these elements need to find their connections again, somehow – the living room going minimal modern or the living room going doll house, prop – begin a confrontation, hui, “My parent’s living room doesn’t look Chinese at all.” – we’ll go to your nostalgia – constant moving of the subject, constant moving of identification – sim as changing pronoun – when convincing can become accusing – going back to the history embedded in the body, as genetics or adrenaline, a ‘collective spirit’ – physicality of emotion – the living room as body, also a vessel of memory and time (but not my time, maybe it’s yours) – mon prefers all old – moving the descriptions to the end, as the most banal and real and thereby open (a small full circle) – ‘technicians’ become also real, the link between reality and performance (natural, though one synched movement) – house audio and made-up conversations as potential thoughts of those ‘technicians’, either online with someone not present, with one another (without moving lips) or just as thoughts in one’s head that never get communicated – the connection between voice/story/conversations and video image can occur later – is the decline into chaos and unrecognisability a predictable narrative? do we need a system to work independently together?