Rather than highly concentrated moments of gathering, low tide moments coalesce around durational holding and hanging·structures, shaped by both visitors and contributors together. These less time-bound encounters – including walk-in exchanges, rituals, participatory interventions, and temporary architectures – can be visited and experienced throughout the festival’s opening hours. Exchange happens through proximity rather than spectacle, through conversation, listening, tinkering, and co-presence. Access to stage areas, holding·structures, and hanging·structures remains fluid, allowing practices to circulate, pause, and recombine at small to mid scale.

Every day, Pray-per-view , a ritual walk, will set the collective tempo for the festival day.

The series of installations and temporary relational architectures are conceived as conversational platforms, creating environments that spark dialogue, engagement, and shared experience. Across three days, Petja Ivanova creates a one-on-one lecture-performance in a nail-salon-like environment, offering a way of indexing knowledge through the body. In sourdough architecture, a durational drop-in installation by Catherine Anabella Lie, a living starter functions as both material and clock, structuring daily rhythms through cultivated waiting. Huang Po-Chih will share about his long-term project 500 Lemon Trees, which funded the reactivation of abandoned Taiwanese farmland through 500 subscribers who collectively produce limoncello. Tropical Sweat (Dance Dance Revolution), a dance tournament hosted by Johnson & Jeison, is powered by sounds from the tropical region club scene. A stepmania mod becomes a playful meeting place for steppers, passers-by, lazy fitness enthusiasts, and anyone who enjoys making or losing friendships while showing off their cardio skills.

The low tide unfolds a moving image programme as a durational and relational field rather than a linear sequence of screenings. Moving images circulate as ongoing presences, returning currents, and shared points of attention across the festival’s time·spaces. It is meshed by a shared question: What kinds of forces are released when minerals and languages are dislodged from their grounds and set in motion as images, signals, and code? This triptych between Tianzhuo Chen’s Ocean Cage, Montika Kham-on’s Afterlives, and Juan Covelli’s Atrato extend this inquiry through oceanic and riverine logics, attending to estuaries and thresholds where flows of matter, belief, and language converge.

Unfolding in the Kibanda Video Hall as a YouTube-based programme, presentism.mp4 is activated through curated playlists, live jamming, and foregrounded comment sections, alongside occasional short films and karaoke lecture performances – treating circulation, translation, and commentary as integral cinematic energies. Rather than presenting fixed works, the hall operates through selection, interruption, and recombination -treating circulation itself as a compositional practice.