Searching for tag: linda-lais-research-notes
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。
On Documentary Impulse: the desire to encounter the real through making records (1) 記述的衝動：長路漫漫（一）
First of 2 parts of Linda Lai’s Epilog for Our Manifestos II (2021) reproduced in Floating Teatime. Our desire to remember, preserve, transmit and retrieve drives the continuous innovation of technics, i.e. tools that embody and advance our perceptual experiences. Videography is a unique form of mnemotechnics. 記述的衝動超越了既成特定類型的「紀錄片」有更廣闊的空間。「紀錄」的初衷是《我們的錄像宣言2》（2021）的跋的主題，將分兩次於「據點一杯茶」轉載。第一部份，黎肖嫻引述不同不同的藝文創作為實例，指出我們要記住、保存、傳遞開去的衝動，推動著工藝技術的發展，打開了我們對「經驗」的重塑的新可能。
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。
Linda Lai / From thick descriptions to radical empiricism: In Defense of Manifestos (4) 聲影的純厚描述衍生革新的經驗論：繼續宣言（4）
In part 4 of Linda Lai’s Prolog reproduced for Floating Teatime, she accounted for how Manifestos 2 evolved from Manifestos 1 — a major shift from a Deleuzian contemplation of time and space to radical empiricism. 《我們的錄像書寫2》「序言」轉載的第4節：黎肖嫻指出從「宣言一」到「宣言二」的衍化和突破：跳出德勒茲式對活動影像中對時間的純厚描述而重點轉移到革新的經驗論。
Linda Lai / The Dialectics of Fluid Manifestos: In Defense of Manifestos (3) 宣言、記述的辯證關係，創造知識的能量，繼續宣言（3）
Our Manifestos II upholds videography beyond the concern of moving image aesthetics and opens up the ethics of art practices to embrace the complex, crisis-ridden contexts in which we live. In the 3rd of the 5-part series, Linda Lai maintains the necessity of manifesto-writing to be fluid, performative, dialectical practices.《我們的錄像宣言2》於「據點一杯茶」5次連載的第3篇：黎肖嫻堅持宣言寫作思維實踐上的獨立性，撇開西方現代性的歷史包袱，辯證的、演述式的、柔潤的發揮宣言的力，儘管如何短暫，有待轉化。
Linda Lai / Preserving the Energy of Videography: In Defense of Manifestos (1) 就為了滋養創造知識的能量，繼續宣言（1）
The “Prolog” of “Our Manifestos II: Videography, Documentary Impulses” (2021.05) explicitly examines videography as a way of living, an attitude of life, and the quest for in-depth transformation in the midst of complex, crisis living. In 5 parts, project initiator Linda Lai relates the process of the book-creation project and the different takes of the many artists involved. Part 1 describes the meandering journey. 「據點一杯茶」將以5次短篇連載《我們的錄像宣言2：記述的衝動》的序言。黎肖嫻開宗明義把錄像書寫看為一種創作人的活的型態和取向，以至於對深度轉化的渴求，以對應如何活在繁複、糾結、充滿噪音的當下。如是，錄像書寫的認知和反省遠超狹義的藝術操守和理所當然的影像美學。首篇記述召集各方創作人合力分享所穿過的崎嶇過程。
![Linda Lai / [Put away] The Kid on the Street, a prototype in HK Cinema 街童上樓：大排檔、公屋，香港電影的民間典型](https://fpchk.s3.ap-southeast-1.amazonaws.comnull)
Linda Lai / [Put away] The Kid on the Street, a prototype in HK Cinema 街童上樓：大排檔、公屋，香港電影的民間典型
In the second of a series of field notes as short essays, Linda Lai continues to craft possible histories of Hong Kong’s everyday interiority through the lens of “intelligentsia” responses within the filmmaking community in the immediate post-WW2 years. 一連三篇由「細路祥」出發的第二篇：黎肖嫻繼續探討「細路祥」化身銀幕上，成為了甚麼樣的文化資本。小孩所牽連的是一張複雜的管治的權力網。
Linda Lai / A-Chang the HK kid: Interpolating Education, Interpellating the Child 北方有三毛，南方有細路：1950 港產《細路祥》策問教育，召喚小孩
In a series of 3 articles, Linda Lai shares her field notes in film studies from a Cultural Studies perspective. The first discusses the kid A-Chang (1950), a HK counter-part of Shanghai’s Three Hairs 1940s. 有關香港「細路祥」三篇連載的第一篇，黎肖嫻潛進環繞苦難中的孩子的沈甸甸而充滿矛盾的論述。
Linda Lai / 我從摩羅上街地攤找到10 冊的《三毛流浪記》連環畫 I picked up The Wanderings of Three Hairs the Waif on Upper Lascar Row
The first of a series of articles on children, comic characters, movies and so on, to explore how the “child” is often the subject and object of interpellation to augment instrumental reasons in population management. Linda Lai started with her research notes on Sanmao (Three Hairs), a kid, a comics character created for adults, who has been “resurrected” constantly since his “birth” in 1930s in Shanghai. 以孩子論說苦難，召喚善心的行動，是人口或國民管理常用的工具理性，也是進步思想的倡議的濃縮再現。其實孩子們都是怎樣長大的？我們都曾是孩子。我們是怎樣活過來的？
Linda Lai / Video Essays as a Minor Literature 《平地數碼》。平地素馬，塵埃落定透微言。
Minority or majority is not about numbers. Majority practices could often be the conventions set by the minority few whereas what is broadly held may not be represented as “majority” positions. Being in the minority is not being weak. A “minor literature,” to Deleuze, is a strategic position whereby “de-territorialization” begins. 多數或少數與數量無關；多數人奉行的操作可以是少數人所決定的，而大部分人視以為閒常的，未必為主導主流所涵蓋以至突顯。特勒茲論述中的「少數文學」是個可用的據點，是語言表述活動的「反山頭主義式佔領」的開始。
