内容提要
很多的人，很多的物品，很多的地方，很多很多的东西，还有很多很多的事情，我的日子在正常情况下过得茫然混沌。无知与被动是我正常的反应。习惯就成了挂在嘴边的固定用语。这一切的一切，对于我来说就是一种无意义的消磨与饥渴的等待。
在某种特定声音的召唤下，我会变得很振奋；在某种曙光下，我会得到一刻的清醒和安静；在某个空间里，我会对某种东西和幻想如此的充满饥渴。因此我把这稀少的一刻当作真实的世界，那种真实的世界与我们平行延伸。那一刻不是交点，是一种被召唤的可能。
空间
“空”且“无”及无限延伸、中性的，对人类大脑无阻碍的事或物。“间”能让事物产生或物体生长的间隙。“空间”能让一个意念中的或虚幻的事和物无限地存在生长，能容下无限的物或意念。（以另一种方式与生活发生关系）
空间——发生与等待发生的场所，故事与情节的运动曲线。空间或许用科学的说法更为具体，更为可信。对于我可能就是抽离了故事留下的残骸，就是等待故事发生的空地，就是等待奇迹出现的预兆，就是面对更新的中转站，就是信念的消失与自我的重新定位。
时间
古老的名词，所以有着它古老的说法。一切说法都是以物质作为参照物才被人们所接受，才被人们所感知。但是时间本身却脱离物质而存在。也脱离时过一日如同千秋的心理而存在。没有了物质与心理的参照物，时间又将如何存在？时间总会是构造一个世界必不可少的元素。或许在与我们这世界平行的另一个世界里，时间只是简单的计算与研究的刻度。它只存在于人的意念之外。当你想揭开它，还是只能运用古老的说法，说着与时间无关的事情。
道具
人类的欲望，人类的智慧，人类的生存。在自己制造的有形物质里全部暴露。一个隐讳世界在另一个角落却又是如此的裸露。我们为制造一个秘密的世界，尽力去为真实盖上层层秘纱，努力让一个世界变得复杂起来，以满足丰富多彩的心理需求。但游戏规则永远是直白无味的真实，不那么让人愿意去接受。现实从此不那么现实，另一个世界慢慢地只能在理智与情感之外存在。
叙事
叙事——是一切因素的重新组合，道具在时间与空间中的重新运用。
生物在现实世界与另一世界线上的徘徊和定点。
叙事法则——精神与时间空间的错位。重新启动事与事、物与物、事与物的另外一种联系形式。
叙事方式——打乱惯有的事与物、事与事、物与物的联系方式。重新可能性的组合。
叙事原则——可能性加荒诞是现实世界与另一平行世界的共振点。
被遗忘的空间，它只是一个中转站，像鬼魂一样的隐蔽。它的存在如同铁石，不用再去证明。
邮递员，他的职业和身份被迫使他的肉体如同被迫遗忘的空间。
旅行者，所有的空间对于他只是路过或者经过，一切强迫所发生的联系及行为都是为了论证自身的肉体。
守望者，等待是他唯一的意义，空间只是对事物可能性的参照物，一种经验的重复。（文章来源：《刘唯艰》）
An accumulation of people, of goods, and of places and events… my daily life is usually confusing. Ignorant and passive are my reactions. All of these occurrences are nothing but idle waiting in vain.
As a certain specific call sounds, I will feel very inspired. Under a certain dawn, I will get a moment of peace and awareness. In a certain space, I will hunger for certain things and illusions. I regard these rare moments as the real world, expanding paralleling the physical reality.
Space
In Chinese, Kong, meaning ‘nothingness’, is something neutral, that extends into infinity and makes no obstacle to human mind, while Jian is the clearance allowing things to grow.
‘Kong Jian’ (the Chinese word for ‘space’) is where a vision in the human mind can exist and extend infinitely. It can hold infinite things and ideas.
Kong Jian’ is a space where things unfold. The moving tracks of stories or plots. It might be more concrete and more understandable if we describe ‘kong Jian’ in a scientific approach. For me, it is just the remains after the story is taken out, a room for stories to happen, an omen for miracles, and a transfer station for newer things. Beliefs fade out here and I have to re-identify myself.
Time
An ancient word, hence there are many diverse ways to talk about it, but all make sense to people only when they take the physical and material reality as the point of reference. One may have the experience of living without having the anxiety of ‘one day past feels like a thousand’. Without the contrast between material and psychological activity, how will time exist? Time is always an essential component of the world. Perhaps in a world that parallels ours, time is only used as a simple tool of calculation and research. It exists only beyond human ideas. You can only adopt the old ways when you try to describe it, but what you talk about are only things irrelevant to time itself.
Property
Human desire, human intelligence, and human existence are all revealed in the physical material made by human. A hidden world can be so conspicuous. We try hard to cover layers in order to make a secret world, and to make the world more complicated in order to satisfy our need for variety. But the rules of the game are always so literal and dull, which we feel so reluctant to accept. Reality is no more reality, and the other world, gradually retreat to somewhere beyond sense and sensibility.
Narration
Narration is a recomposition of every element, a reutilisation of properties, time and space. A biological position and wandering on the line between the real world and the imaginary.
Modes of narration entail disorganization of habitual things and objects. A new composition’s possibility.
In narration, possibility and absurdity are the resonating points between the real world and the paralleling imaginary world.
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