Bittersweetly Sovereign: 2025 Amis Music Festival

主權意識與其未竟之處：2025阿米斯音樂節

Sorry, We Ain’t Yaxshi.

On Dan Er: Yaxshimusiz

我們不雅克西

論旦兒：〈雅克西姆／斯孜〉

Poetics of Fury, Outbound Becoming: Scattered Thoughts on Yan Yi-Sheng’s Talatokosay A Kapah: The Mountain in My Body

成為以外的人——從《在我身體裡的那座山 Talatokosay A Kapah》出發的一些聯想

Drawing Resistance: Mapping the Entangled Highlands of Taiwan and Thailand

繪圖於間隙：台泰邊區上的抵抗製圖

360° Historiography: Beatrice Glow’s Counternarrative to Dutch Colonial History

360度觀看歷史——論碧翠絲・格魯反思荷蘭殖民歷史的創作

After the Screenings: Notes on the Intersectionality of Gender and Indigeneity

在放映之後：關於性別、原民與交織性的筆記

I Carry Three Names: Name, Identity, and the Dissonance Between Recognition and Reality as a Kavalan in Taiwan and a Taiwanese-American in the United States

名字，我有三個：論名字、身份認同、身為臺灣噶瑪蘭人與臺裔美國人的現實及落差

A Concise Lexicon of Banana

香蕉小辭典

The Cunning of Acknowledgment and the Reluctant Settlers: How Land Acknowledgment Works (or Fails) in Taiwan

土地承認在臺灣：承認的奸巧與墾殖者的不情不願

The Boardgame, the Map, and the Museum Guide. A Conversation on Southern Universe: An Exposition Proposal

Under-the-Bridge as a State of Consciousness: On TAI Body Theater’s Dance Work

作為意識狀態的橋下：論TAI身體劇場《橋下那個跳舞》

Return to the Historical Facade: Chung Chiao on the Cultural Cold War, Post-Coloniality, and Plantation Settlements

桌遊、地圖與博物館導覽：從「南方宇宙：一個博覽會提案」談起

返回「歷史斷面」：與鍾喬談文化冷戰、後殖民與「墾殖」

纏結的殖民性：論《原民會戰功冊》非法定原住民族裔觀點下的協作式殖民批判

The Settlers and the Unhomely: Tracing the Settler Infrastructures in Eastern Taiwan Through Film History

白浪與非家：思索電影視野中的東台灣交通設施