Category / Seriously Speaking 大聲發表
心裡無雲，都總可以推理治情，開拓感知。水中有明鏡，明鏡在心中。又或者，有些事情你總是咬著不放。You deserve to be heard. Features, expository and argumentative pieces, in-depth commentary and research-based writing… … Our mind takes forms — thought paths, a statue, a floating object, a system of tales, …
Linda Lai / Video Essays as a Minor Literature 《平地數碼》。平地素馬，塵埃落定透微言。
Minority or majority is not about numbers. Majority practices could often be the conventions set by the minority few whereas what is broadly held may not be represented as "majority" positions. Being in the minority is not being weak. A "minor literature," to Deleuze, is a strategic position whereby "de-territorialization" begins. 多數或少數與數量無關；多數人奉行的操作可以是少數人所決定的，而大部分人視以為閒常的，未必為主導主流所涵蓋以至突顯。特勒茲論述中的「少數文學」是個可用的據點，是語言表述活動的「反山頭主義式佔領」的開始。
Linda Lai / From “Essay Film” to “Video Essay” 2: an expanded history of presentational immediacy and causal efficacy 從「散文電影」到「錄像文章」二：表達的即時性與因果功效的追求
The video essay is an expanding category, from the "film essay" named in the 1960s, generally considered non-fiction, to possible renewal of late 19th-C traveling lecture events which embraces pedagogic as much as fun purposes. Video essay is a form of "direct action" for the here and now, a critical response to the crisis of moving image as mnemontechnics (memory machines) that undermines our agency. 據點的《平地數碼》（2020年11月只2021年6月）志在翻開「散文電影」的系譜溯源，通過延伸的想像，擴大今時今日「錄像文章」的可用性以至成為如何活在當下的據點，對知識的守護和創造採取直接行動。請留意11月5日錄像文章比賽的正式發佈。
Linda Lai / From “Essay Film” to “Video Essay” 1 : Challenging classifications 從「散文電影」到「錄像文章」。破格，融合。
Invoking the term "video essay," Floating Projects advances into a new experiment – to generate a new virtual community through sharing thoughts and sentiments as short videos, a tactical move in our milieu of media convergence. The video essay competition is an experimental action about naming and renaming, and how to survive contemporary society in which personal articulation is more often shut off and short-circuited than encouraged, wherever we are.
Yuk HUI / 許煜悼格雷伯：如果你不相信烏托邦，你一定是傻瓜 Mourning David Graeber: if you do not believe in utopia, you must be an idiot
2020年9月2日，年僅59歲的著名理論家、人類學家、無政府主義者、社會活動家大衛·格雷伯（David Graeber）在威尼斯逝世。跟格雷伯交往多年的許煜博士為格雷伯寫悼念文，記述他「我們是99%」的信念而生的寫作和社會運動。Activist-anarchist anthropologist David Graeber died on 2 September 2020. Dr. Yuk Hui, an acquaintance with Graeber and collaborator, remembers the latter's impact on him.
Michael Leung / 農業與全球瘟疫：如何在動蕩中找到團結？(ON LAND #10 Chinese version)
農耕與大流行。這個暑假會是實踐雙重權力戰略的良機？Agriculture and pandemics: from indeterminacy to solidarity -- Would this summer be a ripe time to implement a dual power strategy?
Hector Rodriguez / [revised] Notes on Foucault’s Heterotopia – 3 福柯的「異托邦」（筆記三）
Heterotopia, next to its spatial otherness, constitutes an alternative temporal ordering, giving an impression of timelessness, or emphasizing the transitory and the ephemeral. Heterotopias are produced, with a transformative tendency, and cannot be reduced to readymade methods or generalization of types.「異托邦」在空間性和時間性上都擁有其另類的秩序。它不是任何別的空間正因為它有自己的時間組織。如何把「異托邦」推進為帶有「轉化」力的實踐？這比簡化「異托邦」為普遍值更為重要。
Hector Rodriguez / [revised] Notes on Foucault’s Heterotopia – 2 福柯的「異托邦」（筆記二）
Heterotopias as spatial realities confront us with the need to undo established syntax and linguistic categories as they do not exhaust all the possibilities open to visual experience. New orderings are always possible which fall outside our customary expectations. 思考異托邦的涵義有助我們打開我們的社會政治的想像，不住尋求另類的思考和行動模式。異托邦是一套語彙，要求我們在論述語言上的更新，開拓新的語彙就是開拓新的秩序。
Yuk HUI / [updated] The Wind Rises: In Memory of Bernard 風起了。懷緬斯蒂格勒。
Sadly, Bernard Stiegler left the world on 5 August 2020. In his last days, "Since 2016, Bernard talked often about dreams, and the necessity of dreaming. Industrial capitalism destroys dreams ... through the manipulation of attention. The faculty of dreaming, for him, is the faculty that Kant ignored. Bernard was a dreamer who dreamed the impossible, a fighter who fought against stupidity ... All technologies are primarily dreams, but dreams can also become nightmares." Special thanks to Yuk Hui for letting his memoria for late philosophy Bernard Stiegler be re-posted here.
LAI Wai-leung / 不是影評。從光華迸發到日暮星沉，由舊戲「英雄本色」說起 A Better Tomorrow and beyond, not a film review
In an extended roll call of local made movies, FP writer Wai-leung Lai tells an integrated story of his history of local film viewing, an assertion of the right of a serious non-expert viewer's voice to be heard. After, popular cinema is a specific way to connect with the ordinary people on the level of living. And after all, Readership Theories have covered much ground in film and media studies in the past 30 something years in the academia. 黎偉亮一個人睇戲的故事，追述多年來看港產片的心跡，說明了用心看戲也就是用心活著。一個用心的觀眾絕對有權在「影評」的建制圈外肯定表述的聲音。
Linda Lai / [Put away] The Kid on the Street, a prototype in HK Cinema 街童上樓：大排檔、公屋，香港電影的民間典型
Linda Lai crafts the histories of Hong Kong's everyday interiority, a zone in which the fictional and social-political-economic realities are implicated. The kid on the street is at once a fictional construct and a nodal point bringing together the problematization of the social-cultural. The kid on the street is also a story of space as behavioural and moral containment. 如何安置街上無所事事、遊蕩闖禍的孩子是一個瞭解香港內部生存歷史的軸。街童是通俗電影和漫畫的恆久想像， 當中牽扯著各種心靈情緒身體鬥爭以至社會資源分配管治上的得失 ... 等人口管理問題。黎肖嫻以近乎田野報告的短文，去實踐一個新唯物的歷史視野，把人、地與物視為互動相成的歷史辯證體。