.I built a place where visitors can relax and escape from the reality for a while, and also I want to enrich the already-exist art forms by giving them sounds. .This scene consists of mountains, valleys, houses, and rivers, representing ancient Chinese philosophy of “归隐”[hermitage]. Our ancestors suffered from the din and banality of officialdom, just like nowadays we are enduring urban noises. And we all want to escape to a far-away place, where there is no internet and no construction going on. This webpage enables visitors to immerse into this metaphoric space, being both a “visitor” and a “detective” to explore what might be going on in this painting.
The theme I choose for my project is Mom’s Qingming Mochi. In this project, I try to incorporate both cultural and personal aspects. Qingming Mochi is a typical Chinese snack, especially popular in the region where I live. It’s also very meaningful to me because my mom always makes me Qingming Mochi when I was small. I want to build a both informational, aesthetic, and interesting experience for my users. With this idea in mind, I developed mom’s secret recipe part to let my users have a taste of what Qingming Mochi is made of. I also build the choosing ingredient mini-game to make my project more fun. Moreover, I shoot the videos in an aesthetic way to create an artistic environment. What’s worth noticing is that almost all my background music comes from the famous documentary A Bite of China. I hope that it can create a similar atmosphere as the documentary being cultural and absorbing.
Hogwarts April Report is a data story about Harry Potter Fanfictions during April 2020. The subject of my final project is “Harry Potter Fanfictions”. In the era of the internet, the fanfictions community demonstrates great growth potential. In this interactive data visualization project, based on the most recent month HP fanfictions, I will demonstrate some aspects of HP fanfictions such as relationships, parings, fandoms, and imaginations. I design the website as an online monthly newspaper, it might be more interesting than the pure data analysis.
My concept is about the story of old Shanghai. The inspiration of this project is from the documentary Manufactured Landscape where it portraits the image of modern Shanghai. So I want to show a very different image of Shanghai, which may have gradually been forgotten by people, an old, densely-populated, but full of warmth and tranquility. When we think about developments, we always it is a beneficial word, it represents advance, better quality and so on. But is it true that it is one hundred percent good? Will it also lose something valuable? For me personally, the answer is yes. The development of high buildings blocks the close relationships between neighbors; the fast-paced city life pushes us to always go on and never stop to enjoy the serenity. It is due to these reasons that I want to shoot the life in old Shanghai and also give myself a chance to be more familiar with it.
Personal exhibition website for digital heritage course
For the course Digital Heritage, we have explored multiples fields in terms of digital heritage. In the website, I'll showcase all of my work, including digital conservation techniques [case study on coin digital conservation], immersive experiences for digital heritage [the Qi Garden], remote sensing for heritage information [Wuzhen], as well as digital heritage exhibition design: re-production.
Using modern technologies to bring new charm to cultural heritages
This website contains the four projects I have made in Digital Heritage Spring 2020. The first one is the digital sculpture of Hongshan Jade Dragon (红山玉龙) made using Mudbox. The second one is a mobile phone Guidance Application of Guyi Garden (古猗园). The third one is a video of Guangfulin (广富林) filmed by Unmanned Aerial Vehicle. The fourth one is a virtual model of IMA Show exhibition site exhibiting the projects I have made in this course. Overall, these projects combine new technologies with cultural heritage, offering us new insights into heritage preservations and appreciations.
To make recycling appropriated content on Kuaishou easier for grassroots digital creative entrepreneurs, a website connected to an auto-editing service and a video database is developed to help them survive on the video platform.
One Free Click is an interactive website that showcases trending yet replicable Kuaishou videos within selected hashtags and generates auto-edited derivative videos, ready to upload with a single click. This project is inspired by the structural practice of video reproduction on Kuaishou, the leading short video platform in China.
Kuaishou is known for the unabashed earthiness of its contents and its encouragement for mass entrepreneurship by means of monetization of digital content. On Kuaishou, in order to speed up the production and bring down the cost, there are a large group of videos that are reproductions of existing ones. Many reproduce the same plots, scenes or lines, and some are just collages or re-edits of existing videos. However, thanks to Kuaishou’s delicately curated recommendation system, the lack of content originality does not affect the publicity of the videos in attracting new audiences to the publishing accounts. Such workflows are often passed down from established Kuaishou influencers to newcomers through self-run mentorship programs.
One Free Click is a piece of web art as well as a product designed for newcomers to the Kuaishou business. The entry page presents a collection of videos under a few popular tags among the reproduction practice. Under each tag, a condensed view of the existing corpus is shown in order to quickly familiarize the user with its creative context. While unveiling the phenomenon, it also responds with an automated editing workflow for simple video reproduction, free of charge to average Kuaishou users struggling with mechanical labor and hassles in their mobile editing software. With a click of a button, it generates a random video from a database of existing ones for immediate downloading and publishing. It aims to provoke thoughts in China’s landscape of fast-entertainment, mass entrepreneurship, and the ecosystem for content creators.
Erase for new interpretation, 台北夢Taipei Dreams is an interactive website that contains more than 50 erased stories of people who have come to Taipei, the capital of Taiwan.
Entering, assimilating, and then reinterpreting, the experience of accommodating to a new city is conceptually aligned with both the technical and poetic process of erasure poetry—a text being encountered, read, and eventually “erased” in forming new interpretations of an existing narrative. Taipei is like no others, but as one index city seems to entail a common metropolitan theme built up with the burdens of people’s ambitions and aspirations on a scale of different visibilities. These stories of “dreams” come from mostly university students/graduates around my age who have moved to Taipei for work or study. With a lot of comparings and imitations in the highly competitive environment, it seems like many are subconsciously living out the stereotypes of what they expected people in Taipei would be like. Perhaps, the biggest stereotype is that Taipei is an absolute place of dream-come-true as they first entered in their own processes of wayfinding, where “dreams” are in fact very much overlapped. The diverse yet homogenized complexity of these stories have to deal with the dynamic between collectivism and individualism. Each story is of one unique person, but comes together as one.
Taking the form of erasure poetry as part of the social practice of this project, I hope to explore the dynamic from a personal perspective. By translating and erasing others’ stories whose original texts were in Traditional Chinese, I have entered a virtual space of the city of embedded dreams, and finding my very own reinterpreted from others’ real life endeavors. The website not only provides a freely explorative experience, but a collection of city experiences, which does not have the magic to achieve one’s dreams, but through interactive engagements invites people to reflect on their own encounters. Through 台北夢, we could be closer to our dreams.
A toy that help people understand power of consensus and cyberbullying
Due to a serial of influential social problem about cyberbullying recently, I want to create a toy that help people to understand the feeling of being bullied online and the negative impact of showing malicious intentions to others. Also, play can learn some appropriate way to dealing with cyber bullying. My idea now is to create one computer like box and one heart like bag that hang on a holder. Player pick up cards from computer box and read comments on it. If the comment contains offensive words, the player should put the card into the bag. If the card has positive words, the player can take out one card from the bag. When the cards in the bag are heavy enough and the bag fall down from the holder, the game end.
Lashi Conservation Park is a photo book project that reflects on the social media induced tourism and its impact on the landscape of Lashi, Lijiang, China.
Lashi Conservation Park is a photo book project that walks on the popular horseback riding trips which take tourists up to the source of the Lashi Lake (拉市海) in the mountains. Lashi Lake is located in Lijiang, Yunnan, China. It was a pathway in the ancient Tea Horse Road before the twentieth century, the trading route between Tibet and China. However, the designation of Lijiang as World Culture Heritage in 1997 gradually turned the whole town to a tourist destination, which drastically reformed its landscape and demographics. Lashi Lake now operates more around tourism and its infrastructure than it used to be. Similar to many other famous sites for sightseeing in China, it also has been decorated with “scenic spots” for tourists to take photos for social media posting, which are the sculptures, props, and advertising billboards. To an extent, social media-induced tourism dominates the landscape, rendering the landscape secondary as the backdrop for tourist photography. Therefore, the local and historical context of Lashi is silenced and alienated. The further recontextualization of the tourist imaging on social media forces the landscape to acquire new meanings as embellished souvenirs. Collectively, the online circulation and repopulation of such maintain and reproduce the imagination of a tourist attraction.
The book aims to explore the visual language of the vernacular forms of tourism architecture, investigating the social media tourist’s experience through the photographic delineation of a foreign land. The linguistics of such can be shared and implemented to different places, forming a bizarre visual unity, a sense of “touristy.” Contrasted with more everyday visual encounters in the same region, together, they constitute the hyperreality of Lashi Lake, a sense of deracination from the typology of the land. By taking a camera with me everywhere I go, in a sense, I am also a tourist, eager to take photos when I feel conflicted or don’t know what to respond to what I see. As someone who has family ties to this village, who can’t speak her native Nakhi language, is the action of photo-making and photo documentation of this politicized landscape a form of reconciliation with my identity? Or does the intrusive camera further deepen the gap between me and my people, distancing myself from the water and soil of Lashi.