據理力爭，深入分析，唯心唯物。思考是行動。Advance your argument. Analysze what you've experience. Idealist or Materialist: thinking is making; thinking is acting out.
Linda Lai wrote “Videography as Tentacular Practices” to introduce the “Linda Chiu-han Lai, Retrospective,” 2021,02.05-06.13 at Centro de Creacion Contemporanea de Andalucia (C3A), Cordoba, Spain. 黎肖嫻為 2021,02.05-06.13 在西班牙科爾多瓦的安達盧西亞當代美術館的《黎肖嫻回顧展》寫「錄像書寫作為多觸創作」陳述她的創作方法和理念。
In the second of a series of field notes as short essays, Linda Lai continues to craft possible histories of Hong Kong’s everyday interiority through the lens of “intelligentsia” responses within the filmmaking community in the immediate post-WW2 years. 一連三篇由「細路祥」出發的第二篇：黎肖嫻繼續探討「細路祥」化身銀幕上，成為了甚麼樣的文化資本。小孩所牽連的是一張複雜的管治的權力網。
In a series of 3 articles, Linda Lai shares her field notes in film studies from a Cultural Studies perspective. The first discusses the kid A-Chang (1950), a HK counter-part of Shanghai’s Three Hairs 1940s. 有關香港「細路祥」三篇連載的第一篇，黎肖嫻潛進環繞苦難中的孩子的沈甸甸而充滿矛盾的論述。
The first of a series of articles on children, comic characters, movies and so on, to explore how the “child” is often the subject and object of interpellation to augment instrumental reasons in population management. Linda Lai started with her research notes on Sanmao (Three Hairs), a kid, a comics character created for adults, who has been “resurrected” constantly since his “birth” in 1930s in Shanghai. 以孩子論說苦難，召喚善心的行動，是人口或國民管理常用的工具理性，也是進步思想的倡議的濃縮再現。其實孩子們都是怎樣長大的？我們都曾是孩子。我們是怎樣活過來的？
Minority or majority is not about numbers. Majority practices could often be the conventions set by the minority few whereas what is broadly held may not be represented as “majority” positions. Being in the minority is not being weak. A “minor literature,” to Deleuze, is a strategic position whereby “de-territorialization” begins. 多數或少數與數量無關；多數人奉行的操作可以是少數人所決定的，而大部分人視以為閒常的，未必為主導主流所涵蓋以至突顯。特勒茲論述中的「少數文學」是個可用的據點，是語言表述活動的「反山頭主義式佔領」的開始。
The video essay is an expanding category, from the “film essay” named in the 1960s, generally considered non-fiction, to possible renewal of late 19th-C traveling lecture events which embraces pedagogic as much as fun purposes. Video essay is a form of “direct action” for the here and now, a critical response to the crisis of moving image as mnemontechnics (memory machines) that undermines our agency. 據點的《平地數碼》（2020年11月只2021年6月）志在翻開「散文電影」的系譜溯源，通過延伸的想像，擴大今時今日「錄像文章」的可用性以至成為如何活在當下的據點，對知識的守護和創造採取直接行動。請留意11月5日錄像文章比賽的正式發佈。
Invoking the term “video essay,” Floating Projects advances into a new experiment – to generate a new virtual community through sharing thoughts and sentiments as short videos, a tactical move in our milieu of media convergence. The video essay competition is an experimental action about naming and renaming, and how to survive contemporary society in which personal articulation is more often shut off and short-circuited than encouraged, wherever we are.
2020年9月2日，年僅59歲的著名理論家、人類學家、無政府主義者、社會活動家大衛·格雷伯（David Graeber）在威尼斯逝世。跟格雷伯交往多年的許煜博士為格雷伯寫悼念文，記述他「我們是99%」的信念而生的寫作和社會運動。Activist-anarchist anthropologist David Graeber died on 2 September 2020. Dr. Yuk Hui, an acquaintance with Graeber and collaborator, remembers the latter’s impact on him.
Heterotopia, next to its spatial otherness, constitutes an alternative temporal ordering, giving an impression of timelessness, or emphasizing the transitory and the ephemeral. Heterotopias are produced, with a transformative tendency, and cannot be reduced to readymade methods or generalization of types.「異托邦」在空間性和時間性上都擁有其另類的秩序。它不是任何別的空間正因為它有自己的時間組織。如何把「異托邦」推進為帶有「轉化」力的實踐？這比簡化「異托邦」為普遍值更為重要。
Heterotopias as spatial realities confront us with the need to undo established syntax and linguistic categories as they do not exhaust all the possibilities open to visual experience. New orderings are always possible which fall outside our customary expectations. 思考異托邦的涵義有助我們打開我們的社會政治的想像，不住尋求另類的思考和行動模式。異托邦是一套語彙，要求我們在論述語言上的更新，開拓新的語彙就是開拓新的秩序。