“The asterisk is a diacritical mark suggesting that we have reached the limit of our linguistic ability to describe what’s happening within the gendered body.” - Jack Halberstam

星號是一個變音符號，指示我們描述性別化身體內發生的事情的語言能力已達極限。——傑克·霍伯斯坦

Asterisk as a life form is a series of design making focusing on the formation of queerness within everyday movements, kinship, and self-creation(zine-making as a sense of belonging). Using the asterisk as a metaphor for the liminality and multiplicities in personhood, I aim to propose an epistemological approach to a timeline that wanders between self, translation, and nation, that can not be “tamed” by the linear, canon history, which flattens and omits the complexity of lives. 《在認同轉換中的時間改建》是一系列的設計實驗，專注於酷兒性如何在日常生活中、家庭關係（例：母女之間）、以及自我創造（例：製作小誌作為歸屬感）中形成。藉以星號作為生命形態的比喻，以及一系列的設計迭代，我希望提供一探索方法，來呈現遊走於自我、名詞翻譯和國家之間的時間軸。一個不穩定的、跟隨推演者不斷演變的，且無法被線性的正典歷史所“馴服”的時間軸。

Starting with contextualization and expansion of my everyday drawings, I extracted the layers of self-images, temporality and spatiality, and transformed the fluidity of “me” into diagrams, sculptures and writings.
從我的日常圖畫開始，我提取了其中圖畫中的自我形象、時間和空間，並將「我」的流動性以圖表、小型模型和文字的方式表達。

How to turn self-history into a public space?
如何將自己的歷史展開並成為一個公共空間？

Space for Footnotes* is a virtual reading space through research of Taiwanese queerness, speculating the possibilities for Taiwanese cultural activists, artists, and organizers. It is also an experiment transforming the history-reading/writing within myself into a public space.

By two-fingered tap or hold Space bar, the audience can teleport to the footnotes, experiencing the non-linear way of reading, and add their footnotes to compose the writing. The footnotes overlap with three genres: first, the answer I collected from strangers toward “who I am?” and “what do I wish for?” “who do I believe in?” Secondly, the quotes and historical materials from feminism and social movements and organizations in the 90s Taiwan, such as the photo of Mister Taipei Pageant held by Awakening organization in 1987, and writings in the activism magazine Isle Margins. Thirdly, the everyday footnotes in myself, the footnotes that shaped me, such as 3D scanning of the street after the candlelight vigil and sounds and recordings of the daily dialogue.

I see Space for footnotes* as an un-nation, unfinished, incomplete, but an infinite hybrid, aiming to maximize the liminality of asterisk - as a person, a community, a nation, and a history forming that aims to return and transform the writing and reading to the public domain. To relate, connect, and communicate with each other.

《註解空間》是一個以台灣酷兒文化研究為出發的虛擬閱讀空間，探討臺灣文化推動者、藝術家和組織者的可能性，我是它為一個將自我歷史閱讀/書寫轉化爲公共空間的實驗。 通過兩指輕觸或按住空格鍵，觀眾可以瞬間跳轉到註腳，體驗非線性閱讀的方式，並添加自己的註腳來組成文稿。註腳涵蓋三個類型：首先，是我向陌生人收集的關於「我是誰？」、「我盼望什麼？」「我相信什麼？」為答案。其次，是來自台灣90年代的女性主義和社會運動組織的引用和歷史資料，例如1987年婦女新知基金會舉辦的台北先生選美照片，以及雜誌《島嶼邊緣》的文字。第三，是我自我內部的日常註腳，例如白紙運動燭光晚會後街道的3D掃描和日常對話和錄音。 我把《註解空間》視為一個非國家、未完成、不完整的、但無限混合的地方，透過星號所含的閾限性—作為一個人、一個社群、一個國家和一個歷史形成的探索依據。

At the Pratt One Show, I made multiple asterisk-shaped costumes for audience to wear them and experience the exhnbition as an asterisk, who starts sentences with an “if,” to question the gendered aspects in design history and making.

在展覽輸出方面，我將此專案轉化為一展覽體驗指南，為觀眾打造星號服。身為一個星號，我們可以如何觀看設計中性別化的結構和歷史建構？又可以拋出何種視角和想像？