I visualise and transfer the observation of easily ignored objects and phenomena into a digital format using digital techniques as an extension of, and compensation for, the weaknesses of the body’s senses. Digital devices play a role as “semi-transparent prostheses” that connect the photographed object, the artist and the viewer, and create a rhythm among the physical, mechanical, and perception in my works. I question the notion of ‘point of view’, whereby the camera becomes a more active agent between the artist’s ‘seeing’ and mental perception. My video pieces may create a sense of paradoxical imagination, which guides audiences’ consciousness to float between the familiar and the unfamiliar, the recognisable and the unrecognisable. Different from watching a mainstream film, my work creates an uncertain perception and provocative ambiguity in audiences through gazing at my works. The best way to view my moving image is in a complete installation not via a laptop or online sources. With this premise, I can firmly respond that the moving image can generate a betweenness within the triangle of perception, representation and imagination. The betweenness would form a platform for viewers to confuse, to ponder, to review, to examine my works. The betweenness is not only about the meanings but also the direct reaction to seeing my works in relation to an idea of painting. The paradoxical feeling is between moving image and painting. My works are not purely video work but also not pure paintings as a representation of something. They do not offer enough information to share like most video works and not like true paintings because the time is moving on the surface. What I want to offer to my viewers is a sense of perceptual uncertainty, a platform for travelling in the brain, a gap for thinking and a borderspace for co-existing/co-affecting/co-emerging in the words of Bracha Ettinger. It is also my way of intervening in the flow of flux-image. I prefer to see my works without a proper classification and without a fixed label. Before other methods will be found, I think the concept of the digital moving image is what I can use to sustain the status of consciously vacillating, flowing, proliferation and vibrating with the aspect of vision, perception, imagination, and affection (I am using the Deleuzian concept of affection). My research interest is in the multi-mediated perception and affection among art, language and technology. In her PhD research, I explored both the process of considering a digital moving image, not as a virtuality or substitute, but as a means of exploring human perception in its physiological fragility and variability, as well as in terms of understanding, via the difference between Chinese character thinking and Western alphabetic thinking, in which words such as mind, brain, imagination, memory... etc. seek to convey the registration of perception as memory and as the storehouse of what becomes a subject.