談藝術，談創作，回顧周圍看向前望。Art reviews and art criticism. Review on reviews. Critique on the practice of criticism. Back story to a performance. Free associations with a novel. Observations on the current milieu of art and social life. …
The pictogram method was applied to the reading and reconstructing of various commercial heats, including the pre-Disney 1933 animation classic on Snow White and Pandora’s Box featuring Stephen Chow, resulting in various works, three of them shown at the exhibition The Ventriloquists…Thinking Narratively (4-19 July 2020) at Floating Projects. 《腹語系：微敘思考》展場中，有三個圖形轉化的作品，選擇了兩個商業收益叫好的作品 — 迪士尼《白雪公主》面世前，費里沙創作的黑白動畫，還有周星馳的《西遊記之月光寶盒》。
More pictograms representing two experimental films by Zbigniew Rybczynski, New Book (1975) and Tango (1981), by 3 artists at the show Ventriloquists…Thinking Narratively (4-19 July 2020). A stretched vocabulary of narrativity. Multi-linearity, simultaneity, superimposition, convergence of trajectories, generative loops. 更多的圖形敘事解構，伸展了的敘事語彙。多向多線發展。共時性。重疊。弧度的結點、匯合。衍生式的循環。張開現實的奧秘。
Like Calvino’s The Invisible Cities, Oulipo founder Raymond Queneau’s Exercices de style (Exercises in Style) is another example of generative literature transmediated as pictograms. Artist Madeleine Chan takes up 5 episodes of the work. After a generative principle, she produces 5 iterative views of the same event as pictograms, stretching Queneau’s textual play in written words.
A pictogram is a form of knowledge; a pictogram that reconstructs another existing work is the stretching of the epistemological potential of a work. In the pictogram exercises presented at “The Ventriloquists … Thinking Narratively,” the reading and re-reading of Calvino’s The Invisible Cities combines the methods of music scoring, cartography, story-boarding and chronology-making, each with its own conceptual emphasis in presenting pictures of realities. Here, one pictogram offers glimpse of these concepts. 解構式的圖形是知識的具體表現；重塑已存在的作品的圖形是對現有作品的知識能量的擴展，同時也是對班雅明的「作者作為生產者」的想法的一種回應，關注個別的作如何站立於一個時代的技術生產當中。這裡以一個創作為例。
Two artists read YU Hua’s novella World List Mists (1988) and translate it analytically and structurally into a pictogram form to augment textures of sentiments and narrative integrity, maximizing a fatal body of cybernetics through methods of scoring, cartography, chronology and storyboarding. 兩個圖像作品，兩個創作者對余華的《世事如煙》的轉化閱讀，呈現敘事性如何把哀愁、絕望化為結構，點對點的連線，網絡的展現，把個人的「命運」背後的人為操控層層展露。
Three works interpret American avant-garde filmmaker Maya Deren’s Meshes of the Afternoon, each visualizing a unique aspect of the film. 三個圖像，結構細節形骸有別，都是對準美國前衛名作《午間的網陣》，剖開不同層面的內部物質真相。
Connecting childhood: yours, mine and theirs. Fishing with Popo (2011) by Lilian Fu is among the artist-animator’s first experiments with documentary animation. Several young artists have responded… Two pictograms on this work, by William Phuong and Louise Chan, exhibited at The Ventriloquists…Thinking Narratively, 4-17 July 2020, are transmedia extension of Fu’s animated memories of her grandma.
Four works on a monitor… collage, montage, still and moving. Restless assertions. Inquisitive hypothesis… 動動象。打開動畫。自言自語。若有所失。
Eight projections on a flat service… collage, montage, still and moving. Restless assertions. Inquisitive hypothesis… 動動書。一個意象接另一個意象。8個投在小桌面上的思考流，隨你參詳。
Five Ventriloquists artists show their dreamwork created with their own audio-visual language. It all lies in the crevices, fractures and gaps between shots, between locations, between actions… 夢作業是人存在的無形證據，實在處在夢象與夢象之間，在夾縫中，在虛處，在結合之間的斷裂處，是眾數的斷層。《腹語系》創作者也參與構築夢的敘事語法。