My field of research and practice is embroidery. Engaging in real works rather than discussing concepts and empty rhetoric brings me a sense of peace. I focus on the history of embroidery, its cultural value, techniques and innovations, preservation, and future designs. I am also fascinated by the different mindsets across various crafts. I hope that my future works will not only integrate different embroidery techniques but also showcase the inspirations I have received on a much much much broader scale.

I am interested in sounds, including audio landscape, sound effects, foley, and voice acting. I am also a music appreciator, even I am not necessarily a musician myself. The idea of using different kinds of sound to create and enhance an experience is intriguing to me.

What I am currently interested in is the views of young people on marriage and the differences between current marriages and those of the older generation. Many young people nowadays are afraid of getting married or divorced after marriage, so they gave me some ideas to explore.

I am Wu Yuting, my student numble is 2145864.

I have a strong interest in game design, both game planning and game development, and I love the feeling of seeing my stories being created. What's more, I also like create based on real-world problems and enjoy the problem-solving process.

You can also call me Dami (大米) :P

I love all kinds of works that depict wonderful stories, novels, anime, and games, and I like to challenge myself with various subjects, and I hope that I can make wonderful games as well. I'm working hard on that.

I enjoy video editing and experimental film creation. I love exploring various editing techniques and attempting to transform abstract concepts into tangible visual experiences. Additionally, I have a strong interest in fan culture and hope to showcase its diversity and creativity through my own works to audience.

Current ambition is to design and deliver a Theatre.

My name is Kai.Xie. You can call me Shake

I am very interested in world construction, culture and film studies. I have some shortcomings in photography and editing techniques. I hope to make progress together with you in this course.

Last semester, I deeply studied the topic of cultural heritage, and became interested in the relationship between installation and audience, as well as related topics of commercialization in the course. Based on the above topics, I want to conduct in-depth research and discussion.

Can participative design of public space in dormitories improve experience of residents?

How has the commercialization of works of art changed the art industry?

How are social media, streaming services and digital art platforms changing the way people engage with cultural events

How does the development of the occult reflect people's perceptions of the world?

Is immersive technology harmful or beneficial to literature.

From movies to games and VR, these cultural mediums have evolved to expand the user experience through increased levels of immersion. But from the symbolic level, does this cause the technical subject to invade the user's consciousness excessively, in the long run, will lead to the user's inability to independently build the imagination space?

My name is FeifeiCai，and my student number is 2143388.I'm interested in interactive installation art.

Can the concept of totems be combined with modern technology to create new forms of expression?

2. Hypothesis: Implementing a participatory design approach in the development of public spaces in dormitories will significantly enhance residents' sense of ownership, community engagement, and overall living experience by aligning the space more closely with their diverse needs and preferences.

The development of the occult may reflect the fact that scholars respected the unknown in the world and did endeavour to understand them.

Can we-media era break media hegemony？

Changing the auditory loudness can change the intention of a certain fixed music content.

Attractive: Games with details which players can discover step by step are more attractive.

Effective: Game shouldn't just tell a stroy without connecting the modern society to the players.

Understandable: clear tutorials, intutive UX amd simple mechanics make the game understandable.

Hypothesis:

The innovative spirit of experimental cinema, which breaks away from traditional norms, influences the transformation of filmmaking concepts, thematic content, audiovisual language, and narrative techniques in contemporary film art.

2. Participatory design

3. Resident satisfaction

4. User-centered design

5. Community engagement

6. Well-being in student housing

2. Participatory design

3. Resident satisfaction

4. User-centered design

5. Community engagement

6. Well-being in student housing

Triangulation of methods: 1. Interviews 2. Case studies 3. Creative game practice

I aim to create a game that is simulating experiences of a young female foreign student in Japan. The game will address mainly a Japanese audience and its aim is to increase empathy towards the perspective of the foreigner. This research stems from my personal experiences and concerns following an exchange year in Japan.

Phase 1: Initial Assessment and Hypothesis Testing

The first phase involves modeling the existing dormitory buildings and their surrounding public spaces using 3D software. This visual model will serve as the foundation for understanding the current layout and how residents interact with these spaces.

Simultaneously, a pilot quantitative questionnaire will be distributed to test the first hypothesis: whether the current design of public spaces meets residents' functional, social, and psychological needs. This survey will identify key issues that require deeper exploration in subsequent stages. Additionally, it will investigate potential cultural differences between international and local students regarding their use of public space.

The questionnaire will be shared with both international and domestic student groups, aiming for 10+ respondents per group. This differentiation will allow us to capture a broad range of experiences and highlight any unique cultural influences on how students engage with the space.

Phase 2: Workshops and Ideation

After gathering initial insights from the questionnaire, the second phase will focus on qualitative exploration. A series of workshops will be conducted to engage students in brainstorming potential improvements to the dormitory public spaces. These workshops will prioritize understanding residents’ preferences, needs, and visions for their ideal public space.

During this phase, methods such as Crazy 8 (a rapid ideation exercise) and AI-driven image generation will help participants visualize possible improvements. These techniques will allow participants to think creatively and collaboratively.

The goal of the workshops is to reach a consensus on potential design solutions that address the needs of both international and local students.

Phase 3: VR Prototyping

Once a consensus is reached in the workshops, the next phase will involve creating virtual reality (VR) prototypes of the proposed public spaces using ShapesXR software. This immersive technology will allow participants to explore the redesigned space in 3D, providing a realistic sense of scale and interaction.

Before beginning the VR prototyping, participants will receive an introduction to the technology and software based on their individual levels of experience. Ideally, the group will include at least 10 participants with diverse perspectives, ensuring a wide range of ideas and insights.

Phase 4: Testing and Iteration

Following the VR prototyping phase, the final stage will focus on testing the prototypes. The initial prototypes, developed based on participants' input, will undergo further refinement using professional architectural software to create hyper-realistic 3D models of the space.

Both participants from the design phase and a control group of students who did not participate in the earlier stages will be invited to test the new design. This approach minimizes potential bias from the original group and provides fresh perspectives.

During the testing phase, participants will interact with the redesigned space and provide feedback on its functionality and appeal. To gather data, the same qualitative questionnaire from Phase 1 will be used, allowing for a before-and-after comparison of residents' satisfaction with the public space.

Additionally, open-ended questions will be asked to capture any new ideas or suggestions for further iterations.

Method:1. Questionnaire. 2. Case studies. 3.Creative game practise.

My aim is to create a party-type board game that incorporates the Chinese custom of celebrating Chinese New Year into the theme, which is suitable for people with a background in Chinese culture and those who are curious about Chinese culture. I want to let players learn about traditional culture or resonate with them as they play.This game comes from my own love of board games and a critical reflection on traditional culture.

Method:1.Case study 2.Psychoanalytic Approach 3.Video practice

My aim is to explore how the shadow of the villain plays a role in the film and how it is represented in the film. Applied techniques learned from film to own videos.

2. search questionnaires which help to collect data

3. design a experiment, and divide participants into diffenert control groups

4. collect data using questionnaires

5. analysis data using regression for example

1. Interviews

Conducting semi-structured interviews with new immigrants to explore their feelings about adaptation in a new country. Questions could focus on specific challenges, such as language barriers or cultural differences, while allowing space for open-ended responses.

2. Focus Groups

Organizing a focus group with individuals who have ichthyophobia to discuss their fears and coping strategies. The session could be guided by prompts, encouraging participants to share stories and support each other's insights.

3. Surveys and Questionnaires  

Designing a survey targeting sexual minorities to gather data on their experiences with social acceptance. Questions might include scales measuring comfort in various social settings and their perceptions of discrimination.

4. Drawing and Sketching

Facilitating a workshop where participants create sketches that depict their feelings about marginalization. This could culminate in a gallery exhibit showcasing their art alongside written reflections on what each piece represents.

5. Observation

Observing interactions during a VR testing session, noting how participants from different marginalized groups engage with the content and each other. This might involve recording emotional reactions and discussions that arise during gameplay.

6. Visual Analysis

Analyzing a series of digital artworks created by refugees to identify recurring themes of displacement and hope. This could involve critiquing the use of color, form, and imagery to understand how these choices communicate their experiences.

7. Content Analysis

Systematically reviewing narratives collected from interviews with various marginalized groups to identify common themes, such as resilience and community support. This could involve coding the data for repeated phrases or concepts that emerge across different stories.

1. Interviews

Conducting semi-structured interviews with new immigrants to explore their feelings about adaptation in a new country. Questions could focus on specific challenges, such as language barriers or cultural differences, while allowing space for open-ended responses.

2. Focus Groups

Organizing a focus group with individuals who have ichthyophobia to discuss their fears and coping strategies. The session could be guided by prompts, encouraging participants to share stories and support each other's insights.

3. Surveys and Questionnaires  

Designing a survey targeting sexual minorities to gather data on their experiences with social acceptance. Questions might include scales measuring comfort in various social settings and their perceptions of discrimination.

4. Drawing and Sketching

Facilitating a workshop where participants create sketches that depict their feelings about marginalization. This could culminate in a gallery exhibit showcasing their art alongside written reflections on what each piece represents.

5. Observation

Observing interactions during a VR testing session, noting how participants from different marginalized groups engage with the content and each other. This might involve recording emotional reactions and discussions that arise during gameplay.

6. Visual Analysis

Analyzing a series of digital artworks created by refugees to identify recurring themes of displacement and hope. This could involve critiquing the use of color, form, and imagery to understand how these choices communicate their experiences.

7. Content Analysis

Systematically reviewing narratives collected from interviews with various marginalized groups to identify common themes, such as resilience and community support. This could involve coding the data for repeated phrases or concepts that emerge across different stories.

- Gather Materials: Watch the films and document scenes, dialogues, and visual elements related to the Joker's shadows. Additionally, collect interviews or comments from the director, screenwriter, or production team about the symbolism of this character and its shadows.

- Contextual Information: Understand the background information of the film production, including the cultural and social environment during the time of filming.

2. Psychoanalytic Approach

- Theoretical Framework: Familiarize yourself with psychoanalytic theory, particularly Freud's concepts of id, ego, and superego, as well as Jung's understanding of the "shadow" archetype.

- Symbolic Interpretation: Analyze the symbolic meaning of the Joker's shadows in the films, such as how they reflect internal conflicts or hidden desires of the character.

- Psychological Characterization: Explore how these shadows influence the behavior patterns of the character and their relationships with other characters.

3. Video Practice

- Apply Techniques: Apply the techniques learned from the analysis to own video productions.

- Create Videos: Actually shoot a short film or video, attempting to use the techniques seen in the movies to express the psychological state of the characters or the development of the story.

1. Create a set of questions to conduct interviews or surveys with sound producers and music educators regarding this topic

Quantitative:

1. conduct an experiment where participants listen to musical pieces that vary in tone, rhythm, or timbre.

2. Record participants' responses to different musical examples that focus on varying one musical element at a time (e.g., changing rhythm or pitch).

3. Use software tools like Audacity or ProTools or Reaper to modify musical tracks or generate synthetic sounds for testing different musical elements.

4. Use statistical analysis to compare participants' emotional or cognitive responses to different musical elements.

5. Synthesize findings to understand how each element (tone, pitch, articulation, rhythm, timbre) contributes to musical expressiveness, and how these elements are perceived differently based on their usage.

   
   

- Gather Materials: Watch the films and document scenes, dialogues, and visual elements related to the Joker's shadows. Additionally, collect interviews or comments from the director, screenwriter, or production team about the symbolism of this character and its shadows.

- Contextual Information: Understand the background information of the film production, including the cultural and social environment during the time of filming.

2. Psychoanalytic Approach

- Theoretical Framework: Familiarize yourself with psychoanalytic theory, particularly Freud's concepts of id, ego, and superego, as well as Jung's understanding of the "shadow" archetype.

- Symbolic Interpretation: Analyze the symbolic meaning of the Joker's shadows in the films, such as how they reflect internal conflicts or hidden desires of the character.

- Psychological Characterization: Explore how these shadows influence the behavior patterns of the character and their relationships with other characters.

3. Video Practice

- Apply Techniques: Apply the techniques learned from the analysis to own video productions.

- Create Videos: Actually shoot a short film or video, attempting to use the techniques seen in the movies to express the psychological state of the characters or the development of the story.

method：

Surveys and Questionnaires

Experimental Studies

Usability Testing

Ethnographic Studies

Surveys and Questionnaires: Design surveys that ask participants to log how often they use different mechanical devices and their preferences. Questions can include frequency of use, types of devices used, and reasons for preferences.

Daily Logs: Ask participants to keep a daily log of their mechanical device usage. This can include the duration of use, specific activities performed, and any notable experiences or issues encountered.

2. Based on the previous step and the literature review, a focus group will be designed and conducted. During this process, interdisciplinary knowledge, such as psychology, may be applied to enhance the design and execution of the experiment. (The first two steps are intended to collect original quantitative data.)

3. The collected data will be analyzed using appropriate tools, which will be decided later (e.g., Excel).

- Gather Materials: Watch the films and document scenes, dialogues, and visual elements related to the Joker's shadows. Additionally, collect interviews or comments from the director, screenwriter, or production team about the symbolism of this character and its shadows.

- Contextual Information: Understand the background information of the film production, including the cultural and social environment during the time of filming.

2. Psychoanalytic Approach

- Theoretical Framework: Familiarize yourself with psychoanalytic theory, particularly Freud's concepts of id, ego, and superego, as well as Jung's understanding of the "shadow" archetype.

- Symbolic Interpretation: Analyze the symbolic meaning of the Joker's shadows in the films, such as how they reflect internal conflicts or hidden desires of the character.

- Psychological Characterization: Explore how these shadows influence the behavior patterns of the character and their relationships with other characters.

3. Video Practice

- Apply Techniques: Apply the techniques learned from the analysis to own video productions.

- Create Videos: Actually shoot a short film or video, attempting to use the techniques seen in the movies to express the psychological state of the characters or the development of the story.

- Gather Materials: Watch the films and document scenes, dialogues, and visual elements related to the Joker's shadows. Additionally, collect interviews or comments from the director, screenwriter, or production team about the symbolism of this character and its shadows.

- Contextual Information: Understand the background information of the film production, including the cultural and social environment during the time of filming.

2. Psychoanalytic Approach

- Theoretical Framework: Familiarize yourself with psychoanalytic theory, particularly Freud's concepts of id, ego, and superego, as well as Jung's understanding of the "shadow" archetype.

- Symbolic Interpretation: Analyze the symbolic meaning of the Joker's shadows in the films, such as how they reflect internal conflicts or hidden desires of the character.

- Psychological Characterization: Explore how these shadows influence the behavior patterns of the character and their relationships with other characters.

3. Video Practice

- Apply Techniques: Apply the techniques learned from the analysis to own video productions.

- Create Videos: Actually shoot a short film or video, attempting to use the techniques seen in the movies to express the psychological state of the characters or the development of the story.

1. Find solutions or helpful information for your problems by looking up materials

2. You can find the information you want through the interview video

3. You can also use questionnaires to find the answers you want and analyze the data

Methods: case studies/questionnaire/practice

The aim is to delve into our understanding of velvet flowers as a symbol of cultural continuity, a bridge between tradition and modernity and a form of Chinese artistry. The goal is not only appreciates the intricate craftsmanship and artistic value of velvet flowers but also to discuss its role in cultural heritage, its potential for innovation, and its significance in shaping modern aesthetics and cultural identity.

2) Storytelling

3) Interactivity

4) Community connection

5) Interactive media

6) Global Impact

How can the use of modern publication design and technology enhance the preservation with cultural heritage?

Brief description:

This research explores the intersection of traditional cultural heritage preservation and modern publication design in today’s technology-driven world. The focus is on how innovative design elements, such as interactive storytelling and digital media, can be used to document and present cultural traditions that are at risk of fading. The project investigates whether integrating these technologies into publications increases engagement, accessibility, and the overall impact on the audience.

Triangulation of methods:

1) Interviews/Focus group

2) Questionnaire

3) Comparison of various design approaches / Research papers / Reference to different artists / Analyze the design elements

2) Questionnaire + Interviews (Focus group)

3) Thematic analysis + Quantitative analysis + Content analysis

i) Compare and integrate findings from interviews, surveys, and content analysis

ii) Take note of respondents

iii) Highlight strength and gaps in the analyzed publications

(I wrote the respond for this question before, but I changed research direction after, so I deleted the respond and rewrite it)

2, User Experience Optimization

3, Artificial Intelligence in Content Management

4, Personalized Recommendation Systems

5, Netnography

6, information Overload Mitigation

Based on the findings, the project proposes AI-driven solutions such as automated content classification and automatic classification of bloggers to optimize content management and user experience. Ultimately, the project aims to provide an innovative framework for Xiaohongshu and similar social e-commerce platforms to enhance the competitiveness of the platform and user stickiness through a data-driven approach.

Methodology: through literature review and industry analysis, we gained a preliminary understanding of common problems in social e-commerce platforms, with a special focus on the challenges of user experience in content management and recommendation systems. Analysis process: Combined with the user needs and market trends of the Xiaohongshu platform, key issues such as content overload, difficulty in information retrieval, and insufficient personalized recommendations are defined to provide directions for subsequent research.

2. Data Collection and User Needs Insight

Methods: Data were collected through semi-structured interviews and netnography. Interviews focus on collecting users' in-depth experience feedback, while netnography obtains real user comments from forums and social platforms. Analysis process: data is progressively organized and coded to identify user pain points in content retrieval and recommendation. The data at this stage lays the foundation for subsequent AI-driven solutions.

3. Data analysis and key issue distillation

Methodology: The collected user feedback was coded and categorized, and recurring patterns and themes were identified using qualitative data analysis methods. Analysis process: Thematic analysis identified key issues in user experience, such as difficulty in content retrieval and lack of personalization, and further explored the direction of platform improvement expected by users.

4. Application of Double Diamond Model (Double Diamond Model)

Methods: The Double Diamond Model is divided into two phases: “problem discovery” and “problem solving”. The first phase is used to identify user requirements, and the second phase is used to design AI-driven solutions. Analysis process: In the problem discovery phase, the user experience problems to be solved are identified through systematic sorting of pain points; in the problem solving phase, feasible AI solutions are developed and evaluated, such as automated content categorization and AI replacement for users to watch the content in advance, AI categorization of bloggers, and so on.

5. Development and testing of AI-driven solutions

Methods: develop automated content classification and personalized recommendation algorithms based on the results of previous analysis, and verify their effectiveness through small-scale testing. Analysis process: to enable it to more accurately meet user needs, while the testing phase ensures that the recommendation system can effectively reduce information overload and improve user satisfaction.

Haraway’s vision is not about a utopian erasure of identity but rather about embracing fluid, multifaceted identities that do not conform to traditional definitions. This approach urges me to adopt new perspectives on identity and social roles, moving beyond restrictive labels. In a world increasingly defined by technological and scientific advancements, her perspective reminds us to reconsider our roles within these shifts, challenging us to explore and accept complex, hybrid selves that might better align with our diverse, interconnected realities. Haraway’s work ultimately pushes us to embrace the freedom of self-definition in a rapidly changing world.

The Tree of 40 Fruit also shows material agency because, even though humans had a part in creating it, the tree grows and changes according to its natural processes. It’s a kind of partnership between human ideas and natural growth, where both are needed for the artwork to actually exist. This artwork makes us think about how humans and nature can work together to create new, mixed forms of life that go beyond traditional categories. In this way, the tree blurs the line between what’s natural and what’s artificial, pushing us to see humans and nature as deeply connected instead of separate.

Victimless Leather  (2004)

Hybrid Identities:Posthumanism posits that technology is not merely a tool but an entity with agency. Victimless Leather employs biotechnological engineering to create leather through cell cultivation and tissue engineering without sacrificing animal lives. This material is neither entirely natural nor entirely artificial but a hybrid of both. This hybrid material challenges traditional perceptions of the boundaries between "natural" and "artificial," demonstrating the deep integration of biotechnology with human activity and altering the way humans interact with nature.

New Materialism:

Wheatfield – A Confrontation  (1982) by Agnes Denes 

Interconnectedness: Denes transformed an abandoned urban plot into a vibrant wheat field, demonstrating the land's potential vitality and malleability. This land is not only a physical space but also a component of an ecosystem, and its changes affect the surrounding environment. Denes's project showcases how humans can interact with nature through intentional actions (such as farming and management). This intervention is not just a one-way control but a collaboration with nature, co-creating a new ecosystem.

Material Agency:Denes's farming activities awakened the land's potential vitality, which means that the land is not merely a passive object subject to human intervention, but is part of an ecosystem with its own life force and capacity for change.

As a creator, you hold the power to shape how audiences engage with the spectacle. Reflect on your role: Are you empowering your audience to think critically and engage meaningfully, or are you creating something purely for attention or profit? Consider both the positive and negative impacts of your work. Share an idea or project you’ve worked on or plan to create. Analyze its potential impact—how it engages your audience, whether it inspires empowerment or risks being exploitative, and what ethical considerations it raises. Finally, position yourself as a creator: Do you see yourself critiquing the spectacle, contributing to it, or finding a middle ground? Reflect on whether it is possible to use spectacle responsibly or if it inherently leads to manipulation, and explain how you would balance audience engagement with ethical creation.

For example, events such as orgies, raves or collective rituals like ecstatic dance ceremonies blur the lines between normality and spectacle. All of them create heightened sensory experiences that, depending on one’s perspective, may feel surreal or extraordinary. Similarly, immersive art installations, where participants interact physically with the environment, can transform an everyday setting into something that feels spectacular and overwhelming. These examples emphasize how the boundaries between the normal and the extraordinary are often defined by context.

This led me to reflect on how normality is relative, shaped by privilege and perspective - what feels "normal" to one person might seem like an unattainable spectacle to another. For instance, someone experiencing homelessness might view a stable daily life as a spectacle, just as Kim Kardashian’s curated lifestyle appears surreal to most.

I also considered Debord’s critique of the spectacle, which, while insightful, feels paradoxically spectacular in itself due to its sweeping claims and dramatic rhetoric. This raises questions about whether critiques of the spectacle can fully escape becoming part of it.

Ultimately, these reflections challenged me to reconsider the fluid boundaries between normality and spectacle, emphasizing how our individual and societal contexts shape what we perceive as "real," "ordinary," or "extraordinary." Experiences like orgies, raves, immersive art, and communal rituals demonstrate how spectacle is not limited to the visual - it is deeply tied to sensory and participatory dimensions as well.

Reflection on Past Projects:

One notable example is my research into interactive public spaces, blending physical and virtual environments. By using tools like AI and VR, participants actively co-design these spaces to reflect their needs. This methodology empowers users to engage meaningfully, positioning them as collaborators rather than passive recipients. Ethical considerations, such as inclusivity and accessibility, are central to my approach. I consistently evaluate whether the tools and processes I introduce enhance or alienate users, ensuring I do not create barriers through technological complexity or exclusivity.

Analyzing Potential Impacts:

The impact of my work is multifaceted. On the positive side, it promotes inclusion, collaboration, and user empowerment. However, I recognize the risk of exploitation if these technologies are used to manipulate participants into accepting pre-designed outcomes or if their personal contributions are overshadowed by the spectacle of innovation itself. For instance, the allure of VR and AI could potentially detract from genuine dialogue if not handled responsibly.

Positioning Myself as a Creator:

I see myself operating at a middle ground between critiquing and contributing to the spectacle. While I utilize advanced tools and methodologies to captivate and engage, my primary objective remains ethical - enhancing quality of life and encouraging critical reflection. This balance requires constant self-awareness and a commitment to transparency about the intentions and limitations of my work.

Ethical Creation and Responsible Spectacle:

It is possible to use spectacle responsibly by aligning it with authenticity and purpose. For me, the spectacle serves as an entry point to deeper engagement, not an end in itself. To balance audience engagement with ethical creation, I emphasize user participation and iterative feedback, ensuring that the final outcome reflects collective input and addresses real needs rather than superficial desires.

In conclusion, my approach as a creator centers on empowerment through meaningful design and interaction. I strive to critique and improve existing systems while responsibly leveraging the tools of the spectacle to foster engagement and innovation.