Category: FEATURES 專題
據理力爭，深入分析，唯心唯物。思考是行動。Advance your argument. Analysze what you've experience. Idealist or Materialist: thinking is making; thinking is acting out.
Framing Diseases 05: Diseases, Poetics, and Dwelling
Are perspectives on diseases without a human agent (empirical perspective) possible? “ From the disease image perspective (o1) through the cooperative discourse (02-03), and the “war frame” (04), Hector Rodriguez advances a point of view that conceives of a person as part and support of an ecological community. And what if “the bacteria that inhabit a person’s body are to a large extent unique to that person”? The assumptions of a microbial ecosystem define what it means to be person, so that a person is an ecological community. How ought we to think of personal identity when we consider the role of built spaces and dynamic interactions in shaping our microbial signatures?
On Documentary Impulse: the desire to encounter the real through making records (2) 記述的衝動：長路漫漫（二）
In part 2 of her discussion on documentary impulse, Linda Lai keys in on “there-ness” as a specific form of desire manifested in image-making in French cinema between the two world wars. With additional historical examples, she contemplates moving image’s integrity in connecting and re-inventing our experiences as technics.「記述的衝動」的下半部，黎肖嫻專注於電影記述、保存、調解和開創現實的「他在」的個性，尤其以法國二次大戰期間的電影實存和理論發展，和紀錄片的被命名為特殊的歷史個案，再談到活動影像作為連結經驗的獨有的內部技術。
Elliott Wan / HK’s Indie Music Scene (10): a way to conclude 暫時總結
“To sum it up: if the strongest shall fall, what can survive?” asked Elliott Wan, in search on more thorough research in his graduate studies. 「最強的也會倒下去，那麽能生存下去的可以是誰？」溫啟朗在完結篇留下了這問題，看來，繼續深究是必須的。
Elliott Wan / HK’s Indie Music Scene (9): the Economy of Independent Production and Distribution 香港獨立音樂場景系列之九：獨立製作和發行的經濟
An Ancient Greek proverb says, “Society grows great when old men plant trees in whose shade they know they shall never sit.” If immediate profits are all that we care about, the same mainstream-Vs-independent split will repeat itself. 若要擺脫活在西歐和亞洲區的陰影下，就得重注孕育年青新一代本地獨立音樂創作人，現在就得改善土壤，為了不太近的未來。
Elliott Wan / HK’s Indie Music Scene (8): Independent Vs Mainstream 香港獨立音樂場景系列之八：如何獨立
One key to the survival of independent music is to spend costs like you are indie, but attain audience attention like that in the commercial sector. Is this really possible, and the only way? 用獨立製作的成本，獲得商業製作的注意力，有可能嗎？到底本地獨立音樂要追求的是甚麼？
Elliott Wan / HK’s Indie Music Scene (7): COVID-19 and Digital Media 香港獨立音樂場景系列之七：新肺炎時期的製作方法
Many innovative responses have been evident to survive the impact of the pandemic, sustaining jobs and income for some. What is lost and what is gained? 新肺炎刺激了不同的生存手法，不乏對音樂創作的傳承。危機是渡過了，接著呢？
Elliott Wan / HK’s Indie Music Scene (6): Production Methods 香港獨立音樂場景系列之六：製作方法
The bedroom studio is an apt solution to cost reduction, continuous music creation, and sustainable connectivity; but what long-term impact would it have on the integrity of live performance and the underlining sense of community? 睡房式獨立音樂製作模式解決資源財力有限和跨區隔閡的問題，也是COVID-19 期間的及時雨。但有那些長遠的負面影響？
Elliott Wan / HK’s Indie Music Scene (5): Distribution Methods 香港獨立音樂場景系列之五：發行方法
As part of his undergraduate thesis, Elliot Wan examines the shifts in HK indie music’s modes of distribution. Online-streaming and virtualization has been a growing trend, even before COVID-19 arrived. 獨立音樂的生產與傳遞趨數碼化、善用虛擬平台已成大勢，卻並不單由新冠狀肺炎所起。
Elliott Wan / HK’s Indie Music Scene (4): Indie music and local identity 香港獨立音樂場景系列之四：本土身份
What specific shape has localism taken since 2009? What role has HK’s indie music arena played? In part 4 of his 10-part report, Elliott Wan makes the connection between between several activities and incidents. 本土精神強調本地生活、經驗的累積是身份認同的資源，自主生活的底。獨立音樂佔了個甚麼角色？
Elliott Wan / HK’s Indie Music Scene (3): Hidden Agenda, legacy of a venue 香港獨立音樂場景系列之三
In the 3rd of his 10-part essay, Elliott Wan accounts for 5th-generation Hidden Agenda’s encounters to profile the shape of localism this live-house project has illustrated. 從 Hidden Agenda 衍化為 This Town Needs，2008-2020 並不是香港獨立音樂的完結篇。新冠肺炎從天而降，或是另一種生機的萌發。
