The first of a series of articles on children, comic characters, movies and so on, to explore how the “child” is often the subject and object of interpellation to augment instrumental reasons in population management. Linda Lai started with her research notes on Sanmao (Three Hairs), a kid, a comics character created for adults, who has been “resurrected” constantly since his “birth” in 1930s in Shanghai. 以孩子論說苦難，召喚善心的行動，是人口或國民管理常用的工具理性，也是進步思想的倡議的濃縮再現。其實孩子們都是怎樣長大的？我們都曾是孩子。我們是怎樣活過來的？
《巢》是「安全感」的符號，內部的情感流向自成一體，同時是個「開發可重複利用的媒體裝置」；對訪者來說，強調無敘事的觀賞。據點海外作者蔡季妙於2020年12月底到訪了。巢內部住進皮膚裡的感官思維是怎樣的呢？Nest is the exquisite architectural work of the Ploceidae in nature; “Nest,” now on in Taipei, is an enclosed installation space of internal circulations deploying recyclable media. FP writer Vanessa Tsai just paid a visit.
From her pool of automatic drawings turned into wooden fragments of her dreamwork, young artist Cherie Wong was watching the stars inside her own universe. 王晴雯從她的木製「夢」碎片寶庫裡再掏出另一首圖文對話的詩，在她創造的世界裡觀星。
眼前的一切像多年的堆積，與之共存的是看不見的已被拆毀的家族過去的小節的餘韻。說到家族，也不是家國大族的堂煌，而是一張具體的網，連接、輸送、維繫，有個物理的據點。據點藝術家劉清華的「田野」訪談，拖出了「生存」的問題。如何活？我們如何從過去走到當下？過去的可以延伸下去，因為我們記得，而且還（用方法）記住。A community art project opens the door to a street of rich family stories in To Kwa Wan (Kowloon) for FP artist Jess Lau, thus also an old family story she has not dared to touch until now. Unlike tycoon stories of a growing empire, ordinary family stories are full of “holes” irreparable yet holding together those who refuse to forget.
Minority or majority is not about numbers. Majority practices could often be the conventions set by the minority few whereas what is broadly held may not be represented as “majority” positions. Being in the minority is not being weak. A “minor literature,” to Deleuze, is a strategic position whereby “de-territorialization” begins. 多數或少數與數量無關；多數人奉行的操作可以是少數人所決定的，而大部分人視以為閒常的，未必為主導主流所涵蓋以至突顯。特勒茲論述中的「少數文學」是個可用的據點，是語言表述活動的「反山頭主義式佔領」的開始。
What was life like for an ordinary kid growing up in crammed flats in public housing? Tough, but ordinary, when the notion of “poverty” was not turned into an ideology that undermines you. 1960s, 1970s. Hong Kong. FP writer Wai-leung Lai recalls… 只有最基本的資源也是日子的一種。活著總有生趣，就看你。那是當「缺乏豪華生活」未被化成統計，未被化作意識形態之前…。普通人的普通故事。
The video essay is an expanding category, from the “film essay” named in the 1960s, generally considered non-fiction, to possible renewal of late 19th-C traveling lecture events which embraces pedagogic as much as fun purposes. Video essay is a form of “direct action” for the here and now, a critical response to the crisis of moving image as mnemontechnics (memory machines) that undermines our agency. 據點的《平地數碼》（2020年11月只2021年6月）志在翻開「散文電影」的系譜溯源，通過延伸的想像，擴大今時今日「錄像文章」的可用性以至成為如何活在當下的據點，對知識的守護和創造採取直接行動。請留意11月5日錄像文章比賽的正式發佈。
Invoking the term “video essay,” Floating Projects advances into a new experiment – to generate a new virtual community through sharing thoughts and sentiments as short videos, a tactical move in our milieu of media convergence. The video essay competition is an experimental action about naming and renaming, and how to survive contemporary society in which personal articulation is more often shut off and short-circuited than encouraged, wherever we are.
From her pool of automatic drawings turned into wooden fragments of her dreamwork, young artist Cherie Wong pulls out another two to form two new dialogues as image-text poems. An obsession with movement, or is it immobility? 王晴雯從她的木製「夢」碎片寶庫裡再掏出兩片，成了兩首圖文對話的詩，像彼此勾連，又似莫不相關。爬、行，卻是移動的衝動，徘徊的辯證。
To birthday boys and girls in October… It’s a month marked by monumentalism — 1st and 10th, Russia, China, KMT and more… Occupy our speaking space. Articulate. Another dialogue in poetry… 十月有人生日。別讓俄國革命、十一雙十的歷史碑誌重量大石壓死魚蝦蟹。我有我的說話空間，我有我的故事。發聲，接合。另一次雙人詩對。