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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。
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。
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。
