Publications

A conversation becomes a public form when the question, encounter, edit, circulation and later annotation are treated as one continuous composition. Knowledge is not extracted from a guest and delivered intact; it is negotiated between voices and remains available for later disagreement.

当提问、相遇、剪辑、传播与后续注释被视为同一项连续构成时，对话才成为公共形式。知识并非从受访者身上提取后完整交付，而是在多种声音之间协商，并为后来的异议保留空间。

Dialogue is not automatically democratic. Editing, invitation and distribution still allocate authority. The research task is therefore to expose those operations rather than celebrate participation in the abstract.

对话并不会自动带来民主。邀请、剪辑与传播仍然分配权威。因此研究任务不是抽象赞美参与，而是使这些操作变得可见。

Our authorship begins with attention: whom we invite, what we ask, when we stay silent, how long we remain and how one encounter is allowed to meet another.

我们的作者性从注意力开始：邀请谁、问什么、何时沉默、停留多久，以及如何让一次相遇与另一次相遇发生关系。

Across the plant and adaptation records, resilience is separated from agency. An organism may continue functioning while losing relations, memory or form. Adaptability is therefore read neither as virtue nor failure, but as a political distribution of what must change and what is allowed to remain.

在植物与适应主题的资料中，韧性与主体性被区分开来。生命体可以继续运转，却失去关系、记忆或形态。因此，适应既不是单纯美德，也不是失败，而是一种政治性分配：谁必须改变，什么可以保持。

The argument must avoid romanticising ‘nature’ as pure or pre-social. Plants are useful here because they disclose situated intelligence, not because they offer an innocent world outside civilisation.

这一论证必须避免把“自然”浪漫化为纯净、前社会的存在。植物之所以重要，是因为它揭示在地智能，而不是提供一个文明之外的无辜世界。

We often let a concrete object carry a larger question. A seed or a plant can lead us toward the ethics of urban life without being forced to explain the human world.

我们常让一个具体物承载更大的问题：从种子或植物的可见行为走向城市生活伦理，但不强迫它们替人类世界作解释。

The consciousness records resist locating thought in one organ or doctrine. Scientific explanation, embodied experience, cultural language and metaphysical speculation are kept in productive proximity. Art operates here by staging their incompatibility without forcing premature resolution.

意识主题资料拒绝把思想固定在某一器官或学说之中。科学解释、身体经验、文化语言与形而上推测被置于具有生产力的近距离关系中。艺术的作用，是让它们的不兼容共同在场，而不急于调和。

Keeping explanations open cannot become an excuse for false equivalence. The archive distinguishes experimentally testable claims from lived or philosophical accounts while still asking how they meet in experience.

保持解释开放不能成为制造虚假等价的借口。档案会区分可实验检验的主张与生活性、哲学性叙述，同时继续追问它们如何在经验中相遇。

We use the interview to stay with uncertainty. A guest is not asked to close the question; different ways of knowing are allowed to sound beside one another.

我们用访谈与不确定性相处。受访者不必终结问题，不同的认识方式可以在同一场对话中并置发声。

The ceramics and calligraphy clusters show that a medium is never only matter. It also contains lineages, standards, schools, markets and authorised ways of seeing. Expertise carries embodied knowledge, but can harden into a border that protects inherited expressions from transformation.

陶瓷与书法资料表明，媒介从来不只是材料，还包含谱系、标准、教育、市场和被授权的观看方式。专业知识承载具身经验，却也可能凝固为边界，保护继承表达免受改变。

Experiment is not valuable merely because it is new, and tradition is not legitimate merely because it is old. The critical task is to make the criteria of judgement historically visible.

实验并不因新而自动有价值，传统也不因古老而自动正当。批判任务是让判断标准的历史条件显形。

We move a dispute inside one medium into a curatorial question: what kind of room, language or institution lets an unfamiliar work be taken seriously?

我们把媒介内部的争论带向一个策展问题：怎样的空间、语言与制度，能够让陌生作品被认真对待？

Music does not become universally transparent when words disappear. Meaning migrates into rhythm, timbre, gesture, instrumentation, venue and audience. International circulation is therefore situated translation: the work listens in another context and returns altered rather than unchanged.

语言消失并不会让音乐自动获得普遍透明性。意义转移到节奏、音色、动作、乐器、空间与听众之中。因此国际流通是一种在地翻译：作品进入另一语境倾听，并带着变化返回。

Celebrating hybridity can hide unequal access to institutions, stages and translation. Relation matters only when the frictions and power of circulation remain perceptible.

赞美混合性可能掩盖进入机构、舞台与翻译系统的不平等。只有当流通中的摩擦与权力保持可感时，关系才真正成立。

For us, being international begins with relation rather than a cosmetic global vocabulary. Editing and curating become forms of rhythmic translation.

对我们而言，国际性从关系开始，而不是套用一层表面化的全球词汇。剪辑与策展由此成为节奏的翻译。

Boredom is treated as neither emptiness nor lifestyle branding. It is an unstable interval in which habitual demands briefly lose authority. The interruption does not guarantee art, but it creates conditions in which unnoticed relations, suppressed questions and the difficulty of being with oneself can surface.

无聊既不是空白，也不是生活方式标签，而是一段惯常要求暂时失去权威的不稳定间隙。这种中断不会自动产生艺术，却能让未被注意的关系、被压抑的问题，以及与自我相处的困难浮现。

Boredom can be privilege as well as refusal. Any artistic use of it must remain attentive to whose time is protected, whose labour is invisible and who is permitted to disengage.

无聊既可能是拒绝，也可能是一种特权。任何艺术性使用都必须追问：谁的时间受到保护，谁的劳动被隐去，谁有权暂时退出。

For us, WU—LIAO names a simple practice: suspend immediate usefulness, stay with an unfinished question and let attention find another direction.

对我们而言，“无不吴聊”指向一种简单的实践：暂停即时用途，在未完成的问题里多停一会，让注意力找到另一个方向。

The education records repeatedly return to learning how to perceive: rhythm before genre, material behaviour before authority, childhood attention before disciplinary correctness. Pedagogy is understood as arranging conditions for perception rather than transmitting a finished cultural hierarchy.

教育资料反复回到“如何感知”：先于类型的节奏、先于权威的材料行为，以及先于学科正确性的童年注意。教育被理解为安排感知条件，而不是传递完成的文化等级。

Rejecting authority does not mean abandoning rigor. The question is whether rigor can be made reflexive—able to disclose where its standards come from and whom they exclude.

质疑权威并不等于放弃严谨。问题在于，严谨是否能够反身地说明自身标准从何而来，又排除了谁。

We often begin with an ordinary question. It lowers the threshold of entry without making the problem smaller.

我们常从一个日常问题开始。它降低进入的门槛，却不缩小问题本身。

A contemporary face is made not only by biology or individual expression but by cameras, styling, interface crops, circulation speeds and social expectations. The interview portrait can therefore be read as a temporal document of the conditions that make a speaker publicly legible.

当代面孔不仅由生理或个人表情构成，也由镜头、造型、界面裁切、传播速度与社会期待共同生成。因此，访谈肖像可以成为时间文献，记录说话者得以被公共识别的条件。

A clean frame can restore visual attention, but it can also detach an image from the conditions in which it first circulated. We keep both in view: the frame and the situation around it.

纯画面能够恢复视觉注意，也可能使图像脱离最初流通的语境。我们同时保留两者：画面本身，以及画面周围的传播现场。

We understand hosting and portraiture as one action: composing a situation in which another person can appear without being reduced to a promotional likeness.

我们把主持与肖像理解为同一个动作：组织一种让他者显现、又不被缩减为宣传形象的情境。

Site is treated as an arrangement of access, memory, labour, weather, economy and movement. The ‘old house’ is not a stable heritage object; it is a diachronic structure in which different pasts and futures occupy the same material at unequal speeds.

地点被理解为进入权限、记忆、劳动、天气、经济与移动的组合。“老房子”不是稳定遗产物，而是一种历时结构：不同的过去与未来以不均衡速度共同占据同一材料。

Place-based work can aestheticise rural life or turn memory into cultural capital. We therefore keep production, hospitality and economic change inside the image rather than treating them as neutral background.

在地工作可能把乡村生活审美化，也可能把记忆转化为文化资本。因此，我们把制作条件、民宿业态与经济变化留在影像内部，而不是把它们当作中性背景。

In our production work, access, trust, timing and the distribution of resources decide which histories can enter the frame.

在我们的制片工作中，进入、信任、时间与资源分配，共同决定哪些历史能够进入画面。

Production distributes time, risk, visibility, access and attention. A microphone placement changes which sound becomes evidence; a schedule changes whose time is respected; a budget changes which distance can be crossed. These are aesthetic and epistemic decisions, not neutral support.

制片分配时间、风险、可见性、进入权与注意力。麦克风位置改变哪些声音成为证据；日程改变谁的时间受到尊重；预算改变哪些距离能够跨越。这些是审美与知识决定，而非中性支持。

Making invisible labour visible does not turn every supporting role into authorship. It asks us to notice how apparently secondary work changes what can be seen, heard and sustained.

让隐形劳动可见，并不意味着把所有支持角色都转化为作者，而是促使我们注意：那些看似次要的工作，如何改变可见、可听与可持续之物。

Producing, curating, interviewing and making art are not identical roles. What they share for us is the work of preparing the conditions in which an encounter can happen and continue.

制片、策展、访谈与艺术创作并不是同一种角色。对我们而言，它们共享的工作，是为一次相遇的发生与继续准备条件。