1 It is an adaption of Walter J. Ong’s writings. Orality and Literacy: The Technologizing of the Word (London: Routledge, 2002) 14.
2 Produced by the Center for Arts and Technology of the National Taipei University of the Arts in 2013, and co-created by artist J.J. Wang and the LuxudaryLogico new media art group, with video performances by Yi-Jing Lu, the show was performed at the Multimedia Hall of the Taipei Songshan Cultural and Creative Park from October 24th to 27th of that year.
3 Playwright Harold Pinter adapted John Fowles’ original novel (1969) into a movie script.
4 For the English version of this document, please refer to the website of the M+ Museum in Hong Kong, accessed Oct. 1, 2023, https://www.mplus.org.hk/en/collection/objects/tehching-hsieh-19861999-thirteen-year-plan-2013467/ ; For the Chinese t, see “Responding to the Rope of Consultation,” dictated by Li Qinqin and Hsieh Tehching, Artouch. 2017.05.01, accessed Oct. 1, 2023, https://artouch.com/art-views/content-1545.html.
5 The term is recognized by Tino Sehgal, see Towards the Age of Performativity: Performativity as Curatorial Strategy, Frorian Malzacher & Joanna Warsza, translated by Fei-Lan Bai, (Taipei: Shulin Publishing Company, 2021) 24.
6 For the usage of the term “discursive formation,” Foucault defines it as the regularity among statements, objects, performances, concepts, and so on. Foucault write, “To analyze a discursive formation therefore is to deal with a group of verbal performances at the level of the statements and of the form of positivity that characterizes them; or, more briefly, it is to define the type of positivity of a discourse.” Michel Foucault, The Archaeology of Knowledge and the Discourse on Language. Trans., A.M. Sheridan Smith (New York: Pantheon Press, 1972) 38, 125.
from Michel Foucault, see L’Archéologie du savoir, Ed. Gallimard, 1996 edition, Paris, p.
7 On Tino Sehgal’s work, accessed Oct. 1, 2023, https://cmagazine.com/articles/collecting-forever-on-acquiring-a-tino-sehgal.
8 It is worth noting that Foster believes the artist as archivist follows that of the artist as curator, as they accept the museum’s decline in the public sphere and explore alternative systems. Archival art is more about institutional reformation rather than destroying or transgressing established norms. Hal Foster, Bad New Days: Art, Criticism, and Emergency (London: Verso Books, 2015) 32-34.
9 Lee Xiangyu’s Chinese translation of the term “minor historical materials” as “the residue of historical material” is thought-provoking. Hal Foster《來日非善：藝術、批評、緊急事件》(重慶: 重慶大學出版社，2020) 38。
10 Hal Foster, Bad New Days: Art, Criticism, and Emergency, 35.
11 Hal Foster, Bad New Days: Art, Criticism, and Emergency, 40., 50.
12 Tino Sehgal on Tino Sehgal2010, accessed Oct., 2, 2023, https://www.artforum.com/features/tino-sehgal-194569/.
13The video of the sailing of the work, accessed in Oct., 3, 2023, https://news.ipcf.org.tw/52292.
14 The Exhibition Amnesia, accessed on Oct., 10, 2023, https://curatography.org/.
15 The Heterogeneous South, accessed on Oct., 10, 2023, https://curatography.org/
16 An interview done by Zian Chen, ARTFORUM, accessed Oct.,5, 2023, https://www.artforum.com.cn/interviews/14262.
17 This section is to a discussion of mode of thought and the poetic process of making and becoming. Claude Levi-Strauss, The Savage Mind, trans., George Weidenfeld (London: Weidenfeld and Nicolson, 1966) 15-17. — Tr.
18 “The Interview of Akac Orat,” Interviewees: Jiang Boxing and Wu Shangyu. Another Story: An Inquiry of Taitung Art (Taitung: Taitung County Government, 2022) 234-243.
19 Archive Public, accessed Oct., 5, 2023, https://archivepublic.wordpress.com/texts/arjun-appadurai/.
20 Walter J. Ong, Orality and Literacy: The Technologizing of the Word, 2.
21 Walter Benjamin, Illuminations, edit. Hannah Arendt, trans. John Zohn (New York: Schocken Books, 2007) 92.
22 G. W. F. Hegel, Phenomenology of Spirit, trans. A.V. Miller (Oxford: Oxford University Press, 1977) 456.
23 阿岡本，《潛能》，譯者: 王立秋、嚴和等(桂林：灕江出版社, 2014) 203-217；see also, Giorgio Agamben, Potentialities: Collective Essays in Philosophy, trans., Daniel Heller-Roazen (Sandford: Sandford University Press, 1999)
24 Reference to Jiang’s Blog on the artist performance, accessed Oct.,2, 2023, https://blog.udn.com/PASA9512/1117087