秋田的
兩件
與樹木
和森林
有關的
作品說明

Notes on Two
Works in Akita
Related to Trees
and Forests

長坂有希

Aki Nagasaka

I. 樹：尚待發生的戲劇的試演

I. Trees: Audition for a Drama still to Happen

2019年7月，我被邀請為日本秋田的兩個展覽製作新作品。策展人向我解釋說，這兩個展覽將彼此關
聯：第一個展覽是序幕，第二個展
覽為主展覽，而生活在江戶時代晚
期的旅行家、自然學家和草藥學家
菅江真澄將是展覽中的關鍵人物。

In July 2019, I was asked to make new workfor two exhibitions in Akita, Japan. The curator
explained to me that the two exhibitions would
work together: the first one would function as
the prologue and the second one as the main
exhibition, and that Masumi Sugae, a traveler,
naturalist, and herbalist who lived in the late Edo
period, would be a key figure in the exhibitions.

我在8月份首次到訪秋田，並在那
裏花了一些日子參觀了各個地方。
我還參觀了秋田縣立博物館，看到了許多菅江留下的文件。秋田之旅
的幾個星期後，我意識到菅江偉的
插圖書中的樹木畫一直在我腦海中揮之不去。他還有許多其他偉大的畫作，但他的樹畫給我的感覺是最
生動的。此外，由於他是一位草藥專家，我想他曾與植物關係密並擁有切身的關於植物的知識。因此，我決定選擇他的樹木畫作為第一次
展覽的主題。

I visited Akita for the first time in August andspent some days there visiting various places. I also
visited Akita Prefectural Museum and saw many
documents Sugae left. A few weeks passed after
my visit to Akita, I noticed that tree drawings in
Sugae’s illustration books were staying in my mind.
There were many other great drawings he made,but his tree drawings felt most lively to me. Also,
since he was an herbalist, I imagined that he had
a close relationship with and knowledge aboutplants. Thus, I decided to choose his tree drawings
as my subject for the first exhibition.
77

78

菅江真澄 (1754 - 1829)

Masumi Sugae (1754 - 1829)

江戶時代晚期的旅行作家和自然學家。在學習了草藥學、醫學、
中國古典文學等等之後，菅江在30歲時離開了他的故鄉三河町（
現愛知縣的東部），並在東北地
區和北海道島周圍遊歷。他在48歲
時重新到訪秋田，並在那裏居住
了29年，直到他去世。在這些年裏，他記錄了秋田的許多不同的
東西，包括人們的生活、民間傳統、歷史、地理、文學和考古；
這些都以文字和圖畫的形式記錄
在他的日記、散文和縣志書中。

A travel writer and naturalist, who lived in the late
Edo period. After studying herbalism, medicine,
Chinese classics and etc., Sugae left his hometown,
Mikawa (the eastern part of Aichi Prefecture in
the present time), at the age of 30 and travelledaround the Tohoku region and the Hokkaido
island. He re-visited Akita at the age of 48 andstayed there for 29 years until he died. During
those years, he documented many different things
in Akita, including people’s life, folk traditions,
history, geography, literature, and archaeology,
using texts and drawings in his diaries, essays, andtopography books.1

菅江製作的插圖書

An Illustration Book Made by Sugae

菅江一生都在製作插圖書。他經
常使用植物葉子作為封面圖案，並將圖案轉移到和紙上。

Sugae kept making illustration books throughout
his life. He often used plant leaves for the covermotifs and transferred the patterns onto washi-paper.

菅江的樹木畫

Tree Drawings Made by Sugae

雖然他多以畫東北地區的民間傳
統和地質構造而聞名，但菅江也
畫了很多樹木畫（博物館的檔案
數據庫中存有80多幅樹木畫）。

Although he is better known for his drawingsof folk traditions and geological formations in
the Tohoku region, Sugae also made many tree
drawings (more than 80 tree drawings are found in
the museum archive database).

在9月至11月期間，展覽組織者為我在秋田創造了一個藝術家駐地
機會，我就在駐地處住下了。這期間，我反復參觀博物館，仔細觀察博物館檔案數據庫中菅江的樹木畫。我開始考慮臨摹他的樹
木畫，就像我以前在書法課上臨摹字帖那樣。在菅江生活的那個時代，人們通常通過抄寫文件來
獲取信息並將其轉化為自己的知
識。因此，我想，通過這樣做，
我可以更多地了解菅江所描繪的
樹木，並內化菅江看待樹木和世
界上其它生命的視角。

Between September and November, the organizer
created an artist-in-residence in Akita for me
and I stayed in the residence. I repeatedly visitedthe museum and closely looked at Sugae’s tree
drawings in the museum archive database. I started
thinking about copying his tree drawings, just likehow I used to copy writings in calligraphy lessons.
It was a common practice for people living in thetimes Sugae lived to take in information and turnit to their knowledge by copying documents. Thus,
I thought that, by doing so, I could understandmore about the depicted trees and take in Sugae’sview towards the trees and other beings in theworld.

就在這時，我發現自明治時期以來，他的插圖書已經有了不同的版本。新成立的明治政府急於加
強國家的力量和財富，並認為他的插圖書對了解秋田的自然資源
很有用。我還發現，雖然他的插圖書母本的圖像可以在博物館的

Just around then, I found out that different
versions of his illustration books have been madesince the Meiji period. The newly establishedMeiji government was eager to strengthen thenation’s force and wealth and it thought that his
illustration books were useful to know about
natural resources in the region. I also found79檔案數據庫中找到，但在博物館
展出的插圖書和互聯網上流傳的大部分圖像都是復製品。這些發
現鼓勵了我帶著與現存副本背後的意圖不同的想法去製作新的樹木圖副本。我決定仔細觀察菅江描繪的樹木周圍存在的多物種間關系。此外，我還想知道在菅江
生活的時代和現在之間的200年
裏，這些樹和它們周圍的環境發
生了什麽，因此，我決定尋訪他
畫樹的地方，這也成為我製作副
本過程的一環。

out that while his original drawing images areaccessible on the museum archive database, theillustration books displayed in the museum andmost of the images circulating on the Internet are
copies. These facts gave me the courage to makemy own version copies of his tree drawings witha different intention from that of the existing
copies. I decided to closely look at interspecies
relationships existing around the depicted trees.
Also, I wanted to know what has happened to thetrees and environments around them in the spanof 200 years between the times Sugae lived andthe present time, thus, I decided to visit the sites
where he drew the trees as part of my copy
making process.

展覽的傳單和海報圖片

Flyer and Poster Image for the Exhibition

這是一棵超過1300年歷史的銀杏樹(Ginkgo biloba)，它也曾是菅江描繪
的對象之一。設想著通過復製200
年前的樹圖來思考未來，我把第一次展覽命名為 “樹：尚待發生的戲劇的試演”。

This is an over 1300-year-old ginkgo tree (Ginkgo
biloba) that Sugae also depicted. Anticipating tothink about the future through copying the tree
drawings made 200 years ago, I titled the firstexhibition as “Trees: Audition for a Drama stillto Happen”.

星山溫泉的奈良子3樹

Nejiko2 Tree at Hoshiyama Spring

這是真澄對這棵樹的描述。

This is what Masumi wrote about this tree:

星山泉是本堂城回的六個泉中最大、最美麗的泉，它在武士
源氏星山宅邸的花園裏湧出。
根據傳統，領主佐竹義隆用手
從這個泉眼裏捧起泉水，並享用它。人們因此在這裏打下了
紀念樁。它被公認為是一處偉
大的泉水。

80

雖然本堂城回村仍然以泉水聞
名，但許多泉水已經幹涸。但是，有400多年歷史的高崖柏樹仍
然矗立在星山泉旁邊，水從它的
底部不斷湧出。

Hoshiyama Spring is the biggest and mostbeautiful spring among the six springs
existing in the town of Hondo-shiromawari
and it springs in the garden of the samurai
Genzo Hoshiyama’s residence. According to a
tradition, the lord Yoshitaka Satake scooped
water from this spring with his hands andadmired it, thus, people put a stake for the
memorial. It is widely known as a great spring.
Although Hondo-shiromawari is still famous forspring water, many of the springs had dried up.
But the over 400-year-old, tall nejiko tree was still
standing beside Hoshiyama Spring and water kept

81

古時候的人們挖掘水井，尋找水
源，並在水井周圍種植樹木，希望樹根能在地下吸水，改變地下
水脈，並最終將水引至水井。他
們還在現有的泉水周圍種樹以保護它們。我不確定星山泉水和樹
木中哪一個先存在，但我可以看到這兩個實體是以一種相互依存
的關系共存的。我想，這種關系
也是由生活在該地區周圍的人們
維系的，他們照看著泉水，用泉
水來維持生活。
(插圖# 858，“月の出羽, 仙北二”, 1828年，真澄在75歲時作品
的副本)

82

springing from its base.
In old times, people dug wells, searching for water,
and planted trees around the wells, hoping thattree roots would suck water in the ground, change
underground water veins, and eventually bringwater to the wells. They also planted trees around
existing springs to protect them. I could not findout which of the spring or the tree existed first,
but I could see that the two entities are co-existingin an interdependent relationship. I imagine thatthe relationship has also been sustained by people
living around the area, who look after them anduse spring water for their living.
(Illustration # 858, “Tsuki no Dewa, Senboku II”,
1828, a copy of the drawing Sasumi made at theage of 75)

2019年10月14日，我參觀了星山泉的崖柏樹。

I visited the neziko tree at Hoshiyama Spring on
October 14, 2019.

83高寺山的五本松樹

這是真澄關於這棵樹的記述。
高寺山的五本松樹矗立在離新明神宮200-300米的斜坡附近的懸崖上。這是一棵著名的松
樹，很多人都知道。在山中行
走時看到它是一件很奇怪的事
情，就像其他著名的五本松和
千本杉 一樣。因為它非常罕
見，所以我將把它畫下來。

84

Gohonmatsu Tree at Mt. Takadera

本松樹也形成了一個群體，以便
在更好的條件下活得更久。但“某種力量”——比這個五本松群落
所擁有的力量更強的力量壓倒了它。因此，它消失了。我一直在
試圖想像這種強大的力量。

that this gohonmatsu tree also had formed acommunity to live longer and in better conditions.
But “some kind of force”, which was stronger than
the force this quintuplet pine community had,
was put on it, thus, it disappeared. I keep thinking
about the some kind of the strong force.

(插圖#568，“月の出羽，仙北二”,1828年，真澄75歲時畫的副本)(Illustration # 568, “Tsuki no Dewa, Senboku II”,
1828, a copy of the drawing Sasumi made at theage of 75)

This is what Masumi wrote about this tree:
Gohonmatsu tree at Mt. Takadera is standingat the cliff near the slope that one walks up
200-300 meters from Sinmyojin Shrine.
It is a famous pine tree that many people
know about. It is a strange thing to see when
walking in the mountains, just like otherfamous gohonmatsu and senbonsugi. Because
it is so rare that I will put a drawing of it.

這種樹已經不存在了。五本松樹是一棵在生長過程中會分出獨立
樹幹的植物；最終，它看起來像
五棵分開的松樹，盡管它們仍然
共享同一個根。因為它們非常罕
見，所以被當作聖樹來崇拜。

This tree does not exist anymore. A gohonmatsu
tree is a pine tree that acquired separate stems
as it grew bigger, and it looks like five separated
pine trees although they still share the same root.
Because they are so rare, they have been worshiped
as sacred trees.

為了活得更久、更茂盛，樹木會釋放出氣味、用它們的根與其他
樹木交流，讓彼此知道是否有外敵來攻擊它們，或保護自己不受
害蟲的侵害。我想象著，這棵悟

In order to live longer and flourish, trees release
scents and use their roots to communicate withother trees to let each other know when foreign
enemies come to attack them or to protect
themselves from harmful insects. I imagined

雖然五本松樹已經不存在了，但在2019年11月12日，我還是在它的
遺址走了一圈，觀察了一下該地區的現狀環境。
Although the gohonmatsu tree did
not exist anymore, I walked aroundand observe the current environmentof the area on November 12, 2019.

85

展覽現場
樹：尚待發生的戲劇的試演86

Exhibition Views
Trees: Audition for a Drama still to Happen

真澄的樹(七幅水彩和水墨畫 )Masumi’s Trees(seven water-colored and sumi-ink drawings)

87

透過他的目光看世界(絲網印刷織物 )88

Seeing through His Gaze(silkscreen printed fabric)

為了尚待發生的戲劇(七篇短文 )For a Drama still to Happen(seven short texts)

89

集體朗讀表演的文本“為了尚待發生的戲劇”

Collective Reading Performance of the Text
“For a Drama still to Happen”

II. 靜靜地留在這里，我們想到了
我們漂流的森林

II. Remaining Here Quietly,
We Think of Our Drifting Forest

在為第一次展覽制作作品時，我有兩個感悟。一個是菅江一定相信佛
教“縁起”的概念，即所有的事物都
是依附於其他事物而存在或產生
的；並且，他看到了不同的生命，
包括人類和其他物種和事物，都存在著聯系。另一個是，我去看的那些樹從來沒有獨立存在過，它們總是與周圍的地質實體、其它樹木、昆蟲和動物以及生活在它們周圍的
人相互依存。因此，在第二次展覽
中，我感覺很自然地將我的注意力
從單個的樹轉移到集體形態的樹，
如森林和在那里生存的生物社區。
我還想繼續思考菅江生活和作品中的迷人之處，即是“遷移”和“紮根”
這兩個概念之間的關系。

While making works for the first exhibition, I
had two realizations. One is that Sugae must havebelieved in the Buddhist concept of 縁起, which is
an idea that all things exist or arise in dependence
upon other things, and saw different beings
including humans and other species and things
exist in connection. The other is that the trees I
went to see never existed independently, but they
always existed interdependently with surrounding
geological entities, other trees, insects and animals,
and people living around them. Thus, it felt naturalfor me to shift my focus from individual trees tocollective trees such as forests and communities ofcreatures existing there for the second exhibition.
I also wanted to continue thinking about the
fascinating point in Sugae’s life and works, whichis the relationship between the two notions of
migration and rooting.

就在那時，一個當地的熟人告訴
我，秋田附近有一個被埋葬的森林。在那之前，我從未聽說過埋藏的森林——它們是被水、土壤或灰
塵迅速掩埋並保持不腐的森林。顯
然，日本有許多被掩埋的森林，因為這個群島多發地震、山體滑坡和火山爆发。秋田附近被埋葬森林被稱為“出來島海岸最近期的冰川期
掩埋森林”，它曾是約28000年前存在於該地區的巨大針葉林的一部
分。我對這片被掩埋的森林感到非常好奇。更具體地說，我想知道它
為什麽會被掩埋；另外，該地區現存的森林裡是落葉樹木，那麼其余沒有被掩埋的針葉林发生了什麽。
不知怎的，我覺得我也可以通過
這片古老的被掩埋的森林進一步探
索遷移和紮根這兩個概念之間的關系，於是我決定選擇它作為我第二次展覽的主題。

90

Just around then, a local acquaintance told me
about a buried forest that exists near Akita. Until
then, I had never heard about buried forests,
but they are forests that got buried under water,soil, or ash quickly and remained undecayed.
Apparently, there are many buried forests existingin Japan because the archipelago has always
had many earthquakes, landslides, and volcanic
eruptions. The buried forest near Akita is called
the Dekishima Coast Last Glacial Period Buried
Forest and it is a part of a vast coniferous forestthat existed in the region about 28000 years ago. I
became very curious about the buried forest, more
specifically about why it got buried and since theforests existing in the region now are deciduous
forests, what happened to the rest of the coniferous
forest that did not get buried. Somehow feelingthat I could also further explore the relationshipbetween the two notions of migration and rooting
through this ancient buried forest, I decided tochoose it as my subject for the second exhibition.

91

92

新作品的構思草圖
(2020年1月20日)

Idea Sketch for the New Work
(January 20, 2020)

盡管樹木、森林和植被習慣紮根形
象深入人心，但它們也會在自然
災害和氣候變化中遷徙求生。但它們不能自己移動，因此，它們通過風、鳥、動物等的幫助來移動。通過曾經存在於日本東北地區的古老
針葉林和存在於西伯利亞東部的泰加林，我將在人類社會之外的思考
遷移和紮根的概念。

Although they have a strong image to root, trees,
forests, and vegetation also migrate to survive
through natural disasters and climate changes. But
they cannot move by themselves, thus, they movethrough help from winds, birds, animals, etc..
Through the ancient coniferous forest that once
existed in the Tohoku region and the Taiga forests
existing in the eastern Siberia, I will think about
the notions of migration and rooting beyond
humans.

93

最初，我希望訪問西伯利亞東部的泰加森林，以作為我研究的一部分。這是因為那些森林的樹種和可能生活在森林中的其他生物與
日本東北地區在上個冰川期存在
的森林類似。然而，世界各地的
COVID-19情況都在惡化，我不得
不改變我的計劃。我決定在東北地
區繼續我的研究，並選擇訪問三個
地點：青森出來島海岸最近期的冰
川期埋藏森林、秋田的森吉山和岩
手的早池峰山。

Initially, I hoped to visit the Taiga forests in theeastern Siberia as part of my research because
those forests are similar to the forest that existed
in the Tohoku region during the last glacial
period in terms of their tree species and probably
other creatures living in the forests. However, the
COVID-19 situation worsened all over the world
and I had to change my plan. I decided to proceed
my research in the Tohoku region and chose to visit
three locations: the Dekishima Coast Last Glacial
Period Buried Forest in Aomori, Mt. Moriyoshi in
Akita, and Mt. Hayachine in Iwate.

出來島海岸最近期的冰川期埋藏森林

The Dekishima Coast Last Glacial
Period Buried Forest

我於2020年3月9日、19日、8月
12日和13日訪問了該遺址。那裡
被埋葬的樹幹至少有28000年的歷史；它們看起來很新鮮，仿佛仍然活著。被埋藏的樹種主要是
赤蝦夷松，即薩哈林雲杉（Picea
glehnii），和落葉松，即Dahurian
Larch（Larix gmelinii）。它們存
在於海邊山丘的地層中，在海浪的沖刷下不斷發生外觀上的變化。

I visited the site on March 9,19, August 12 and13, 2020. The buried tree trunks, which are atleast 28000 years old, looked fresh as if they
were still living. The main buried tree species are
aka-ezomatsu, also called Sakhalin Spruce (Picea
glehnii), and guimatsu, also called Dahurian Larch(Larix gmelinii). They exist in the stratum of ahill by the sea and their appearances constantly
changes, being washed by the sea waves.

一位研究地下埋葬森林長達二十多
年的地質學家帶著我參觀了一下。
他告訴我，這是世界上現存最大的
地下森林之一。它在1960年左右變得可見，因為人們在一條河的上遊
建了一個大壩，河水不再像以前那樣，向海里輸送大量的沈積物。盡
管如此，海浪仍以同樣的速度侵蝕
著海岸。有一天，被掩埋的森林出
現在山的一側。六十多年來，它一
直可見，但沒有人真正知道我們還
能看見它多久。

94

The geologist who has been researching the buried
forest more than 20 years gave me a tour. He
told me that it is one of the biggest buried forests
existing in the world. It became visible in around1960 because a man-made dam was built upstreamof a river and the river did not carry as muchsediments to the sea as it used to. Nonetheless, thesea waves kept eroding the coast at the same speed.
One day the buried forest appeared on the side of
the hill. It has been visible for more than 60 years,
but no one really knows how much longer it would
stay visible.

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森吉山

Mt. Moriyoshi

早池峰山

Mt. Hayachine

我於2020年8月6日和7日訪問了該地。 森吉山有一片最古老的、未被開发的山毛櫸（Fagus crenata）
森林。當最近一次的冰川期結束，
氣溫變暖時，大量的海水進入日本
海，給該地區帶來了大量的雨、雪和濕度。原本生長在日本更南部地區的山毛櫸樹喜歡這些氣候條件，
於是便遷移到東北地區並形成了森林。當我問當地人，他們認為哪種樹對該地區來說最親切或最有地方
特色，許多人選擇了山毛櫸樹。

I visited the site on August 6 and 7, 2020.
One of the oldest, untouched buna, also called
Japanese beech (Fagus crenata) , forest exists at Mt.
Moriyoshi. When the last glacial period ended
and the temperature got warmer, a large volumeof sea water came into the Japan sea and broughtlots of rain, snow, and humidity in the region.
Liking those conditions, buna trees, which existed
in more southern regions of Japan, migrated andcreated forests in the Tohoku region. When I ask
local people which trees they think most familiar
or local to the region, many people chose buna.

我在2020年8月16日訪問了這個
地方，看看日本大陸唯一存在又
赤蝦夷松地方。 當上一次冰川
期過後，氣溫變暖時，東北地區變得過於溫暖和潮濕，使它們無法繼續生存。因此，它們遷徙到更高海拔的山區，如早池峰山、
北海道島和薩哈林島。在很長一段時間里，人們認為那些遷往高地的樹木早已凋亡，在日本本島已經沒赤蝦夷松了。然而，在1960年，在早池峰山的一個叫伊
能谷的山谷里发現了一群赤蝦夷松。由於那裡的山體主要由岩石
構成，谷中經常发生山體滑坡，
對多數植物紮根來說是一個惡劣
的環境。這個狹窄的生態間隙給了赤蝦夷松在島上唯一的生存空間。但如果山體滑坡發生的過於頻繁，它們也可能滅亡。

I visited the site on August 16, 2020 to see theonly spot, where aka-ezomatsu trees exist, in themainland of Japan. When the temperature got
warmer after the last glacial period, the Tohoku
region became too warm and humid for them tokeep living. Thus, they migrated to higher altitude
mountains such as Mt. Hayachine, as well as to
the Hokkaido island and the Sakhalin island. Fora long time, it was thought that the ones thatclimbed up the mountains had perished and there
was no more aka-ezomatsu living in the mainisland of Japan. However, in 1960 a group of akaezomatsu was found at a valley called Ione Valley,at Mt. Hayachine. Because of the rock formationof the mountain, landslides often occur at thevalley, and it is a harsh environment for plants toroot. This tiny gap environment has given akaezomatsu an only place to live in the island. But,
if too many landslides occur in too short period oftime, they might perish, too.

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展覽現場

Exhibition Views

靜靜地留在這里，我們想到了我們漂流的森林（三段視頻投影，英文日文敘事）Remaining Here Quietly,
We Think of Our Drifting Forest(three video projection with English andJapanese storytelling)

手繪動畫錄像Animation Drawings in the Video

觀看視頻的二維碼QR Code to Watch the Video

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ARTS & ROUTES Journal Vol.1, November 2019
Nejiko is a dialect of nezuko and the tree is also called kurobe,
Japanese thuja (Thuja standishii).
3
Nejiko是Nezuko的方言，这种树也被称为黒檜，日本崖
柏。
4
Senbonsugi refers to both a large sugi tree (Cryptomeria
japonica) that has many (sen literally means one thousand) stems
or many sugi trees that have adhered and merged into one largetree.
5
千本杉是指高大的、有許多枝幹（sen是千的的意思）的杉樹（日本柳杉）或許多杉樹生長在一起的結合體。
1
2

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中文翻譯：劉曼堃Translated to Chinese by Liu Mankun

作者簡歷

Biographies

丁侯雅丁侯雅是一位研究者、策展人和
香港城市大學創意媒體學院的博士候選人。她2018年於Media Arts
Cultures專業獲得聯合碩士學位，
她的論文題為 “當物種在生物藝術
中相遇：從巴拉德即後人類視角看
生物藝術中的多物種相遇”。她自
2017年以來一直在從事後人類理論
和物種間關係的研究。如果你对酵
母或艺术與生物學研究感兴趣，请
致信
otimurgal2-c@my.cityu.edu.hk

Olga Timurgalieva
Olga Timurgalieva is a researcher, curator, andPhD candidate at the School of Creative Media,
City University of Hong Kong. In 2018, Olga
graduated with a joint master’s degree in Media
Arts Cultures, having written a thesis entitled,“When Species Meet in Bioart: Multispecies
Encounters in BioArt from a Baradian, Posthumanist Perspective.” Olga has been working
with posthumanist theories and interspecies
research since 2017. If you are interested inyeast or art and biology, please contact Olgaotimurgal2-c@my.cityu.edu.hk

黃梣黃梣在香港城市大學創意媒體學院
攻讀博士學位。她的研究課題專注
於明清時期的救荒植物，從科學
史、農業史和書籍史的角度，探討人們如何運用多種多樣的可食用植物度過困難時期。她也致力於將數
位人文的工具與方法引入歷史研究。來信請致：sarah.huang@my.cityu.edu.hk

Sarah HUANG
Sarah is a PhD candidate at School of Creative
Media, City University of Hong Kong. Her
current project investigates the intersection of thehistory of science, agriculture, and print culture
in late imperial China through the lens of “famine
foods”—a body of knowledge of utilizing a wide
range of edible plants for survival in times ofscarcity. She is also dedicated to integrating digital
humanities tools and methods into the field ofhistory. Contact: sarah.huang@my.cityu.edu.hk

梁志剛
梁志剛為藝術家/設計師、研究員
及客席講師。他正在香港城市大學
創意媒體學院攻讀博士學位。他的研究聚焦「起義農界」，以本土農
務根莖交織的形態，回應全球的生
物政治和新自由主義的現狀。自2014年，他開始書寫小說，自行出
版並於公共空間中閱讀。研究和興趣帶他前往不同的自治空間——在與學生們的共同分享，在書仔中，
與(在)不同的社會運動之間。

Michael Leung
Michael Leung is an artist/designer, researcher
and visiting lecturer. He is a PhD candidate at
the School of Creative Media, City Universityof Hong Kong. His research focuses on
Insurrectionary Agricultural Milieux, rhizomatic
forms of agriculture that exist in response to
global conditions of biopolitics and neoliberalism.
In 2014 Michael started writing fiction, selfpublishing and reading them in public space.
His research and interests take him to different
autonomous spaces—some of which he shares withstudents, in zines and with(in) social movements.

www.studioleung.com

www.studioleung.com
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