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。
FP at BOOKED 24: digging treasures from the past, creating tracks for the future 大館書展2024作據點：挖寶、於當下立竿、為前路畫線
Floating Projects at BOOKED 2024 marks her stepping up to realizing a a more embracing virtual community via writing, reading, sharing, small publishing, and our own take on the zine culture with diversity and archival intentions. 20 new zines/monographs + over 20 past represented publications
「看不見的城市」，一個起點，五種呼吸 Invisible Cities: 1 idea, 5 sentiments...
鄧一言從「看不見的城市」出發，一個起點，五種態度，五種呼吸。 六個創作人展開對香港城市的深度拉闊。In "Invisible Cities," curator Ian Tang gathered 5 artists, resulting in a multitude of attitudes, curiosities, and sentiments... to refresh our attentiveness to the place we live.
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。
Toy Warehouse! Neighborhood & Archive Fever in childhood dream - 打造玩具城！童夢空間內的鄰坊性、檔案熱
推開Floating Projects玻璃門，縮細！我成了史迪仔。身邊的San Fancisco模型變成電視機斑爛、Pokémon卡、彈珠人檯、DIY turntable、軍事模型。。眼前一亮，一陣孩童的喜悅！
《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.
A Pictorial Close-view Narration: WWII is in the details through miniature-making 另一種敘述法從小節看：立體模型場景特寫看二次大戰
Narrated battles are understood as causes and consequences. What would miniatures do? Highlighting history as vignettes and isolated scenarioas, they invite us to contemplate the gaps in between. 戰爭化為敘事往往強調了因果關係，手造的微型模型則更像小插畫，其真實性存活於小節和細工裡。
自討苦吃 I gave myself a difficult assignment...
In Toy as Media 3, Wai-leung Lai changes strategy though still sticking to his favorite subject matter -- the battles of WWII. Surprise discovery: the hierarchy of events by significance could be mis-leading. How else to understand history? 《玩具媒介3》Toy as Media 第三集，黎偉亮的參展作品仍不離二戰軍事模型。因視力衰退老花加深，他將舊製作拍成照片加上新的註解，過程中卻無意地發現了一條隱隱約約的戰爭時間線，興起了說說這一段歷史的念頭。
