Localized Blindness (2019-2020) is Winnie Yan’s most recently completed video work, for Manifesto 2. She spotlit the backstage of the work’s making process, performing the complex world of thoughts and emotions traversing within. 忻慧妍的《局部失明》含蓄如密碼佈陣，定睛創作的後台是另一種風景。與其說是心情和動機上的剖白，不如說是現在進行式的隨著她的思緒找發聲的調韻。聽一個人所訴之白跟看著一個人訴白，是兩個不同的經驗，都源自記錄的衝動。
In our recent video Manifesto 2 Artists’ Workshops, Natalie A. Chao said the camera was there to protect herself on the many street events in Hong Kong since 2019. She questioned the camera’s invasive nature and wonder how her camera thinks. Textualizing images she “gleaned” in writing is then a necessary part of the imaging event. Here is a set of notes Natalie wrote while reflecting on a film she made, Are We All Wilderness? (2019), revised this year.
Manifesto 2 artists have started to meet on-line to examine the what, why and how of their videographic practices as ways to remember. This is the first of a series to report on the artists’ conversations. We kick off with team-members’ words from Linda Lai, Winsome Wong and Elaine Wong on how they envision the project. 「錄像宣言2」的創作者的在線對話已經啟動，將在此園地陸續發表。首先，團隊成員的其中三位 – 黎肖嫻、黃慧心、黃淑賢 — 先來道出這次計劃點滴心思與憧憬。
The world is waiting to be animated.
In “Home Making” (“Have a Balanced Diet” #3, 2019.07.12-26) FP member Ding Cheuk-laam and 14 other artists/researchers extend the quest for experimentation as a general attitude of life to home-making. What kind of habitats do we seek to create? How have we actually constructed our home via artistic imagination?「 間房要不要牆? 」是FP成員丁卓藍發起的《日常飲像影食》系列的第3部，連同14為創作和研究者繼續堅持實驗（性）作為一種整體的生活態度，並以房子這個熟悉而具體的日常空間為前題，看如何因著創作的行動，人的主體與媒體技術的互相啟發，「家」、房子就成了發聲運動的起點。
「我們需要少些完美的電影，但需要多些自由的電影。」Jonas Mekas 這話道出了《微敘事 2019: 在這，仍在，現在》的的根底。” We need less perfect but more free films.” Jonas Mekas’s words articulate the ethos and pathos of “Micro Narrative 2019: Right Here, Left Now, Out There”…
Zach McLane and Susan Lin, two fresh graduates from USC, visited the Floating Projects and activities associated with FP members all over Hong Kong a weekend in late September. Zach returns with a “dedication” to mark the brief moment of his trip which seems the new beginning of many things to come. And what about videography?
FP writer Winnie Yan’s thoughts on the unique, interchangeable place of the artist’s hands and eyes, and the pro-musicial quality of moving image streams, were provoked in her visit at the EXiS 2018 while contemplating the works of montage masters such as Stan Brakhage and Robert Breer, and recently fuelled by her direct encounter with 16mm filmmaking. 「據點」作者忻慧妍遊訪首爾的實驗電影與錄像節2018，眼前眾蒙太奇大師如Stan Brakhage 和 Robert Breer 的作品，加上個人近期親身「落手」的16釐米電影拍攝經驗，勾起了各種對活動影像的迷思：手與眼的結合，影像流的近音樂性等等。
An epilogue written on 22 June 2018 by Linda Lai for Videography. Micro Narratives. Temporal Beings. Our Manifesto / 2018]***黎肖嫻為《我們的錄像宣言》（2018）寫於2018年6月22日的「結語」。
Wong Chun-hoi pins down his critical parameters for the highly acclaimed “Ten Years” series … 《十年》，二十日後感 ／ 王鎮海