Behind this may be the economic motives of the government, which I visualised in relation to the medium of blankets. Because of the nature of the blanket as a selling

But it may not be able to visually convey information, for example, how the hometown has changed, and I would like to explain more, about the hometown, in my next projects.

Over the course of the wip exhibition, I received more questions about how the blanket was made, the reason for the blanket's colour palette

and what's next for the project, whether it needs to be a bigger finished product

There were also suggestions for publications

When places gentrify, they often render the local sites unrecognizable to the people who are from there—gentrification signifies a type of erasure and triggers a sort of cultural aphasia. Our memories become misaligned with what’s around us, and we struggle to describe what was there previously. These are the concerns the book speaks from when it talks about gentrification—that erasure, those questions of memory, and what going online allowed for in the 1990s as a means of resituating ourselves.

Collective memory and narratives of local history shape the ways

people imagine a neighborhood’s present situation and future devel-

opment, processes that reflect tensions related to identity and struggles

over resources.

identities (Deener 2010; Shaw and Sullivan 2011).

tive representations of place (Borer 2006). Themselves significant, these patterns

have consequences for who is included and excluded from neighborhood histories,

identities—and places.

sentation of social memory anchored in public space, such as memorials for wars

(Wagner-Pacifici and Schwartz 1991), terrorist attacks (Watts 2009), and political

assassinations (Vinitzky-Seroussi 2002). Such memorials are constructed by specific

Collective Memory and Neighborhood Identity 103

现在的一代人是通过把自己的现在与自己建构的获去对置起来而意识到自身的，

The specific case of Wenzhou, with its transition from agriculturally functional land to tourist-focused sunflower fields, symbolizes a broader global phenomenon where development often reshapes not just landscapes but also local identities and histories.

Sofya Aptekar

In this creative process, I wanted to find visual ways to store memories as archives, I chose Polaroid as the medium, because Polaroid photography usually sends a nostalgic, hazy feeling, I transfer the photographs, separating the image from the frame, to get a soft development, and transferring these images to other materials, such as paper or objects, to get images that are wrinkled, or inadvertently broken.broken images.

Should I give my position on the phenomenon of changing this phenomenon in my hometown, because for me, I have very mixed emotions.

The advice I was given was that I don't need to give a clear stance on this phenomenon, I can tell the story.

The amount of information, the way of presenting the story, will provoke the audience how to think about the phenomenon, the more information, the clearer the reader can get your idea, when the amount of information decreases, the reader has more space to think for himself!

It can be combined with text, as an archive, the text can be formal or informal, which reminds me of poetry.

The idea of preserving images in resin can be a full demonstration of the storage of memories, the embodiment of an archive.

In the analysis of urban redevelopment

programmes and the deep transformations they often intend in deindustrialized (or

deindustrializing) and ethnically diverse urban areas, attention to proliferating nostalgic

sentiments has mostly been blamed of further endorsing exclusionary urbanisms. Scholars for

instance point out that nostalgic emotions support regressive ethnocentric and xenophobic

political agendas. White working-class urban residents often express narratives of loss of local

community, of neglect and of general neighbourhood decline (Blokland 2009; Schuermans et

al. 2015)

In the process of communicating with my classmates, I found that people are different for the same scene when they are young and now. When I was young, I felt that the mountain is big and the lake is big, but I don't feel it when I grow up.

I think people will expand the feeling of memory, in image processing, I think it can be applied to the image size processing, near and far processing needs to flow and change.

The word “nostalgia” comes from two Greek roots: νόστος, nóstos (“return home”) and ἄλγος, álgos (“longing”). I would define it as a longing for a home that no longer exists or has never existed. Nostalgia is a sentiment of loss and displacement, but it is also a romance with one’s own phantasy. Nostalgic love can only survive in a long-distance relationship. A cinematic image of nostalgia is a double exposure, or a superimposition of two images—of home and abroad, of past and present, of dream and everyday life. The moment we try to force it into a single image, it breaks the frame or burns the surface.

The nostalgia that interests me here is not merely an individual sickness but a symptom of our age, a historical emotion. Hence I will make three crucial points. First, nostalgia in my diagnosis is not “antimodern.” It is not necessarily opposed to modernity but coeval with it. Nostalgia and progress are like Jekyll and Hyde: doubles and mirror images of one another. Nostalgia is not merely an expression of local longing, but the result of a new understanding of time and space that made the division into “local” and “universal” possible.

When the images may involve personal memories, consider how the interaction affects the viewer's private memories.

2. Add pigments to the resin, different colours may give the viewer something else to look at.

3. Consider display, e.g. a book as an archive to explain the content of the memories within the resin.

4. print works how they interact with the installation.

In order to solve the above problems, I have experimented differently with my resin materials, in terms of colours and shapes, the design has changed from the original stacked square design to a flat display design, using ripples of water to express the ambiguity and fluidity of memory. Instead of designing a physical book, I designed the website as a storage space for the archive of objects. I printed the prints on ceramics from flat works, making the prints 3D works, and together with the drops as an archive of objects

I wanted the visual presentation to feel like a sealed memory so that the flowers could be permanently frozen in the plaster

Colouring In, Issue 3: The Past （p.4)

In these scenarios prominent academic Saidiya Hartman proposes the conjuring power of “critical fabulation” — a method that “elaborates, augments, transposes, and breaks open archival documents” (2019:xiv) — strategies that are also used in so-called “postmemorial” practices (discussed below).

refrain from attempting to resurrect past lives, accept

their transience, and focus instead on what has been

bequeathed to us.

refrain from attempting to resurrect past lives, accept

their transience, and focus instead on what has been

bequeathed to us.

Firstly, as an application

of phenomenological approaches to the use of

drawing to experience place, focusing on what it

feels like to directly experience Holocaust sites.

And secondly, in attempting to establish how visual

arts practice such as drawing and writing, existing

as interconnected rather than discrete constructs,

when considered phenomenologically can elicit

methods of embodiment which can deepen our

understanding of such events.

Conceptually, my resin material is partly about preserving the memory of a past community, the carpet is partly about the transformation of the environment of a past hometown, the preservation of the memory and the change to the environment are both about the theme of personal identity. In a way they are both part of the project.

• While sunflowers bring a new identity to the area, attracting tourists and changing the landscape's visual and functional purpose, they can also represent the loss of the original identity of the place. This transformation might overshadow the land's historical and agricultural significance, erasing traces of the community's heritage and memories tied to the land's previous use.