Chien-Shiung Wu, 1912-1997

Today, 24 March, is Ada Lovelace Day, is an international day of blogging to celebrate the achievements of women in technology and science.

I'm dedicating this post to Chien-Shiung Wu (aka Wu Jianxiong), a Chinese/American nuclear physicist who worked on the Manhattan Project and the first female President of the American Physical Society.



Her 1965 book, "Beta Decay", is still a standard reference for physicists. Oh, and she was a prof at Columbia, too.

Someone called Lara Eads has set up a very readable biography of Chien over here - much more fun to read than the Wikipedia article.

Among the intriguing facts:

"During her years at high school, and later on during college years, Wu was the leader of the national student underground. The underground was the Chinese voice of nationalism. She was recruited because she had the highest grades in school, so the other students figured she would never get expelled. Plus, her dad was a former revolutionary during the Manchu dynasty, so he could be counted on to support her activities (McGrayne, p. 259)."



"Many believed that Wu’s beta decay work was good enough to win her a Nobel Prize, but it did not fit the rules of the award, because she did not technically discover something. As one of her former students and the later dean of Rutgers University put it, “She had straightened up a big mess in physics quite elegantly, but it wasn’t quite a discovery” (McGrayne, p. 268-269)."


"In 1956 two other Chinese-born physicists, Chen Ning Yang and Tsung Dao Lee, came to Wu for help finding out if an idea of theirs was right. They had suggested that the law of parity, a belief that physical reactions would be the same whether particles involved in them were “right handed” or “left handed”, would not hold true in interactions of weak nuclear decay (Yount, p. 216).

To do this experiment with 1950 technology was difficult. The National Bureau of Standards in Washington, D.C. had one of the few laboratories that could cool material to an absolute zero, which was necessary for the experiment, so this is where Wu would conduct the experiment. For the next several months, she averaged four hours of sleep a night, going back and forth between classes at Columbia and Washington. But, after nine months, it was all worth it when Wu and the rest of the research team were able to announce that they had disproved the law of parity (McGrayne, p. 274-276). (see law of parity sub page)

Ten months later Yang and Lee won the 1957 Nobel Prize for physics. Wu was not included, because Yang and Lee had originated the theory (McGrayne, p. 277)."


Next year maybe I should talk about Assoc Prof Ong Soh Khim, the first Singaporean engineer to receive an Emerging Leader Award in Academia from the US-based Society of Women Engineers (SWE). Unfortunately, her Wikipedia page mostly talks about how she used the word "shit" in Parliament while serving as an NMP.

I Do NOT Support the Mandatory Death Penalty

There's a Facebook group. You should join it, provided you agree.



Here's a brief explanation of the cause:

The mandatory death penalty leaves the judge with no discretionary power to consider the mitigating circumstances of a case before sentencing.

This "one size fits all" sentencing flies in the face of human rights.

It's time for Singapore to change.




I.e. this isn't just about the death penalty per se. It's about the fact that a court is pretty much forced to sentence a 19 year-old kid to death even when it looks like an illegal amount of drugs was planted on him so he could serve as an unwitting courier. I'm not making it up. Read about Ikuwuchu Tochi.

Better yet, read my boyfriend Mohan's explanation of the issue, here. He's been helping M. Ravi with the defence on the Yong Vui Kong case.

The group I linked to, by the way, is a photo group, where people are submitting signs of themselves standing against this cause. Mail your photo to them at antimdpphoto AT gmail.com.

"Cycles" by CYRIAK

Gorgeously surreal.

Silvina Ocampo

I'm reading a bunch of Latin American writing now in preparation for my visit. Really enjoyed "With Borges", a memoir by Alberto Manguel, available from the National Library. Check out this description of Silvina Ocampo, a real life Argentinean modernist who almost sounds like a creation by Borges himself:

"During the conversation, in which she did most of the talking in a sort of incantatory rhythm that haunted one for many hours afterwards she would keep her face in the shade and her eyes behind dark glasses, because she felt that she had ugly features, and would try to draw one's attention to her beautiful legs, which she crossed and uncrossed incessantly."



"Her stories describe an everyday supernatural: a dying woman is suddenly confronted with all the objects she has possessed in the past made to realise that they constitute her private hell; a boy invites to his birthday party the seven deadly sins in the guise of seven little girls; a child is abandoned at a lovers' motel and becomes the unwitting instrument of a woman's revenge; two schoolboys exchange their destinies and nevertheless can't escape them. In most of her fiction, her heroes are children and animals, in both of whom she recognised an intelligence beyond reason. She loved dogs. When her favourite dog died, Borges found her in tears and tried to console her by telling her that there was a Platonic dog beyond all dogs, and that every dog was The Dog. Silvina was furious, and told him in no uncertain terms to go stuff it."

"In the last years of her life (she died in 1993, aged eight-eight), she suffered from Alzheimer's and wandered though her large apartment unable to remember where or who she was. One day, a friend found her reading a book of stories. Full of enthusiasm, she told the friend (who of course, she didn't recognise, but by then she had grown accustomed to the presence of strangers) that she would read him something wonderful which she had just discovered. It was a story from one of her first and most famous books, Autobiography of Irene. The friend listened and told her she was right. It was a masterpiece."


Ooh, the Wikipedia article says she was married to Adolfo Bioy Casares. I loved his "La invencion de Morel", which has only recently been translated into English. Will try and pick up Ocampo's books in Buenos Aires.

I'l be in the Western Hemisphere from 29 March to 6 May!

And I say the Western Hemisphere because my itinerary is pretty damn complex. This one isn't an NAC-sponsored reading tour; it's just my dad wanting to climb Machu Picchu while he still can. He's taken a month off work, and asked me to organise an itinerary. Well, here goes:

29 MAR SINGAPORE Dep Singapore 2350, SQ26. Stopover in Frankfurt.
30 New York, USA Arr JFK 1055. Dep JFK 2345, LA531.
31 Lima, PERU Arr Lima 0640.
2 APR Good Friday Lima/Buenos Aires Dep Lima 1235, LA4641. Arr Buenos Aires 1855.
5 Buenos Aires /near Zarate Morning: take probably hired car to Estancia Dos Hermanos. Activities. Spend night.
6 Near Zarate/Buenos Aires Return from Estancia Dos Hermanos. Dep Buenos Aires evening, bus. 15-18 hour journey
7 Puerto Iguazu Arr Puerto Iguazu, afternoon.
9 Puerto Iguazu/ Foz do Iguacu, BRAZIL Cross over to Brazilian side of Iguazu Falls, taxi. Dep Foz do Iguacu, evening, bus. 11 hour journey
10 Curitiba/Sao Paulo Arr Curitiba, morning. Dep Curitiba, afternoon, bus. 6 hour journey. Arr Sao Paulo, evening.
11 Sao Paulo Dep Sao Paulo (GRU) 2305, JJ3746
12 Manaus/Amazon Arr Manaus 0205. Dep Manaus 1330, Packtours boat.
14 Amazon/Manaus Arr Manaus 1730, Packtours boat.
15 Manaus/Rio de Janeiro Dep Manaus 0035, JJ3251 Arr Rio de Janeiro 0540
17 Rio de Janeiro/ Petropolis/ Rio de Janeiro Take hotel shuttle or bus to Petropolis, visit Museu Imperial, Cathedral Sao Pedro, Casa de Santos Dumont. Return.
18 Rio de Janeiro/ Santiago, CHILE Dep Rio de Janeiro 0800, LA 757. Arrive 1315 in Santiago de Chile. Dep 2130 LA632
19 Lima, PERU/Nazca Arr Lima 0030. Dep Lima time 0430, Go2Peru bus. Arr Nazca 1130. Dep Nazca 2000, Go2Peru bus.
20 Nazca/Cusco Arr Cusco 1100.
21 Cusco/Machu Picchu/Cusco Dep Cusco 0650, Perurail backpacker train. Arr Machu Picchu 1051. Dep Machu Picchu 1703, Perurail backpacker train. Arr Cusco 2119.
24 Cusco/Puno Dep Cusco 0800, Perurail train. Arr Puno 1750,
25 Puno Visit Lake Titicaca: get a group tour of Uros and Taquile.
26 Puno/Lima Dep Juliaca, Puno 0905, LP123. Arr Lima, 1040.
27 New York, USA Dep Lima 2355, LA530.
28 New York Arr JFK 0835.
29 New York Dep for Father JFK 2125, SQ25
1 MAY New York/ SINGAPORE Arr for Father Singapore 0630.
SUN
4 New York Dep for Yi-Sheng JFK 2125, SQ25
6 SINGAPORE Arr for Yi-Sheng Singapore 0630.

Yeppers. Have fun while I'm gone!

Pinkdot's Fundraising Tea Party

For a bigger Pink Dot, come have some tea!



What: Pink Dot 2010 Tea Party
When: 28 March 2010, Sunday 3:30pm to 6:30pm
Where: House / Barracks Café
8D Dempsey Road, Singapore 249672
Wear: Pink
Who: You, Hossan Leong, Emma Yong and Voguelicious.
How: Tickets are at S$50.00, but please feel free to give more if you can.

Buy tickets at the original page here.

Last year, an unexpected 2,500-strong crowd came together at Hong Lim Park to celebrate the Freedom to Love by forming a giant Pink Dot.

This year, let’s aim to create an even bigger Pink Dot to keep the message of love and mutual respect alive and strong! But in order for Pink Dot to muscle up for her uber-dramatic climactic comeback, Pink Dot needs your help!


Help us make Pink Dot GROW!
We believe that campaigns such as ours serve to foster greater understanding in the hopes of eventually dispelling social stigma. As such, we seek to build up on our efforts with each year.


If you like what we've done so far and would like to see Pink Dot grow, we invite you to donate generously. Come join us and a host of our famously fabulous friends for an afternoon of merry-making and delicious gastronomical treats, while doing your part for a cause!

We want to do a lot more to further reach out to Singaporeans, and your kind donations will go a long way to helping us spread Pink Dot’s message of Love for All, to make Singapore a better place to work, live and play.


Each ticket entitles you to one cocktail and a buffet spread of food and drinks [generously sponsored by House]

All proceeds will go towards Pink Dot 2010-2011

Ticket purchase is available via PayPal.

"70 million" by Hold Your Horses

70 Million by Hold Your Horses ! from L'Ogre on Vimeo.

According to Youtube: (help us figure this out!)

1. Leonardo da Vinci, "The Last Supper"
2. Sandro Botticelli, "The Birth of Venus"
3. Rembrandt van Rijn, "The Anatomy Lesson of Dr Tulp"
4. Hans Holbein, "Henry VIII" / Johannes Vermeer, "Girl with the Pearl Earring"
5. Theodore Gericault, "The Raft of Medusa"
6. Jacques-Louis David, "Death of Marat"
7. Michelangelo Buonarotti, "Creation of Man"
8. Rene Magritte, "Son of Man"
9. Piet Mondrian, "Composition"
10. Frida Kahlo, "Self-Portrait" [they could've done much better, I think]
11. Pablo Picasso, "Portrait of Dora Maar" [looks nothing like the original; thought it was Dali myself]
12. Edvard Munch, "The Scream"
13. Vincent Van Gogh, "Self-Portrait"
14. Andy Warhol, Marilyn Monroe silkscreen
15. School of Fontainebleau's "Gabrielle d'Estrees and One of Her Sisters"
16. Giovanni Cimabue's "Madonna of Santa Trinita"
17. Caravaggio, "Salome with the Head of John the Baptist"
18. Edouard Manet, "Olympia"
19. Eugene Delacroix, "Liberty Leading the People"
20. Otto Dix, "Portrait of the Journalist Sylvia von Harden"
21. Gustav Klimt, "The Kiss"
22. Marc Chagall, "The Bride (La Mariée)"
23. Diego Velasquez, "Las Meninas"
24. Vincent Van Gogh, "Sunflowers"

UPDATE: Ooh, the whole list is up here. In Spanish, though.

SMS conversation with boyfriend

Mohan: I just got home. Was in school most of the day. Quite productive.

Me: Yay. Teamy the bee has an orgasm.


Mohan: What?

Me: He was a national productivity board mascot of the 70s. Before our time.

Mohan: Got such thing?

Me: Yeah. Ancestor of Sharity elephant.


Mohan: mg bee give birth to elephant. Yuck yuck.

Me: Actually the bee had sex with the merlion and the merlion gave birth to the elephant. Unfortunately she never got over her morning sickness.



Mohan: You’re so adorable. Muakz.

Feb texts

*POETRY*
+Mark Haddon’s “The Talking Horse and the Sad Girl and the Village Under the Sea”

*FICTION*
=Dan Brown’s “The Lost Symbol”
+Patrick Gale’s “The Aerodynamics of Pork”
+Jane Austen and Ben H Winters’s “Sense and Sensibility and Sea Monsters”

*DRAMA*
+Chong Tze Chien’s “From PIE to SPOILT”
+Gene Sha Rudyn’s “Al-Ikhlas”
=Theatre Workshop’s “Oh, What a Lovely War!”

*PERFORMANCES*
+Panggung Arts’ “Fewling!”
Cake Theatre’s “Invisibility/Breathing”
+Ravindran Drama Group’s “Taj Mahal”
Peter Sau’s “K”
= Jiangsu Province Kunqu Opera’s “Peach Blossom Fan”
Dramabox’s “The Next Generations”

*EXHIBITIONS*
=Asian Civilisations Museum’s “The Treasury of the World”
=Krista Nelson's "Confetti in My Eyes"
+Drama Box and the Esplanade’s “Scenes: The Exhibition”

*FILMS*
+Adult Swim's “Robot Chicken Season 3”
=Teddy Chen's “Bodyguards and Assassins”

Juggalo News

Just felt like posting a video. Eyes dying. Here's info about Juggalos here.

What the...?

It seems that at the end of last year, someone at the National Library created an Infopedia article about me.

http://infopedia.nl.sg/articles/SIP_1619_2009-12-21.html

Infopedia's an online database on Singapore topics. There's even a blog, called Infopedia Talk, where every new update of Infopedia is noted. The latest writer to be included is the horror and transsexual fantasy writer Joash Moo.

NUS Evening of Poetry and Music

I'm doing a reading Sunday at the Arts House Play Den, 6:45 to 9:30pm. Come if you can.


More info here.

It occurs to me that I've had an obituary on my front page throughout the entire Chinese New Year season.

This must be rectified! CNY was actually pretty good for me! My brother's come home for a brief visit from his back-breaking job in Manhattan i-banking (he's a 21st century rickshaw coolie, I told him) and I'm getting embarrassing loads of angpows.



Also had a pretty cool Valentine's Day, after carefully extracting an agreement from my folks to allow me to stay out on the 14th (which was the first day of CNY, for those of you not in Singapore). Mohan'n'me went for dinner at Out of the Pan, then watched a Malay language mini-musical about King Solomon's love for Balqis, Queen of Sheba, which included sequences in which they share a joint of weed and he can't remember how to spell his name in Arabic.

(No, seriously. It was called "Fewling", and it was put up by Panggung Arts. Also on this week is Cake Theatre;s "Invisibility/Breathing" and Ravindran Drama Group's "Taj Mahal", so by Saturday we'll have watched a Malay play, a Mandarin play and a Tamil play all within seven days.)

After that we wandered over to the Esplanade, where they had a singer called Imelda singing "Xi Mei Gui" and all the wonderful old CNY songs which Mohan complains are never played in department stores anymore ("ji di long dong qiang dong diang, wo yao qu bai nian," etc) and then moseyed over to the River Hongbao.

They'd brought in all these floats from Chengdu. It was bloody surreal, man.


These gals were rotating. Creepy note: they were on sticks! No actual feet under their skirts. They probably come to life at night and jump around like pogo sticks.


This dragon sculpture is made out of porcelain plates and spoons! Mohan said it reminded him of Montien Boonma's "The Pleasure of Being, Crying, Dying and Eating", now showing at 8QSAM.



Some of these tigers were also rotating. And their eyes were light bulbs. They were the TIGERS OF THE DAMNED.

And we're the pandas of the damned! (Contextual note: I'd just been asked to take a lovey-dovey photo of a heterosexual homoethnic couple, so I insisted on them taking one of us as well, just to make their jaws drop. Well, okay, so I did also want an excuse to hug the boy, but this is the reason why I didn't take care to pick better lighting.)

Okay, us Chinese are just plain weird.

Gongxifacai, bubugaosheng, dajidali, niannianyouyu, shengtijiankang, xueyuejinbu, xinniankuaile, wanshiruyi... ah fuck, can't remember any more.

Damn. Lee Weng Kee's dead.

He passed away on the morning of Wednesday 10 December. (Mervyn corrected me; I thought it was the 11th.)



For those of you who don't know him, he was one of the older members of Singapore's English acting scene - he'd actually grown up on a farm and run away from home several times, and been irritated when Kuo Pao Kun came in to advise them on a play they were workshopping and claimed that city kids could never understand what farm life was like just from one day's immersion.

He was in his '50s. Maybe '60s. Pneumonia, says Facebook. He'd acted as the father in "251", my Annabel Chong play, where he'd taken me out for coffee near a gym afterwards and told me about his life: how he'd lived in England and had a passionate affair with a priest who lived in a castle and seen old lovers, much aged and with symptoms of HIV, in Babylon bathhouse in Bangkok, which was one of the only places people in Singapore could openly cruise in the old days.

He'd written a play as well, he told me, in which he slaps the dead body of his mother.

A number of people had bugged him to write his autobiography, but he'd never got round to it.

He played a feng shui master in the very first episode of "Under One Roof", Singapore's first English sitcom. He was also a regular in "Happy Belly", I think. Recently, he played a charming man in a senior citizens' home in "Chasing Adam Cheng" and a hospitalised man who can see ghosts in "The Patient". I'd critiqued those two plays.

I don't know what to say in moments like this. I wasn't close to him. I wasn't a gigantic fan of his acting. But I respected him. And it does feel like one of the fires has gone out in this world.

(He was very frank about his sexuality, so I don't feel it's a betrayal when I tell you these stories. Strange also, knowing that as someone who wasn't a close friend, I didn't have enough of a relationship with him to betray him.)

Are you a gay man in Asia?

Then do this survey. It's for science! And it allows you to realise how slutty you've been over the last six months! (My judgment: not very, since I've been a monogamous relationship since August.)



After that, reward yourself by watching this very amusing and NSFW video. (Do NOT click on the link if you're under 18 or a straight man. Lesbian, bisexual and straight women should be okay.)

@School in Bengaluru: shots from MES Kishore Kendra Public School!

Yatta! Finally got these shots, taken during my workshops at last December's Bengaluru Habba. A kindly teacher at the school loaned us her camera (mine was on low batt).

Don't I look dapper in my sweater?







The shots of the other schools are here.

SDP's Let's Talk

At the Ubud Writers' Festival, at a forum on Internet connectivity and freedom of speech, I polled the audience on whether I should agree to a web interview with SDP. (That's Singapore Democratic Party, an opposition party in Singapore, for those of you from abroad.)

Surprisingly, given that it's a human rights event, half the audience members said yes and the others said no. (Those who said no said they were scared I'd never get a government grant again.)

Anyway, I'd kind of made the decision already: the only good reason to say no would be that I was afraid. And the only way to change society is to live without fear.

But I'm talking out of my arse a little. The truth is, I hate listening to myself on recordings so much that I can't watch this clip. So I don't know what bits of the interview got selected.

Ooh, fun fact: the interview itself took place on my birthday last year, 25 November. The interviewer and the director, Chan Tee Lick and Seelan Palay, are both born on the same day. What're the odds?

Desert, garden, farm

Here's an abandoned extract from an essay I was working on for the Shifting Boundaries essay anthology. (It's abandoned because I decided to take the focus away from this portion of the essay, not because I didn't finish the essay itself.)

...But hold on. Am I seriously being nostalgic for a golden era when there was less art in Singapore? Would I actually advocate a cutback on festival funding? Is this panic simply a quarter-life crisis – a realisation that I’m not hip enough to keep up with the entirety of the scene at the sort-of-tender age of 29?

I don’t know. What I do know is that it’s healthy to step back and take stock of where we are in the midst of progress. And it is imperative to remember that we have made progress. This surfeit of arts and design events means we can definitively retire that old cliché about Singapore being a “cultural desert” (and yes, it is extremely extremely old: the first use of the term I can find dates from a 1964 essay by art critic Ho Ho Ying ). (1)

There’s also some evidence that Singapore’s more than the government-micromanaged “bonsai garden” described by Kwok Kian Woon. (2) After all, a fair number of the festivals on the list are organised by groups quite unaffiliated from the government. The Necessary Stage does the M1 Fringe Festival, People Like Us organizes IndigNation, the Singapore Hokkien Huay Kuan does the Singapore Hokkien Festival, while the local embassies of all of the developed nations on the planet seem to be throwing a film festival of some kind.

But if we’re no longer a desert or a bonsai garden, then what have we become? Definitely not the “rainforest” culture which Kwok claims is typical of Southeast Asia, holistic, sustainable and wild. Witness the sheer popularity of arts and culture at all economic levels in the Philippines or Bali. In contrast, MICA boasts of Singaporeans’ increasing interest in the arts, noting that two fifths of us have attended at least one cultural event within the last 12 months. (3)

What we’ve become, I think, is a farm. We are now bigger, and more intensely commercial, than a garden. We exist not only for the pleasure of the beholder, but for the sake of the harvest.

For many, it’s a financial harvest. The government knows that investment in the arts doesn’t just get indirect returns (cultural vibrancy attracts international talent, according to the gospel of Richard Florida), but also direct returns: over $6 billion in operating receipts, (4) not to mention the unseen returns from eating dinner before and drinks after. Indeed, the ‘00s have seen a previously indie scene replaced by a huge wave of commercial theatre and music performances, commercial local film productions and commercial art galleries and art fairs. We are no longer simply part of an arts community, but also an arts industry.

Of course, not all of us are in it for the money. In fact, my metaphor’s inspired by a pretty cool, non-government affiliated collective named FARM that runs a non-profit networking web portal for artists and designers. Core members of the group lightheartedly refer to themselves as “farmers”, and their mission, originally stated on their site, is to “grow local creatives”. (5) Societies like this value art for its own sake, but are similarly driven by a belief that it must grow.

Gardens are maintained, but farms grow. Gardens are sites of leisure, but farms are factories of labour. The hegemonic narrative of Singapore is one of development: fishing village to port, First World to Third World. And development, as we’re told, comes only through hard work.

I’m pretty infused with the agricultural mindset myself. In response to an essay I’d written about the state of Singapore literature, one online commenter noted how I kept resorting to organic images of “growing”, “planting”, “famine” – turns of phrase that the commenter found “a tinge bit biblical”. (6)

Which brings us back to the first question in this essay. Dare we consider the possibility that our years of plenty may soon come to an end?

(1) Ho Ho Ying, “The Current Art Scene in Singapore (1960’s)”, Critical Essays on Art, Singapore Art Museum, 1999, pp, 26-28. Reprinted in Liu Kang and Ho Ho Ying, Re-Connecting: Selected Writings on Singapore Art and Art Criticism, Institute of Contemporary Arts, Singapore, 2005, pp. 64-67.
(2) Kwok Kian-Woon, “The Bonsai and the Rainforest: Reflections on Culture and Cultural Policy in Singapore”, Ask Not: The Necessary Stage in Singapore Theatre, Tan Chong Kee and Tisa Ng (eds), pp. 1-25.
(3) Singapore Cultural Statistics 2004-2008: In Brief, Ministry of Information, Communication and the Arts, National Arts Council, National Heritage Board, National Arts Council and National Library Board, Singapore, 2009.
(4) Ibid.
(5) "I Am a Farmer", Five Foot Way, 22 July 2007.
(6) Ng Yi-Sheng, "Singapore, the City of Poets", Eric Forbes's Blog, January 28 2010.

If you get what this ad is about...

... then you've got a pretty dirty mind. Like me. :)

Texts January 2010

Watched The SMU Arts Festival poetry slam today! I am pleased to announce that new blood is a-comin'.

*POETRY*
Tan Jing Quee’s “Love’s Travelogue”
+Jeffrey Yang’s “An Aquarium”
+“The Oxford India Anthology of Twelve Modern Indian Poets”, ed. Arvind Krishna Mehrotra

*FICTION*
+Muriel Paskin Carrison and Kong Chhean The Venerable’s “Cambodian Folk Stories from the Gatiloke”
+Chuck Palahniuk’s “Snuff”

*DRAMA*
+Erwin Riess’s “Hawking’s Dream”
=Aimé Césaire’s “A Tempest”

*NON-FICTION*
+Vann Nath’s “A Cambodian Prison Portrait. One Year in the Khmer Rouge's S-21”
=Farish Noor’s “What Your Teacher Didn’t Tell You”
=S. Varathan and S. Hamid’s “The Development of Tamil Drama in Singapore”

*PERFORMANCES*
=The Necessary Stage's "_______ Can Change"
+Albert Tiong's "The Passing"
+Teater Ekamatra's "Bilik Ahmad Berdaki"
=Trafik's "Destination Trafik: Deer"

*EXHIBITIONS*
=Reyum Institute of Arts and Culture's "Measurements in Khmer Society"
The Institute of Critical Zoologists' "A Guide to the Common Flora and Fauna of the World"
+Htein Lin's "The Scale of Justice"
+Jonathan Kambouris's "Last Meals"
+Philip Toledano's "America: The Gift Shop"
+8QSAM's "Classic Contemporary"

*FILMS*
+Oun Batham's "Gangsters"
+Khmer Film Khmer Generation's "Twin Diamonds"
+Mike Eschmann's "Achtung, fertig, Charlie!"