[1] According to Albert R. Mead, The Giant African Snail: A Problem in Economic Malacology, The University of Chicago Press, 1961
[2] According to The Great Paper Mulberry: Anthropological journey of a botanist (Open Museum), Plant DNA Actually Records History! The Paper Mulberry Tells Migration History of Austronesian (Popular Science Media of Academia Sinica: Research.Sinica), What does folklore plants say about "out of Taiwan"? Taiwan is the hometown of Pacific paper mulberry (Kuo-Fang Chung)
[3] The cross-stitch that is commonly used by the Paiwan tribe and other Taiwanese aborigines is said to have been introduced to Taiwan by the Dutch in the 17th century. The Silaya and Dawulong tribes of the Pingpu are the most influenced. The relevant clues can be compared to the similarity of the patterns and stitches between the two tribes.
[4] In recent contemporary art practices, many return to the forms of cross pattern and traditional crafts as a more radical political expression method. Such as the Czech Russian artist Rufina Bazlova. Art Intervenes in Politics: Artist Supports The Protests In Belarus with Traditional Belarusian Embroidery Patterns.
[5] According to Fragments on Paracolonial (Huang Chien-Hung, 2019, p. 218)
[6] Here it refers to “mappa mundi”. The term derives from the Medieval Latin words: ‘mappa’ as cloth or chart and ‘mundi’ as of the world
[7] According to Fragments on Paracolonial (Huang Chien-Hung, 2019, p. 26-29, p. 98-111), Huang defines the "Negative World" as "The world, while adjacent globally, is suspended and disregarded due to the lack of concern for it worldwide." by discussing the "fractus vacuum" of modernity and globalization. Here the author intends to reconnect and re-topify the (negative) global world through the perspective of Pierre-Félix Guattari's “ecopolitics" from book of Fragments on Paracolonial.