1690)
MacQueen, J. (1967). Some methods for classification and analysis of multivariate observations. In Proceedings of the Fifth Berkeley Symposium on Mathematical Statistics and Probability (Vol. 1, pp. 281–297). University of California Press.
Mavropoulou, M. (2022–2023). Imagined Images [AI-generated photography series]. https://www.mariamavropoulou.com/imagined-images
Nigro, G., & Neisser, U. (1983). Point of view in personal memories. Cognitive Psychology, 15(4), 467–482. https://doi.org/10.1016/0010-0285(83)90016-6
OpenAI. (2024). GPT-4 technical report. https://openai.com/research/gpt-4
Potapova, A., Uricchio, T., Bertini, M., & Del Bimbo, A. (2010). Automatic photo selection using aesthetic and contextual features. In Proceedings of the 18th ACM International Conference on Multimedia (pp. 105–108). ACM. https://doi.org/10.1145/1873951.1873967
Risko, E. F., & Gilbert, S. J. (2016). Cognitive offloading. Trends in Cognitive Sciences, 20(9), 676–688. https://doi.org/10.1016/j.tics.2016.07.002
Rothberg, S. (2015). Memory/Place: My House [Interactive VR installation]. https://www.sarahrothberg.com/memoryplace
Sparrow, B., Liu, J., & Wegner, D. M. (2011). Google effects on memory: Cognitive consequences of having information at our fingertips. Science, 333(6043), 776–778. https://doi.org/10.1126/science.1207745
Stiegler, B. (2004). Technics and time, 1: The fault of Epimetheus (R. Beardsworth & G. Collins, Trans.). Stanford University Press. (Original work published 1998)
Tulving, E. (1985). Memory and consciousness. Canadian Psychology, 26(1), 1–12.
Ultralytics. (2023). YOLOv8: Real-time object detection. https://github.com/ultralytics/ultralytics
Wolf, A. (2013). Unsolicited memories; Archival exercises [Multi-channel video installation]. https://www.andreawolf.art/art-work/unsolicited-memories