1. How would you differentiate and connect the ‘I’, ‘We’ and ‘They’ in your work?
   “They” is given physical, cultural, and environment setting (the background).   “I” is the individual, the user, the visitor of “They”. “I” and “they” together develops a new status which is “We”. “We” has a sound posture and strategy against the rest of “They”, and makes previous “I” more adaptive in the survival mechanism.

2. How would you define ‘body’ in relation to the multiple forms of presence, interaction and spatial condition in contemporary cities?“

Body” proposes favourable postures against the outside world for survival under different circumstances. An individual may have several different “bodies”, depending on where he/she resides, an inflated “body”, a partly disabled “body”, a “body” that disguises and blends into the environment, a “body” that amends the environment instead of itself, the “body” that cooperates with others to form a collective body. An individual must have his/her clear interpretation of the city (can be very personal or even fictional) in order to identify the threat and advantage. 

3. How would you respond to the concepts: ‘the space is a medium of the body’ and ‘the body is a medium of the space’?
Camouflage is a process of blurring the boundary between the space and the body. The space can turn into a functional (or visually identical) extension of body, or the body may disguise itself into the background. In any case the new form will manifest the undiscovered characteristic of either body or the space.

4. How would you orchestrate the ‘I’, ‘We’ and ‘They’ across two physical contexts (such as this year between Taipei and The Hague)?
The “I, we, they” should be adaptive and able to transform across two contexts it should reflect to.

5. How would you connect the process of making/doing/actioning (which may take on different forms) with the process of experience and the construction of new identity?
At the technical workshop stage We will simulate and evaluate different assembly process,  as well as demonstrating why we have chosen specific material among others. There should be test results or simulated results of other material options.

6. How would you gauge the tension between your work’s specificity and the possibility of indeterminate participatory input that jointly shapes the work in its process?
At the design stage, me and the artist will eventually go through the main process down to a production level. My side will needs to handle bit more accuracy on technical level and provide some leeway on the final product. We may increase the variation of what assembly stage can affect the final result. in other words the assembly stage plays a key role of how the product / device will appear in the end.