本計畫由財團法人數位藝術基金會製作，邀請三缺一劇團合作編導及演出，以擴增實境技術為技術主體框架，連結空間、戲劇空間、表演者以及觀眾，邀請觀眾透過 Magic Leap One 擴增實境裝置，在空間中自主觀看、漫遊，與空間以及表演者互動，創造出虛擬影像與實體空間交疊的劇場觀賞經驗。伴隨著地耆老的口述與家族的記憶，帶觀眾重回美軍空襲的當下。

導演魏雋展：「這個合作，是應數位藝術基金會的邀請，以擴增實境技術(AR)為主體，請擅長說故事的三缺一劇團去發想一個有趣的AR小品。許多人是這麼說的，虛擬實境(VR)是觀落陰，戴上眼鏡後直接去另一個世界，但擴增實境(AR)則是看到鬼，你在原本的空間裡，看見幻象。 因為AR是虛幻的幽靈而觀者身處的空間是實體，虛與實對話和辯證在擴增實境裡面，會是很本質性的東西。同時演員的肉身也是一個實體的存在，她如何對應到虛幻的國族記憶或是個人家族史的記憶，也是我們在這次實驗性的小品中探討的。最後，一場半敘事半展覽的私密旅行就此誕生。」

This cooperation was produced by Digital Art Foundation, who invited Short One Player Ensemble to direct, write and perform. They applied AR techniques as the major framework, then connected the space, the performance, the performers, and the audience. Through the Magic Leap One AR device, the audience are invited to view, roam and interact with the actress in the room autonomously, creating a specific theater watching experience with virtual images and solid space combined. Along with elder people’s oral stories and family histories, this work takes the audience back to the moment of the US Army Air Raid.

As the director, Chun-Chan Wei says, “This cooperation was invited by the Digital Art Foundation for us, One Player Short Ensemble, who is good at telling stories, to develop an interesting AR short piece of work by using AR techniques. Many people put it this way: VR is like a blindfold Taoist ritual; after wearing the glasses, you’ll be in another world. AR, however, is like seeing a ghost, seeing illusions in an original room. Because AR is like an illusory phantom, but the audience is right inside a solid roomage, the comparison and conversation between “virtuality and reality” will be an essential issue while we are applying AR. Meanwhile, the actress’s body is a solid existence, so we also had to explore how she could correspond to a shadowy collective memory or a personal memory of family history in this experimental piece of work. After developing, a half-narrative and half-exhibiting private journey was therefore launched.”