在一次偶然的机会中，软件工程师郭鑫年找到了新的灵感，他决心开发一款新的手机通讯软件，可以将手机短信以语音的形式在用户之间传送，这个想法让郭鑫年激动不已，他怀着一腔热血，走上了创业之路。在天使投资人和旧日朋友的支持下，郭鑫年经过艰苦的研发，终于令手机软件诞生，起名为魔盒，并获得了巨大的成功，同时也与投资分析师那蓝，成为了莫逆之交。然而创业的道路并非一帆风顺，在激烈的市场竞争和技术更迭中，同行的竞争，技术上的难关，种种问题纷至沓来，郭鑫年经历了一次又一次磨难，终于令新技术得以推广。在郭鑫年最艰难的时期，他收获了那蓝的爱情，在爱人的鼓励下，他意识到，眼下的困难并不是终结，而是新的开始，最终，郭鑫年和那蓝一起携手，继续走上了创业之路 。

电视剧《创业时代》聚焦国内互联网创业题材商业故事。IT工程师郭鑫年和好友罗维，携手投行精英那蓝等，投身互联网创业征程。可创业之路刚起步，郭鑫年便危机四伏，既要应对同行业的恶意竞争，又要提防虎视眈眈的商业巨头。他将怎样坚守创业初心，一场惊心动魄、暗流涌动的商战博弈即将上演……

基督教， 911事件和联邦储备系统有什么共同点？《时代精神》以基督教的历史开端，分析了当代地缘政治格局的历史由来，并讨论当代各国政府的形态和终极目标。社会控制伴随着恐惧和分裂的产生，人们因为对权利和现实的不同观点而彻底分道扬镳。

基督教， 911事件和联邦储备系统有什么共同点？《时代精神》以基督教的历史开端，分析了当代地缘政治格局的历史由来，并讨论当代各国政府的形态和终极目标。社会控制伴随着恐惧和分裂的产生，人们因为对权利和现实的不同观点而彻底分道扬镳。

影片从金融业和货币规则的形成入手，揭露了其存在与运行的本质，指出包括美联储、世界银行在内的金融机构吞噬财富、奴役人民的罪恶行径。并例举巴拿马、伊朗、伊拉克、厄瓜多尔、委内瑞拉发生的一系列政治事件，与以大财团为幕后指使的美国金融机构存在着密切联系。随后引申出当前广为关注的能源、民主等问题，而当今诸多棘手的问题的症结所在皆可追溯至现存的金融货币体制。 　　部分学者据此提出“维纳斯计划”，旨在引导人类追求一个无货币、共同珍惜并合理利用地球现有资源的后乌托邦社会。而实现这一目标的前提，就是彻底打破现有的金融体制。 　　人类的明天是天堂还是地狱？选择就在自己手中。

In a quest for a new, more humane society, a counter-culture revolution takes the world by storm. In the first of the InterReflections Trilogy, we look back to the modern world and wonder how it was we managed to survive as long as we had.

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.

2021年6月至12月，“时代精神耀香江”之百年中国科学家主题展暨月壤入港、仰望星空话天宫、大国建造主题展、内地奥运健儿访港活动相继在香港亮相，受到香港民众热烈欢迎。纪录片——《时代精神耀香江》完整呈现这一活动。

以神秘的鬼谷门传说为背景，讲述了一场关乎家园存续与真相探寻的冒险故事。雾隐村作为鬼谷门发源地，因一块刻有预言的神秘石碑现世陷入恐慌，“天罚” 降临的阴影笼罩全村。鬼谷门最后一位传人携神秘力量出现，带领身为门派后裔的村民，深入古墓寻找对抗天罚的方法。众人在破解诡异陷阱、对抗暗处敌人的过程中，不仅揭开了鬼谷门尘封百年的秘密，更在绝境中凝聚力量，最终成功抵挡天罚、守护家园，也完成了自我成长与门派传承。

以神秘的鬼谷门传说为背景，讲述了一场关乎家园存续与真相探寻的冒险故事。雾隐村作为鬼谷门发源地，因一块刻有预言的神秘石碑现世陷入恐慌，“天罚” 降临的阴影笼罩全村。鬼谷门最后一位传人携神秘力量出现，带领身为门派后裔的村民，深入古墓寻找对抗天罚的方法。众人在破解诡异陷阱、对抗暗处敌人的过程中，不仅揭开了鬼谷门尘封百年的秘密，更在绝境中凝聚力量，最终成功抵挡天罚、守护家园，也完成了自我成长与门派传承。