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ISSUE 6:

Wait for No One to Come

等待末日到來的五個場景

November, 2012 策劃：鄭文琦 / 刊頭： Fly Tweet

Reversion of Messiah: How Political Time Stands Against Apocalypse of Linear History

彌塞亞逆轉：如何以一個政治性的時間抵抗線性歷史的末日，周郁齡

“Emptied Memories”: The Live-ness of A Poet’s Memories?

〈空的記憶〉：如何寫一首與記憶同時在場的詩，鄭文琦

Contexts in Cinema Traditions, Music Videos, and Video Art in Taiwan

電影傳統、音樂錄影帶與台灣錄像藝術中的MV脈絡，王柏偉

Breakfast Time Before the Frame Disappears: Videodance and Dance with Video

鏡頭消失以前的〈早餐時刻〉：舞蹈電影與影像舞蹈，鄭文琦

EMU: An Spectacle, or a Forged Diversion?

《心動EMU》：時代的心動奇觀，或一個偽造的跳脫，楊成瀚

An Imaginary Reunion With the Past: Interview with Teng, Chao-ming

與想像的歷史重逢之後：和鄧兆旻談〈一個紀念碑，紀念釐清的（不）可行性〉，鄧兆旻

Gean Moreno: Notes on the Inorganic, Part I: Accelerations (excerption)

Gean Moreno選譯—無機的筆記I：加速度（節錄），Gean Moreno

ISSUE 5:

「ピカッ！」

「ピカッ！」

September, 2012 策劃：鄭文琦 / 刊頭：張徐展

If “OTAKU reads about Gilles Louis René Deleuze” Is a Future Event: A Conversation with ANIMATE

如果「阿宅讀了吉爾．德勒茲」是未來的事件：與安利美特大神的一次對話，楊成瀚

Ghost in the Machine: Anne Huang Project

〈黃安妮計畫〉：機器裡的鬼魂，鄭文琦

How to Create “My/Our” Event: Questions about Performance in Beautiful World – Survival Dance

如何創造屬於「我的（我們的）」事件：《美麗世界：倖存之舞》中的表演問題，王柏偉

Mecury Retrograde (A Time for Refection From Your Orbit)

當水星逆行時：在彼此隱密的航道上回望，鄭文琦

From Digital Technology to Digital Life: Observation on 2011 Digital Art Festival, Taipei

從數位科技到數位生活—2011年數位藝術節「越域」觀察，王柏偉

The Necessity of Symbiosis: The Creative Club Lab in the Scope of Performance Art

共生之必要：從數位藝術表演看創意整合實驗室發展現況，鄭文琦

ISSUE 4:

Three Dialogue Scenes

July, 2012 策劃：鄭文琦 / 刊頭：葉廷皓

Ann Huang: The Confession of a Marionette

遇見黃安妮：深夜一個人偶的告白，王柏偉

“Hatsune Miku Is the Voice of Future!”

「初音未來其實就是未來的語言喔！」，陳寬育，黃建宏

Welcome to my UMA Theatre: Interview with Prof. Lai Ho Wang

火旺教授的「未確認生物劇場」，賴火旺

Theoretical Anxiety, Writing Strategy: Reflexivity of Self-Confrontation in New Media Art

理論焦慮與創作策略之間：新媒體藝術自我對質式的反身性思考，邱誌勇

Ultra-Subjective Space: TEAMLAB Imaging Laboratory

超主觀空間：日本teamLab的影像實驗室，林怡秀

In a Mystic Light: “Even They Never Met”

交會的神秘之光：《即使她們從未相見》，鄭文琦

ISSUE 3:

Anonymous Chorus

May, 2012 策劃：鄭文琦 / 刊頭：牛俊強

Visual Loop of A Crowd of the Nameless Men: Dehumanization of “Perfect Suspect”

無名之眾的影像迴圈：談〈完美嫌疑犯〉的非人化處理，王聖閎

Die Weltgesellschaft: Review on Julian Rosefeldt’s World Making

他者、自我與社會的建構：尤利安•羅斯費爾德「製造世界」，王柏偉

LSF55: Review on Dawang Yingfan Huang’s Sound Art

LSF55：顛倒的駐祭計畫 (兼談黃大旺的聲音藝術) ，張又升

2012 Future Media Symposium

「未來媒體藝術願景論壇」紀錄，鄭淑鈴 (整理)

New Media Art: Chances for Hong Kong and Taiwan, part2

台灣與香港新媒體藝術的契機II：「聽覺」與感知的再思考，邱誌勇

New Media Art: Chances for Hong Kong and Taiwan, part1

台灣與香港新媒體藝術的契機I：知識主體、感知與實踐，邱誌勇

ISSUE 2:

Through the Black Box

穿越黑盒子

March, 2012 策劃：鄭文琦 / 刊頭：施懿珊

More Realistic Between Robot and Human? Problems of Postures in “New Vision Liyuan”

機器如何與人較真？《梨園新意》中的身段問題，王柏偉

From White Box to Black Box, and Its Transcendence: Discussion on Curating New-Media Art

從白色方塊到黑盒子，及其超越：論新媒體藝術的策展現實，邱誌勇

Thunderbolt, dream, death

電極、夢、死亡，周郁齡

Review on Doug Aitken’ Site-specific Cinema “Sleepwalkers”, MOMA

以移動成就視覺性：Doug Aitken 之介面夢遊，江凌青

Producing Disturbance: Herman Kolgen’s “Train Fragments”

製造擾動：赫曼．科肯的《拼貼風景》，王柏偉

DIY: The Militant Embrace of Technology

Marcin Ramocki選譯—自己動手做：面對科技的激進擁抱，Marcin Ramocki

ISSUE 1:

Folding Memories

January, 2012 策劃：鄭文琦 / 刊頭：黃文浩

Review on Oliver Hangl’s “Guerrilla Walks”

漫步，或是情節的歸位：從漢格〈游擊漫步〉思考數位藝術中的敘事，江凌青

Yuan, Goang-Ming: Backwarding Shots and Dimming Images

袁廣鳴：退行的鏡頭與黯滅的影像，楊凱麟

Sipping Old Town White Coffee at Singapore Arts Festival

在新加坡藝術節飲一杯老城白咖啡，鄭文琦

Becoming-Animals, Horizon, Motivation: Passion Mode in W.A.V.E

生成–動物、視域與動機：一當代《W. A. V. E.》中的「激情」模式，王柏偉

Minuteness, Body, Sense: Under the Precondition of “Non-Danse”

微．體．感：在「不跳舞」的理解前提下，鄭文琦

Interview with Media Artist Chang, Yung-ta

聽覺現象的「相對感度」：專訪張永達，鄭文琦