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, …
Michael Leung / Agriculture and pandemics: from indeterminacy to solidarity (ON LAND 10) 農耕與大流行 – 從不確定性到齊心團結 (「在地」十)
Agriculture and pandemics: from indeterminacy to solidarity — Would this summer be a ripe time to implement a dual power strategy? 農耕與大流行。這個暑假會是實踐雙重權力戰略的良機？
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The Ventriloquists 03. On Švankmajer’s Jabberwocky (1971) by Harmanjeet Singh 「物件」變「東西」。現在進行式傳真。定格動畫。
On the eve of The Ventriloquists’ physical opening, … Adapting Ben Hjorth’s “Philosophies of Non-sense: Jan Svankmajer’s Jabberwocky”; Senses of Cinema, issue 71, 2014, Harmanjeet Singh pays special attention to Švankmajer’s object play.
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SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (2) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變（二）
Korea’s 35-year long colonial history as Japanese occupied territory (1910-1945), followed by domination of the US and other powers which turned the country into the battlefield of a long Cold War, has every step of the way imprinted the legitimacy of art, thus also the relaxing and tightening of the circle of entitlement to artists. 2nd of a 4-part essay 繼朝鮮皇朝近二千年的「宮廷畫師」至深受中國宋明影響的「文人畫家」，辛庚珍進入一個歷史斷層，由日佔35年的殖民時期到戰後的冷戰時期韓國分裂為南北，藝術的存在價值以及藝術家入圈的合法性，看來都不是純粹的藝術問題。全文四部之二。
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SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (1) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變（一）
Define an artist. This is no easy question. It could be more productive to change the question to “Who is an artist?” or “Who has proven him-herself to be an artist?” PhD candidate researcher Shin Gyung-jin adopts a discourse analysis approach to trace the different meanings and usage of “the artist” at specific moments of history. How is the idea of an artist produced? Regimes of knowledge are questions of power control. Her archaeology focuses on Korea, on and off in relation to Chinese art history. 博士候選人研究員辛庚珍受福柯的考古思維啟發，重回多個世紀的「現場」去重新凝視不同時代建構「藝術家」的論述和權力效應。藝術家的定義的問題，變為「誰身體力行符合了特定時空的標準藝術家？」又或…。全文分四次發表。
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Linda Lai / Heterotopia as performative geography: strolling through Hollywood Road (2)
Hollywood Road west to east [Map 8a & b] You have seen and heard enough of Dai Dat Dei大笪地 area. You now continue your stroll along the entire Hollywood Road which the No. 5 bus goes through. You’ll catch up with the bus later at one of the bus stops on Queen’s Road Central when […]
\nLinda Lai / Heterotopia as performative geography: strolling through Hollywood Road (1)
Did it start with Bergson or before? Space was treated as the dead, the fixed, the undialectical, the immobile. Time, on the contrary was richness, fecundity, life, dialectic. … For all those who confuse history with the old schemas of evolution, living continuity, organic development, the use of spatial terms seems to have the air […]
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Vennes Cheng / THINK-PAD series 02: History and archive are constructed 「書寫作為思考」筆記系列二：歷史及檔案皆為構成物
Reality once again confronts us with the fallacy that “history” is a subject that concerns only those studying the humanities. Researcher Vennes Cheng takes us back to a more basic question that deems history the literacy of contemporary global citizen, asking: what is the difference between historical reality and lived reality? 歷史是唸文科的人的事這想法或許有急切矯正的必要。歷史進入我們的日常知識領域，間接導引個人和社群行動的取決，或成為在位者下令的理據。退後一步，鄭秀慧問：歷史的現實與活在當下的現實有何不同？這是當代公民的基本道德素養罷。
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Vennes Cheng / THINK-PAD series 01: archived art objects are time-capsules 「書寫作為思考」筆記系列一：封存的藝術物件，時間囊
THINK-PAD series records PhD researcher Vennes Cheng’s ongoing exploration for an alternative historiographic perspective that asserts the productiveness of histories deemed incomplete as they keep the door open for constant revision. Her objective is to revitalize our critical understanding of art in Hong Kong.
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Lee Hang-jun / Scoring Space: non-normative animated images? Rather, the direct encounter of the film apparatus
Why did Hangjun Lee choose 3 projected animated work to mark the finale of Elemental Dynamite’s summer session? He showed us animation as performance, installation, sculpturing and graphic patterning thru’ direction encounter with the film apparatus … 動畫的電影本質與互媒體潛力始於電影器具。李幸俊投影的三個作品，結合了表演、投影、裝置、雕塑和圖形組合。如此，他為「原格破裂」的夏季熱浪畫上句號。
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Free Radicals: a critique of strict classification: animation experiments from Europe/US/Japan as examples 游離基 – 擺脫標籤侷限，向歐美日實驗動畫借鏡
Lee Hangjun offers a defence for experiments in the animated picture: collapse the story-documentary-experimental triad, as the 11 work (1935-2015) from Europe and Japan manifest. 首爾實驗電影及動畫節總監李幸俊 以11部歐美日作品（1935-2015）去說明擺脫「故事-紀錄-實驗」三分法的囹圄去打開動畫的可能性早有先例。
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