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, …
![Hector Rodriguez / [revised] Notes on Foucault’s Heterotopia – 3 福柯的「異托邦」（筆記三）](https://fpchk.s3.ap-southeast-1.amazonaws.com/2020/06/Diamond_Princess-468x328.jpg)
Hector Rodriguez / [revised] Notes on Foucault’s Heterotopia – 3 福柯的「異托邦」（筆記三）
Heterotopia, next to its spatial otherness, constitutes an alternative temporal ordering, giving an impression of timelessness, or emphasizing the transitory and the ephemeral. Heterotopias are produced, with a transformative tendency, and cannot be reduced to readymade methods or generalization of types.「異托邦」在空間性和時間性上都擁有其另類的秩序。它不是任何別的空間正因為它有自己的時間組織。如何把「異托邦」推進為帶有「轉化」力的實踐？這比簡化「異托邦」為普遍值更為重要。
![Hector Rodriguez / [revised] Notes on Foucault’s Heterotopia – 2 福柯的「異托邦」（筆記二）](https://fpchk.s3.ap-southeast-1.amazonaws.com/2020/06/heterotopia_medical-ed-468x328.jpg)
Hector Rodriguez / [revised] Notes on Foucault’s Heterotopia – 2 福柯的「異托邦」（筆記二）
Heterotopias as spatial realities confront us with the need to undo established syntax and linguistic categories as they do not exhaust all the possibilities open to visual experience. New orderings are always possible which fall outside our customary expectations. 思考異托邦的涵義有助我們打開我們的社會政治的想像，不住尋求另類的思考和行動模式。異托邦是一套語彙，要求我們在論述語言上的更新，開拓新的語彙就是開拓新的秩序。
![Yuk HUI / [updated] The Wind Rises: In Memory of Bernard 風起了。懷緬斯蒂格勒。](https://fpchk.s3.ap-southeast-1.amazonaws.com/2020/08/Faculty-lounge-L8a_DSC_0029-e1598348937686-468x328.jpg)
Yuk HUI / [updated] The Wind Rises: In Memory of Bernard 風起了。懷緬斯蒂格勒。
Sadly, Bernard Stiegler left the world on 5 August 2020. In his last days, “Since 2016, Bernard talked often about dreams, and the necessity of dreaming. Industrial capitalism destroys dreams … through the manipulation of attention. The faculty of dreaming, for him, is the faculty that Kant ignored. Bernard was a dreamer who dreamed the impossible, a fighter who fought against stupidity … All technologies are primarily dreams, but dreams can also become nightmares.” Special thanks to Yuk Hui for letting his memoria for late philosophy Bernard Stiegler be re-posted here.
LAI Wai-leung / 不是影評。從光華迸發到日暮星沉，由舊戲「英雄本色」說起 A Better Tomorrow and beyond, not a film review
In an extended roll call of local made movies, FP writer Wai-leung Lai tells an integrated story of his history of local film viewing, an assertion of the right of a serious non-expert viewer’s voice to be heard. After, popular cinema is a specific way to connect with the ordinary people on the level of living. And after all, Readership Theories have covered much ground in film and media studies in the past 30 something years in the academia. 黎偉亮一個人睇戲的故事，追述多年來看港產片的心跡，說明了用心看戲也就是用心活著。一個用心的觀眾絕對有權在「影評」的建制圈外肯定表述的聲音。
Michael Leung / ON LAND 12: Pre-existing Conditions 「在地」十二：既有狀況
In these COVID-19 days, “underlying conditions” undermine those with chronic diseases in fighting the virus. Rather than a sheer physiological condition, Michael Leung quotes Rene Gabri: what are considered pre-existing conditions are “those imposed on people by capitalism and the state, making some more vulnerable than others (during the pandemic).” What are the possibilities of being immune not just a personal matter but a collective act?「本有」狀況？「既有」狀態？還是「固有」狀態？梁志剛在英回顧法國行程的經驗，體悟藝術家 Rene Gabri 的申述：既有狀態其實是資本主義和國家政府加諸我們身上的，其結果是有些人總比另一些人「脆弱」，例如在疫情高漲的時候。如是，「既有」的，因政策管治的上綱下達，便成了「固有」的境況。往下想，「免疫」或「免疫系統」的出現，是否可以超越「個人」層面而成為「協作」的、社區群體的？
The Ventriloquists 19. on nonsense in Svankmajer’s Jabberwocky (1971) by Steven Tsang 有關「物件」的動畫，打開怪趣無釐頭之門，打開文明歷史規範的一些「真相」
An assembly line of human figures grinding human figures for food, dolls feed dolls, doll eats dolls. Ironing, flattering, being dressed, being cut up, being tamed… Beyond Svankmajer’s dramatization of carnivorous acts, Steven Tsang sees the politics of nonsense, which the animator structured against the paradigm of human civilization. The animator wants us to see differently, and asks a different sort of questions in following a narrative unique to his use of stop-motion animation. 看到喂小娃娃的大娃娃就知道是女的，看到舞動的水手裝就自動知道是男的。再看下去，人吃人，有血有肉的黑貓時不時推倒積木，一面是歷史砌圖，另一面是迷宮的路線…最終，它被鎖在籠裏動彈不得。屋子裡一個「人」也沒有，卻充滿了人類的活動。物件長年累月吸收了人類強加它們身上的「用途」、「價值」，也穿背著人類的規範，像鬼魅的模仿著我們的「正常」活動。曾俊良看到歷史、文明、性別的社會結構。能看到，因為看穿了動畫大師史文梅耶以物件為本的獨特敘事結構和跨媒想像。
Michael Leung / ON LAND 11: Internal Power 「在地」十一：內部能量，內化了的創傷
Prolonged and internalized trauma yields internal power, not so much hidden as unnameable emotions, but exteriorized as solidarity, against evacuation in the name of progress, and transcending national boundaries… Hong Kong, France. Wang Chau, Notre-Dame-des-Landes.
Michael Leung / Agriculture and pandemics: from indeterminacy to solidarity (ON LAND 10) 農耕與大流行 – 從不確定性到齊心團結 (「在地」十)
Agriculture and pandemics: from indeterminacy to solidarity — Would this summer be a ripe time to implement a dual power strategy? 農耕與大流行。這個暑假會是實踐雙重權力戰略的良機？
The Ventriloquists 03. On Švankmajer’s Jabberwocky (1971) by Harmanjeet Singh 「物件」變「東西」。現在進行式傳真。定格動畫。
On the eve of The Ventriloquists’ physical opening, … Adapting Ben Hjorth’s “Philosophies of Non-sense: Jan Svankmajer’s Jabberwocky”; Senses of Cinema, issue 71, 2014, Harmanjeet Singh pays special attention to Švankmajer’s object play.
SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (4) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變（四）
Nam June Paik (Paik Nam-June) represents Korean contemporary art, but only becoming a solid case in the 1980s, 34 years after he lived away from his home country. Artists and their fame are often appropriated to be subsisted to political agendas. The story remains, unveiling the story of globalization, what is missing, and what voices are never recorded, in the mainstream discourse of Korean art history? 白南準離開本家韓國34年。他的蜚聲國際把他「送回」南韓，成為1980年代及往後國內全球化策略下的國際級大節慶紅人。白南準的藝術地位和貢獻不可置疑。問題是，著眼於他這樣級數的藝術家的同時，我們失卻了甚麼？誰的主體性被泯滅？那些有關藝術的實存被滅聲？這不單是寫藝術史的人的問題，是每一個人如何存活與政治機器中要關注的。
