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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。
The Ventriloquists 09. Fishing with Popo. Visualizing personal remembrances 記憶魔法小時候
Connecting childhood: yours, mine and theirs. Fishing with Popo (2011) by Lilian Fu is among the artist-animator’s first experiments with documentary animation. Several young artists have responded… Two pictograms on this work, by William Phuong and Louise Chan, exhibited at The Ventriloquists…Thinking Narratively, 4-17 July 2020, are transmedia extension of Fu’s animated memories of her grandma.
The Ventriloquists 08. Animated, Moving, Half-awake. 9 montage pieces quietly thinking 動動象，喃喃自語，半夢半醒。
Four works on a monitor… collage, montage, still and moving. Restless assertions. Inquisitive hypothesis… 動動象。打開動畫。自言自語。若有所失。
The Ventriloquists 07. An Open Book that Moves, 8 thoughts streaming on a flat surface. 動動書。8種停留在桌面上的不安
Eight projections on a flat service… collage, montage, still and moving. Restless assertions. Inquisitive hypothesis… 動動書。一個意象接另一個意象。8個投在小桌面上的思考流，隨你參詳。
The Ventriloquists 06. From Dreamwork to Dream Narrative, 6 videos 夢境。夢作業。夢作為敘事法。夢作為藝術語言。
Five Ventriloquists artists show their dreamwork created with their own audio-visual language. It all lies in the crevices, fractures and gaps between shots, between locations, between actions… 夢作業是人存在的無形證據，實在處在夢象與夢象之間，在夾縫中，在虛處，在結合之間的斷裂處，是眾數的斷層。《腹語系》創作者也參與構築夢的敘事語法。
The Ventriloquists 05. The Hand that moves the artist, 2 pictograms on forced conformity 《腹語系》之隻手遮天。兩個解構操控與失去自主的數據圖像
The Hand comes in from everywhere. It interrupts, commands, dominates…; it is omnipresent, irresistible, almighty, dressed and decorated nonetheless mercilessly brutal.. Such is the condition of an artist who wakes up one morning to find his normal routine totally ruled invalid. 木偶藝術小子一覺醒來，伸伸懶腰又期待著新一天的開始。怎知道一夜間世界變透了。一隻無名的手，由溫柔禮待到強權粗暴，無處不在，無孔不入。
The Ventriloquists 04. Thought paths inside the Theatre Box, 12 montage sequences 十二串個性不同的思緒共享一個微型的小黑盒劇場，各有嗓音，合起來是洪流。
Twelve personal thought paths share the same space within a theatre box, each a unique stream of murmurs, together a torrent of existential quests. 十二串個性不同的思緒共享一個微型的小黑盒劇場，各有嗓音，合起來是洪流。態度的堅持，存在的疑問，主體的尋溯，無名渴求，生老病死。
The Ventriloquists 03. On Švankmajer’s Jabberwocky (1971) by Harmanjeet Singh 「物件」變「東西」。現在進行式傳真。定格動畫。
On the eve of The Ventriloquists’ physical opening, … Adapting Ben Hjorth’s “Philosophies of Non-sense: Jan Svankmajer’s Jabberwocky”; Senses of Cinema, issue 71, 2014, Harmanjeet Singh pays special attention to Švankmajer’s object play.
