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。
FPC member and writer Emilie Choi’s “Multi-window” is a series of notes on on-line moving image exhibitions occurring during the COVID-19 pandemic. In profiling these activities, she seeks to preserve observable details of the individual works for thorough discussion and research in future.「實驗視窗系列：疫情下的觀影筆記」將發表據點成員及寫作人蔡倩怡在網絡上所觀看的影像節目，嘗試從這些經驗中勾勒出流動影像在網絡上流轉的版圖與現象，為往後作出更具啟發性的討論。
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.
「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”…
FP writer/editor Winnie Yan reflects on her visit to the Taichung International Animation Festival (13-17 Oct 2017) and finds “concepts and theories” less learned in class. Traversing through works across generations and continents, she asks, “What is it that makes us willing to condense our life into a short string of images?” 忻慧妍問：是什麼令我們願意把自己的生命濃縮成一小段影像呢?
Linda Lai elaborates on a video art program she recently presented at the EXiS 2017 (Seoul) to map a trajectory of practices in contemporary video art in the Asia Pacific.
To those who have watched his apparently uneventful video Morning screened at the recent Fresh Wave 2017, Don Tsang unravels the “thick and dense” thoughts underlying the work. 曾旭熙說《無念》：平淡的家常”細藝”背後的密集思考…
9 FPC artists stretch the possibilities of the moving image — the projecting apparatus, the projected image, the moving and projecting processes, projected surfaces, how and where… 九位「據點。句點」藝術家心目中的活動影像的膨脹性、膨脹度是怎樣的？他們多方對策：投影的器具、所投的影像何來、成像的過程、展示影像的「面」…
“…I am still not very used to carrying a camera. Scenes captured in the footage do not have little similarity with what I actually saw on the spot.” Winnie Yan, curator for “Back & Forth,” recalls her videography one year ago.
Hugo Yeung accounts for what his first solo show, What Death Tells Me, tells him about cinema. Shuttling between sound, image and story, the drifting open-ended journey amounts to a narrative mode and experience afforded only by digital data and computational cinema.