The purpose of my essay is to argue that the disorder of Dictee is not a negative reflection of marginalization and colonialization but, instead, actively produces a fluid form through the mutual intrusion or conflict of the fragments. The text’s form displays the artistic and philosophical thinking of Theresa Hak Kyung Cha, who attempts to positively derive dynamics of disorder through textual fragmentation. Particularly, the feminine imagination with fragmented narratives and images creates the productive strength for constant fluidity of the world. In order to do this, the first half of Dictee fragments official history to reconstruct history freely as a collage of fragments. However, the distinct characteristic of Dictee is to display fragmentation through a spatial, three-dimensional method. Particularly, the film screen displays the feminine body as an ‘empty space.’ In Dictee, the empty space is not empty but rather a fluid space of air, breast milk, water, blood, saliva and breath. Thus, the feminine body becomes a space of the eternal fluidity. In other words, the power and solidarity of the fragments created by the feminine imagination becomes a political strength to resist against the official discourses of history which reinforces objectivity and dualistic boundaries. Furthermore, this fluid form can be a medium to produce an equitable and democratic world that acknowledges the co-existence of the diverse differences without exclusion or oppression.