I have always loved the transliteration of Taiwanese puns, the illogical and direct translation of that phonetic wordplay. It's like shedding an insect's exoskeleton, easily discarding a burden, and seems to be a ritualistic process of transformation.

The process of creation itself is an occupation or a kind of assertion. This process often acts on what can't be altered in its reality, seeking solace through the transfer of emotions in the act of creation.

When "Occupy" is translated into Ah Q school, I like the excessive process of "overdoing" it. Perhaps it generates a context that is very crude, showy, and very Ah Q.

It's like an attempt to overturn something but ending up unable to do so. It's akin to a kind of wishful thinking or a form of stealing and copying. When applied to different experiences or media, it creates very different landscapes.

On my Instagram social interface, many gays use emojis to obscure certain parts, employing a cute interface symbol, like a kind of "alternative coding," using cuteness to mask sensuality, creating a space for many fantasies.

So I took advantage of this state, placing emoji symbols all over the images, as if leading to arbitrary connections, yet still trapped, floating in a suspended, vague realm. It's like landscape points in the interface, resembling a short circuit, with many ineffective errors and contradictory reasonable stopping points.