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, …
《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。
Cutting Thoughts 03 剪紙憶思之三
In the 3rd of a 4-piece contemplation on her overstaying in home city Hong Kong, Cici Wu persists in grasping the complexity of the city’s colonial experience, but can’t help linking that to the impossibility of a definite denouement in life encounters. 《剪紙憶思》之三。讓流淌的思潮穿梭於殖民經驗的繁複性，以至生活機遇的沒有清晰的結局。
On Documentary Impulse: the desire to encounter the real through making records (2) 記述的衝動：長路漫漫（二）
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。
On Documentary Impulse: the desire to encounter the real through making records (1) 記述的衝動：長路漫漫（一）
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。
Cutting Thoughts 02 剪紙憶思之二
In the 2nd of a 4-piece contemplation on her overstaying in home city Hong Kong, artist Cici Wu articulated her liminal state as writing and paper-cutting moments. Love has no tenses. Experiences are difficult to compare without a shared framework of value. 《剪紙憶思》之二。讓思潮流淌是自由，涓流所到之處風景卻不一樣。武雨濛的點滴。
Cutting Thoughts 01 剪紙憶思之一
Part 1 of New York-based HK artist Cici Wu’s diary series during her extended stay in Hong Kong beyond her quarantine, while awaiting the next segment of her journey. Dreams, memories and thoughts blend alongside a series of paper-cutting…
《娛樂至死》讀後，身為教師的自省 A school teaching reading Amusing Ourselves to Death
因讀書會的推介而細讀波茲曼的《娛樂至死》20週年台灣中譯本的據點作者蔡季妙，深刻檢視了作為自然科學的小學教師的本位，策問：有趣的教學和嚴肅深度的學習真的不可共存？Taiwan-based FP writer and science teacher to children Vanessa Tsai read Neil Postman’s Amusing Ourselves to Death and asked if she must choose between entertainment and serious teaching in order to be effective, or if that is a false binary.
