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The further development of my personally defined methods of practice which is each page is a single unit and the aggregate whole is more concerned with communicating mood and feeling than in presenting a narrative to emphasize the vision.

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Focusing on feeling that showing rather than telling.

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Consolidation of ideas and material practices

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Consolidation of ideas and material practices

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Goethe claims that “architecture is frozen history."

The secondary research will focus on the symbolic architecture of Wuhan because a building is both a fixed testament to history and makes my narrative more consistent （By keeping the audience focused on the city, the emotional connection will be deeper）

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Firstly, I tried s to tell the story of what really happened in the pandemic in a linear narrative, thus my primary reference was storytelling.

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Does every life on earth have equal value?
I was faced with a challenge about the project aim.

If there are two organisms, a human and a dog, let's say, and either one has to be killed, which one would you kill. Now a human being would, in most cases, choose the dog for the kill. If we are valuing the life of an organism from the perspective of a human being, then, the answer to the above question should be obvious, but at a more philosophical level, may be, both life forms are equal.

If life has meaning, then what defines value? Function, beauty? Utility? Service to the collective? Service to their own needs?

Then you get into what determines ‘one’? Is your or your pet's life worth more than a mosquito's? Than the life of the spinach plant you eat?

We can't very easily imagine the equivalence of value of lives because it will be really hard to survive.

I need to find some more qualifiers for this project's aim.

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I just washed my hands with soap, killing an untold number of bacteria. I certainly value my own life far more than I value the lives of those bacteria. -- Jeffrey Goldberg

Two ways in which the question needs to be addressed.

1. Value to whom?

2. Every life?

Let's look at number 2. Right now antibodies within me are killing various living things. There are millions of deaths happening within me every day. And within you, too. Are these to be included with your notion of "every life on Earth"?

My answer is no, so this a partial answer to my question. I am valuing some lives more than others, and so to me not every life has equal value.

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They can't speak, What happened to them is heartbreak for me and for the city. Thus, it's my responsibility to speak up for them. At the same time, to promote the formation of China's animal protection law, China only has protection laws for specific and rare animals, not for all animals. more importantly,  the way we treat pets also reflects some extent the way we treat vulnerable groups.

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My work in the reader group- Critical reflections on interdisciplinarity

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My work in the reader group- Critical reflections on interdisciplinarity

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Artists trade in metaphors, analogies, poetics, signs and symbols, all of which have no singular or fixed meanings. In many instances, the significance of a work lies in its ambiguity or the complexity of multiple readings. Thus, for artists, the issue is that when art is viewed as a research instrument, an experimental apparatus, employed as a data collection method to either generate theory or falsify the hypothesis, it becomes subordinate to science and loses its value art as memetic innovation. Describe the several logics and three modes that frame and organize practices. One of these modes is the subordinate/service mode, where one discipline is in service to another. For example, a technology partner provides a service to an artist, filling a gap based on disciplinary expertise, or an artist is *employed" to visualize scientific data to present findings to the public. The partners' effort (work) remains within their respective disciplines in both instances. Thus, despite the range of activity in art science, a predominance of projects are still justified in either their role in innovation; or representing science to the public.

What is more evident today than in previous generations of research is that two disciplines, two cultures of two galaxies, so far as that goes, ought to produce creative chances. In the history of mental activity, that has been where some of the breakthroughs came. (Snow 1964, p. 6)

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The “Building Stories” by Chris Ware, which is redefine what a “graphic novel” can be. the box set has shattered my understanding of the “storytelling”,

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Chris Ware, the artist behind this week's cover, "Back to School," will be in town this weekend for the opening of an exhibition of one half of his drawings for his new book "Building Stories," at the Adam Baumgold Gallery (with a concurrent display of the other half of the drawings in Chicago at the Carl Hammer Gallery). Though labeled a "graphic novel," what will be released on October 2nd is a box with "fourteen distinctively discrete Books, Booklets, Magazines, Newspapers, and Pamphlets." Eleven years in the making, "Building Stories" is a momentous event in the world of comics-the unusual format of Ware's book is bound to help redefine yet again what a "graphic novel" can be. Ware provides his own quirky explanation on the back of the box:

With the increasing electronic incorporeality of existence, sometimes it's reassuring-perhaps even necessary-to have something to hold on to. Thus within this colorful keepsake box the purchaser will find a fully-apportioned variety of reading material ready to address virtually any imaginable artistic or poetic taste, from the corrosive sarcasm of youth to the sickening earnestness of maturity-while discovering a protagonist wondering if she'll ever move from the rented close quarters of lonely young adulthood to the mortgaged expanse of love and marriage. Whether you're feeling alone by yourself or alone with someone else, this book is sure to sympathize with the crushing sense of life wasted, opportunities missed and creative dreams dashed which afflict the middle- and upper-class literary public (and which can return to them in somewhat damaged form during REM sleep).

See below for images of some of the things that inspired Ware, "from Duchamp's "Museum in a Box" to a 1920s French set of games, to some early art school experiments from the late 1980s, including a little box of comics...And a sketch of how I envisioned the whole thing early on..." and, last but not least, a fully realized "false" New Yorker cover.
Front of the box of "Building Stories." Opened box, "Building Stories." The fold-out board and some of the pamphlets. Fold-out board, pamphlets, and some of the broadsheets. Early sketch of the project by Chris Ware. An antique game box which provided inspiration, courtesy Chris Ware.
A Treasure Box of Famous Comics, courtesy Chris Ware.*
Student project: Ware's early prototype (1989) of a comics box. When Chris Ware sent us this "false" cover, he told us: "I'm also attaching one of the pages which operates in one of the books as a companion to the Money cover (same characters, size, viewing angle, etc.) so to get the right feel going for it, I actually drew it as a cover, even though I knew it wouldn't be one. There's just something about having that New Yorker logo at the top of the drawing that makes you make certain decisions that you might not otherwise. Pretty much entirely just for your amusement."
Another source of inspiration: Marcel Duchamp's "Museum in a Box."*

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Cover Story: Chris Ware's Big Box of Melancholy

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Chris Ware, the artist behind this week's cover, "Back to School," will be in town this weekend for the opening of an exhibition of one half of his drawings for his new book "Building Stories," at the Adam Baumgold Gallery (with a concurrent display of the other half of the drawings in Chicago at the Carl Hammer Gallery).

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Project work progress of Reader group D at Miro

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Project work progress of Reader group D at Miro

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https://miro.com/app/board/uXjVO7w8DNA=/

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Collection reference for technology reader group

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Collection reference for technology reader group

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https://artslondon.padlet.org/dclifton5/qnr9i2dl4prp57j3

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Conductive ink painting

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https://artslondon.padlet.org/jayoon_choi/3g9rhm5q8cb8o6is

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Since I have discovered a new visual language in monoprint, I will next practice a whole object and an expression of a singular vision between this and the following one.

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Definition of illustration and technology

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Technology affects the way individuals communicate, learn, and think. It helps society and determines how people interact with each other on a daily basis. Technology plays an important role in society today. It has positive and negative effects on the world and it impacts daily lives.

"natural places of ideas, images and materials" (Carter 2004, p. 11). The outcomes of art-science collaborations are expressions of this negotiation, as ideas and materials as they are reorganized into creative forms and experiences. This is a shared creative act of placing things back together, a process that Carter argues, produces knowledge through the way collaborators combat the ideological character of their respective disciplinary discourses and myths by in-venting artificial myths. This suggests the importance of the arts and creative prac-tice-led research within interdisciplinary collaborations.

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“Chatting with Summer’s Elf” by Anna dream brush

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The next stage is ambitioning, focusing on more stories and how to get the audience to understand my vision and attitude accurately, the use of colour needs to be meaningful and kept simple, telling a story is a good way to do this, and incorporating the urban context is also a good idea, but what I need to think about is how to keep the visual language clear and easy to understand the project aim.

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A Samoyed named Snowball was beaten to death.

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Photography by the owner of Snowball 2022.

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The corgi was killed by the following owner who tested positive on the road.

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Stray dogs caught in cages waiting to be rendered harmless.

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A teddy dog that accompanied a 70-year-old man who lived alone was poisoned with trichloroisocyanuric acid disinfectant tablets by local officers

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Pets being treated inhumanely.

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I converged urban architecture and pet crises as my creative interplay to form an interconnected landscape of material for production.

To depict the most despairing image in the magnificent building.

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Feedback： The audience is hard to get my attitude and vision in my images.

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Pets are abandoned in the epidemic, and people are fighting for their chance to live before they are euthanised.

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Showing the helplessness that dwells in their collective soul.