Elliott Wan / HK’s Indie Music Scene (9): the Economy of Independent Production and Distribution 香港獨立音樂場景系列之九：獨立製作和發行的經濟
An Ancient Greek proverb says, “Society grows great when old men plant trees in whose shade they know they shall never sit.” If immediate profits are all that we care about, the same mainstream-Vs-independent split will repeat itself. 若要擺脫活在西歐和亞洲區的陰影下，就得重注孕育年青新一代本地獨立音樂創作人，現在就得改善土壤，為了不太近的未來。
Ventriloquists 2021 / 09-Jacky Choi’s Generative Literature (the writing) 腹語系之九：蔡俊希《把迷戀說成夢》（下）
蔡俊希《把迷戀說成夢》。十個夢。十種心情。十種慾望。十種閱讀。Choi Chun Hei Jacky‘s ten successive rounds of automatic writing and subsequent modifications results in a readable work, in all of which the writer was strolling on the street alone at night, contemplating the mysteries of life — the complete series of the 10-dream series in Chinese…
Ventriloquists 2021 / 08-Jacky Choi’s Generative Literature (intro.) 腹語系之八：蔡俊希《把迷戀說成夢》（上）
蔡俊希《把迷戀說成夢》。十個夢。十種心情。十種慾望。Choi Chun Hei Jacky‘s Generative Literature project combines dream narrative based on his automatic writings. Ten successive rounds of automatic writing and subsequent modifications results in a readable work, in all of which the writer was strolling on the street alone at night, contemplating the mysteries of life.
Ventriloquists 2021 / 07-Pictograms analyzing Nolan’s INCEPTION 腹語系之七：圖解《潛行凶間》
Why are these young artists drawn to Christopher Nolan’s Inception (2010)? Must dreamwork be understood as the manifestation of our unconscious in the Freudian sense? The dream narrative in Nolan’s work suggest technology’s possible to insert a mechanism that narrativize the present, pockets of past memories and emotive response to remembering… Here are some pictograms tapping into these thoughts. 電影《潛行凶間》吸引了不少年青創作人的好奇。夢敘事不再是佛洛伊德下意識世界的活動的敘事化表現，而是科技的植插，把個人記憶、現實、情緒變動化成一種監控和介入。這裡是幾個重構這個反前向線性的電影敘事體的創作分析圖。
Elliott Wan / HK’s Indie Music Scene (8): Independent Vs Mainstream 香港獨立音樂場景系列之八：如何獨立
One key to the survival of independent music is to spend costs like you are indie, but attain audience attention like that in the commercial sector. Is this really possible, and the only way? 用獨立製作的成本，獲得商業製作的注意力，有可能嗎？到底本地獨立音樂要追求的是甚麼？
Elliott Wan / HK’s Indie Music Scene (7): COVID-19 and Digital Media 香港獨立音樂場景系列之七：新肺炎時期的製作方法
Many innovative responses have been evident to survive the impact of the pandemic, sustaining jobs and income for some. What is lost and what is gained? 新肺炎刺激了不同的生存手法，不乏對音樂創作的傳承。危機是渡過了，接著呢？
Ventriloquists 2021 / 06-Fairy Tale Pictograms 腹語系之六：神話仙圖
誰需要童話、仙境？成年人。童話用美麗的外貌包裝著似謊話非謊話又不能盡言的現實碎片。五個作品，仙境是引入，內部內裡又一個世界。圖像解構，就是為了把外貌與內涵的勾連表達出來。Fairy tales are not just for children, nor are animation pictures. The works in this post seek to reveal appearances of fairy tale that hide the flip side of magic which could be horror.
Ventriloquists 2021 / 05-Dream Narratives 腹語系之五：夢敘事
Dreams are a place for the human brain’s sub- and unconscious; they are a space beyond the boundaries of reality and the everyday, but are the vibrant forces impregnating several works in The Ventriloquists 2, as Elizabeth Biek introduces them. 「夢」是我們的潛意識和下意識的彰顯，繪形繪聲，卻與現實和日常不同領域。這裡所介紹的幾個「腹語系」作品看來甚為日常，夢的流量卻溢滿、迴旋。
Elliott Wan / HK’s Indie Music Scene (6): Production Methods 香港獨立音樂場景系列之六：製作方法
The bedroom studio is an apt solution to cost reduction, continuous music creation, and sustainable connectivity; but what long-term impact would it have on the integrity of live performance and the underlining sense of community? 睡房式獨立音樂製作模式解決資源財力有限和跨區隔閡的問題，也是COVID-19 期間的及時雨。但有那些長遠的負面影響？
Ventriloquists 2021 / 04-Complex Narrative Pictograms 腹語系之四：「圖像資訊分析」，繁複世界繁而不雜
Six more works from The Ventriloquists II exhibition (2021.08.18-09.13), shows two kinds of pictograms that interpret existing moving image works: those that unravel complexity, and those that detail the process, Sofya Anatova observes.
