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Searching for tag: manifesto-writing

Linda Lai / Art has its own truth content and truth procedures: In Defense of Video Manifestos (5) 藝術自有其滋養創造知識的過程,請繼續錄像宣言(5)

Linda Lai / Art has its own truth content and truth procedures: In Defense of Video Manifestos (5) 藝術自有其滋養創造知識的過程,請繼續錄像宣言(5)

In the 5th and final part of Linda Lai’s Prolog for Our Manifestos II reproduced in Floating Teatime, she asserts art’s power to generate knowledge, citing several theorists in Critical Theory, reiterating the place of experience. 《我們的錄像宣言2》的「引言」來到轉載「據點一杯茶」的最後一節:黎肖嫻引述不同「批評理論」的觀點,總結錄像書寫不單帶有生產知識的能量,更打開對「經驗」的重塑。

Linda Lai / From thick descriptions to radical empiricism: In Defense of Manifestos (4) 聲影的純厚描述衍生革新的經驗論:繼續宣言(4)

Linda Lai / From thick descriptions to radical empiricism: In Defense of Manifestos (4) 聲影的純厚描述衍生革新的經驗論:繼續宣言(4)

In part 4 of Linda Lai’s Prolog reproduced for Floating Teatime, she accounted for how Manifestos 2 evolved from Manifestos 1 — a major shift from a Deleuzian contemplation of time and space to radical empiricism. 《我們的錄像書寫2》「序言」轉載的第4節:黎肖嫻指出從「宣言一」到「宣言二」的衍化和突破:跳出德勒茲式對活動影像中對時間的純厚描述而重點轉移到革新的經驗論。

Linda Lai / The Dialectics of Fluid Manifestos: In Defense of Manifestos (3) 宣言、記述的辯證關係,創造知識的能量,繼續宣言(3)

Linda Lai / The Dialectics of Fluid Manifestos: In Defense of Manifestos (3) 宣言、記述的辯證關係,創造知識的能量,繼續宣言(3)

Our Manifestos II upholds videography beyond the concern of moving image aesthetics and opens up the ethics of art practices to embrace the complex, crisis-ridden contexts in which we live. In the 3rd of the 5-part series, Linda Lai maintains the necessity of manifesto-writing to be fluid, performative, dialectical practices.《我們的錄像宣言2》於「據點一杯茶」5次連載的第3篇:黎肖嫻堅持宣言寫作思維實踐上的獨立性,撇開西方現代性的歷史包袱,辯證的、演述式的、柔潤的發揮宣言的力,儘管如何短暫,有待轉化。

Natalie Chao, Linda Lai / Postscript 2 to Manifestos 2’s 2nd book launch conversation 錄像宣言2新書發佈網路研討後記:更多對話

Natalie Chao, Linda Lai / Postscript 2 to Manifestos 2’s 2nd book launch conversation 錄像宣言2新書發佈網路研討後記:更多對話

“Motives for. Remembering,” the 2nd book launch conversation for Our Manifestos 2: Videography, Documentary Impulses took place on-line 28 May. The conversations continue as Natalie Chao wrote to Linda Lai after her postscript with Zach McLane, this time, delving into how our body remembers and why manifesto-writing will not be obsolete. … 「錄像宣言2」新書發佈會2 — 網絡研討會『為何要記住』5月28日在據點舉行。繼 Zach McLane 傳來研討後記,另一位年青影像創作人趙芷妮又透過電郵與黎肖嫻進行跟進討論,想起身體如何記住,為何還要寫宣言。

Zach McLane + Linda Lai / Postscript to Manifesto 2’s book launch conversation 2 (28 May) 錄像宣言2新書發佈網路研討後記:一點對話

Zach McLane + Linda Lai / Postscript to Manifesto 2’s book launch conversation 2 (28 May) 錄像宣言2新書發佈網路研討後記:一點對話

The 2nd of the three book launch events for “Our Manifestos 2: Videography, Documentary Impulse” took place on-line last night with our artists participating from the Los Angeles, London, HK and Shanghai in the form of a webinar. Zach McLane and Linda Lai had a follow-up email conversation in which Zach points out issues for further address — now published as a postscript to the webinar… 「錄像宣言2」新書發佈會2 (網絡研討會)昨晚在據點舉行,受邀參與這計劃的藝術家來自美英中港。會後 LA 的年青創作人 Zach McLane 與黎肖嫻進行了小小的電郵跟進討論,點出了未來有待深化的議題。

Dorothy Wong / 站在「錄像宣言一」與「錄像宣言二」的邊界上:族群參與改變了創作座標 Crossing the Border: videography re-oriented since community engagement

Dorothy Wong / 站在「錄像宣言一」與「錄像宣言二」的邊界上:族群參與改變了創作座標 Crossing the Border: videography re-oriented since community engagement

2018-2019年,黃加頌以 art collective o!sland成員的身份參與台灣森人藝駐計劃,到台灣太魯閤族的社區生活,後被鳳甲美術館邀請到台北北投社進行關於平埔族的計劃。黃加頌為「錄像宣言一」(2018)的策劃成員之一。她道出創作歷程上的改變:「2016-2017 錄像和影像為技巧訓練、自我察覺、從遙遠處觀看世界的練習。2017-2019 錄像為與他人、社區和世界連結的觀看點、載體和回應。」Dorothy Wong’s artist’s residency with Taiwan’s mountain communities changed her relation with videography.

Linda Lai / 12 Manifestos on Videography from 12 Young Video Artists on 18 Concrete Videos 《12個宣言。錄像書寫為何。關連的18個塑形錄像作品。》

Linda Lai / 12 Manifestos on Videography from 12 Young Video Artists on 18 Concrete Videos 《12個宣言。錄像書寫為何。關連的18個塑形錄像作品。》

These manifestos are to accompany the 18 works in the Concrete Videos program to be screened at Floating Projects, 4:00-6:00pm, 9 January 2016, produced and curated by Linda Lai. +The project described here was partially supported by a grant from the Research Grants Council of the Hong Kong Special Administrative Region, China (Project No. 9042111 […]

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