Dark Fluid Collective: Clip 2
Details
Dark Fluid Collective: Clip 2
Metadata (MODS) |
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| Titles | Dark Fluid Collective: Clip 2: |
| Name | Angela Su |
| Name | Pak-chye |
| Name | Cally Yu |
| Name | Dr. Joanne Leow |
| Type of Resource | sound recording |
| Identifier | Interview |
| Identifier | Dark Fluid Collective: Clip 2 |
| Abstract | The previous discussion on the metaphor of water is continued in this clip. The interview then turns to comment on how water can lead to a conversation on political and social uncertainty—a theme that is very pressing in regards to the changing landscape of Hong Kong. |
| Extent | 5:11 Minutes |
| Form | sound recording |
| Note | Cally Yu: I’m amazed by the metaphor of water all the time, because of the liquidity, mobility, and also the kind of imaginations about women, or about dream, and also because—and actually I’m quite…indulging water, that poetic space, or the sensory. For example, my father swam to Hong Kong as an illegal immigrant. So water’s kind of a route to me somehow, really related to something in my body, so I feel…I want to write something on it, just simply want to write something on it. And I think we disconnected with water a long time ago. Hong Kong actually is a peninsula, and also an island. 5:59 Joanne Leow: An archipelago. Cally Yu: Yeah, yeah, we should be with water, but we’ve disconnected with water a long time ago. But actually my father, or our older generations actually all came from water, and are highly related in water. So I want to write more on it. And actually this is only a start for me, yeah. But he already said something else. (laughing) 6:22 Angela Su: In her story, the water, it has the power to kill and also the power to rejuvenate, to turn old people into, like, teenagers. So it’s sort of…there’s a crisis in the school, a girl exploded, and water just seeped out from her, and then whatever—wherever the water touches would either kill that person or turn them into a kid. And Pak-chye took that idea and turned it into an epidemic. (laughing) 6:53 Pak-chye: I stole the ideas from her. (laughing) Pak-chye: And imagined what would happen after the older—the incidents are mentioned in her stories, after there is those few years, what would happen? In my stories, I feel water is about the possibility of understanding…understanding about the past and other people. And it’s also about…is it possible for empathy to solve…there’s also conflict in Hong Kong, yeah. So it’s just a metaphor, it can mean other things for me. 7:37 Joanne Leow: Yeah, and I like how you use the word “fluid” in the title, because fluid obviously from the body, or outside, and also obviously that kind of wordplay with change, the fluidity, right, of Hong Kong, really interesting. I mean, there…a lot of the artists and writers I’ve spoken to—not just in Hong Kong but elsewhere, in Singapore and Vancouver—have talked about this idea of uncertainty as the link to the changing coastlines, or water. Your anthology thinks about that, obviously, through climate change and dystopia, but how is it specifically in Hong Kong? Thinking about political uncertainty, thinking about the uncertainty of Hong Kong’s geographical boundaries and borders, I mean, what is that like for you practicing as artists and writers here right now? I mean, we can talk about the work—through the work, or just generally. 8:22 Cally Yu: Somehow I think transformation, or the breakthrough, break down something, quite important to me, metaphysically or in my imagination, because in Hong Kong we always suppress the…I don’t know how, there’s so many different powers suppressing us, different kinds of layers or energy just comes here. And I’m always thinking about how to break down all these things, and I think liquidity and that kind of…that kind of really amazed me, so I wanted to explore more. And now…I never thought about…you’re right about empathy, I don’t know. 8:56 Angela Su: In her story—yeah. Cally Yu: But I’m not…I don’t know, you’re really concerned…taking it as a solution, as a kind of… Pak-chye: It’s a question for me. I’m not sure whether it should be—because it was a solution, or treated as a solution, in quite a lot of discussions. Usually when people are talking about conflicts, the solution should be communications, but is this possible? I don’t know. For me it’s a question. 9:24 Angela Su: I think I need to explain how it happens, because in the story, the water, it has the power to store, like, memories, memories of people that the water killed. So there are a bunch of mediums in the community, and then when the medium touches the water, or emerge herself in the water, then she can get the memories of other people. So, in a sense, she has an understanding of people’s past lives, and then that’s how people can start to communicate with each other about empathy, about understanding, and hopefully—because I think the project started after the Umbrella Revolution, Umbrella Movement…(laughs) sorry, it’s very important. 10:10 Cally Yu: Yes, it’s very important. Angela Su: Umbrella Movement. So, I think during that time a lot of people—at least I felt very powerless, because of all the governments doing shit, and then there’s not much that I can do or we could do, and that’s why I started the project. And then these writers are sort of, through their stories, suggesting kind of solutions—not solutions, a possible potential to solve this kind of problem. |
| Access Condition | Contact Dr. Joanne Leow |
| Subject Hierarchical Geographic | Asia--China------Hong Kong |
| Subject Local Name | ------Sci-fi--Sea Levels--Climate Change--Hong Kong--Urban Renewal--Conservation--2046--Water---- |