Tseng: I have elected to distribute my works on the internet because I am personally interested in website presentations and their delivery. In addition, I know that many people will be unable to travel to see my works or have an interest in leaving their home locale. I believe my works and writings are best read and received in a quiet atmosphere offered by the home. Thus, the internet is the best platform for my works to reach this large seditary audience.

Of course, if given the choice, I would like my piece to be presented in a space beyond the home, a place better equipped with sound delivery. What I really want to show is the best possible effects that could be achieved with projected images along with voices. After all, I know that the visual and sound effects on the internet cannot bring out the best quality of my works. However, it is the fastest way for me to distribute my works and as such commences an initial communications with my audiences.

Overall, I have no desire to show my works in galleries. I think galleries have their own frameworks and objectives. For me, showing my work in a gallery will reduce the flexibility or breadth of my work and its presentation. Nevertheless, although the internet may not be my first choice to display my work, it is preferable given my present options available so far.

Ying: Your distribution method online accommodates both English and Chinese audiences. Can you tell me more about your interests in engaging a Western English speaking community? For example, as a Chinese-Canadian artist, curators are always looking to Taiwan and Asia. However, there is a tendency to overlook the new generation of artists who have migrated to the West from elsewhere. In a way, one might say that curators are neglecting immigrant artists.

Tseng: It is confusing for me as well. In Taiwan, curators pay more attention to the artists who have held exhibitions abroad or who have been educated abroad and as a result they do not seem to care much about local Taiwanese artists.
I decided to develop the English version of my web site to increase readership and to respect other audiences most of whom are fluent in English I really want my pieces to be read and understood by both Chinese readers and non-Chinese viewers. By translating the writings into English, it is my wish that the non-Chinese audience can have a better understanding of my work.

Ying (afterthoughts to this responset): I believe by featuring his work online, Tseng is expanding the scope of his audience and in turn, reaching an international audience which in part increases his opportunity to be profiled and considered part of the global market.

After a few more correspondences with Tseng, I realized I developed my own sensibility bout how Taiwanese art functioned and I was more aware of how to read his work. I am fascinated with. "Who Is Listening?", a video production five composed and separate scenes. The first narrative depicts individual children laughing and giggling as they run around with milky liquid on their faces and heads. The second narrative in the cycle shows a boy lying on a platform in front of a school building. The third depicts a boy playing with a mother on a bed. The fourth shows a four year old boy running towards a man (I assume his father) and rubbing his face between the father's thighs. The fifth narrative depicts a series of posted notes being placed all over a child's face and body.

I will explain each of those narratives in greater detail. The first video depicts where the children have been splashed with milky liquids on their faces strongly suggests that semen has been sprayed on the children, Yet the children's reactions toward this sudden attack of fluid are childish. Each is excited by the event and seem neutral to them. For an adult, to be splashed by any form of liquid is unpleasant and possibly degrading. This action performed in the video becomes even more complicated when the fluid may e part of sexual excretion. However, Tseng's choice of children responding to this action subverts how one may initially respond to this concept. Tseng thus is making a social commentary on how adults can implicate their own ideologies in the interpretation of sexual acts upon children. His selection of white fluid on the children denotes these overt sexual connotations. The children's actions are accepting while adult audiences will perceive these uncomfortably as sexual expressions. Tseng is suggesting while the children seem open and expressive about this action all can be reconsidered and contextualized through the eyes of an adult world. While funny facial expressions are made by the children, Tseng's work questions ideals, knowledge and social protocol-the children are accepting of the action but the viewing audience may not.