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Yinyi Hu

Assignment 2 – Topic Development

(Updated on Oct 28)

  • Topic: Parenting – Psychology –  Chinese parents’ anxiety about education
  • Stakeholders: parents, students, teachers, Education Bureau
  • Critical analysis:
    1. What causes or increases Chinese parents’ anxiety about education?
    2. What’s the negative impact on kids?
    3. As parents, how to cope with the anxiety?
    4. How government and Education Bureau can help reduce the anxiety?
  • Expected outcome:
    1. Convey the idea that how parents’ anxiety negatively impact kids’ growth
    2. Provide some solutions to help reduce anxiety
    3. Reflection on public anxiety

 

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  • Topic:

Time Zone: Connection and Barrier

  • Target Audience:

Kids and people who has interest in time zone

  • Critical Questions:
    • How Time Zone identified?
    • How different countries with a large territory deal with time zone?
    • In this digital world, can technology help people in different time zone communicate better?
    • How to set up some policies or principles (similar to standard time zone), which can reduce communication barrier in different regions and cultures?

 

Assignment 1 – Final Reflection

 

  • What did you learn?

In doing this project, I learnt how to apply what was taught in the class – a systemic approach and conceptual tools for a research-based art practice, including systems map, interview and experimental making. It is a good hands-on experience to deal with a real assignment.

 

  • What feedback did you receive? Any reflections on critique itself?

I received useful advises from peers – Jamie suggests to use the users’ personal data to generate code of arms. Also, Yuqian asked about if Coat of Arms is a good thing or not today, which posted a question  – what’s its value for today.

 

  • What might you do differently in terms of process or content?

I am thinking it would be better if there is another web version with the physical booklet. More elements can be provided, then users can have a more interactive experience in designing his or her Code of Arms, and also users can share their emblems on social media.

 

  • What was inspiring? What parts?

This project is inspiring to me that  – even if working with a topic that you are not familiar or interested in, you can leverage a systemic approach to communicate the audience with the point of view.

 

  • Revisit the assignment prompts: how did your project relate to the original prompts, in terms of critical lens, audience, tone, etc…

I think my project is basically up to the assignment prompts and my original design. But overall I believe I can be more bold to try different things.

 

  • How did you balance research and experimentation? Which is easier for you? How can you focus more on the areas that you shy away from

It is a learning process for me to balance research and experimentation. I was more comfortable with research and deliver the project with the skills I mastered. In the next project, I will try to focus more on experimentation part and delivery the message in a critical way.

Assignment 1 – Final

 

  • The Guide of “Code” of Arms 

         Form: Mini booklet

Video: https://drive.google.com/file/d/1mJVadXe3L6a8D9OKwgDuJe8vmkuuGQa9/view?usp=sharing

  • Intentions for the Guide

As an entry level guide, it is for people who don’t know about Coat of Arms, but have interest in it. It starts with the question of Coat of Arms or “Code” of Arms to intrigue readers’ interest to keep exploring. Then it introduces the origin, history and components of Coat of Arms.

After that, the guide also introduces another type of Coat of Arms in Asia – Mon in Japan, and set up a “Bonus Why” question to deep dive the topic – what is the system was Coat of Arms based on? 

At last, the guide gives a brief about how to make your own one – a simple version with contemporary icons.

Another fun part of this guide is that you can open it, and on the other side of the paper there is a step-by-step guidance for making a Code of Arms.

  • Research

Firstly, I googled online to start my initial research, which gave me a general idea what is Coat of Arms. At the 2nd week, I created a concept mapping to help sort out the relationship of concepts of my research topic, then I better understood the concepts and scope of my final deliverables.

To get a better idea about how to design an emblem, I interviewed a professional designer and illustrator, which was helpful for me to find out an approachable way for designing the emblem. (https://itp.nyu.edu/lowres/critex-monika/2022/09/26/topic-1-interviews-code-of-arms/)

I got some problem in figuring out a metaphor for my topic. Thanks to instructor’s guide, finally we found that “Code” is a good metaphor. On one side, Coat of Arms itself is a kind of code.On the other side, with the development of society, Coat of Arms has been evolved and can be in a contemporary design.

  • Bibliography

https://www.english-heritage.org.uk/members-area/kids/kids-rule-things-to-make-and-do/design-your-own-coat-of-arms/

https://www.britannica.com/topic/coat-of-arms

Design Your Own Coat of Arms: An Introduction to Heraldry

The Mon – Japanese Coats of Arms – Pro Heraldica (pro-heraldica.de)

Assignment 1 – Guide Process

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This week, I did two things for the Guide. Firstly, I tried to see how to make a mini-booklet by using an A4 paper. And at the same time, I draft the contents and thought about how to distribute them properly .

1. A mock-up for ideation

 

2. Draft the contents of the Guide

    • Cover
    • What is Coat of Arms (P1)
    • It is from… (P2)
    • Its components are:  (P3&P4)
    • Bonus Info (P5)
    • Do you want to design one for yourself? How? (P6)
    • Back Cover: Design you Own One > Open

Topic 1 Form Analysis: Coat of Arms

  • Physical Form: Mini booklet or Zine

 

Q1: Why this form? What are its features (stylistic, experiential)

I prefer to use non-digital format to provide the guide users with a more direct interaction with coat of arms, which reflects heritage and tradition.

 

Q2:How is this form typically used, and what do you plan to subvert/imitate/utilize?

This form as a guide can give users direct and clear messages in a relaxing and amiable tone.

 

Q3: What would change if you tried a different form? What critical lens does the form you’re applying emphasize?

I also thought of a webpage version. In that case, there could be more interactions in designing the emblem.

 

Q4: Is there a metaphor well-suited to your form (i.e. cooking with code)? Or, are there other metaphors you might employ?

The metaphors could be self-recognition: Know yourself. Or family inheritance can be another metaphor.

 

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Topic 1 Interviews: Coat of Arms

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Interviewee: Designer and illustrator

 

Q1: 　Do you know about “Coat of Arms’?

I heard of it, but don’t know a lot about the history of “Coat of Arms”. I am quite impressed by the design of “Coat of Arms”, especially in the recent Funeral of Queen Elizabeth II. I saw different kinds of “Code of Arms” there.

 

Q2: In your work, have you designed something similar to “Coat of Arms”?

Yes, I used to design team emblems for video games, e.g.: Honor of Kings.

 

Q3: When you designed these emblems, are there any certain elements included in?

Yes, basically the emblems will reflect the team’s name and what they stand for. Usually there will be an animal – Wolf, Bear, Tiger…, the landmark of the city where they come from and the team name.

 

Q4: Have you seen any “Coat of Arms” in China?

Not much really. Oh yes, National Emblem can be one.

 

Q5: Do you see any connection between of “Coat of Arms” and “Logo”?

Yes, some Logos was evolved from “Coat of Arms’. For example, apple logo.

 

Q6: Do you think individual are interested in owning his or her own “code of Arms”?

Yes, individuals are now seeking self-identity and unique approach to show his or her own uniqueness.  “Code of Arms” will be an interesting approach.

Metaphors We Live By

Q1: Lakoff + Johnson give several examples throughout the text of linguistic metaphorical systems. Are there any you found odd, outdated, or different from metaphorical systems that you use, either personally or in your language, culture, or social sphere? For instance, do you speak about conversation as battle, or use orientational metaphors the same way the authors describe?

I think  “Time is money” might be different in some other culture. It is definitely a proper metaphor in modern western culture and also makes sense for people living in China now. However, in some religious countries, for example, Thailand or Bhutan, people values faith more than money. So maybe in their conceptual system, though time is valuable, there could be some other metaphors for time.

In ancient times in China, there are several metaphors for time – e.g: arrow, white horse and water.

 

Q2: Can you identify a metaphorical system that you commonly use? What do you think is the motivating rationale (“experiential basis”) behind that system – or is there one? Have you ever intentionally (or unintentionally) changed the metaphorical system that you use to speak about a certain subject, to reflect a different experience or worldview?

When describing about life, I like to say that “life is a journey”. Because I believe that what really matters in life is to explore and experience. Sometimes, when the context is related to career or learning , I will unintentionally change the metaphorical system and say that “life is like a marathon.” I think the reason behind is that career and learning both implies competition, which makes me unconsciously associate life with marathon.

 

Q3: What metaphors/systems of metaphor are commonly used when discussing your topic? If “the essence of a metaphor is understanding and experiencing one kind of thing in terms of another” (5), what other kinds of metaphors might be useful for discussing your topic, or an aspect of your topic?

Regarding my topic of “Code of Arms”,  I will use identity as the metaphor. “Code of Arms” manifests the identity of the recognition or expectation of a family or institution. Speaking of other kinds of metaphors related to this topic, I think of inheritance and tradition.

Systems Thinking Response

Q1: Which system (type of stakeholder) that Easterbrook identified did you find your own understanding of GMOs most aligned with? Why? What are some of the stakes of these stakeholders?

My understanding of GMOs is more aligned with the system 2 – A system of research ethics and risk management. I agree with what Howard Silverman mentioned in the video – “Seeing the world through the eyes of another”. System 2 aims to evaluate the input, output, outcome and impact in a relatively comprehensive perspective.

“Does the value of the knowledge gained outweigh any potential risk to participants or others affected by the study?” is a central question in system 2. This also requires stakeholders with different perspectives and standpoint to assess the result and impact.

In this case, 1) the researcher cares about the success of this pilot for a scientific breakthrough; 2) Environmentalists have concerns on GMOs negative impact on ecosystems. 3) the Governments of countries in which people are suffering from hunger hope that GMOs can help solve the hunger problem.

 

Q2: Using your own topic for research, can you Identify 3 stakeholders (groups or phenomenon) with different perspectives, and then describe the system (the stakes) from which they are operating?

In my topic – Code of Arms, 3 stakeholders could be:

1.Traditional noble family who owns the Code of Arms: They hope to pass down its code of arms from one generation to another. They care about how to keep the original design while manifesting each generation’s feature. Some of them might also want the privilege of owning the Code of Arms.

2. Family or Individual who wants to design its own Code of Arms: For the families or people don’t have the Code of Arms to inherit from ancestors, they might want to own one. So they will seek the design guidance and the registration procedure.

3.Government/Ministry of Culture: They need to think about how to inherit and advocate it as a culture.

Systems Mapping – Coat of Arms

Concept Mapping

 

Triangle Mapping

 

What I learnt?

Concept Map is a great tool to help sort out the relationship of concepts of my research topic.  By creating the concept map, I better understand concepts, terms and ideas related to the topic  and how they work. Also, I think I can keep referring to, visiting and revising the concept in the following weeks.

Besides, I also create a Triangle diagram to show the evolution of “Coat of Arms” and the key event behind each stage.

Emergent Strategy Responses

Principles

  • Q: Do you find any of these principles more difficult to achieve than others in your own creative practice? How?

When I went through the principles of Emergent strategy, I agreed with most of them, but just found two of them difficult to achieve. The first one is “Small is good, small is all.” I believe that small is good and a great work is composed of many small pieces. However, it is also necessary to have a comprehensive understanding of the work or project. And there are rules which might be visible or not, or that manage and integrate all the small ones. 

The second one is “Less prep, more presence.”  This is definitely true for experts who master the skills with rich experiences. Too much preparation might restrain creativity. Being at present can enable the subject to be more focused on the object and his or her senses and feelings. But this doesn’t apply for less skilled or experienced people.

 

Elements

  • Q: Without overthinking it: which of these elements brown describes most immediately feels evident as part of your creative work, and how? Or, if none of them do, which feels like one you might intentionally integrate, and why?

I feel that “Resilience and Transformative Justice” most evident to me. Creation itself entails a long, exhausting and sometimes even miserable process. The creator goes through a repetitive cycle of “self-affirmation and self-denial”, in which Resilience is absolutely a must to regain energy and confidence to continue to create. This is also where the vitality of the art work comes from.