Category: Seriously Speaking 大聲發表
心裡無雲，都總可以推理治情，開拓感知。水中有明鏡，明鏡在心中。又或者，有些事情你總是咬著不放。You deserve to be heard. Features, expository and argumentative pieces, in-depth commentary and research-based writing… … Our mind takes forms — thought paths, a statue, a floating object, a system of tales, …
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。
《菊生畫中天地》A world of no boundaries on paper, two young artists curate to engage
A chance encounter... Media artist Valerie Mak befriended 70-year-old Chinese ink-and-brush painter TO Kuk-sang, and decided to stage his show in Shamshuipo to mark their exchange. 因緣際遇，麥容嘉和陳偉恩替一位習畫將近七十年的杜菊生在一個小型場地籌劃個人水墨畫展。麥容嘉對過程有一番體會。
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.
談「縫補歲月」，冀「歷史毋忘」On the Mending Years, and How to Fill in the Gaps of History
How not to forget history? Wai-leung Lai turns to the concrete contribution of an object-based approach in installation art, following up on his last piece on the show Mending Years to assert the place of the non-expert in completing an art event as a form of social commemoration. 據點作者黎偉亮要求「歷史毋忘」要具體，也許在以「物」為軸的場域特定展覽《縫補歲月》中，他找到了裝置藝術所盛載的一點貢獻。
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。
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。
No Private Histories: Quantifying the Invisibles in Official Statistics: Domestic Moonlighting 1960s... 家居副業的生產力。只能在郵包和郵資找到的存在證據。1960年代的香港家居勞動力
[Mending Years 縫補歲月] Domestic Moonlighting (2023) adapts a work commissioned for the 9th Shanghai Biennale (2012-13). In the current iteration, Linda Lai highlights domestic moonlighting by women and children in HK in the 1960s-80s, estimated to value at postal volume of 57.5 million kg for RMB94.7 million, sent from Hong Kong to China. 《家居副業》（2023）。黎肖嫻的郵政考察顯示出上世紀六十到八十年代期間，香港婦女和小孩的家居副業從香港向中國支援，投遞了約五千七百五十萬公斤的小郵包物資，郵資總值九千四百七十萬人民幣。還有...
《垃圾之書》讀後雜感 Reading birdwatcher Łubieński's account of waste catastrophe
Another anthropocene scenario, a critical reflection of our environmental consciousness through an ornithologist's observation. What can we do, FP contributor Vanessa Tsai asks. 蔡季妙看著生活環境的惡化和資源分配的傾斜，慨嘆個體的無能為力，亦為環保意識中的一些矯枉過正作出反思，她問：你想做甚麼？你願意犧牲甚麼？你能做甚麼？
Linda Lai / Emotions, Magic, Tool-being, Assemblage: Performative Videography, Micro Narratives 2022 寫情緒。玩戲法。工具在，我在。聚疊。2022微敘事選輯。抒演性錄像書寫
29 short pieces of videography by 24 young makers enacting their presence, human-tool assemblage, and the making of experiences from fragments of attentive moments ...
Framing Diseases 05: Diseases, Poetics, and Dwelling
Are perspectives on diseases without a human agent (empirical perspective) possible? “ From the disease image perspective (o1) through the cooperative discourse (02-03), and the “war frame” (04), Hector Rodriguez advances a point of view that conceives of a person as part and support of an ecological community. And what if “the bacteria that inhabit a person’s body are to a large extent unique to that person”? The assumptions of a microbial ecosystem define what it means to be person, so that a person is an ecological community. How ought we to think of personal identity when we consider the role of built spaces and dynamic interactions in shaping our microbial signatures?
