The Ventriloquists 17. Narrative pictograms for 2 animation pictures: Use Instructions, The Streets 動畫敘事掩眼法。兩個例子。
Caroline Leaf’s The Street shows montage at work by abolishing the shot-to-shot editing system of continuity. Guido Manuli’s Use Instructions is a series of synecdoche through which we are dragged down to hell to the final destruction of Earth. Both animation pictures play with the 3-act structure dramatic conventions. Two narrative pictograms augment what is just beneath the surface of pleasing imaging. 動畫的敘事法花枝招展，起承轉合是借用觀眾熟識的架構安置觀眾，看真是掩眼法。《街道》以水彩的流動取締了傳統分鏡的敘事法，鏡頭接合的文法銷毀，蒙太奇的效果卻豐盈漲滿，記憶的行動成了一場戲。《用家指南》的舉寓令人捧腹大笑，狂笑後往未來看，是希望的滅絕，地球成了渣滓糞便，是誰開始的超級玩笑？
The Ventriloquists 16. Narrative pictograms: Inception, Flowers of Shanghai… 時空囊的兩個形態：《潛行凶間》、《海上花》
Narrative pictograms’ view on two kinds of time and space — the brothel as chronotope, timeless space (Flowers of Shanghai), and nested realities in the virtual worlds of the mind as dreamwork (Inception) — presented at Ventriloquists…Thinking Narratively, 4-19 July 2020. 如果敘事法的性質是時空的呈現以至再組織，進而擴展我們對存在的認知，那麼敘述圖形是另一種實驗性的創作，就是動用跨媒的資源去尋找語言或純影音未能盡興的展陳。《潛行凶間》和《海上花》是兩個截然不同的時空構圖；前者踏進夢的潛意識的禁地，化之為慾望的戲劇舞台，後者則專注現象學的濃密經營，時間一點一滴，一舉手一投足，吃喝閒話家常，紛陳世事，時間停留在這裡、此刻，摺疊勾連，並不向前。
Michael Leung / ON LAND 11: Internal Power 「在地」十一：內部能量，內化了的創傷
Prolonged and internalized trauma yields internal power, not so much hidden as unnameable emotions, but exteriorized as solidarity, against evacuation in the name of progress, and transcending national boundaries… Hong Kong, France. Wang Chau, Notre-Dame-des-Landes.
The Ventriloquists 15. Snow White and Monkey King 黑白白雪公主。奇幻七彩500年的孫悟空。
The pictogram method was applied to the reading and reconstructing of various commercial heats, including the pre-Disney 1933 animation classic on Snow White and Pandora’s Box featuring Stephen Chow, resulting in various works, three of them shown at the exhibition The Ventriloquists…Thinking Narratively (4-19 July 2020) at Floating Projects. 《腹語系：微敘思考》展場中，有三個圖形轉化的作品，選擇了兩個商業收益叫好的作品 — 迪士尼《白雪公主》面世前，費里沙創作的黑白動畫，還有周星馳的《西遊記之月光寶盒》。
The Ventriloquists 14. Rybczynski: stretched vocabulary of narrativity, augmented attention to the material world 更多的圖形敘事解構，伸展了的敘事語彙，張開物理世界的奧秘。
More pictograms representing two experimental films by Zbigniew Rybczynski, New Book (1975) and Tango (1981), by 3 artists at the show Ventriloquists…Thinking Narratively (4-19 July 2020). A stretched vocabulary of narrativity. Multi-linearity, simultaneity, superimposition, convergence of trajectories, generative loops. 更多的圖形敘事解構，伸展了的敘事語彙。多向多線發展。共時性。重疊。弧度的結點、匯合。衍生式的循環。張開現實的奧秘。
The Ventriloquists 13. More generative literature trans-mediated: five episodes from Queneau’s “Exercises in Style” 衍生性文學圖像轉化：「烏利波」實驗文學搞手雷蒙卡奴的《風格的練習》
Like Calvino’s The Invisible Cities, Oulipo founder Raymond Queneau’s Exercices de style (Exercises in Style) is another example of generative literature transmediated as pictograms. Artist Madeleine Chan takes up 5 episodes of the work. After a generative principle, she produces 5 iterative views of the same event as pictograms, stretching Queneau’s textual play in written words.
The Ventriloquists 12. Intermedia dialogues with experimental literature: invisible cities 看不見的城市，看得見的後設城市藍圖
A pictogram is a form of knowledge; a pictogram that reconstructs another existing work is the stretching of the epistemological potential of a work. In the pictogram exercises presented at “The Ventriloquists … Thinking Narratively,” the reading and re-reading of Calvino’s The Invisible Cities combines the methods of music scoring, cartography, story-boarding and chronology-making, each with its own conceptual emphasis in presenting pictures of realities. Here, one pictogram offers glimpse of these concepts. 解構式的圖形是知識的具體表現；重塑已存在的作品的圖形是對現有作品的知識能量的擴展，同時也是對班雅明的「作者作為生產者」的想法的一種回應，關注個別的作如何站立於一個時代的技術生產當中。這裡以一個創作為例。
The Ventriloquists 11. Intermedia dialogues with experimental literature: World Like Mist by YU Hua 跨媒轉化，還覺世事如煙
Two artists read YU Hua’s novella World List Mists (1988) and translate it analytically and structurally into a pictogram form to augment textures of sentiments and narrative integrity, maximizing a fatal body of cybernetics through methods of scoring, cartography, chronology and storyboarding. 兩個圖像作品，兩個創作者對余華的《世事如煙》的轉化閱讀，呈現敘事性如何把哀愁、絕望化為結構，點對點的連線，網絡的展現，把個人的「命運」背後的人為操控層層展露。
The Ventriloquists 10. Meshes of the Afternoon: 3 pictograms of warped time & space 夢的秩序：午間的網陣，翹曲的時空
Three works interpret American avant-garde filmmaker Maya Deren’s Meshes of the Afternoon, each visualizing a unique aspect of the film. 三個圖像，結構細節形骸有別，都是對準美國前衛名作《午間的網陣》，剖開不同層面的內部物質真相。
Michael Leung / Agriculture and pandemics: from indeterminacy to solidarity (ON LAND 10) 農耕與大流行 – 從不確定性到齊心團結 (「在地」十)
Agriculture and pandemics: from indeterminacy to solidarity — Would this summer be a ripe time to implement a dual power strategy? 農耕與大流行。這個暑假會是實踐雙重權力戰略的良機？
