Searching for tag: research-notes
![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？
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？
LIM Yeon-kyoung / Independent Publishing in South Korea in the 2010s (1): The Cultural Movement Reinventing Feminist and Queer Intimacies 南韓的獨立出版運動（2010以來）：重整戰友的親密
What is independent publishing’s contribution to the Feminist/LGBTQ movement in South Korea? Lim Yeon-kyoung uses new materialist and post-consumerist frameworks to examine her own field experiences. 博士研究者Lim Yeon-kyoung 在後消費主義的藍圖裡重新理解「獨立出版」的政治性、創作上的實驗性，以至對南韓本土的女性主義、同志及酷兒運動的推進所作出的貢獻。獨立出版似乎注定被拒於嚴肅的學術出版的門外，林卻用新唯物主義和演述理論的高度去討論獨立出版的追求，並以個人「實戰」去說明。
Vennes Cheng / THINK-PAD series 02: History and archive are constructed 「書寫作為思考」筆記系列二：歷史及檔案皆為構成物
Reality once again confronts us with the fallacy that “history” is a subject that concerns only those studying the humanities. Researcher Vennes Cheng takes us back to a more basic question that deems history the literacy of contemporary global citizen, asking: what is the difference between historical reality and lived reality? 歷史是唸文科的人的事這想法或許有急切矯正的必要。歷史進入我們的日常知識領域，間接導引個人和社群行動的取決，或成為在位者下令的理據。退後一步，鄭秀慧問：歷史的現實與活在當下的現實有何不同？這是當代公民的基本道德素養罷。
Vennes Cheng / THINK-PAD series 01: archived art objects are time-capsules 「書寫作為思考」筆記系列一：封存的藝術物件，時間囊
THINK-PAD series records PhD researcher Vennes Cheng’s ongoing exploration for an alternative historiographic perspective that asserts the productiveness of histories deemed incomplete as they keep the door open for constant revision. Her objective is to revitalize our critical understanding of art in Hong Kong.
