研究生的考察範圍、指向，是世界的未來的形骸，新知識的風向計，對現今時代的把脈。起家立說之前，往往是轉瞬即逝的珍寶 — 直覺、對問題的「肚腹」般的反應。我們要好好留著。完整的辯說，碎片，靈光一閃，大小故事，所見所聞，理念層次的穿線連點結網…。「在地」、「尋檔」、「書寫作為思考」等陸續有來。A network of ideas from doctoral researchers whose tentative thinking may value as much as well formed writings. Hear their voices. Michael Leung’s “ON LAND,” Vennes Cheng’s “THINK-PAD,” Lim Yeon-kyung’s “ACTING OUT” and more are arrivals…
In part 2 of her discussion on documentary impulse, Linda Lai keys in on “there-ness” as a specific form of desire manifested in image-making in French cinema between the two world wars. With additional historical examples, she contemplates moving image’s integrity in connecting and re-inventing our experiences as technics.「記述的衝動」的下半部，黎肖嫻專注於電影記述、保存、調解和開創現實的「他在」的個性，尤其以法國二次大戰期間的電影實存和理論發展，和紀錄片的被命名為特殊的歷史個案，再談到活動影像作為連結經驗的獨有的內部技術。
First of 2 parts of Linda Lai’s Epilog for Our Manifestos II (2021) reproduced in Floating Teatime. Our desire to remember, preserve, transmit and retrieve drives the continuous innovation of technics, i.e. tools that embody and advance our perceptual experiences. Videography is a unique form of mnemotechnics. 記述的衝動超越了既成特定類型的「紀錄片」有更廣闊的空間。「紀錄」的初衷是《我們的錄像宣言2》（2021）的跋的主題，將分兩次於「據點一杯茶」轉載。第一部份，黎肖嫻引述不同不同的藝文創作為實例，指出我們要記住、保存、傳遞開去的衝動，推動著工藝技術的發展，打開了我們對「經驗」的重塑的新可能。
MAKE FOR GREEN, conceived by FP member Ray LC with other researchers, resulted in a pop-up exhibition of participatory art works using design fiction approach to actions for climate change. Although the show is finished, Ray shares the process, rationale, and deliverables of this short exercise.
張子木策劃放映：三個有關中國西南地區地質生態的活動影像作品。PhD researcher ZHANG Zimu put together a collection of 3 short-medium length videos to shed light on the reconfiguration of local/translocal geology and ecology via moving-image creation. These works were all shot in the Chinese Southwestern regions with local dialects.
“To sum it up: if the strongest shall fall, what can survive?” asked Elliott Wan, in search on more thorough research in his graduate studies. 「最強的也會倒下去，那麽能生存下去的可以是誰？」溫啟朗在完結篇留下了這問題，看來，繼續深究是必須的。
An Ancient Greek proverb says, “Society grows great when old men plant trees in whose shade they know they shall never sit.” If immediate profits are all that we care about, the same mainstream-Vs-independent split will repeat itself. 若要擺脫活在西歐和亞洲區的陰影下，就得重注孕育年青新一代本地獨立音樂創作人，現在就得改善土壤，為了不太近的未來。
One key to the survival of independent music is to spend costs like you are indie, but attain audience attention like that in the commercial sector. Is this really possible, and the only way? 用獨立製作的成本，獲得商業製作的注意力，有可能嗎？到底本地獨立音樂要追求的是甚麼？
Many innovative responses have been evident to survive the impact of the pandemic, sustaining jobs and income for some. What is lost and what is gained? 新肺炎刺激了不同的生存手法，不乏對音樂創作的傳承。危機是渡過了，接著呢？
The bedroom studio is an apt solution to cost reduction, continuous music creation, and sustainable connectivity; but what long-term impact would it have on the integrity of live performance and the underlining sense of community? 睡房式獨立音樂製作模式解決資源財力有限和跨區隔閡的問題，也是COVID-19 期間的及時雨。但有那些長遠的負面影響？
As part of his undergraduate thesis, Elliot Wan examines the shifts in HK indie music’s modes of distribution. Online-streaming and virtualization has been a growing trend, even before COVID-19 arrived. 獨立音樂的生產與傳遞趨數碼化、善用虛擬平台已成大勢，卻並不單由新冠狀肺炎所起。