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Assemblage as Assembly「石硤尾聚疊」2022:聚集、共融

Assemblage as Assembly「石硤尾聚疊」2022:聚集、共融

熱身後的「聚疊」有了新的呼吸,5月20日晚上現場。梁志剛角度。 FPC member Michael Leung breathes with his first trial of SKM Assemblage on 20 May … Disparate geographic locations connect through loose thoughts… Assemblage growing …

Voices from the Atmosphere (1): archiving thought paths in days of isolation 「大氣中融融細語」(一): 隔離日子的思路的庫存
On Documentary Impulse: the desire to encounter the real through making records (2) 記述的衝動:長路漫漫(二)

On Documentary Impulse: the desire to encounter the real through making records (2) 記述的衝動:長路漫漫(二)

In part 2 of her discussion on documentary impulse, Linda Lai keys in on “there-ness” as a specific form of desire manifested in image-making in French cinema between the two world wars. With additional historical examples, she contemplates moving image’s integrity in connecting and re-inventing our experiences as technics.「記述的衝動」的下半部,黎肖嫻專注於電影記述、保存、調解和開創現實的「他在」的個性,尤其以法國二次大戰期間的電影實存和理論發展,和紀錄片的被命名為特殊的歷史個案,再談到活動影像作為連結經驗的獨有的內部技術。

On Documentary Impulse: the desire to encounter the real through making records (1) 記述的衝動:長路漫漫(一)

On Documentary Impulse: the desire to encounter the real through making records (1) 記述的衝動:長路漫漫(一)

First of 2 parts of Linda Lai’s Epilog for Our Manifestos II (2021) reproduced in Floating Teatime. Our desire to remember, preserve, transmit and retrieve drives the continuous innovation of technics, i.e. tools that embody and advance our perceptual experiences. Videography is a unique form of mnemotechnics. 記述的衝動超越了既成特定類型的「紀錄片」有更廣闊的空間。「紀錄」的初衷是《我們的錄像宣言2》(2021)的跋的主題,將分兩次於「據點一杯茶」轉載。第一部份,黎肖嫻引述不同不同的藝文創作為實例,指出我們要記住、保存、傳遞開去的衝動,推動著工藝技術的發展,打開了我們對「經驗」的重塑的新可能。

FPC / Micro Narratives 2021 “Layered Vision” 「微敘事」系列2021 《層層看》
One kind of Report: FP: what ‘participatory art’ can be 一點個人回顧:「據點」告訴我「參與式藝術」可以是怎樣的?

One kind of Report: FP: what ‘participatory art’ can be 一點個人回顧:「據點」告訴我「參與式藝術」可以是怎樣的?

With the outlook to understand Floating Projects itself as a collective, and to understand other collectives in order to be part of a bigger critical community with art in the core, Linda Lai wrote a personal “interim report” on FP 1.0, 2.0, and projectively FP 3.0. 黎肖嫻寫在據點 3.0 的萌生時刻。已知的,未可知卻可見的,「據點。句點」群體如何朝向更落實的參與式藝術創作?

Loose ends: the dinosaur returns (quarantine diaries 06) 綿碎的日常:跨越對恐龍的想像 (隔離手記 06)
A point and its divergence (quarantine diaries 05) 衍生性的想像 (隔離手記 05)

A point and its divergence (quarantine diaries 05) 衍生性的想像 (隔離手記 05)

Quarantine fantasia… an evolving list of moving images. Linda Lai’s quarantine diaries 05. 隔離狂想。不斷連線的活動影像。黎肖嫻「隔離手記」第5篇。

History knocks on my door and Karl Marx walks through (quarantine diaries 04) 穿過斗室之門:辯證歷史洪流灌滿禁閉的房子 (隔離手記 04)

History knocks on my door and Karl Marx walks through (quarantine diaries 04) 穿過斗室之門:辯證歷史洪流灌滿禁閉的房子 (隔離手記 04)

A box confines and segregates, but it also eliminates noise and allows beams of light to focus for multiplicity. Linda Lai’s quarantine diaries #4. 隔離不一定是隔絕。黎肖嫻的隔離箱子裡瀰漫著歷史的傷痕,或是眾說紛紜,箱子聚的光可化成多焦點的行動設定。「隔離手記」四。

Low Burning with a window view (quarantine diaries 02) 窗外有景,室內慢燃 (隔離手記 02)

Low Burning with a window view (quarantine diaries 02) 窗外有景,室內慢燃 (隔離手記 02)

黎肖嫻《隔離手記》二。天南地北,其實都是斗室裡發放出來的微溫和希望,繼續活著。Now the second of her on-going quarantine journals, Linda Lai pushes a room of confinement into a node of connectivity. Many possible conversations.

Floating Projects Collective 2024