Author's post:
「眼睛總盯著那裏…很想看多回」（三）：我們都可以是魔術師 "Can't help fixing my gaze... wanna watch again” 3: We could all be magicians
Perhaps too good to be true? indeed mainstream movies, though produced with a commercial incentive, are often the makers' personal projections of an ideal world even if it is impossible in real life. Some regard fictionalization to be an illustionistic escape, but fictionalization is a humanistic form of agency. UFO filmmaker Lee Chi-ngai's aspiration is uncompromising: we could all be magicians, to ourselves and to one another, and, we must be. 常道虚構和想象是逃避現實的幻覺主義的表現，與落實建設社會背道而馳。換個角度，虚構是能動的體現，創作者投射的自由，開啔着一扇門，讓我們窺見别的可能性。電影人李志毅的個人投射清晰而肯定：我們都可以是人生的魔術師，是自己的，也是彼此的，而且必須如此。
「眼睛總盯著那裏…很想看多回」（二）：動漫魔法化真人演出 "Can't help fixing my gaze... wanna watch again" (2): Comics magic turned live-action realities
Second of film-buff Wai-leung Lai's notes – this time, a rehearsal of many memorable film adaptation of anime or comic series, especially Japanese comic series and popular novels as a unique source of dramatic imagination. 「很想看多回」系列的第二回，經年浸淫的影迷黎偉亮繼續他一個人看電影的紮記，天南地北，把漫畫、動漫、真人電影、日本、香港、美国、中國拉上㸃線的結連。
「眼睛總盯著那裏…很想看多回」（一）：穹蒼下的天使 "Can't help fixing my gaze... wanna watch again" (1): Angels on Earth
我們强調發表、分享。體會、觸動、聨想、推理，是所有（有想法的）人的權利。這個系列，以港產片為主，牵連着的，天南地北，多國風景。從一個人看電影到我們都看電影… …。這個系列，是據㸃作者黎偉亮的看電影扎記分享的平台。FP writer Wai-leung Lai will share his movie-viewing experiences in a growing series, making connections between film-viewing and living in contemporary society.
A Pictorial Close-view Narration: WWII is in the details through miniature-making 另一種敘述法從小節看：立體模型場景特寫看二次大戰
Narrated battles are understood as causes and consequences. What would miniatures do? Highlighting history as vignettes and isolated scenarioas, they invite us to contemplate the gaps in between. 戰爭化為敘事往往強調了因果關係，手造的微型模型則更像小插畫，其真實性存活於小節和細工裡。
自討苦吃 I gave myself a difficult assignment...
In Toy as Media 3, Wai-leung Lai changes strategy though still sticking to his favorite subject matter -- the battles of WWII. Surprise discovery: the hierarchy of events by significance could be mis-leading. How else to understand history? 《玩具媒介3》Toy as Media 第三集，黎偉亮的參展作品仍不離二戰軍事模型。因視力衰退老花加深，他將舊製作拍成照片加上新的註解，過程中卻無意地發現了一條隱隱約約的戰爭時間線，興起了說說這一段歷史的念頭。
談「縫補歲月」，冀「歷史毋忘」On the Mending Years, and How to Fill in the Gaps of History
How not to forget history? Wai-leung Lai turns to the concrete contribution of an object-based approach in installation art, following up on his last piece on the show Mending Years to assert the place of the non-expert in completing an art event as a form of social commemoration. 據點作者黎偉亮要求「歷史毋忘」要具體，也許在以「物」為軸的場域特定展覽《縫補歲月》中，他找到了裝置藝術所盛載的一點貢獻。
看「縫補歲月」，聽歲月留聲 Mending Years, fleeting sounds
FP writer Wai-leung Lai visited group "Mending Years" as sounds from the past collaged to invoke contradicting thoughts about the 1960s and 1970s. Is there a single reading of the past? He starts with Linda Lai's "Domestic Moonlighting," Wong Kar-wai's films and more. 「據點」作者黎偉亮徐步於「縫補歲月」的五人展場中，聲頻片段拼貼湊合的氛圍喚起的是矛盾不一的記憶與論述。到底上世紀六七十年代是怎樣的？真能客觀定斷嗎？先由黎肖嫻的《家居副業》和王家衛等說起。
乾女兒的女兒 Goddaughter's daughter
新生代的來臨該衷心祝福吧。此時此刻，送上最好的願望。The arrival of a new life itself deserves whole-hearted celebrations...
Wai-leung Lai / 與林建才閒談他的插畫路 And so we chatted, Kin-choi Lam and illustration art
FP writer Wai-leung Lai was there as Kin-choi Lam set up his book launch event at FP, and started to traced his journey as an illustration-artist. 從業餘興趣成為終身志業，由摸索學習到邁步向前。貧瘠的藝術土壤上，一個青年畫家的成長歷程，據點作者黎偉亮用文字素描了一個他認識的林建才和他獨有的故事。
乾女兒 Goddaughter
人的一生從呱呱墜地開始，長大後會變成怎樣，誰也說不準。平凡人往往有不平凡的一面 …。 “What would become of me?” One could only wait to be surprised, FP writer Wai-leung Lai writes.
