Category / Seriously Speaking 大聲發表
You deserve to be heard. Features, expository and argumentative pieces, in-depth commentary and research-based writing… …
We need less perfect but more free films: why do they think videography matters?
「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"...
打開演算藝術的黑盒：《演算藝術》策展人黎肖嫻談科技為本的藝術樂園 Opening the black box: what’s in Algorithmic Art: Shuffling Space & Time
Curator, scholar and contributor to HK01, ZENG Hong, interviewed Linda C.H. Lai on her attempt to bring art and the sciences together in her research-based curatorial project "Algorithmic Art: Shuffling Space & Time"...學者及《香港01》特約作者曾泓訪問《演算藝術：劃破時空》策展人黎肖嫻，談這個研究為本的計劃背後對藝術與科學對話的願景和實踐。
哥多華當代美術中心創作紀錄：定睛眼前，凝視過去，觀望宇宙 Documenting C3A Cordoba: site-specific views of the invisible and the potential
完成「據點。句點」第一屆西班牙哥多華C3A駐場藝術家計劃的Jessica Fu回顧一個月的體驗，再次覺悟她我的特定環境裝置作品往往是個引導體，領觀眾超越可見作品的本身朝向為可見的未來，應對數據爆發的時代的無助感。Jessica Fu completed her month-long residency in Cordoba's C3A, FP's first edition of artist's residency at Centro de Arte Contemporáneo, Cordoba, Spain. She understands her site-specific installations are often visible vehicles that lead their beholder to the unknown visible of the future and, personally, her response to a sense of helplessness living in a milieu of exploding data yet kept esoteric by authorities.
How might a beginning be an opening?
Zach McLane "returns" to FP with a new video work and expanded notes after his last and first visit to Hong Kong in September 2018. In renewed confidence of his own language, in words or images, Zach turned a strip of trashed 35mm film found in a backyard creek into the preserved evidence of an unknown yet concrete history. A documentary impulse of his pushed physical marks, scratches and patterning into the materialization of an absence now surfacing as perceivable forms and motions.
柔軟的齒輪 往 臺中國際動畫影展 2018 札記 Notes on TIAF 2018 (Taichung International Animation Festival)
FP Writer and Artist Winnie Yan's glimpses of the TIAF 2018 highlights how seeing differently in animation is rooted in the technology that evolves around and generates the art form. To some animation artists, the single frame, as opposed to the shot in live action film/video, is the basic unit of experimentation, or that all innovative animation works are intermedia in nature. Either way, the persistence of vision makes our eyes unique apparatus connecting to the world of the unknown imaginary.
Crossing the Distance Between Reading and Speaking
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?
through eyes, we wander / through hands, perhaps speak and sing 若然透過眼睛游離，以手說話唱歌
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。
「歧路結節，開合解密」, 談羅海德個展 A review of Hector Rodriguez’s “Hidden Variables: Forking Paths of Visuality & Technology”
作為一個進深的影像活動研究者，張子木回顧剛完滿結束的羅海德首個個展（「文字機器創作集」第六輯），探出有別於一般影像創作的理路、胸襟。Zhang Zimu, advanced researcher of moving image events, sheds light on Hector Rodriguez's unusual rationale, impulses, technical and theoretical approaches to moving-image making as critique, as were articulated in the first solo show he just completed for the the Writing Machine Collective 6th edition.
Code Name “Micro Narratives”: initiations into our Manifestos 行動代號「微敘事」。宣言的啟動。
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」。
From Melodrama to Near Drama 從粵語通俗劇到微情緒的潮漲潮落
黎肖嫻談粵語電影通俗劇的操作，以至吳子昆於「文字機器創作集」第6輯「象裡有象：通電作影」之《全情定位漂浮系統》（2018年9月1日開幕）的媒體分解遊戲 | notes by Linda Lai on melodrama's nature and Kwan's treatment in [G]Local Empathy System (opening 1 September 2018, curated by Lai), the first of a 3-exhibition series, "Cinema Expanding: Visualizing the Unseen," the Writing Machine Collective 6th edition.