A historian, also an interdisciplinary artist, engages in a self-dialogue of how to write the history of her city, Hong Kong. Drilling the disparate mines of sights and sounds, she re-examines the power and limitation of ocular epistemology, which favors visual perception as the dominant form of knowing. As she makes her way through the scanty and homogenous visual documents available, she re-imagines a city that has a precarious history of holding onto its look or preserving its architectural integrity at the interest of real estate development. In response, she re-constructs a visual essay that is also a collage of lost surfaces and shadowy fragments of existence. Her meditation leaves open the potential meanings of each of the sight-and-sound fragments that seem to have spoken to her, asking how feasible it is to access the past.

I started to learn piano playing when I was 6. As I can recall, I attended weekly piano lessons until the age of 15. Since then, piano and piano playing fell out of my life almost altogether. I don't think I am bad in playing piano, though I can't consider myself good at it. For the nine years of piano practice, I learned how to play, and that's all. This is probably why I quit playing so easily. After all these years of staying away from the piano, it's time I unlearned my unhealthy learning attitude by reinforcing myself to learn how to learn.

Non-place ? Other Space is a compilation video work based on my many years of visual ethnography whereby I walked the city and collected images as a personal video diary. This work compiles fragments of the city space in Hong Kong and Macao (1991-2008) to assert the possibility of many spaces and temporal sheets in one single framed discourse. It attempts the states between disappearance and emerging, visible and concealed. “Walking through” is a precarious experience. One penetrates, dives into, emerges and immerses in... In one moment, I see, therefore the video camera records for me; in another moment, the camera sees and retains, then I discover. Automatism leads. Virtual sounds I barely grasp in my mind, and fragments of a voice I have long forgotten, all blended into the placeless other space of non-place. Places and lived moments of disappearance return as the in-between, neither monumental, nor illusionary.