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I see two bean-like figures wearing hats, standing back-to-back. Their eyes are hidden, deliberately shielding their gaze from the outside world. They have no ears, no eyes, and no tactile organs—completely cut off from any sensory connection. Yet, the subtle arrows on their faces seem to carry some kind of invisible message, silently releasing a form of pheromone, expressing their fear and apprehension towards the external world.

I think they are beings lost in darkness, deprived of any ability to communicate, but somehow, this state of disconnection has made their emotions more delicate and nuanced. They stand with their backs against each other, as if relying on one another, yet separated by an insurmountable distance. What connects them is not just their posture but an ineffable, silent emotion.

I wonder if using the most expressive lines to depict this scene, in a way that cannot be seen, heard, or touched, might be the highest form of respect for their story. Perhaps the simplest lines, the least visual information, could convey that deep, hidden emotion and their rejection of the outside world. In this state of sensory absence, using powerful, expressive lines to interpret their world might indeed be the truest homage to their unique existence.

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I see a faint figure in my vision when I close my eyes, hovering at the edge of my consciousness. It feels elusive, like a fleeting glimpse of something real, yet beyond my grasp. I try to trace its form with my fingertips, guiding my pen across the paper in an attempt to capture its essence. The pen moves gently, as if chasing a phantom, while I search for the outline that remains hidden in the haze.

I think he has a pair of deep eyes, but one is obscured by the light streaming in from the side, leaving the other to flicker in the shadows. His nose arches slightly, and his lips seem to murmur something, though the words are lost in the quiet. His chin is sharp and defined, but as I draw, I find myself unable to let these features stand alone. To control the flow of the lines, I’m compelled to connect them all—his eyes, nose, mouth—everything becomes linked by a web of lines.

I wonder if these surrounding lines are more than just a depiction of his form. Could they be a reflection of my own restless, unsettled state of mind? Each tangled line, every twist and turn—are they expressing the turbulence within me? The more I draw, the more the figure blurs, and it feels as though my emotions are becoming just as entangled, caught in the same web of confusion and uncertainty.

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I see the plastic and water of the coles water bottle melt together, as if the container was no longer bound to the water in the flowing paint. The technique shows loose, expressive brushstrokes, giving the painting an impressionistic feel.

I think the water bottle shines pure blue green through the light, I am exploring a common object with a creative, emotional touch, focusing more on the form and color than on precise detail. The use of vibrant blues and soft edges suggests a sense of fluidity, possibly reflecting the nature of water itself.

I wonder if the water bottle can give the audience a pure and loud visual impact effect. Can you feel the hot cold feeling of light spot on your face through the water bottle?

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I see many abstract shapes outlined with red and gray lines in the painting, creating a dynamic and lively composition. I think the continuity of the lines and the overall design are spontaneous and wild, with the use of bright red as the main color making a strong visual impact on the viewer.I wonder if the contrast between the reserved appearance of the figure and the spontaneous, wild lines around it would create a stronger impact as the main expression.

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I see that only the auditory senses are being opened and presented in the image, while the intense colors chaotically assault the vision.

I think the beauty of the overlapping colors intertwined together is the ambiguity between the lines.

I wonder if this subtle musical presentation is a fusion of the senses?

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The cornerstone of life can be the mythical Jesus or the Buddhist karma. And these possible years are spread out in front of them like scrolls, and the value of truth or not will be covered by the ripples of the thick ink story at this moment.

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The cornerstone of life can be the mythical Jesus or the Buddhist karma. And these possible years are spread out in front of them like scrolls, and the value of truth or not will be covered by the ripples of the thick ink story at this moment.

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The cornerstone of life can be the mythical Jesus or the Buddhist karma. And these possible years are spread out in front of them like scrolls, and the value of truth or not will be covered by the ripples of the thick ink story at this moment.

The source of my inspiration is complex. First of all, I seek answers in the field of philosophy due to my doubts about the world. First look for the trajectory of existentialism, read the book of Camus（ McCarthy, 2004）, The Stranger, which is the result that best represents the lonely soul.

“And I too, felt ready to start life all over again. It was as if that great rush of anger had washed me clean, emptied me of hope, and, gazing up at the dark sky spangled with its signs and stars, for the first time, the first, I laid my heart open to the benign indifference of the universe.”

But the answer to meaning itself results in nothingness. My search for the meaning of the soul is stymied here. And since deep thought was not the answer, I went looking for religion. I went to temples, churches. People worship goodness and look forward to the gift of fate. What am I really looking for, a gift or an answer? The answer, I think, is that I want life to be a twisted string of mathematical problems that I can spend years unfurling from one end into neat and meticulous formulas.

I think I have found the answer to life, the Taoist eight gossip is a formula, the calm attitude to look at life is not similar to the absurd indifference of existentialism, but all this is just the formula itself, is an invisible soul controller, is a distant computer program. There is no God, no human being in control. It is what it is, a program that works, a cold array of numbers.

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But the result of searching for the answer to life here seems to be no longer important. This process is the optimal solution to this final work. Religion and existentialism seem to be flat explanations here.

There is no discussion here of mind, birth, death. It's the process itself, the existence itself. The carnival of each different self, the pursuit of the chant under the internal logic. And it will all be written between the lines of the logic of 1 and 2 programming, weaving the most complex world with two numbers. Length is no longer considered, just as the infinite Assembly devors all the numbers associated with it. The arrangement of 1 and 2 is like a blend of black and white, the flow of Yin and Yang linear and the programming of 1 and 2 intersect at this moment.

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I was inspired by the discussion in the article about drawing as an externalization of cognitive processes (Angela Brew et al., 2020). Combining this with my reflections on binary logic and the process of life, I began to wonder if the intertwining of different selves within the progression of life could be expressed through the lines and symbols of drawing or programming—how might this intertwining be perceived under different logical frameworks? Furthermore, as an extension of the self, is there a relationship between the individual and the arrangement of their internal logic (such as the programming of 1s and 2s), similar to how the flow of Yin and Yang creates a complex world through simple structures?

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I see the hope of future life overlapping with the omnipotence of God in religion. This vision of the future is not just about biological evolution but represents a new understanding of life itself, as if it embodies the pursuit of infinite possibilities. In a way, this potential aligns with the religious concept of an all-knowing, all-powerful deity, controlling life and foreseeing the future. The omnipotence of God is not merely a symbol of faith; it can also be seen as an idealized reflection of what we hope to achieve through technology.

I think the fusion of religion and technology is entirely appropriate. Technology seeks to continuously break through limitations and create unprecedented capabilities, while religion often provides explanations of ultimate meaning and supreme power. On the surface, these two may seem contradictory—one based on faith, the other on reason—but at a deeper level, they both point toward the exploration of the unknown and a longing for higher powers. Therefore, the combination of religion and technology is not only reasonable but perhaps inevitable. Religion can offer spiritual guidance for technological progress, and in return, technology can provide new ways for religious expression.

I wonder if I could integrate my answers—my reflections on life, hope, and the future—into the interpretation of technology. If technology is the tool through which we understand and reshape the world, could my thoughts also find expression through it? Perhaps in the future, through some new technological form, my answers could be conveyed more clearly and directly. I imagine a scenario where technology is not just a cold apparatus of calculation and data but becomes a medium capable of carrying thoughts, emotions, and even philosophical inquiry, forming a new bridge that connects humanity with the future, faith with reason. Within this framework, my thoughts and answers would no longer be limited to abstract discussions but would merge deeply with technology, creating a new narrative that redefines our understanding of life and the world.

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This watercolor sketch is based on my artistic intentions and heavily inspired by my mentor texts.

I saw a palm sticking out of nowhere showing a pair of fish in the shape of a Yin and Yang. There was a hole in the center of the hand, through which one could see someone watching. The two fish represent 1 and 2 in the code hole is the law of everything, but also nothingness of the black hole.

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I see the goldfish sold at the door of the aquarium in the afternoon. Under the hazy and fuzzy sight, the light and shadow shine on the glass and the illusion made by the water. The noisy agitation of the crowded fish fishes will saturate the whole picture with the waves in the water.

I think this kind of unreal scene should not be disturbed, this is my own paradise, as if I have just woken up in a dream, wet eyes to watch the noise of this time period that is about to close.

I wonder if this is still a dream scene from another Angle, or is it a story?

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I tried to use female body parts to explain what I was thinking. Still retain the central composition of the center as the abyss, the two sides of the balance are symbols of the equality of all beings, and also represent the law of the programming order of 1 and 2.

I see the female body controlling the central object. The body of the object acts as a transparent container, containing the luminous liquid. The placid smoothness is matched by the bird-like totems on either side,

I think this calmness and the red-green intensity of the fluorescence indicate that the laws of all things are controlled by it. The installation with bird feet and bird-like totems on the left and right heralds the victory of the dictator of the bird world. It seems that the roots of human beings can be birds. The Lord of the skies no longer seems to be a messenger against gravity. Control it at your feet.

I wonder if the center of the origin is an endless drip of water, a liquid that eventually falls into the container and eventually drowns. Does the winding of the wires around it hinder the fairness of the balance under gravity?

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bottom painting

I see: - I see chaotic and uninhibited ink stains presented in various ways

I think: - I think the leaves are used as a reference for painting each semester. They are old and weathered, and I want to depict their decay in the artwork.

I wonder: - I wonder how the chaotic lines outline the veins, and how the steam absorbed from the leaf's surface in the air moistens the paper again.

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I see a beetle-like creature that has been creatively altered with various elements. The beetle's legs are replaced with what appear to be human heads, hands, a frog’s foot, and a high-heeled shoe. The beetle’s body is a grayscale image, while the added elements are in color, giving the collage a surreal and unsettling appearance.

I think this might be an exploration of the relationship between nature and human influence, perhaps commenting on the way humans impose their identity or control over the natural world. The use of different elements, such as the human heads and the shoe, might symbolize different aspects of humanity—identity, mobility, or societal roles.

I wonder beetles and frogs are natural enemies, if they were combined, would they become the most powerful creatures on Earth? If each antenna had a smooth human head, would it reduce friction when moving? The color of frogs is very unnatural. Could they be spies on Earth, with English words hidden in their brains?

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I think this image represents a combination of different natural elements and man-made objects, creating a surreal and imaginative creature. The fish body, owl head, and the bird carrying an object with a geometric pattern suggest a fusion of natural and artificial forms.

I wonder if this creature symbolizes the interconnectedness of different species and objects, possibly reflecting the idea of adaptation and survival in a changing environment. The phone case adds a modern touch, making me ponder how technology and nature might coexist.

I see a transition from collage to oil printmaking, where the intricate texture of the fish scales and the owl’s eyes are simplified, yet their unique features are retained. The rough texture of the hand-drawn elements contrasts with the clean edges of the collage, highlighting the transition from the initial concept to a more abstract representation.

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I see the colors flowing and blending into each other on the canvas, with every edge appearing soft and natural. Although the lines are vaguely present, they don't stand out; instead, they are softened by the diffusion of colors. What initially seems to be the shape of lines, when magnified, transforms into the merging of surfaces, creating a special sense of visual layering.

I think the way these colors connect and transition resembles flat candies melting under the scorching sun, sacrificing their original boundaries to blend together. The softened edges and mixed hues, much like candies melting in the heat, lose their fixed shapes, yet bring forth a new visual experience. This "sacrifice" seems to be an exploration of how matter changes under the influence of time and temperature.

I wonder if the fusion of colors, colliding along the lines, enhances the abstract expression of the artwork, as if the meeting of colors creates a natural randomness. Is this blending of hues an accidental beauty, or is there intentional composition behind it? The fusion of colors feels like a natural phenomenon, carrying a sense of unpredictable harmony, while also imbuing the painting with a kind of abstract tension.

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I see a dream about bubbles, as if I'm transported back to a carefree afternoon, lying quietly on the grass, gazing at the sky. Bubbles rise gently in the breeze, reflecting the blue sky above, the swaying leaves, and it even seems like a piece of floating cloud or a glimpse of a red fruit appears on the surface of a bubble. As the bubbles float, the light hits them from different angles, causing colors to blend into one another—soft blues, greens, and pinks ripple across the surface, creating a mesmerizing visual dance. The overcast sky occasionally sends tiny droplets falling, piercing one or two bubbles that are descending slowly, bursting them into a brief explosion of shimmering colors before they vanish. It feels as though this moment exists in a delicate balance between reality and dream.

I think the overlapping colors of the bubbles are like the hues in a not-quite-transparent foam, where each bubble holds within it a swirling world of shades. The colors blend seamlessly, as if the boundary between one and the next dissolves in the light, much like how bubbles shift and merge into each other. These bubbles become objects themselves, reflecting their surroundings, yet maintaining their own identity. It’s as though the entire world is composed of bubbles, each with its own unique palette that mirrors the space it occupies. The colors, while temporary, present a beautiful, fleeting spectrum, constantly shifting and evolving as the bubbles rise and fall.

I wonder if seeing the world through the lens of bubbles is too simplistic. Could this vision, where colors merge and blend so effortlessly, be seen as missing the complexity and intricacy of reality? Or perhaps, the merging and overlapping of colors on these bubbles symbolize the interconnectedness of all things—each shade representing a piece of the world, and together they form a unified whole. The visual fusion of colors in the bubbles feels both natural and abstract, as if capturing something transient yet profound. Could such a simple representation, where colors continuously harmonize and dissolve into each other, actually offer a deeper reflection on the ever-changing and interconnected nature of our world?

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I see the pattern of the fence, the pattern of the manhole cover, although these should not be patterns, but shapes, I want to see that the shape is also a pattern.

I think it is the fate of soft paper to be touched by metal hard shaped objects.

I wonder if the surface of a hard object left behind on the back of the paper is the answer to the positive shape?

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I see the scene outside the window after the heavy rain, the stars focused on the water stains on the glass, and the trees and buildings in the distance were blurred into view. The clouds in the sky are joined together.

I think the texture of the glass and the trace of the stain add a bit of hazy sensuality to the observation of the world.

I wonder if the application of visual focus in the presentation of the picture is an embodiment of existentialism from the perspective of self.

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I see that the lines of the wet pavement of the rain are the lines of the paper, and the concave arcs are filled with the rain and glisten with the light of the fine overcast day.

I think the grain of the paper is close. The rough surface of the paper is shown on the surface with the flat grain of the carbon side. The soft light and shadow and the ripples of the water light are wiped out by horizontal vertical lines of the eraser.

I wonder if the most ordinary and common things, such as paper, the lines of the asphalt road can be described by the beauty and ugliness of this world?

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reflection: Link to class readings, application to imaginary world

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reflection: Link to class readings, application to imaginary world

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In reflecting on the “Making up Creatures ”from Molinsky’s podcast(2020), I experience a visual shock as familiar elements from our daily lives are merged to create entirely new life forms. These creatures are born out of chaos, defying logic and disregarding the naturalistic principles of Darwinian evolution. They are unpredictable collages of parts that don’t belong together, a mixture of absurdity and contradiction, as if they represent an emotional outburst, a rebellion against order, silently crying out against the constraints of reality.

I think this illogical combination of creatures might be an externalization of a certain sense of helplessness within. When logic and rules no longer guide the creative process, and instead it’s pure emotion that erupts in a jumble, perhaps those neglected feelings find expression in this way. I begin to wonder, if the complex thoughts in our minds—the emotions that have nowhere to go—were made manifest as creatures, like invisible insects with their own language, a language that we humans cannot see but can read, would that connect to the world of my imagination?

In this hypothesis, humans seem to take on a god-like role, able to create, destroy, and even comprehend things beyond our senses. This ability endows us with a divine quality; we appear to become gods of these fabricated worlds. However, this thought also throws me into deep conflict and reflection. My worldview is one without gods, where I believe humans are merely part of nature, not its rulers. But now, as we grant ourselves these god-like powers, does it contradict my belief in a world without deities? Does this challenge the very foundation of my atheistic outlook? In this act of creation and contemplation, I feel as though I am standing on the boundary between a godly and a godless existence, exploring the blurred line between the two.

In conclusion, the combination and interplay of these various techniques is precisely what I aim to convey. Each technique carries its own unique emotional and visual qualities, and when they collide and merge, they generate a complex and rich visual effect. This visual presentation is not just a simple layering of different artistic methods, but rather the energy and tension that emerge from their interaction. These collisions evoke a distinctive visual experience, full of contrast and conflict, yet, on a deeper level, they form a harmonious resonance. This combination is not merely to showcase the techniques themselves, but to profoundly express my inner emotions and thoughts. Through the collision and interweaving of these techniques, I ultimately present the visual language I wish to communicate.

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The combination of lines and shapes continually heightens my anticipation for the artwork. As is common in art, this technique allows the creator to strike a delicate balance between control and unpredictability. Those uncontrollable moments of beauty naturally blossom on the paper, which is what captivates me. As Dr. Beghetto stated, "So, part of this is naming it, when you’re seeing creativity in your classroom, or when you’re doing something creative, it’s about recognizing that, yes, this is a form of creative expression, based on how it’s been defined in the literature" (Henriksen et al., 2018). Artists often express rhythm through delicate lines, while spontaneous strokes create moments of accidental beauty. This aligns with his emphasis on the importance of naming and recognizing creativity. It is not only an artistic expression but also a profound understanding of creation and innovation.

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reflection: application to imaginary world

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reflection: application to imaginary world

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In conclusion, the exploration of different textures is something I love to delve into. The natural formation of these patterns creates an invisible order, and this order lies at the core of my imaginative world. Where there are textures, there is contrast, and although the differences within may be subtle, they still evolve within the inherent rules of the texture.

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reflection: Link to class readings, application to imaginary world

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reflection: Link to class readings, application to imaginary world

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In the exercises of this module, I explore the multi-sensory experience of touch and hearing, especially how to combine these senses with the practice of painting. Through deep listening, we not only focus on the presence of the sound, but also consider its impact on the physical and emotional level. As Ceraso mentioned in the article, listening is not only through the ear, it involves the perception of the whole body and environment (2014). Similarly, in painting, we express the sound of the real and imagined world through a comprehensive sensory experience of touch, sight and emotion. The combination of sound and painting makes the creation more expressive and three-dimensional, so that I can more deeply perceive and express the world I imagine. It makes me reflect on whether there are more possibilities to add to my imaginary world. For example, the tactile sensation of sound is expressed in the picture.

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Ceraso, S. (2014). (Re)Educating the Senses: Multimodal Listening, Bodily Learning, and the Composition of Sonic Experiences. College English, 77, 102123.

Henriksen, D., Mishra, P., & Deep-Play Research Group. (2018). Creativity, Uncertainty, and Beautiful Risks: a Conversation with Dr. Ronald Beghetto.TechTrends, 62, 541-547. https://doi.org/10.1007/s11528-018-0329-y

McCarthy, P. (2004). The stranger (Albert Camus). Cambridge University Press.

Molinsky, E. (2020, June 1). Making up creatures. Imaginary Worlds Podcast [Podcast].