１９９８年度作品（video／２９分） 　　舞台づくりと、小鳥や魚､昆虫など、脇役たちのパフォーマンスの瞬間を掴まえるのに長い歳月をかけた作品（この部分はまだまだ進化する）―― やがて、黄泉の国の住人たちがそこに舞い降りてきて、「我を見よや！」と競演を繰り広げるのだ！

１９９８年度作品（video／２９分） 　　舞台づくりと、小鳥や魚､昆虫など、脇役たちのパフォーマンスの瞬間を掴まえるのに長い歳月をかけた作品（この部分はまだまだ進化する）―― やがて、黄泉の国の住人たちがそこに舞い降りてきて、「我を見よや！」と競演を繰り広げるのだ！

「是非精」強勢回歸！梁嘉琪、麥美恩、湯洛雯繼續示範各種科學實驗，介紹歷史、法律知識，並一如既往嘈喧巴閉挑戰電視音量尺度。不過三人本輯慘變「姨姨」，皆因馮盈盈、劉穎鏇、張寶兒三位年輕貌美的應屆港姐加入是非精行列，為節目注入青春元素。 　　此外，「是非旅行團」今次遠赴日本各地，認識當地傳統產業和技藝，從中發掘更多有趣「是非」！「流動實驗室」再次走訪全港大專院校，讓同學動動科學頭腦，以輕鬆小實驗「睇你得唔得」。

「是非精」強勢回歸！梁嘉琪、麥美恩、湯洛雯繼續示範各種科學實驗，介紹歷史、法律知識，並一如既往嘈喧巴閉挑戰電視音量尺度。不過三人本輯慘變「姨姨」，皆因馮盈盈、劉穎鏇、張寶兒三位年輕貌美的應屆港姐加入是非精行列，為節目注入青春元素。 　　此外，「是非旅行團」今次遠赴日本各地，認識當地傳統產業和技藝，從中發掘更多有趣「是非」！「流動實驗室」再次走訪全港大專院校，讓同學動動科學頭腦，以輕鬆小實驗「睇你得唔得」。

Community of Parting traces a different approach to borders, translation, and artistic expression by invoking the ancient shamanic myth of the Abandoned Princess Bari and engaging female Korean shamanism as an ethics and aesthetics of memory and mutual recognition across time and space. 　　Rooted in oral storytelling and embodied by female shamans, the myth about Bari and her abandonment at birth for being born a girl has been mainly understood as a story of filial piety. However, Kaisen frames the myth as an initial story of gender transgression that transcends division logics but has the experience of othering and loss at its core. According to the myth, Bari regains the community’s acceptance after reviving the dead and is offered half the Kingdom. Yet, the heroine refuses to abide by human borders and chooses instead to become the goddess who mediates at the threshold of the living and the dead. This is what distinguishes the myth of the abandoned from other Korean myths about women. 　　Community of Parting derives from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities effected by war and division. The piece is composed of imagery filmed in locations such as Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage loosely framed around Bari’s multiple deaths. 　　Both inter-subjective and deeply personal, Kaisen treats the myth of the abandoned as a gendered tale of migration, marginalization, and resilience told from a multi-vocal site. In the shamanic ritual the shaman abandons herself to mediate and gathers an assembly of the living, the dead, and multiple spirits witnesses. In a similar vein, a Community of Parting is formed in the piece around the shared sentiment of the abandoned: Ritual performances and chants by shaman Koh Sunahn, a survivor of the 1948 Jeju Massacre in South Korea constitutes a recurring rhythm and culminates in a ritual for the dead that involves the artist. The myth is also reflected in the poetry of Swedish poet Mara Lee and in the poetics of Kim Hyesoon from whose book ‘Woman, I Do Poetry’ the translated title Community of Parting derives. It further resonates in various narratives by South Korean, North Korean, and diasporic women who negotiate how gender bias along with colonialism, modernity, and war have resulted in radical ruptures while unfinished histories continue to linger. 　　Infused by the living, the dead, and those yet to come, Community of Parting is actualized through a process of dissolution, revival, and becoming. Informed by shamanic practice, properties integral to the filmic medium are employed to contest and diffuse spatiotemporal boundaries and hierarchies of knowledge and being. Doing so, Community of Parting proposes other ways of thinking and being with others, including the relationship to nature and other life-forms.

Community of Parting traces a different approach to borders, translation, and artistic expression by invoking the ancient shamanic myth of the Abandoned Princess Bari and engaging female Korean shamanism as an ethics and aesthetics of memory and mutual recognition across time and space. 　　Rooted in oral storytelling and embodied by female shamans, the myth about Bari and her abandonment at birth for being born a girl has been mainly understood as a story of filial piety. However, Kaisen frames the myth as an initial story of gender transgression that transcends division logics but has the experience of othering and loss at its core. According to the myth, Bari regains the community’s acceptance after reviving the dead and is offered half the Kingdom. Yet, the heroine refuses to abide by human borders and chooses instead to become the goddess who mediates at the threshold of the living and the dead. This is what distinguishes the myth of the abandoned from other Korean myths about women. 　　Community of Parting derives from Kaisen’s extensive research into Korean shamanism since 2011 and her long-term engagement with communities effected by war and division. The piece is composed of imagery filmed in locations such as Jeju Island, the DMZ, South Korea, North Korea, Kazakhstan, Japan, China, the United States, and Germany. Combining shamanic ritual performances, nature -and cityscapes, archival material, aerial imagery, poetry, voiceover, and soundscapes, the piece is configured as a multi-scalar, non-linear, and layered montage loosely framed around Bari’s multiple deaths. 　　Both inter-subjective and deeply personal, Kaisen treats the myth of the abandoned as a gendered tale of migration, marginalization, and resilience told from a multi-vocal site. In the shamanic ritual the shaman abandons herself to mediate and gathers an assembly of the living, the dead, and multiple spirits witnesses. In a similar vein, a Community of Parting is formed in the piece around the shared sentiment of the abandoned: Ritual performances and chants by shaman Koh Sunahn, a survivor of the 1948 Jeju Massacre in South Korea constitutes a recurring rhythm and culminates in a ritual for the dead that involves the artist. The myth is also reflected in the poetry of Swedish poet Mara Lee and in the poetics of Kim Hyesoon from whose book ‘Woman, I Do Poetry’ the translated title Community of Parting derives. It further resonates in various narratives by South Korean, North Korean, and diasporic women who negotiate how gender bias along with colonialism, modernity, and war have resulted in radical ruptures while unfinished histories continue to linger. 　　Infused by the living, the dead, and those yet to come, Community of Parting is actualized through a process of dissolution, revival, and becoming. Informed by shamanic practice, properties integral to the filmic medium are employed to contest and diffuse spatiotemporal boundaries and hierarchies of knowledge and being. Doing so, Community of Parting proposes other ways of thinking and being with others, including the relationship to nature and other life-forms.

1978年，澎湖西吉嶼遷村後成為無人島，王船儀式依然深植集體記憶，象徵對亡魂的安息與不捨。儀式中，遺體安置於王船，漂向大海，隱喻靈魂歸返與生命輪迴。黑水溝流域船難歷史賦予此儀式深刻的精神意涵。影片無旁白、無字幕，透過畫面與聲音重現儀式，並結合3D掃描與電腦動畫，探索海洋文化的情感與歷史脈絡。