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, …
《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?
“Miss Dong Quartet: Miss Tung” 董小姐 –> 彤小姐。
“Field notes” series (2022) Look at That Picture begins with graduate researcher Tse Lam-hei’s close study of a drawing by local artist Ho Sin-tung, which Tse turns into a found archaeological object, tackled with rich descriptions. 研究員筆記「定睛看」系列的首篇。謝琳禧鑽進本地藝術家何倩彤的一張手繪，用考古的態度、方法，和精細調理歷史的精神，把何的圖像層層剝開。
FP at Documenta 15, a journal series (1) stepping in… 據點在卡塞爾文獻展2022
Floating Projects is taking part in Gudskul’s fifth year of Contemporary Art Collective and Ecosystem Studies, this time part of Documenta 15. FPC members John Chow and Dory Cheng participates in their 50-day co-living to gain first-hand understanding of lumbung practice, a sharing model.
石池上的文字性聲音風景 (a textual soundscape on a pool of pebbles)
黃福權把在遊走和行山時收錄到的竹林、海灘、飛過的航班、機場鐵路、拉膠紙等聲音元素，散種在油街一個半個足球場大小的卵石池上。是記錄、實驗、追憶、信物…。Fuk-kuen Wong planted sounds he collected from everyday walking and hiking trip onto a pool of pebbles of half-size of a soccer field on Oil Street. His recordings are documentation as much as token and gift for memories to pass.
《海濱》 （創作性短篇）”Riveria” (creative writing)
In one long take in words, perhaps with folds of internal montage, Martin Yeung takes us into a zone of truncated space, automatic acts and fragmented speech, like the hollow in a cracked mirror. Familiar or not, it is Yeung’s way to conclude his four years of undergraduate education. 楊錫齋站在四年大學畢業峰涯留下的足跡？這短篇像夢，同時是厚潤的筆觸，一筆到底，形骸飄晃著，細緻綿密，卻只聽見回音。她一句又一個她的再一句，似曾相識。一鏡到底。折叠無盡的蒙太奇。
Why and how I made Gingerbread Man’s Destiny, notes to a pop-up show 薑餅人命運的聯想：動物平權創作手記
“Is double standard the emblem of our social reality?” — Niki Siu’s annotations on her week-long POP-UP “Laugh At Last: Gingerbread Man’s Destiny” at Floating Projects, 8-14 May 2021, the result of a half-year long thesis-art production.「雙重標準是社會現實的代表？」蕭麗琦為她的畢業論文作品作註腳，從民間流傳的故事薑餅人說起。
Voices from the Atmosphere (1): archiving thought paths in days of isolation 「大氣中融融細語」（一）: 隔離日子的思路的庫存
20 + 4 works on quarantine, isolation and (un)wavering thought path VOICES FROM THE ATMOSPHERE, issue #4, D-Normal V-Essay, , FP’s online video zine 「大氣中融融細語」，《平地數碼》網上錄像誌第4期。20+1 段關於隔離、獨思獨處的，堅定也搖擺的影像思路。
Cutting Thoughts 04 剪紙憶思之四
In the 4th piece of her Cutting Thoughts, NY-based artist Cici Wu articulated her liminal state in search of her presence as part of multiple continua — human and cosmic. 《剪紙憶思》之四。武雨濛讓思潮流淌是自由，涓流所到之處風景卻不一樣。個人、存在、氣質，都在眾數的連續體中浮沈、穿梭，自有其道。
