2020年9月2日，年僅59歲的著名理論家、人類學家、無政府主義者、社會活動家大衛·格雷伯（David Graeber）在威尼斯逝世。跟格雷伯交往多年的許煜博士為格雷伯寫悼念文，記述他「我們是99%」的信念而生的寫作和社會運動。Activist-anarchist anthropologist David Graeber died on 2 September 2020. Dr. Yuk Hui, an acquaintance with Graeber and collaborator, remembers the latter’s impact on him.
農耕與大流行。這個暑假會是實踐雙重權力戰略的良機？Agriculture and pandemics: from indeterminacy to solidarity — Would this summer be a ripe time to implement a dual power strategy? ON-LAND #10 in Chinese translation.
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。
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。
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.
Photography is an event that honors relationship, an event whereby techniques, concepts and sentiments come together. This exhibition exploring portraiture will mark the end of a phase of artistic pursuit, says artist Andy Li. The show does assert technology’s impact on the materiality of imaging, which will be the artist’s next phase of endeavors. 這個展覽，多層次的彰顯了攝影（藝術）是關係的實踐，「人像」是理念情感技術心思的總體行動，攝影是藝術行動，並不為漂亮影像的生產或形式而存在。這個個展也是一個階段的句號。李新傑面向未來，希望繼續他對「影像的物質性」的好奇為研究性創作的核心，影像是開放的實驗結果，未可知的成果展示，由自創造影像的機器開始。（黎肖嫻，於「據點。句點」群體8月23日交流之後）
Michael Leung’s “On Land” series is now readable in Chinese translation. 集。群。體。正因為個別的不同，個人自主受到尊重，所以，能一起前進，共負一軛，沿途照應，你是我的地圖，我是你的另一張地圖。每個人都各自是一個索引目錄。
FPC dialogues… Jess Lau wrote a poem and shared it with Linda Lai, who wrote a poem in response. The exchange develops into that of images. 劉清華隨心寫了一首詩，分享了給黎肖嫻。黎回了另一首詩。後來這個對話由文字推至圖像。
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。
Finding an ensemble of words to give form, thickness and density to flickering thoughts and fleeting sentiments is Ryan Chung’s persistent experiment in his “let the mind speak” series — speaking for its own sake, this time, “loneliness” must imprint its presence… What is the vocabulary of our own loneliness? 表述是為了堅守表述自由的維度。孤單是怎樣的？孤單的語彙是怎樣的？說了就是。鍾樹仁的思維自說自話。