[Audio/Visual Support

There are three selected pieces in the first video:

  • eatingthegame [0:00 - 3:02] (direction + co-creation + co-projection design, 80 minutes)

eatingthegame is a motivational keynote speech of, from, and between two worlds: West and East, business and culture, pragmatics and possibility, ethics and desire. eatingthegame is a Hong Kong Exile theatre production, featuring guest-speaker Conor Wylie. Conor Wylie is a freelance entrepreneur and private investment consultant with ties to Vancouver, Canada and Guangzhou, China. The project investigates the risky and destructive nature of international trade, focussing on capital investment ties between North American cities and Asia.

  • okay.odd. [3:03 - 3:39] (text, voice-over, direction, sound and projection design, 50 minutes)

Based on the tenets of concentration, mindfulness, and visualization, okay.odd. is a multimedia meditation session that guides you through a stream of consciousness. It traverses the space between thought and perception; knowing and unknowing; real and imagined; proximal and tangential. In converging our thinking minds, our unconscious ideas, and our implicitly held beliefs, you are encouraged to breathe. Don’t think.

Part spiritual retreat and part commentary on our image-inundated affect-obsessed society, okay.odd. is an invitation to encounter the version of you that you feel, but do not know.

Visitors From Far Away to the State Machine is a multi-media theatre space opera with variable beginnings, middles, and endings. Two aliens travel millions of light years to Earth for their honeymoon. On their journey, they tease one another with sexy and profane stories from the past, present, and future. They arrive on planet Earth and their fantasy begins/continues/completes.

There is one piece in the second video:

An urgent celebration of Cantonese language and culture at a critical juncture. Hong Kong’s Umbrella Movement offers a window into the overwhelming political forces committed to the degradation of Cantonese ways of life and expression. Reflecting the overseas struggles are the local effects of rapid gentrification and the “historical”ization of Vancouver’s Chinatown, tempting the impending loss of an invaluable cultural space and irreplaceable knowledge.

越界/粵界 (transgression/cantosphere) transforms the delightful complexities of the Cantonese language into compelling audio, visual, and tactile experiences. Through dissection and play with Cantonese tonal structure, denoting/transforming meaning, the installation plays with exclusivity, revealing itself to people who speak the same tongue. 越界/粵界 (transgression/cantosphere) is language as a stand for Cantonese culture; Chinatown as a bastion for Cantonese people.