Look back to the research before I find Two points of inspiration:

1.director & designer with the museum of Qinhuai Intangible cultural heritage

Interaction and Experience

2.Research of unit 2

Popular culture – Game

 “Genshin”

The character “Yunjin” which designed based on Chinese opera culture, its tag ranked fifth on Twitter’s trend list after the game version was updated, and reached the second highest.Although its popularity is not all affirmation of Chinese opera, it makes more people have direct contact with Chinese opera. 

Interaction and Experience

 +

Popular culture – Game

=

“murder mystery game”

This is a live-action role-playing game, the whole process of the script as the core, guided by the host, players through multiple rounds of search evidence, discussion, reasoning, crack the murderer’s motive and modus operandi, and finally vote who is the real culprit, and the host announced the truth. Because of the player’s involvement, “murder mystery” is often seen as an interactive literary or dramatic form.

Now the genre is not limited to murder, but extends to all kinds of genres: comedy, romance, history, etc

Game researcher Hugh Bowen has found that role-playing games are the most emotionally stimulating genre of games because role-playing and first-person games rely most on narrative structures, one of the world’s oldest techniques for conveying emotions.

role-playing 

Emotional immersion

Social & communication

So I decided to use this form to reconnect my previous content

Last intervention

online – social media (short video & posts)

offline – exhibition & activities

online part – social media (short video & posts)

no responds

3 weeks 41 views 4 liked

This format is not well received by the audience.

offline part – exhibition & activities

inheritor refuse to send them works

Two main reasons:

too far (they prefer face to face)

not enough influence(they prefer the events held by big companies or government)

Meantime

 In Zuleika group, Brain did same intervention like me. His topic is Chinese designer Brand

also nobody came to the event.

Conclusion

I need to change

It uses the method of “map” to connect and explain the various relationships between symbolization and individual identity in the current field of online cultural communication.

——How in Project 6

About Mapper

Qiu Zhijie (邱志杰; born 1969) is a contemporary Chinese artist who works primarily in video and photography. Overall, Qiu’s work suggests the struggle between the forces of destiny and self-assertion. Other common themes are social fragmentation and transience.

Since 2012, Qiu Zhijie has used maps as a method of work, “a way of unifying research, writing, fantasy and action scripts”. He began to try to use maps to condense his imagination and understanding of everything in the world. The “map maker” allowed him to find his true identity beyond the socially defined role.

The following is the interview, in which the method of “map” is explained in detail:

◎Liu Yuan: We understand that you have an interesting position about yourself. Since 2010, after you started creating maps, you defined yourself as a “mapper”.

In your own words, a “map maker” combines your many identities as artist, educator, researcher, writer, and calligrapher.

Can you explain to us why you define yourself as a “mapper”? How does being a “map maker” reflect your artistic philosophy and your perspective on understanding and seeing the world?

● Qiu Zhijie: Of course there are elements of jokes, but also elements of sincerity. Even as an artist, I am a diverse artist.

On the one hand, I am working on the most cutting-edge technologies. For example, I am now using artificial intelligence to make new materials.

On the other hand, when I was promoting the development of media art, I also painted ink paintings and created calligraphy works.

At the same time, in the group of artists, there are also artists within the system and outside the system, from the south and the north, and I am usually in the middle (In Between).

◎Liu Yuan: We understand that you have an interesting position about yourself. Since 2010, after you started creating maps, you defined yourself as a “mapper”.

In your own words, a “map maker” combines your many identities as artist, educator, researcher, writer, and calligrapher.

Can you explain to us why you define yourself as a “mapper”? How does being a “map maker” reflect your artistic philosophy and your perspective on understanding and seeing the world?

● Qiu Zhijie: Of course there are elements of jokes, but also elements of sincerity. Even as an artist, I am a diverse artist.

On the one hand, I am working on the most cutting-edge technologies. For example, I am now using artificial intelligence to make new materials.

On the other hand, when I was promoting the development of media art, I also painted ink paintings and created calligraphy works.

At the same time, in the group of artists, there are also artists within the system and outside the system, from the south and the north, and I am usually in the middle (In Between).

A “map maker” is a cartographer who works hard under the blue light, or an ascetic or copyist in a monastery, who seems very low-key.

But at the same time, the mappers were very proud. We can say that Deng Xiaoping is the “painter” or chief architect of China’s reform and opening up, because he is the one who sketches the world, and he is the one who interprets the world as an image.

In fact, the artist is to bring things that are already commonplace in our daily life into a new relationship. In this new relationship, a new understanding of the world emerges.

If I were to draw a map of the “traveler”, this map should have Ibn Battuta, Marco Polo, Xuanzang, but there may also be a drifting bottle suddenly appearing in this map, and a kind of poetry will emerge from it.

Drawing a map is not only to understand the existing relationship between things, but also to reorganize the existing relationship, so that things can lead to some new possibilities.

A lot of the work I do is actually trying to break down the insurmountable gaps that people think are insurmountable, to build bridges between many fields, to find channels to connect them.

◎Liu Yuan: Looking at your map, I have two main feelings: On the one hand, in today’s era of fragmented information, it is very difficult to have a holistic vision. This means that you need to be able to see the whole from a height.

On the other hand, as you just mentioned about the structural relationship, this requires you to have a more precise grasp of the details, including a knowledge panorama of time, space, concepts, logic, history, geography and culture. Deep understanding, the establishment of this relationship, and even creative subversion, or reconstruction of a new relationship is possible.

These are also two of the things I find most exciting about your map series.

WHAT

Area:

Cultural dissemination – internet celebrity character setting

( Do I need to be more precise and focus on smaller and more specific internet celebrity groups?)

Question:

The relationship between identity and symbolization

WHY

People have different identities, but identities are being brutally symbolized in today’s cultural communication. The symbol mother is undoubtedly the means by which people know the world, but if the identity is dissolved in the symbol, it becomes a problem worthy of attention and consideration. In the current field of cultural communication, any identity of people is likely to be exposed to such a brutal symbolization, and then threatened and harmed. How to grasp the scale of symbolization and reduce the crisis of identity is a question worth thinking about.

HOW

(Do we have restrictions on the final output form? For example, can it be just a paper on strategies and experiments? Or does it need to be a work of art with visibility?)

Based on ANT, endogenous development theory and semiotics, it provides a series of strategies and evaluations for the relationship between personality identity and symbolization in the shaping of Internet celebrity personalities.

This project explores the relationship between personality identity and symbolization in the shaping of Internet celebrity personality, seeks a model that conforms to Internet celebrity and even the audience, and opposes the dissolution of personality identity and the excessive symbolization of culture. The “endogenous development” theory introduced in this project is a “self-oriented” development model. Compared with “exogenous development”, this approach places more emphasis on self-identity based on culture and cognition, thus trying to solve the cognitive crisis brought about by the symbolic identity in the Internet age.

At the same time, using ANT, it focuses on the interaction balance between individual identity and external forces (such as cultural background, audience expectations), and provides guidance for the processing of the relationship between individual identity and symbolization.

Inspirations

specific presentation of the project is still thinking, so I collected a lot of cases as reference and inspiration.

Case:
modern Art
Qiu Zhijie “Hat · Hat”
Louise Bourgeois

Social practice
Shade of noir

Strategy/Design Thinking
Based on ANT, a full set of tourism planning for the village has been planned and preliminary feedback has been obtained
Conception and prospect of specific application strategies of ANT in education/design and other fields

WHAT IF

If we understand identity as the belonging of the self, and symbolization as the output of the self to the outside, then the misunderstanding of the identity by the external world based on stereotypes (symbols) is like an isolated stranger lost in a metropolis . Then, to grasp the scale of symbolization is to promote the reconciliation between identity and the external world, and to promote understanding.

In the matrix, Morpheus gives Neo a red pill and a blue pill and tells him that this is his last chance. Choose the blue pill, the story ends, wake up in bed and believe what you believe; Choose the red pill, stay and take him to the depth of the rabbit hole.

It’s too easy to think of the story of “Zhuang Zhou Meng die”, an ancient Chinese allusion, and put forward “what is true?” Philosophical Questioning of postmodernism.

In the perfect crime, Baudrillard explained the relationship between reality and illusion. “The world is a fundamental illusion. In order to eliminate it, we must regard the world as real, give it real power, and make it exist and meaningful at any cost”.

In Baudrillard’s theory, all the world we now have is an “illusion”, and all the meaning of our existence is to prove that the world is “real”, or that there is a real world outside the illusory world. This hard pursuit of “reality” eventually led to the disappearance of illusion, that is, the destruction of the world.

According to Baudrillard’s definition of the pseudo real world, the process of human discovering the real world is also the process of the world’s destruction. What human beings are facing here is an extremely painful self involved contradiction – the gradual change of human symbolization and the expansion of the virtual world begin to merge. In the social activities that strive to make the vain world more real, people gradually symbolize their free will to adapt to the symbolization of the world.

In the end, what happened after Neo defeated matrix? Zizek said that the problem returned to Plato’s Utopia: the matrix did not repeat Plato’s cave fable – ordinary people became prisoners, were tightly tied to their seats, forced to watch the strange images of the so-called reality, and mistakenly believed that it was reality.

The important difference between the matrix and it is that when some of them escape from their cave dilemma, what they see is no longer the beautiful space illuminated by the sun, the supreme beauty, but the “real desert”.

Finally, all the problems come down to Plato, the Republic, the Millennium kingdom of Christianity and the Utopia of humanists. It also goes back to the original fear: the matrix distorts our perception of reality. It is a desperate rabbit hole and an infinite cycle about the real world.

In fact, mankind is always looking for new living space in the process of the continuous development of science and technology. The emergence of computer virtual space provides the possibility of splitting the infinite world. But people suddenly found that the weak connection of online symbolization still has endless hidden dangers. From privacy to personal identity, online information has exceeded national symbols and economic symbols and become a part of our virtual image.

Science fiction book “can bionic man dream of electronic sheep?” In the book, two enlightening questions are raised: the first question is whether bionic people can dream, that is, the distinction between imitation and reality; The second question is whether the bionic human can dream of the electronic sheep, that is, the question of the authenticity of the bionic image. From bionic man to electronic sheep, simulation is no longer rooted in reality, but plays reality and eliminates reality.

But simulation is not real after all, and bionic man can never be human. This is because human beings are not completely rational and cannot stand at a safe distance to see everything. Suffering makes us believe that everything we live is meaningful, and noble empathy makes us feel the suffering of others, which is the significance of religious existence.

From imitation to production, it is regarded as “industrial imitation”, and production is the sign that the symbol completely gets rid of the restrictions of grade and status. Production goes beyond imitation. In the roar of large-scale machine production, the products on the assembly line are multiplied in batches, and the products are completely equivalent. Naturally, there is no difference between prototypes and replicas.

Although people are still the creators of value at this time, people have also become undifferentiated machines in the production process. Workers are engaged in simple mechanical work and can be replaced at will.

When production goes further to simulation, it finally becomes the re coding and combination between different symbols. The rise of machines has gradually replaced human labor, and the purpose of production has changed from meeting people’s spontaneous needs to serving the whole social system. Simulation becomes the coding of symbols, and the heterogeneity between each mode is generated through the manufacturing of opposite symbols, which infinitely reproduces things that have no practical significance.

a person’s identity is not a stable and independent psychological entity, but rather, it is like actors performing on a stage.

— Erving Goffman

The theater metaphor can be seen in the origins of the word person, which comes from the Latin persona, meaning ‘a mask worn by actors’. We behave differently (play different roles) in front of different people (audiences). We pick out clothing (a costume) that is consistent with the image we wish to project. We enlist the help of friends, caterers, and decorators (fellow actors and stage crew) to help us successfully “stage” a dinner for a friend, a birthday party for a relative, or a gala for a fundraiser. If we need to adjust our clothing or wish to say something unflattering about one of our guests, we are careful to do so out of sight from others (backstage). The presentation of ourselves to others is known as dramaturgy.

In his book The Presentation of Self in Everyday Life, Goffman defines front as “that part of the individual’s performance which regularly functions in a general and fixed fashion we define the situation for those who observe the performance. Front, then, is the expressive equipment of a standard kind intentionally or unwittingly employed by the individual during his performance.”

Signifying Act: Sign: ^{Symbolic Meaning}⁄_{Vocal Gesture} ^Meaning⁄_Object

— Robert Perinbanayagam

Therefore, under such a background, people’s dependence on symbols becomes a role and is alienated into symbols.

there is no longer any God to recognize his own, nor any last judgment to separate truth from false, the real from its artificial resurrection, since everything is already dead and risen in advance.

— Jean Baudrillard

In L’Echange symbolique et la mort, Jean Baudrillard discussed the changes of symbols and divided the imitation into three levels: imitation, production and simulation, which symbolize the natural law of Renaissance value, the commodity law of industrial revolution value and the current law of value structure. In fact, the three levels of imitation correspond to the increasing degree of adhesion between man and technology. From imitation to simulation, the real boundary becomes more and more blurred.

In Baudrillard’s view, the development of simulacrum has three stages: the imitation stage from the Renaissance to the industrial revolution, the production stage in the industrial era and the simulacrum stage dominated by symbols. In the third stage, super reality replaces reality and even imagination. Baudrillard believes that due to the implosion of this media landscape, a series of information that incites people to consume and act, such as advertising, news, politics and entertainment, constitute the real life of the public. The public is annoyed and become the melancholy and silent majority. In the end, any class, value, meaning and even ideology will implode among the public, and the public will become a black hole that can absorb everything. This society will also end in the implosion and will end the social history itself.

losing the original copy, the symbol is more real than reality. Man is no longer the subject, but the object dominated by symbol, culture and language.

How can we go beyond symbolization and find the real way to confirm existence?

“The Change I Want to See” would like focus on the problem of symbolization and the way of confirm existence.