『......使它詳加考察人的具體生命，並且保護人的具體生命，以抵抗「生命的被遺忘」，使「生命的世界」映照在持續不滅的光亮下。......』-米蘭昆德拉。 那該怎麼樣區分具體生命與生命的被遺忘？被遺忘的還是生命的一部分嗎？有很多時刻已經不容易區分，究竟xx事件是自己的生命經驗，還是是別人說的一個故事，甚至也可能是為了銜接自身與事件而腦補的情節。『小說中的任何東西- -人物、場景、語言- -都能有助於圖示的呈現，但是它的主要滋養物還是情節。』-愛德華·摩根·福斯特，但真實生活卻是一本寫得很爛的小說，所有元素割裂、遮蔽、歪曲，考察生命與抵抗生命的被遺忘，根本是同時發生的。而在這樣的荒誕中，媒體可以是什麼角色，觀眾與藝術家又能參與什麼？

…Now, if the novel’s raison d’etre is to keep "the world of life" under a permanent light and to protect us from "the forgetting of being,” is it not more than ever necessary today that the novel should exist? (Milan Kundera 1986) It is hard to differentiate the “real life” and ”the forgetting of being.” There are countless moments in our memory which are so confusing that we can’t even tell if they’re are own experiences or someone else’s stories, or even something that we make up to connect the events and ourselves. “Pattern …it may be nourished by anything in the novel — any character, scene, word — it draws most of its nourishment from the plot.” (Forster, 1927) In fact, the real life is a poorly written novel with parts that are split, covered up and distorted. Life goes on and is being forgotten at the same time. With such absurdity, what role does the mass media play? How much do the audience and the artists participate?