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The Kid, Bruce Lee: immediate post-WII HK society & local cinema’s pedagogic burden 《細路祥，街童李小龍：戰後香港社會和港產影話戲的道德包袱》
The pedagogic burden of cinema on/about/on behalf of children has been a perennial concern, especially in contingent moments when control and discipline become critical 有關香港「細路祥」三篇連載。2020-2021期間，黎肖嫻潛進環繞苦難中的孩子的沈甸甸而充滿矛盾的論述。
Notes on telling ghost stories as a folkloric pagan Christmas tradition 聖誕連冬至：講鬼故的風俗
On Winter Solstice this year (21 December 2025), FP writer Linda Lai researched on the tradition of telling ghost stories at Christmas in Europe, as an alternative introduction to Floating Project's mysterious film duscussion of a 1961 ghost-story film by Hector Rodriguez (23 Dec 2025).
On sharing shape-shifting AI real world narratives in a trade-show environment
Revisiting a data-driven real world narrative by an RCA group of artist-researchers at SIGGRAPH ASIA 2025, I return to a long raised question in my reearch: how do we do justice to data-driven works of dense proceduralim to augment literacy value in a digital art show?
![[solo-show postscript01] Unfolding Micro Narratives 翻開「微敘事」](https://fpchk.s3.ap-southeast-1.amazonaws.com/Still03_MN_Visualpoem_Linda_Lai_dry_Rain_4922c5aefd.jpg)
[solo-show postscript01] Unfolding Micro Narratives 翻開「微敘事」
Linda Lai pins down a brief on her nomenclature of "micro narraqtive" as an open, performative, umbrella concept to develop her theories of sight-and-sound in relation to historiographic experiments.
Tracing my steps into art pedagogy for media art and for the new media environment 媒體藝術的涵蓋和教育實踐：細步走來，迂迴曲折
In response to ZKM's invitation to speak at their Media Art 21 (MA21) Forum to take place in Hong Kong during the Art Basel period, Linda Lai outlines the reflection on her 25+ years of journeying in tiny steps towards a paradigm of (new) media art that answers HK's local needs as well as bears a future-oriented vision for media art education. 因應德國 Karlsruhe 的新媒藝術中心 ZKM 的邀請，我動筆勾劃了以下的大綱，值此追溯我在過去這二十多年來詢問有關（新）媒體藝術的種種而自行編出的細步，會在它們於巴塞爾藝術節樹起的香港論壇 MA2 分享。
The Liminal Space of Godfrey Reggio's Qatsi Trilogy: the Unseen be Seen, and...?
Originally an invited contribution by HKIFF, the piece is Linda Lai's renewed understanding of Godfrey Reggio's "The Qatsi Trilogy." What is experimental about it? Can cinema stand alone as critique of a prevalent human condition? 受2024 香港國際電影節約稿，黎肖嫻重讀三十幾年前開始接觸的烈治奧的文明末世的沉思 --「生活三部曲」。時代變了，今天看這三部曲，為何？
I Dream That This List Would Be Rather Long... 推開後窗，我看見孜孜不倦的辛勞者在作業
Linda Lai, upon the School of Creative's 25th year, articulates her long-standing aspiration: rather than just producing artistic labor for the industry, we are nourishing enlightened future audience, including parents(-to-be), to keep art an open space.
No Private Histories: Quantifying the Invisibles in Official Statistics: Domestic Moonlighting 1960s... 家居副業的生產力。只能在郵包和郵資找到的存在證據。1960年代的香港家居勞動力
[Mending Years 縫補歲月] Domestic Moonlighting (2023) adapts a work commissioned for the 9th Shanghai Biennale (2012-13). In the current iteration, Linda Lai highlights domestic moonlighting by women and children in HK in the 1960s-80s, estimated to value at postal volume of 57.5 million kg for RMB94.7 million, sent from Hong Kong to China. 《家居副業》（2023）。黎肖嫻的郵政考察顯示出上世紀六十到八十年代期間，香港婦女和小孩的家居副業從香港向中國支援，投遞了約五千七百五十萬公斤的小郵包物資，郵資總值九千四百七十萬人民幣。還有...
To the Lucid Walkers: How Did I Find My Path? 至「清醒夢人」：我的路是如何走出來的?
Linda Lai answered a question that MFA students at the School of Creative Media posed to her... 創意媒體學院的藝術碩士生向老師提問。黎肖嫻回答... ...。
Ideas Blossom on Contemporary Living: Floating Projects @ BOOKED 2023, Taikwun 思緒的聚疊：「據點」小誌天南地北。大館書展2023
11 new zines created in 2023 plus more by Floating Project members and friends initiated a new phase of growing existing resources into more points of sharing. 據點對小誌文化的集體實驗，從手做書、詩話、散文，到嚴肅生活和創作議題的結集，於大館書展4月28-30日與大眾見面。
