Treasure Tracking

Trace the trade path of Chinese lost cultural heritage

Ruixuan Li, Tianxu Zhou, Monni Qian

https://youtu.be/jWSAXOl3Xks

Description

China has a long history of 5000 years, during which, there exists a huge amount of cultural treasures. However, due to wars, political and economic factors, as well as many other complex reasons, a lot of treasures were lost, many of which were divided into pieces and traveling around the world now. China has always been working on reuniting them and eventually bringing them back home. However, it definitely ain’t easy since the treasures were traded by many parties and the routes are hard to track over time. They might have traveled abroad in multiple places and landed in museums, auctions, galleries, or individuals’ hands. So, we are planning to create a map to trace the trade path of Chinese lost cultural heritage.

IMA/ITP New York
ITPG-GT.2049.001
All Maps Lie
Culture

Map of Songci 宋词地图

An interactive map project connecting cities in China with Chinese poetry.

Sumner Feng

https://youtu.be/xk7pPF5Os8k

Description

The map of Songci is a web-based interactive map project. The project focuses on the cities appeared in Songci and picks out representative ones to make visualizations. As for interactive functions, this project includes diverse sound, art, and story elements. Aiming at providing an interactive experience for users to pursue a better understanding of this poetry style associated with the history of the Song Dynasty, this project will connect the historical information of cities to the map of Song to introduce diverse aspects and stories of Song Ci and the Song Dynasty.

(The loading of the music could take a while, please wait until the music starts and then begin exploring.)

IMA/IMB Shanghai
INTM-SHU.204.1
Critical Data & Visualization
Culture,Art

FAN-SEE: A collaborative website for fans

Fan-see is a crowdsourced video project which recreates a fans' version of the Fancy music video to show the creativity and engagement of K-pop fans.

Yiqi Chang

https://youtu.be/lcLzSzxvZCQ

Description

Fans can select any frame from the Fancy music video and redraw it in their ways. Then, fans are asked to upload their drawings to the website. All the frames will be pieced together to recreate a fans’ version of the music video. Fan-see’s goal is to present the K-pop fandom as a group of active audiences. K-pop fans engage with the K-pop industry and act as participatory consumers. They not only consume music but also create their artworks ranging from drawings to videos. Borrowing the frame-by-frame music video style from the Johnny Cash project that was created in memory of the American musician Johnny Cash, Fan-see tries to showcase transnational K-pop fans’ involvement in community and creativity.

IMA/IMB Shanghai
INTM-SHU.401.2
Capstone Studio (Shanghai)
Culture

A Reflection on Lookism

An interactive face fortune telling/plastic surgery consultation that reflects on lookism and gwansang in South Korea.

Jessica Chon

https://youtu.be/cHf-VaSzmQ4

Description

Inspired by the cultural phenomena of lookism and gwansang, A Reflection on Lookism serves as a medium for users to question the significance of appearance in their daily lives. Lookism is appearance-based discrimination, while gwansang is Korean face fortune telling. Both are significant cultural aspects of South Korea, and I was particularly moved by the connection between the two. People feel the need to succeed and believe that they need to meet specific beauty standards to do so. As they undergo cosmetic procedures to improve their appearance and seek reassurance that their looks will be accepted by society, face fortune tellers cannot reaffirm this fortune, as their natural faces have been altered. I convey this irony through my consultation that is hosted on a simulated plastic surgery clinic website I created. The consultation is held virtually in a tent that is meant to mimic a fortune telling stall in South Korea, but with more “high-end” elements to give the professional feel of a clinic consultation.

The reason I combine both a clinic and stall is because when I enter fortune telling tents in Korea, there is a mixed feeling of hesitation and excitement because fortune telling, I believe, is mysterious in itself. As for the hesitation, trying to experience something that is so “powerful” and mystifying in such an unexpected tent seems strange. I want users to feel this emotion to capture the fortune telling experience. On the other hand, I also wanted to recreate the intimidation I feel when entering medical clinics. At times, I find going to a doctor intimidating. Everything is pristine and you’re suddenly hyper-aware of your medical knowledge and lifestyle habits. I want users to also feel this type of uncertainty that I feel when I go to medical clinics.

IMA/IMB Shanghai
INTM-SHU.401.2
Capstone Studio (Shanghai)
Culture,Narrative/Storytelling

Tofu

Tofu is a VR interactive installation that presents the consumption experience of convenience stores and street food in the city in a surreal way. It reflects consumers’ different relationships with food and the disappearing local marketplace culture behind this confrontation.

Nianqi Zhang

https://vimeo.com/412757973

Description

Tofu, an affordable ingredient with hundreds of shapes and cooking methods, is a common ingredient in China from ancient times and shows the evolvements in our eating habits. The virtual reality installation Tofu is showing these changes in a surreal way: The first chapter provides a scene of how young workers buy food in a convenience store. Players will find themselves getting off work in a city, entering a convenience store, and choosing different tofu products with appearing packages and marketing strategies. The second chapter is about the decreasing local food marketplace. The convenience store suddenly collapsed into soybeans, exposing players to a street food carnival where chili, fried tofu and other street food are wildly floating in the city. The third chapter shows how tofu is made in rural villages. The player will see villagers making the simplest tofu. In each chapter, players can grab and eat different forms of tofu, unlocking the voice narratives.

The piece is aiming to bring viewers a reflection on the changes in our consumption culture: In today's rapid urbanization, unified brands reconstruct our local life with their convenience and brand images. The market is promoting the disappearance of our neighborhood culture. City residents are enjoying the consumption of grand stories and values, but have little interest in getting to know the history of the street we live in, which is actually harmful to the diversity of our cities.

IMA/ITP New York
ITPG-GT.2102.00003
Thesis
VR\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\\AR,Culture

DisneylandToyFactory.com

DisneylandToyFactory.com is a two-part critical art project made up of a satirical website and an ongoing 3D printing experiment. Through a repeated, cyclical process of 3D scanning and printing the same figurine of Mickey Mouse from a renowned Disney-branded Mold-A-Rama machine new, more compelling, figures are produced ,which are then advertised with satiric consumerist language on the accompanying website.

Stefan Skripak

https://www.youtube.com/watch?v=XWG7xMykIsE&feature=youtu.be

Description

The 1960s and 70’s in the United States were the peak of popularity for a rare type of Disney vending machine called the Disneyland Toy Factory, which produced injection-molded Disney figurines on-demand at theme parks and zoos. DisneylandToyFactory.com is a satirical project in the lineage of these machines that instead allows the unpredictability of digital fabrication technology to reveal what Claudia Hart refers to as “expressiveness through imperfection”. The first part of this project is the objects themselves called “Mold-A-Rama Mickey”, a series of 3D printed replicas of an actual Toy Factory figure manipulated by a unique process of iterative 3D printing and scanning that produces sequential Mickey figures, in a way such that each is more deformed than the last. This morphing as a result of a theoretically lossless process reveals a more interesting, meaningful form as mediated by the idiosyncrasies of that process itself. The second component of DisneylandToyFactory.com is a website, serving as the contemporary replacement for the physical vending machine. The main page offers simplified and vague exaltations of “Mold-A-Rama Mickey”, claiming that, “thanks to the advancements of 3D printing” these collectibles can be printed on-demand and uniquely for every customer. The reality, however, is that each Mickey sold is actually just the latest iteration of the transformed figures from the cyclical 3D printing process. By framing this subversive concept in consumerist terms, it both offers a light jab at the emptiness of consumption as well as provides a stealthy way of bringing the resistance of this new more expressive object to more people. Finally, the artistic merit of the imperfections is further emphasized through the creation of high-quality resin versions of a selection of the figures, all glitches, and striations intact.

IMA/ITP New York
ITPG-GT.2102.00001
Thesis
Culture,Art

Crazy Little Beliefs

Crazy Little Beliefs is a series of whimsical objects that reimagine through the lens of present-day technology some of our common if often irrational beliefs that have persisted through time. Interaction with these objects has been designed to allow users to reflect on their collective past experience and the influences that have shaped their fears and wishes, personalities and perspectives.

Shu-Ju Lin

https://vimeo.com/413811553

Description

When was the last time you wished on a fallen eyelash or said bless you to someone who sneezed? Many of our commonly held beliefs are widely known to be irrational, not based on reasoning, fact or knowledge. Over time and across cultures, people have found ways to explain unexplainable things and to feel control over their fears of the unknown through seemingly random and arbitrary sayings and actions. Studies have shown that this kind of magical thinking decreases as we age.

Crazy Little Belief aims to recreate the whimsical aspect of our irrational beliefs in the world today that is often automated, machine-operated, and algorithmically optimized. My thesis project consists of three objects, the Cautious, the Visionary, and the Charming, each emphasizing the state of mind of people who believe in it. The purpose of this project is not to critique or dismiss these irrational beliefs and behaviors, but rather to encourage them and remind us that many of our beliefs are part of our culture and identity.

IMA/ITP New York
ITPG-GT.2099.00001
Thesis Part 2: Production
Culture