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, …
Ventriloquists 2021 / 03-Cut-up moving images: how I see the world 腹語系之三：「拼貼」，我這樣看世界
Collage and montage are well known genres in art, impregnated with subversion and revisionist intentions by playing with established cultural meanings; and the latter highlights not only clashes of images, but also juxtaposition, sequential ordering and more, calling our awareness to our existence as temporal and spatial beings. and art beyond making copies of our world. A few serious exercises of such intentions… 拼貼（單幅圖像）和蒙太奇方法有別，語法上、態度上、意識的探索上，都具創新的意向。拼貼顛覆文化符號的意義；蒙太奇說我們的存在是時間的存在、空間的存在以至創造。幾個有這種視野的小習作…
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。
Elliott Wan / HK’s Indie Music Scene (2): Hidden Agenda: rise and constraints 香港獨立音樂場景系列之二
How has HK’s independent music arena grown and sustained itself? What specific shape has localism taken since 2009? In the second of his 10-episode essay, Elliott Wan accounts for Hidden Agenda’s five-time threat of closure, which ironically was the result of an attempt to “(re-)vitalize” under utilized industrial space. 正是「活化」的果效，充滿活力的 Hidden Agenda 經歷了5次的關門。
Ventriloquists 2021 / 01-Individual Perspectives 腹語系之一：個人故事個人觀點（上）
With the subject “Individual Perspectives,” Flynn Hadre discovers his fellow classmates’ works in Ventriloquists 2021 that tell an artist’s personal stories. 有些作品值得看，就因為它是作者的個人經歷和生活的過程。Flynn Hadre 從36個同伴的作品中挑出了三個可細聽細看的故事。
Ventriloquists 2021 / 00-Narrative as processes, systems and organized randomness opening 17 August with 36 works 《腹語系。微敘思考。2021》繼續開發陳述的藝術
Why is narrativity a relevant artistic concept in a data-driven milieu? An exhibition with 35 works speak — as videos, photomontage, installation, pictograms, creative writing and game plans, by BA students at the School of Creative Media. The Ventriloquists 2021.《腹語系。微敘思考。2021》繼續開發陳述的藝術：層層推理。逐步走，慢慢說，用豐盈的小節。
Elliott Wan / HK’s Indie Music Scene (1): Hidden Agenda’s history and formation (2009-2011) 香港獨立音樂場景系列之一
How has HK’s independent music arena grown and sustained itself? What are the major factors at work? What specific shape has localism taken since 2009? How did COVID-19 alongside many social circumstances invoke modal changes in music production and distribution? Elliott Wan, in 10 episodes, accounts for many such questions through literature research, field studies and interviews with stakeholders. 香港獨立音樂場景系列一：溫啟朗讓「據點一杯茶」分享其對香港獨立音樂的景況的觀察和考查，回顧前瞻，翻出一個專屬香港的獨立音樂故事，作為創意媒體本科畢業的總結。
NGAI Tsz-kwan / A Trip to “There” — an indefinite journey that fuels itself 在記述的軌道上作內部連結：《我在追憶，我在追，我在》
It is perhaps a maker’s natural obsession to narrate oneself, deliberately or not, but through one’s life-time. A Trip to There, Tracey’s graduation thesis, is in a way a monumental push to enter this journey in flux. Embracing all she can, there also always seems to be void to fill. Traces of her having been there are as concrete with a forensic rigor. 每個創作者都曾經 — 以至窮盡一生 — 有意識或不自覺的記述自我。年青藝術創作人魏芷軍很用力的穿過這甬道，滿滿的收穫，卻又惘然若失。實在的卻是用時間和身體鑄出來的創作道途。愛看（錄像）作品的朋友們：這裡，你會讀到一個認真地記下來的寶貴創作歷程。潛進後，我們會對藝術的耕耘多一份敬意嗎？
Faith Monsod / Liminality & the full-stop that never came 虛界裡的游離身份，等待不會來的句號。
Is there an intangible essence that might embody who we are? What positions do memories hold in forming one’s identity? Do our physical bodies suffice in representing us? How much of our sense of self relies on the reflexive process that governs our interpersonal relationships? HK-born Faith Monsod commits her graduation thesis to the quest.「我是誰」可以被理解為無形的實質嗎？例如，記憶能賦予我個人身份嗎？我的身體足以表徵我時誰？我的「自我意識」有多少是由我與別人的變動中的關係所衍生的？出生於香港的 Faith Monsod 用一個21分鐘的畢業作品去回應。
Linda Lai / Art has its own truth content and truth procedures: In Defense of Video Manifestos (5) 藝術自有其滋養創造知識的過程，請繼續錄像宣言（5）
In the 5th and final part of Linda Lai’s Prolog for Our Manifestos II reproduced in Floating Teatime, she asserts art’s power to generate knowledge, citing several theorists in Critical Theory, reiterating the place of experience. 《我們的錄像宣言2》的「引言」來到轉載「據點一杯茶」的最後一節：黎肖嫻引述不同「批評理論」的觀點，總結錄像書寫不單帶有生產知識的能量，更打開對「經驗」的重塑。
