在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)

在現代社會中物質主導想像，人們過份着眼於「物」作為一種對於「時間」的憑証，繼而對「現在」的變得不敏感，因此歷史敍述就像是尋回在物質生產中失去的「時間」。「現在」好像淪為「過去」與「未來」之間的過渡。現把過渡作為一種哲學性的討論，過渡是一個過程還是結果？（李繼忠，2019）

In modern society material trumps imagination, people are too focused on ‘things’ as evidence of the ‘time’ lost in creating them, and become desensitised to the ‘now’; the historical narrative then becomes like the recovery of the ‘time’ lost in producing materials. ‘Now’ seems to become the transition from ‘the past’ to ‘the future’. Now examine transition as a philosophical concept – is it a process or a result? (LEE Kai-chung. 2019)

審查事件正好是當頭棒喝 —— 當用香港人的角度談論自身身份成為禁語時，我們或主動或被動地融合在過渡的結果中，或卡在進退兩難的狹縫裏（⋯⋯）（李繼忠，2019）

The censorship incident was a wake-up call – when it is forbidden for Hong Kong people to talk about their own identity, we actively or passively merge into the result of the transition, or get stuck in a very narrow gap; and when we are aware, we are part of the great transition, or pushing it (…) (LEE Kai-chung. 2019)

藝術之於歷史，正是在有限時間空間內處理過渡的「現在式」和「現在進行式」，並嘗試敲鑿出斷層，最後製造複數的「現在」（presents）。（李繼忠，2019）

The practice of art as history is, within the limits of space and time, dealing with the ‘present tense’ and ‘present progressive tense’ of transition, and trying to force a rupture, and finally create multiple ‘presents’. (LEE Kai-chung. 2019)