Emit Snake-Beings
《尚未被玩的电子游戏音乐》Music for video games yet to be played, 2023-25

2023/4/5年，在台北、新西兰和中国大陆制作的音乐。 

Music made 2023/4/5 in Taipei, New Zealand and China Mainland.

Joysticks, speakers, video, CCTV cameras, wood, elastic bands, wires, car monitor screens, all video and sound by artist.

操纵杆、音箱、视频、闭路电视摄像机、木材、橡皮筋、电线、车载显示屏，所有影像与声音均由艺术家制作。 

Arcade Circus music played on synthesizers, recontextualized as musical prompts for video games yet to be made. Muzak for shoppers. Enter the spacey arcade and let your imagination run riot, take a chair, twiddle a joystick, check your mirrors, play the game. Remember it's just a game, there are many.

电玩马戏团音乐使用合成器演奏，重新语境化为尚未制作的视频游戏的音乐提示。 

未购物者提供背景音乐。进入这个科幻感的街机空间，让你的想象力自由驰骋。坐上椅子，转动操纵杆，检查后视镜，玩游戏。记住，这只是一个游戏，而且不止一个。

Laura Yuile
Yiwucore, 2025

Digital video, false eyelashes, plastic eyes (work is both inside and outside of the shutter).
数字视频、假睫毛、塑料眼球（作品呈现在卷帘门的内外两侧）。 

Following a week-long trip walking the aisles of Yiwu’s gigantic International Trade City, this  work-in-progress imagines Yiwu’s status as “world capital of small commodities” as the basis for a new and trending aesthetic: Yiwucore. Yiwucore’s philosophy seeks to make visible the hidden backrooms of the global small commodities trade; the space of the middleman within the flow of goods from factory to home; the backroads of globalization and promised land for the international wholesale buyer of low-end disposable products, destined to be future landfill. Yiwu emerges as an unsuspecting “world city” whose spaces are functional rather than image-based.

在义乌国际商贸城的巨大走廊中行走了一周后，这件未完成的作品将义乌作为“世界小商品之都”的地位设想为一种新潮流的审美趋势： Yiwucore。 

Yiwucore的理念旨在让全球小商品贸易中隐藏的幕后场景可见，包括商品从工厂到家庭流通过程中的中间商的空间；全球化的后路和国际批发买家的低端一次性产品的应许之地，却最终注定成为未来垃圾填埋场。 

义乌悄然成为 “世界城市”， 它的空间更多是功能性的，而非形象驱动的。

Stephen Connolly
《两种实体之间的接触》 Contact between two entities, 2025
Video 视频

A short account of a post-human encounter.

一段关于后人类相遇的简短叙述。                          

Gareth Jones
《空间与晕眩》（横向格式）Space and Nausea (Landscape format), 2025

综合拼装作品：复印纸与手绘纸、白板、堆叠的书籍、数字幻灯片。 
Assemblage: photocopied and drawn papers, whiteboards, stacked books, digital slideshow.

Space and Nausea • an improvised assemblage • emergence from, and contribution to an interdisciplinary practice of urban walking-storying • language, image, space, matter, memory, footfall • a continuous processes of de- and re-territorialisation • a readerly drift • a phenomenology of space.

《空间与晕眩》是一件即兴的综合拼装作品，源于并贡献于一种城市步行叙事的跨学科实践。作品探讨语言、图像、空间、物质、记忆与脚步之间的关系，是一个持续的去疆域化与再疆域化的过程。它呈现一种“读者漂移”，以及一种对空间的现象学探索。

Francesca Brunetti
《土壤派对：老鼠、根须、蠕虫与其他顽客》

Soil Party: Rats, Roots, Worms, and Other Punks, 2024

Watercolor painting and stop motion animation 水彩画和定格动画

Soil Party: Rats, Roots, Worms, and Other Punks is a multimedia project composed by twenty gifs created by using watercolor painting and stop motion animation. The purpose of the project is to allow the audience to experience the vibrancy and aliveness of the soil, where organisms like rodents, roots, and worms live a busy and active life. The artist wants to encourage audience to fantasize about a non-traditional way to see the soil as a diverse, surprising and inventive entity.

《土壤派对：老鼠、根须、蠕虫与其他顽客》是一个多媒体项目，由二十个通过水彩画与定格动画制作的 GIF 组成。 

此项目旨在让观众体验土壤的生机与活力，在那里，像啮齿动物、植物根须和蠕虫这样的生物过着繁忙而活跃的生活。艺术家希望鼓励观众以一种非传统的方式来想象土壤，视其为一个多样化、充满惊喜且富有创造力的存在。

TANG Qiong  唐琼

《站着的书》The Standing Books, 2025

Old fabric 旧布

Yet, there will still be books standing on the shelf.

但是，还有书籍将会站在书架上。

PAN Feifei  潘菲菲

《之谜》eikōn, 2025

Mixed Media Work

Video, Drawing, Clay Sculpture, Photograph, Polaroid Photo and Prints.

综合媒介作品

影像，绘画，泥塑，照片，拍立得照片，版画

Eikōn (εἰκών) originates from the Greek verb εἴκω (eíkō), which means "to present, to resemble, or to reproduce an image of reality."

The artist selected fragments of memories that have become distant and alienated from her and refolded them with reality to evoke the sense of the "presence of absence." This "presence of absence" embodies a paradox of time: it is both a re-presentation of the past and a carrier of its disappearance. The work reflects on and intervenes in memory while delving into the realms of oblivion and evanescence. In an era where artificial intelligence renders everything seemingly "real," the artist invites the audience to rethink the intricate relationships between time, memory, and oblivion.

Eikōn (εἰκών) 源自希腊语动词 εἴκω (eíkō)，意指“呈现、类似于，对现实的图像化再现。”

艺术家挑选了部分已变得疏远的记忆片段，并将它们与现实重新折叠，呈现“缺席的在场”。这种“缺席的在场”呈现出一种时间的悖论：它既是过去的再现，又承载着过去的消失。作品既是对记忆的反思与介入，也是对遗忘与消逝的探索。在人工智能仿佛让一切变得“真实”的今天，艺术家邀请观众重新思考时间、记忆与遗忘之间的复杂关系。

Julian Stone & Emit Snake Beings

D2 Fields {de}coder, 2025

Sound Performance, Field Recordings, & Video

声音表演、实地录音与视频 

An evening of ‘dérive’ reveals 2 points of interest in Dajing Village, captured as field recordings that expose the ‘poetic & rhythmic’ utterances of local street vendors selling their goods.

Chinese Street Vendors record and disseminate sales pitches using mini-megaphones armed with looping capabilities. The collision of these transmissions creates dissonance and alienation effects in the urban field, unintentionally emulating minimalist tape experiments by avant-garde composers (i.e. Steve Reich).

We respond to these overlooked elements of the urban soundscape using ‘drone metal tropes’ including detuned guitars, feedback, sustained harmonics and pitch shifting, highlighting the Brechtian within the performative space.

“漂移”之夜揭示了大径村中的两个关注点，这些被记录为现场录音，展现了当地街头小贩在售卖商品时“富有诗意与节奏感”的表达方式。 

中国街头小贩使用配备有循环功能的迷你扩音器来录制和传播销售广告。这些广播信号的碰撞在城市声音场域中产生了不和谐与疏离的效果，无意地模仿了前卫作曲家（如 Steve Reich）的极简主义磁带实验。

我们通过“雄蜂金属风格”（“ drone metal”）回应这些被忽视的城市声音景观元素，使用失调吉他、反馈、持续的泛音和音调变化，强调表演空间中的布莱希特式效果。

Nicola Logue

《对苏轼的诗《於潜僧绿筠轩》的反思》

Reflections on ‘Qjan Seng's Green Bamboo Skin Veranda’ by Su Shi, 2025

Reclaimed Bamboo. Recycled Cardboard Packaging. Acrylic. Mixed Media.

回收的竹子、再生纸板包装、丙烯、混合媒介

I do not claim to be a scholar of this poem but take inspiration from some of the translated meanings that I understand, the diversity of bamboo, its material qualities, its energy, its endurance, above all modern substitutes.

With thanks to Zheng Na and Zhong Zhen for patience in assisting me.

我并不声称自己是这首诗的学者，但我从我理解的一些翻译含义中汲取灵感，竹子的多样性、它的物质特性、它的能量、它的耐久性，以及所有现代的替代品。 

感谢郑娜和钟贞在协助我过程中给予的耐心。