Category: Personally Speaking 私物語
發明你的字句，操練你的發聲，給未有名字的起個名，為碎片堆築一條路。Share it if we deserve it: thoughts on living and being, poetry, automatic writing… silences, speechlessness, noise, soundings… fragmentary thoughts in search of a path, elliptical sentiments, the unspeakable…
Tracing my steps into art pedagogy for media art and for the new media environment 媒體藝術的涵蓋和教育實踐：細步走來，迂迴曲折
In response to ZKM's invitation to speak at their Media Art 21 (MA21) Forum to take place in Hong Kong during the Art Basel period, Linda Lai outlines the reflection on her 25+ years of journeying in tiny steps towards a paradigm of (new) media art that answers HK's local needs as well as bears a future-oriented vision for media art education. 因應德國 Karlsruhe 的新媒藝術中心 ZKM 的邀請，我動筆勾劃了以下的大綱，值此追溯我在過去這二十多年來詢問有關（新）媒體藝術的種種而自行編出的細步，會在它們於巴塞爾藝術節樹起的香港論壇 MA2 分享。
Notes from Fogo Island (1): the time and rhythm of passing through 福戈島手記之一：過渡、穿越、時間、節奏
時間在行走過境之際只能感悟，一片接一片的直觀，以文字去捕捉，只能算是一連串的試圖。黃慧心到北美東角的福戈島進行三個月的駐留藝術創作。身體力行，過香港未必體驗到的生活。
I Dream That This List Would Be Rather Long... 推開後窗，我看見孜孜不倦的辛勞者在作業
Linda Lai, upon the School of Creative's 25th year, articulates her long-standing aspiration: rather than just producing artistic labor for the industry, we are nourishing enlightened future audience, including parents(-to-be), to keep art an open space.
Yan Wai-yin: Too Long Ago, Not Far 忻慧姸：《在不太遙遠的很久以前》
Too Long Ago, Not Far, Winnie Yan's FPC open door solo (2023.09.16-10.08), turns the play with sight-and-sound fragments into a subjective-materialist time and space asserting a decentred subject. 《在不太遙遠的很久以前》 (據點打開門個人發表 202
不捨告別。Departure, unanticipated...
Five friends started off a much anticipated hiking trip, but only four returned. FP's Taiwan writer Vanessa Tsai has been in the dark for five months, still making sense of loss and death, often unanticipated. Writing, a way to fill in the blanks... 據點台灣作者蔡季妙用字、詞、書寫去填滿友人意外墮崖後幾個月還在擴大的空洞。
看「縫補歲月」，聽歲月留聲 Mending Years, fleeting sounds
FP writer Wai-leung Lai visited group "Mending Years" as sounds from the past collaged to invoke contradicting thoughts about the 1960s and 1970s. Is there a single reading of the past? He starts with Linda Lai's "Domestic Moonlighting," Wong Kar-wai's films and more. 「據點」作者黎偉亮徐步於「縫補歲月」的五人展場中，聲頻片段拼貼湊合的氛圍喚起的是矛盾不一的記憶與論述。到底上世紀六七十年代是怎樣的？真能客觀定斷嗎？先由黎肖嫻的《家居副業》和王家衛等說起。
Two to three things about Father’s recollection of his parents 1960s-80s, and the untold facts of his writing journey 有關父親的回顧和上世紀文字活動的二三事：我的二十一世紀回望
Taking her work as an open-journey in progress, Winsome Wong's "Blanks in the Pictures" are partially filled her father’s writings which take her to new discovery. Her response to father’s piece...黃慧心的《照片的空白》因著父親的寫作而豐滿了？發問的行動和帶關注的好奇心，刷新了黃慧心的創作模式。唸完父親的述說，對父親、祖父母和一九六零年代有了新的感觸。
關於當年父親艱苦謀生和先母幫補家計的二三事 Two or three things about my father's struggle through hardship and how my mother provided subsidies 1960s-80s
To fill in the almost unconquerable blank spaces of her grand parents' days through the 1960s-80s, Winsome Wong asked her father to write what he remembers, a precious piece to add to the puzzles of Hong Kong's so-calle “golden age” of manufacturing industries. 為了填補照片和家常對話所留下的空白，黃慧心發現最好的下一步是請當年寫文章了得的父親去紀錄他的父母親的軼事，呈現的不單是她祖母模糊不解的過去，更是香港上世紀六十到八十年代小市民掙扎著活下去的面貌的清晰碎片。
Blanks in the Pictures 照片的空白
Recollection of family members are too fragmentary for Winsome Wong to piece together a wholesome understanding of her father, grandparents and the times they struggled through in the 1960s-80s, when she was not yet born. She turned the blank spaces into a journey of research and conversations, and the quest for photographic truths. 出生於祖父母和父輩掙扎成長之後的黃慧心，無法從他們口中得知1960-80年代的他們和香港的實際存在。如何填補這個空白？於是她先由他們以前工作的地方開始，然後透過與爺爺翻看在他和嫲嫲家中家庭照片…。感謝照片和照相機的存在。
