Category: FieldNotes 考察中
研究生的考察範圍、指向，是世界的未來的形骸，新知識的風向計，對現今時代的把脈。起家立說之前，往往是轉瞬即逝的珍寶 — 直覺、對問題的「肚腹」般的反應。我們要好好留著。完整的辯說，碎片，靈光一閃，大小故事，所見所聞，理念層次的穿線連點結網…。「在地」、「尋檔」、「書寫作為思考」等陸續有來。A network of ideas from doctoral researchers whose tentative thinking may value as much as well formed writings. Hear their voices. Michael Leung’s “ON LAND,” Vennes Cheng’s “THINK-PAD,” Lim Yeon-kyung’s “ACTING OUT” and more are arrivals…
Linda Lai / The Ventriloquists 00. Free imaging 2020 | 腹語系：微敘思考。需要多些自由的影像。
腹語系：微敘思考 “Thinking Narratively… the Ventriloquists” | video dreamworks, thought paths as montage sequences, sight-and-sound data visualization of well-known moving image works | 63 works by young artists from the School of Creative Media’s BA program. Why do we install so many voices into Floating Project’s limited space? | 夢式敘事。影像／圖像蒙太奇。聲影數據圖像分析名作 | 63 個創意媒體學院文學學士課程的年青創作者的聲影訴說。為何在此時此地在「據點」有限的空間群星匯聚？
Michael Leung / ON LAND 09: “Kai Shan” – a fictional story 「在地」（短篇小說）：髻山
Kai Shan in Wan Chau Village. Love in the time of resistance. A fictional story by Michael Leung. 元朗橫洲村髻山。愛在動盪不安的季節。梁志剛短篇小說。***Content warning 成年內容。
SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (4) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變（四）
Nam June Paik (Paik Nam-June) represents Korean contemporary art, but only becoming a solid case in the 1980s, 34 years after he lived away from his home country. Artists and their fame are often appropriated to be subsisted to political agendas. The story remains, unveiling the story of globalization, what is missing, and what voices are never recorded, in the mainstream discourse of Korean art history? 白南準離開本家韓國34年。他的蜚聲國際把他「送回」南韓，成為1980年代及往後國內全球化策略下的國際級大節慶紅人。白南準的藝術地位和貢獻不可置疑。問題是，著眼於他這樣級數的藝術家的同時，我們失卻了甚麼？誰的主體性被泯滅？那些有關藝術的實存被滅聲？這不單是寫藝術史的人的問題，是每一個人如何存活與政治機器中要關注的。
SHIN Gyung Jin / Art and Power: Tracing the Figure of the Artist in Korean Art History (3) 藝術與權力 – 韓國藝術史中藝術家身份形象的遞變（三）
In response to continuous authoritarian governments, anti-traditionalist Monochrome Painting versus pro-social participatory Public Art were born. The irony is that dictatorship incited economic growth which subsequently created a new class of art consumers: art galleries were born, inciting a growing demand for new species art and younger artists of promise. 韓國南北割裂之後，獨裁政府的持續在藝壇導致兩種不同的反應。抽象藝術的出現以反傳統、反具象、反日本影響為目標；而民眾藝術則伴隨民主運動，把創作帶到街頭，強調藝術的社會參與的面向。同時，獨裁統治催生經濟，新的財富階級打開了藝廊的潮流，藝術商品投資化令藝術品種類擴大，發現新進藝術家的需要亦由此而起。
Michael Leung / ON LAND 08: Dream 「在地」八：夢
It’s a dream! Wuhan, Coronavirus, mum, art, Noam Chomsky. 夢就是這樣的。武漢 – 新冠狀肺炎 – 媽媽 – 藝術 – 語言學家及社會批判學者喬姆斯基。
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。
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。
Michael Leung / ON LAND 07: Pandemic-Thinking 「在地」七：大流行的思維
What is “inter-disciplinary thinking”? Michael Leung crosses the threshold: what about econolandscapes and cultural virology (Rob Wallace), plant thinking (Michael Marder), multispecies perspectives (Anna Tsing) and so on, to culminate in what is called “pandemic-thinking”?…「跨界思考」不算新鮮，卻遠遠未達日常生活的廣泛應用。梁志剛超前一步，引述近年回應「人類紀」危機而出現的學者的論述，如植物思維、多／跨物種思維、經濟景觀、文化的流行擴散…等，構成大流行的思維。
Vennes Cheng / THINK-PAD series 03: Image constellation and the survival (Nachleben) of image「書寫作為思考」筆記系列三：圖像群與影像的續存
Contemplating the “Nachleben” (afterlife, survival) of images in Aby Warburg’s Mnemosyne Atlas, Vennes Cheng traces the intellectual sources of the anachronistic and biomorphic forces behind his phantasmagoric retrieval, a unique way to create art history as constellations of found objects, impulses, emotions, phenomena and complex temporality.作為藝術史的實驗，阿比沃堡最後遺作《記憶地圖》所用的「圖像（星）群」方法，牽涉到圖像的生存與復生。鄭秀慧透過德文 Nachleben 的不同翻譯，進一步理解這可形容為「幻象檢索」的導向如何擱置了年表、分期等結構，轉向視覺上的相似性、記憶的衝動、要體現的情感等的並置，衍生出實驗性的藝術歷史。
LIM Yeon Kyoung / Independent publishing in Korea 2: the phenomenon of agential intra-action & care for the disenfranchised 獨立出版運動：行使權的內部運行，關懷被剝奪權力者
Yeon Kyoung Lim cautions against romanticizing the independent publishing movement afforded by digitalized work flow and free social-media transmission. Keying in on the labor situation, she has experienced the collapse of work and leisure, which results in free, exploited labor in intensive micro processes of work premised on a group’s affective solidarity. Are “techniques of care” a feasible solution to the pauperization of activism? 身在「江湖」的林妍卿著我們別把數碼化工序和社交媒體平台推動的「獨立出版」浪漫化。進步的另一面的現實，是「情感化勞動」以及長時間免費的「微」工序的投入，慢慢導致維權運動的「貧化」。如果人際關係如此重要，怎樣的「關懷技術」才發揮活化的作用？
