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Memory depotting, though not a widely recognized term, could refer to the process of storing and organizing information or experiences, either in the human brain or in systems like computers. In neuroscience, it may describe how the brain consolidates short-term memories into long-term ones, often involving regions like the hippocampus. In computing, it could relate to how data is efficiently managed and stored for easy retrieval. Alternatively, it might metaphorically represent how people compartmentalize emotions or experiences, or even be a reference to depot medications that release slowly over time.

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Making Narrative | Concept and Poem 嶺南固有色

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Making Narrative | Concept and Poem 嶺南固有色

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嶺南固有色

物之氣味 如水般流動

氣隨物流 氣物合為憶

憶寄於心 氣物存於記

猶如細水 長流

SCENT OF CANTON

The essence of things, like water, flows,
Breath moves with the stream, in harmony it grows.
Essence and form become memory’s seed,
Memory dwells where the heart takes heed.

Essence and form in records reside,
Like a gentle stream, they abide.

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The narrative nature of cultural relics: As witnesses of time and carriers of cultural symbols, cultural relics reflect social, political, economic and cultural development, and also embody people's emotions, customs and religious beliefs. They are not only objects that display history, they It is also a living educational resource that promotes understanding and respect for one’s own identity and that of others. When creating a portfolio, you can conduct in-depth exploration and expression around these connection points. Three dimensions of cultural relics narrative: The narrative nature of cultural relics can be interpreted from the three dimensions of "vessel" (material form), "beauty" (aesthetic value), and "Tao" (cultural connotation).

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Stories are universal. We all read, watch and listen to them. We all tell them. Stories are part of what makes us human. In fact, stories are so ubiquitous, we often don't think about what makes a good story, or question why stories matter in the first place.

Why stories matter to museums?

Museums are often thought of as places that collect, care for, display and interpret objects. While valid in many ways, this view omits the human element of museums.

An alternative approach is to think of museums as places that collate and share human experiences. This is the view put forward by Salvador Salort-Pons, Director of the Detroit Institute or Art in a recent article. More fundamentally, Salort-Pons describes museums as spaces for empathy and "a bonding medium for our society".

Salort-Pons might as well have been writing about stories. Stories share personal experiences in an authentic and easily accessible form. They feel familiar, yet enable us to step into the shoes of others. They are full of detail, but leave space for us to insert our own thoughts, feelings and memories.

We use stories to make sense of the world. While we see ourselves in them, it is through stories that we encounter new perspectives that change how we think and feel.

At their core, stories make us care. They connect us with people and places, even stimulating the release of a hormone usually expressed during intense bonding experiences, like childbirth, breastfeeding and sex.

This emotional connection is the reason stories are so powerful. As any advertiser knows, stories drive people to take action, whether that's buying a product, gifting a donation or making a difference in the world.

From a marketing perspective, stories can help museums raise funds, encourage visits and trigger sales. For instance, when the Tenement Museum in New York wrote about former First Lady Eleanor Roosevelt in a fundraising mailing it told a story about Roosevelt's work in the local area. By connecting the teenage Roosevelt's story with the Museum's education programmes, the call to action was obvious: donate money and you could inspire a new generation of young Eleanor Roosevelts.

Looking beyond the museum itself, stories help organisations drive change in society. The Santa Cruz Museum of Art and History (MAH), once a place for art and history, now a place that uses art and history to build a strong community, puts stories centre stage. The Museum's mission statement makes this clear: 'we find, spark, preserve, and trade stories, ideas, and elements of creativity drawn from people across Santa Cruz County'. Stories are how MAH ignite shared experiences and unexpected connections.

How can Museums find stories?

Finding potential stories isn't usually a problem. There are stories are everywhere. Look inside a museum and you'll find stories about the foundation of the institution, the history of the building, the collection, individual objects and the people who made, used, sold or owned them.

Museums are also full of people, who bring their own stories with them, from researchers and other visitors to staff and volunteers. There is never just one story to tell. The myriad options can make finding one single story to focus on feel overwhelming.

The sphere in which museum stories live, undiscovered or untold, is vast. Like a marble slab waiting for the sculptor's chisel, the possibilities are endless.

Finding the right stories is less about looking for them and more about thinking through what you need. You need to know who you are as an institution, what matters to your audiences and what you want your stories to achieve. Armed with this knowledge, you can start to make decisions about the sort of stories you want to tell.

These six questions can help you make smart choices as you develop stories for exhibitions, programming, fundraising and social media.

1. Who is the story about?

Museums habitually use objects as a starting point, but the most affecting stories are all about people. When we read, watch or listen to a story we want to identify with its central character, someone who takes action to overcome a challenge.

This doesn't always mean the character looks or sounds like us. The Museum of Broken Relationships in Zagreb, which collects stories as much as objects, describes itself as 'a museum about you, about us'. Since everyone can identify with its themes of love and loss, it is easy to sympathise with others' experiences, whoever they are.

In fact, gathering stories from a range of people can make it easier for us to see ourselves in at least some of them and their lives. An interesting example of this is the BAC Moving Museum in London. In its London Stories performance, visitors explored its building in small groups, encountering members of the public telling their own stories about how they arrived in the city. The show ended with the opportunity to explore an exhibition of objects provided by the performers, each related to their story.

Like many museums working with refugees and migrants, this project gives a voice to those who may not usually be offered a platform. This, in turn, makes the Museum more relevant and inclusive.

Museums keen to engage with diverse audiences need to deliberately choose central characters that feel identifiable to these groups. As Marleen Hartjes of the Van Abbemuseum in the Netherlands puts it, the concept of accessibility applies as much to stories as it does to physical access: "if the story is not about you," she says, "you will not come at all".

2. What point of view are you taking?

Are you telling the story from the point of view of the central character? Or from someone who encountered them? This may sound like a stupid question, but stories about women or other historically disadvantaged groups have, more often than not, been told from someone else's perspective.

As an example, the story of Mary Mallon, the Irish cook who inadvertently spread typhoid to several New Yorkers in the early 1900s, is usually told from the perspective of the man who doggedly tracked her down. In my own version, published by Wellcome Collection, I deliberately changed the perspective, so we start at the moment when Mallon is confronted by her pursuer. This allows us to see the story through Mallon's eyes, not from the point of view of the man whose actions prompted her life-long incarceration.

Deliberate decisions like this challenge the historical norm, which privileges certain versions of stories above others. Conversely, a decision to tell the same old stories helps these privileges persist.

3. What goes wrong?

We find stories interesting and engaging because the main character encounters some sort of complication or obstacle. This might be a practical challenge or an emotional one.

The most powerful challenges are those we can all relate to - fundamental human issues like love, pain and loss. Complications like this effectively transform a story about one individual into a story of shared experiences.

The tension created by this complication is what makes us want to get to the end of the story. We are driven to find out what happens or, if we already know, to discover how the situation was resolved.

In the Museum of London's exhibition Fire! Fire! the opening exhibition panel introduced a major obstacle:
London in 1666 A city recovering from the plague of 1665 A city of around 400 000 people A country at war with France and the Netherlands One night in September a fire starts in a bakery The Great Fire of London begins...
It's a great opening statement, which poses more questions than it answers. Audiences should be hooked, wanting to know more about how this story unfolds.

Laid out line by line on a black background, the design of the panel was reminiscent of the opening screen in a movie. This reflects the theatrical focus of the show; visitors later explored a dimly-lit seventeenth-century street and found themselves enveloped by digitally projected flames, as if assuming a role within the story.

4. What events will you share to move the story on?

Unlike the stories we all wrote as children, narratives aren't usually a chronological list of everything that happens. Once your audience is engaged by a sympathetic character and the challenge they face, a story needs a series of events that show how the character resolves the problem.

In the Science Museum's interactive touring exhibition The Science of Spying, visitors were given the opportunity to play a role in the narrative. The physical layout of the exhibition guided visitors through a series of story events, taking them from complication to resolution. After being 'recruited' at the entrance - where they received a spy ID - they made their way through a set of training exercises and received their mission. The mission is effectively the obstacle they need to overcome. With their preparation complete, they were sent undercover, infiltrating an organisation to collect information and crack a code. The story ended with their escape and debrief.

While this narrative-led exhibition was set up as a chronological adventure, other stories unfold in less time-driven steps. The trick is to arrange these events to reveal only as much as the audience needs to know at that specific point. Think about when your audience will ask questions like Who? Where? When? Why? and What happens next?. Then select and arrange a series of events to address this.

5. What details will you share?

In tandem with events that push the story forward, stories need information that adds context and detail. Mixing these two elements is a fine balancing act. Too many events and it's difficult to understand what is happening. Too much detail and you reduce your story to a stream of consciousness.

Museums and archives are fantastic places for finding historical details. Archive resources reveal what people wore and read, how they decorated their home, what they ate, how they spoke and what they thought. More broadly, they can provide information about the weather, the cost of everyday things, social norms and attitudes to everything from health to wealth.

The details you share should place your audience right inside the story. These touches of colour, like the tints and audio added to the Imperial War Museum's World War I footage in They Shall Not Grow Old, bring the story to life.

The Anne Frank House in the Netherlands shows how small details, like horizontal pencil lines scrawled on a wall, can have greater impact than raw facts. The lines mark the changing heights of people living in the House during the German occupation of Amsterdam in World War II. They remind us that Anne and her family are like any other family, despite the extreme circumstances they found themselves in. What's more, the lines show us what an incredibly long time the family spent hiding in the House's secret annex. A bald statement telling us the number of years is far less effective.

6. How does the story end?

All stories come to an end. The conclusion of a story sees the challenge or complication resolved by the actions of the central character.

Resolutions can be happy, sad or, as is the case with most true stories, somewhere in between. They involve the character changing the world around them in some way, the character changing themselves or both.

We find endings satisfying because they release the dramatic tension set up earlier in the story. They also provide an opportunity to consider what the main character has learned in the process.

Overall, good storytelling is about making smart choices. Choose a sympathetic character, an appropriate perspective and a compelling complication. Select a series of events that show how the character tackles the complication, colourful details that help us understand what is happening and a satisfying resolution. And choose what formats to use and how to distribute and share stories.

Of course, there is one fundamental choice: whether to find, create and share stories in the first place. Perhaps that is a moot question, though. As museum consultant Leslie Bedford wrote almost two decades ago, "Museums are storytellers. They exist because once upon a time some person or group believed there was a story worth telling, over and over, for generations to come." For museums, like humans, stories are a natural part of life. It's just a matter of choosing which stories to tell and how.

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Why do stories matter to museums and how can museums become better storytellers?

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Stories are universal. We all read, watch and listen to them. We all tell them. Stories are part of what makes us human. In fact, stories are so ubiquitous, we often don't think about what makes a good story, or question why stories matter in the first place.

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Fables for our Time is a triptych of stories about environmental urgencies, told through visual depictions of ecosystems inhabited by fantastical creatures. It uses narratives and fantasies of those who share ecosystems and environments to address planetary urgencies.

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[Design Museum] Interactions with sight senses

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[Design Museum] Interactions with sight senses

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A Cultural Shift Within the Museum

Restoring the Ballantine House was not just about physical preservation but also about a cultural shift within the museum. Addressing internal culture was crucial to genuinely engage with the community and tell diverse stories. This involved staff training and open discussions about race, privilege, and inclusion. By fostering an environment where diverse voices are heard and respected, the museum can better serve its community and create innovative exhibitions and programs.

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How a Historic Home Sparks Community Conversations

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The Newark Museum of Art, located in the bustling heart of Newark, New Jersey, stands as a beacon of cultural richness and diversity. Under the…

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Japan House London is free and open to everyone. We invite guests of any age or background, and with a wide range of interests to explore, interact with, and immerse themselves in Japan’s rich and diverse cultures.

It is a forum for creative and intellectual exchange between Japan and the rest of the world, deepening our appreciation of all that Japan has to offer, and engaging and surprising even the most knowledgeable guests.

By starting conversations around Japanese design, craft, architecture, technology, travel and food and drink, Japan House London offers something for everyone.

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Japan House London is the cultural home of Japan in the UK. Presenting the very best of Japanese art, design, gastronomy, innovation and technology, Japan House London provides an authentic encounter with Japan.

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Sensory and memory systems are deeply interconnected, as sensory experiences form the foundation of our memories. When sensory information, such as sights, sounds, or smells, enters the brain, it is first processed by sensory memory, which holds this information briefly in its raw form. Important or novel information then transfers to short-term memory, where it is held temporarily and, if rehearsed or emotionally significant, may move to long-term memory for more permanent storage. Long-term memory stores these sensory experiences in a way that allows us to recall, recognize, or reimagine them later, often evoking similar sensory responses. In this way, sensory inputs and memories are dynamically linked, with each influencing the recall and emotional impact of the other.

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Observation drawing [Object and Memory remain]

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Observation drawing [Object and Memory remain]

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When we encounter a familiar object, it often activates associations formed during past interactions, linking sensory details, such as its look, feel, or smell, to the context or emotion of previous encounters. This phenomenon, known as episodic memory, allows objects to act as anchors for specific memories

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Each object in the time capsule serves as a memory trigger, allowing future individuals to understand and even feel the lives and experiences of those from the past. Time capsules thus provide a powerful connection between the physical presence of objects and the intangible memories they carry, preserving a snapshot of life as it once was.

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好的设计看起来棒极了，是的—但它为什么不能同时也是手感好极了，闻起来香极了，听起来舒服极了呢？设计师Jinsop Lee (TED Talent Search 获奖者)用一个简单好用的图形和几个例子分享他的五感设计理论。他希望：激发你去注意伟大的多感体验。

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Design an guide book for Time capsule | Combine with embodied experience and mult-sensory 31/10/2024

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Design an guide book for Time capsule | Combine with embodied experience and mult-sensory 31/10/2024

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For the issue to making an Time capsule to archive my cultural background and hometown menmory

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For the issue to making an Time capsule to archive my cultural background and hometown menmory

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To experiencing my idea of objects can be memorable. I will base on an specific locations to texting my throughs. Base on sensory experience to explore space and physical environment.

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Visualize sensory creating an bridge with narrative communications

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Visualize sensory creating an bridge with narrative communications

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Finding The representing | With Chat gpt

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Finding The representing | With Chat gpt

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To represent the essence of Canton (Guangzhou) through the five senses, we can explore what each sense might capture about this vibrant city:

Sight

Bustling Cityscapes: Canton is known for a skyline that blends modern skyscrapers like the iconic Canton Tower with historic architecture, including the Shamian Island colonial-era buildings and the Temple of the Six Banyan Trees.

Lively Markets: The streets and markets are alive with vibrant colors, especially during the annual Flower Fair at Chinese New Year when stalls are filled with bright blossoms, symbolizing luck and prosperity.

Traditional Meets Modern: You’ll find the traditional lion dance during festivals alongside neon lights and ultra-modern structures that bring together the city’s long heritage and rapid development.

Smell

Street Food Aromas: The streets of Guangzhou are filled with the aroma of barbecued meats, herbal broths, steamed dumplings, and fresh seafood. The smell of roasting char siu (barbecued pork) is a quintessential part of Cantonese street food culture.

Flower Markets: During Chinese New Year, the flower markets fill the air with the scent of fresh orchids, lilies, and chrysanthemums, symbolizing good fortune.

Spice and Medicinal Herbs: Cantonese cuisine often uses mild, aromatic spices, and traditional herbal medicine shops contribute earthy, unique fragrances to many neighborhoods.

Hear

Cantonese Language and Opera: The melodic, rhythmic tones of the Cantonese language echo through the streets, along with the distinctive sounds of Cantonese opera. Opera performances in teahouses or cultural festivals add a unique auditory flavor to the city.

Market Sounds: The lively bargaining in markets, food vendors calling out their offerings, and the sounds of bustling crowds bring an energetic and vibrant auditory experience.

Festival Drums: During festivals, you’ll often hear drums from traditional lion dances, firecrackers, and lively music adding to the celebratory atmosphere.

Touch

Textured Street Life: Walking through the city, you’ll feel cobblestone paths in historic neighborhoods like Shamian Island, contrasting with the smooth, modern walkways of new developments.

Dim Sum Delicacies: Eating dim sum involves a tactile experience as you pick up dumplings, buns, and rice noodle rolls with chopsticks, feeling the textures of steamed, fried, and baked treats.

Cool River Breeze: The city’s subtropical climate, alongside the Pearl River, offers a humid, warm sensation, especially in summer, and a refreshing cool breeze near the river in the evening.

Taste

Dim Sum: Canton is famous for its dim sum, with iconic dishes like har gow (shrimp dumplings), siu mai (pork dumplings), and egg tarts, offering a variety of flavors from savory to sweet.

Fresh Seafood: Cantonese cuisine emphasizes freshness, and the seafood here is often steamed or lightly seasoned to highlight its natural flavors.

Sweet and Savory Harmony: The taste of Cantonese dishes often strikes a delicate balance of sweet and savory, from the mild sweetness of barbecued pork to the rich, umami flavors of double-boiled soups.

Through these sensory details, Canton reveals itself as a city rich in culture, flavor, and experience, where tradition and modernity blend seamlessly.

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Embodied interaction |Smell could be visualize

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Embodied interaction |Smell could be visualize

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Narrative design plays a crucial role in archiving memory by shaping how information is structured, presented, and recalled. Through storytelling techniques, narrative design provides a coherent framework for organizing memories, making them more accessible and emotionally resonant. In digital archiving, for example, narrative design curates data into meaningful sequences, allowing users to navigate and interpret content more effectively. Similarly, in personal memory archiving, such as journaling or digital scrapbooking, narratives help contextualize events, connecting fragmented memories into a cohesive story. By incorporating elements like chronology, themes, or emotions, narrative design transforms raw data or experiences into lasting, impactful memories.

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Narrative and audience connect| Embodiment

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Narrative and audience connect| Embodiment

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sensory, and emotional experiences into the storytelling process, creating immersive and meaningful interactions for the audience. It involves designing narratives that engage the body and mind, encouraging participants to "live" the story rather than merely observe it.

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書影：「植田正治」植田正治 Shoji Ueda - 小红书

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3 亿人的生活经验，都在小红书

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Narrative Design | Storyline and embodied and city connect

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Narrative Design | Storyline and embodied and city connect

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Storyline Research | City connect by canal

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Storyline Research | City connect by canal

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From exploring the forms of narrative. I mainly doing research in the old city district to finding an starting point of narrative. As a element that marked down is the old city's canal. it's is the lifeblood of city. People were settle nearby the canal. Culture, people are Cultural are blending and architecture build, rebuild. From the canal i can see is a urban changes. And those masterpieces still alive becoming as Historic heritage.

For the following progress i would be focus on the making narrative the city canal as main storyline to making an exploration of the historic heritage.

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Research| Historic article about the city canal

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Research| Historic article about the city canal

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左三脈: 從文德路市一宮出，入清水濠。

左二脈: 從人民公園出，經華寧裡，由仙湖街出城，入玉帶濠。

左一脈: 從越華路出，經起義路惠福巷、解放南路、起義路素波巷出城，入玉帶濠。

右一脈: 從六榕路出，經惠福西路，至南濠街出城，入玉帶濠。

右二脈: 從淨慧路出，經海珠北路、擢甲裡、朝天路、光塔路，至南濠街出城，入玉帶濠。

右三脈: 從光孝路出，經詩書路，至大德路口出城，入玉帶濠。

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In order to print the pattern relief on package box. I chose to progress my idea in the printmaking studio, plan the using rubber Plate to make the pattern master for relief print.

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The paper often cracks during the first printing, and the pattern template produced bleeds and breaks during the third printing.

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In order to using rubber plate to embossing the print couldn't print for many times. However, for the recently testing i can see that wooden board also could be work well. But, i am trying to figure if to engrave the Pattern detail that must couldn't be show it really clearly. also can not be printing for mangy times.

For manage that issue. My plan is using laser cutting. Using machine to cut and engrave the pattern master. For decline printing damage risky I need to simplify the pattern to ensure the the master won't be easier to damage the pattern master.

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In Order to using sensory as an interaction point to expressing narrative the concept. I want to make a map as my narrative element as a storyline. Combine with prototype and Scent perfume set to show a on-site mapping location.

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The city beyond the river having different side. From urban to traditions. From light to dark. Faith to faith. Beyond the river culture, worship, abstract, concrete are blending together. Multiple Scent around the city blending but your get in closely you can feel it. The concrete of the city could be showing as scent. How to bring smell as a abstract connection to audience. It could be using scent as a point to connecting with visual narrative.

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Packaging design + Perfume set + Visual Prototype.

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Packaging design + Perfume set + Visual Prototype.

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Making an Scent set product. from my currently research setting. The package need five sections display separately. Individually show each scent with a location to be relate.

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Five bottle scent capsule would stand in each conner representing the scent of the locations in the middle one show the scent of the city canal. Bottle cap will be using foaming clay to design and following by the element of locations to visualizing. the middle would be special

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天圆地方 map methods and package Inpirations

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天圆地方 map methods and package Inpirations

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The concept of "square earth" in Tianyuan Difang originates from ancient observations of flat, open landscapes. People used straight lines and square shapes to divide land for farming, city planning, and construction. Limited measurement techniques made squares a practical model, symbolizing order and stability.

The sky is round and the earth is square, which is the core concept of ancient Chinese cosmology. It refers to the sky as round and the earth as square, which reflects the ancients' understanding of the shape of heaven and earth and the laws of their operation. This idea is not only contained in traditional philosophy, but also affects architecture, etiquette, painting and other fields, symbolizing the harmonious unity of nature and human order.

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Each triangle include a bottle sets of scent.

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This project is about graduation thesis research. The main purpose is to explore how to use immersive design to realize narratives based on human perception. Explore the interaction and information transmission with the audience based on the five human senses. Explore the process of transmitting information between different perceptions to the human brain to design interactive media.

in this project design. I will choose a local cultural project for research. How to carry out thematic narrative by transforming the information content obtained through my five-sense experience into different media.

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3 亿人的生活经验，都在小红书

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Scent Capsule Guide book and Scent Prototype [Sight]

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Scent Capsule Guide book and Scent Prototype [Sight]

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Pattern observing from image of the location

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Pattern observing from image of the location

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From the Package and the bottle cap design, I want to observe the element from the heritage itself. the style of archieture in this region built a lot wooden or stone engrave pattern for the decorating also on of the most traditionally is the roof top. sculpture pattern blending the the root top to show the most fancy part of its masterpiece .

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Pattern design scent observational drawing

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Pattern design scent observational drawing

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From pattern to colour, using smell to imagery colour of scent.

went i doing my pattern design. From my formal studied about sensory experience about smell and object connect. I tried to using traditional drawing tools to visualized the That feeling of smell sense and transfer to image as a pattern as the connection to the locations.

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For these project, I mainly to show is my journey that i observe my expression to the Dissertation theme study in the creativity making field. for the product part, I only showing my concept of embodiment narrative as a evidence to visualize my theme in progress.

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Middle Bottle Cap Progress [Transparent resin]

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Middle Bottle Cap Progress [Transparent resin]

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Canals are the blood vessels of the city

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Canals are the blood vessels of the city

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Canals are the blood vessels of the city

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Canals are the blood vessels of the city

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This project represents a journey that integrates theory with production, highlighting the importance of expressing ideas through creation. In design, meaningful work emerges when the designer's concepts are effectively conveyed. By summarizing and reflecting on experiences gained during the creative process, I continually refine and integrate them into my work, ensuring it carries deeper value.

For this project, I focused on researching how to craft narrative design using different media. Through professional coursework and studio practice, I gained valuable insights into interactive media creation. Whether through printing, painting, or packaging, I explored how various mediums convey information to different senses, translating narrative design into sensory experiences. The satisfaction lies in the process—from research to production—where ideas materialize into tangible results.

Face-to-face discussions with classmates and teachers provided critical feedback, enabling me to refine my work and enhance its completeness. In the Integrated Practice unit, most of my time was spent on hands-on production in the studio. Unlike previous units, where learning came primarily from teaching, this experience emphasized self-driven exploration. This approach not only advanced my practice but also expanded the creative possibilities of my chosen mediums.

Though I faced challenges and limitations during the process, studio discussions with teachers helped me achieve the best possible quality at this stage. This experience represents significant progress, and I plan to apply these learnings to future projects, enriching my work with more diverse and expressive creative approaches.

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SIZE:135mm × 135mm × 135mm

Package main: Thick Cardboard

External packaging: Embossing Relief Print on paper

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SIZE:135mm × 135mm × 135mm

Package main: Thick Cardboard

External packaging: Embossing Relief Print on paper

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SIZE:135mm × 135mm × 135mm

Package main: Thick Cardboard

External packaging: Embossing Relief Print on paper