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Hip-pop Cí a design renaissance: the synergy of technology and creativity in digital and physical immersive media
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Content
HIP-POP Cí
A DESIGN RENAISSANCE:
THE SYNERGY OF TECHNOLOGY AND CREATIVITY
IN DIGITAL AND PHYSICAL
IMMERSIVE MEDIA
By
Qiyu Peng
A Thesis Presented to the
ROSKI SCHOOL OF ART AND DESIGN UNIVERSITY
OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirements for the Degree
MASTER OF FINE ARTS
(DESIGN)
December 2023
2023 Qiyu Peng
ii
ACKNOWLEDGEMENTS
Special acknowledgments are due to my family, friends, and the Roski faculty for their
invaluable contributions to the successful progress of this project. I extend my deepest gratitude
to my thesis chair, Ewa Wojciak, whose unwavering trust in me has allowed me to explore
unique paths in the world of new-generation design over the past two years. I am profoundly
thankful to April Greiman for her continuous professional guidance and enlightening
conversations, which have transformed me into a fresh expert in graphic design since my time at
USC. Jason Ellenburg’s encouragement to challenge the boundaries of high-tech fields with art
and design has been truly inspiring. I also want to express my appreciation to Alex McDowell
RDI, Nao Bustamante, Ashley Hagen, Jean Robison, and Jennifer West for the enriching
experiences I gained from their classes and critiques, which significantly contributed to my
creative journey.
To my cute friends, Kexin Lei, Huiting Zhou, and Xun Zhou, their encouragement has
helped me persevere through various challenges. Finally, my heartfelt thanks goes to my family.
My dad’s knack for guiding me through challenging situations with humor and my mom’s
encouragement to embrace life fully in our diverse world has been immeasurable sources of
inspiration and resilience. As the saying goes, “A tree shakes another tree, a cloud pushes
another cloud, and a soul awakens another soul.” is the essence of education. I extend my
gratitude to all who have shaped my educational journey.
iii
TABLE OF CONTENTS
ACKNOWLEDGEMENTS............................................................................................................ ii
LIST OF FIGURES ....................................................................................................................... iv
Abstract......................................................................................................................................... vii
Introduction..................................................................................................................................... 1
Design Renaissance: The Synergy of Technology and Creativity.................................................. 5
Design Thinking Workflow........................................................................................................ 5
Theory of Assembly.................................................................................................................... 7
Midjourney.................................................................................................................................. 8
Audio Visualization .................................................................................................................. 10
Chapter 1: Dance with Hip-pop Cí ............................................................................................... 16
Hip-pop and Song Dynasty Culture in Art and Design ............................................................ 17
Lyrics of Hip Pop Music and Song Cí...................................................................................... 28
Meme and Sticker Design......................................................................................................... 34
Live Performance (video) ......................................................................................................... 40
Chapter 2: Touch and listen the Hip-pop Cí ................................................................................. 44
Audio Sculpture ........................................................................................................................ 44
Digital Audio Sculpture ............................................................................................................ 47
Chapter 3: Generated the Hip-pop Cí ........................................................................................... 49
Container Digital Archive......................................................................................................... 49
Conclusion .................................................................................................................................... 52
References..................................................................................................................................... 54
iv
LIST OF FIGURES
Figure 1. Design Thinking.·················································································· 5
Figure 2. Input and Output Model Workflow.···························································· 6
Figure 3. Visualize Content.················································································· 8
Figure 4. Image Created by Mijourney. ··································································10
Figure 5. See the Voice. ····················································································11
Figure 6.See the Voice. ····················································································12
Figure 7.Databases to be Selected. ·······································································13
Figure 8. Posthuman.························································································14
Figure 9. Dance with Hip-hop Cí Poster.·································································16
Figure 10. Dr. Dre's '2001' (1999) Hip-hop Album Cover. ············································18
Figure 11. Bia-Whole Lotta Money. Hip-hop Album Cover ··········································18
Figure 12. Drake-Honestly, Nevermind. Hip-hop Album Cover.·····································19
Figure 13. Dark Side of the Moon, Rock Album Cover.···············································20
Figure 14. The Poster for Kendrick Lamar Concert.····················································21
Figure 15. Supreme Logo.··················································································22
Figure 16. Biennial Branding by Barbara Kruger. ······················································22
Figure 17.Cardi B’s Iconic Nail.··········································································23
Figure 18. Photograph, Graffiti at LA.····································································24
Figure 19. A Ding Carved ‘Lotus’ Incense Burner.·····················································26
Figure 20. Flower Basket, Li Song. ·······································································26
Figure 21. Comparing with Hip-hop and Song Culture.················································27
v
Figure 22. The Most “Hip-hop“ Words.··································································29
Figure 23. Common Slang in Hip-hop. ···································································30
Figure 24. High-frequency Words in Song Cí. ··························································32
Figure 25. Theme in Hip-hop and Song Cí.······························································33
Figure 26. Translation in Hip-hop and Song Cí.·························································33
Figure 27. Sticker and Digital Archive ···································································34
Figure 28. Poster, LA Voice ···············································································35
Figure 29. Sticker Design.··················································································36
Figure 30. Sticker Design.··················································································37
Figure 31. Sticker Design.··················································································37
Figure 32. Peripheral Product Design·····································································38
Figure 33. Hip-hop Scrolls.·················································································39
Figure 34. Hip-hop Tea. ····················································································39
Figure 35. Hip-hop Tea. ····················································································40
Figure 36. Mock-up, Dance with Hip-hop Ci. ···························································41
Figure 37. Photograph, Dance with Hip-hop Ci. ························································41
Figure 38. Song Dynasty Flower-patterned. ·····························································42
Figure 39. Song Dynasty Flower-patterned Celadon Incense Burner.································43
Figure 40. The Real-time Visual Effect.··································································43
Figure 41. Process of Input-Output workflow. ··························································44
Figure 42. Sound Visualization. ···········································································45
Figure 43. Meta Pattern. ····················································································46
Figure 44. Audio Sculpture.················································································46
vi
Figure 45. Digital Audio Sculpture········································································48
Figure 46. Silver Incense Burner of the Song Dynasty (Pengzhou Cellar Collection). ············49
Figure 47. Digital Incense Burner. ········································································50
Figure 48. Video, Digital Incense Burner. ·······························································51
vii
Abstract
Hip-hop, which originated in Bronx, New York, constantly integrates into new music
genres and synthetic sound, whose short history gives birth to various subgenres with regional
characteristics. Similarly, Song Cí, which lasted from 960 to 1279 AD primarily in Kaifeng, (the
capital during the Northern Song Dynasty) China, is a collection of literary genres representing
the spirit of the essential Chinese language, in which generation, creation, is spread and closely
related to music. The question arises: are the values that people wanted to convey through music
3,000 years ago similar to those we enjoy today? As a Gen Z digital artist, my thesis will draw a
comparative analysis and subsequent integration of the Eastern and Western cultural pop
phenomena. Further I intend to devise a musical formalism that encapsulates the substantive and
affective facets of these poetries. This project aims to integrate hip-hop music from North
America and the ancient Chinese literary genre to create another iteration of global culture. The
integration will be achieved through interactive performances, interactive audio, audio
visualization, and physical installations. The project offers a new method of blending traditional
and contemporary aesthetics of both Eastern and Western cultures through audio-visual
experiments. It explores the visual interaction of melody with dynamic body capture, with the
hope of creating a unique and engaging experience for the audience.
1
Introduction
Globally, AI art is merging as a creative tool for everyone. Artists have been using
computer technology since the 1950s; nowadays, many AI-based generative platforms explore
the intersection of creative industry and AI. Computational creativity (CC) has shown that
computers are not only innovative tools that collaborate with humans but also as building one’s
own creative abilities. The study of computational creativity is relatively new. It has transformed
the topic from “the domain of a few lonely researchers, trapped on the fringes of computer
science and the liberal arts“ to a more mainstream field.1 However, there is still controversy over
the possibility of computational creativity, and many creatives are against it. One of the
challenges of computational creativity is creating generative and general algorithms to manifest a
high degree of creative capabilities. Another challenge is to integrate computational creativity
with real-time digital production. Also, there needs to be more consensus on ethical issues of
computational creativity, such as violation of copyright and intellectual property, devaluation of
work, stifling innovation and potential for misuse, etc. This thesis frames that conceptual
blending related to computational creativity to narrate the Song dynasty conflated with hip-hop
culture, integrating linguistic, musical, and visual creativity.
I belong to the Gen-Z generation and identify as an Eastern designer. My creative
sensibilities have been heavily influenced by internet meme culture and unconventional artistic
aesthetics. I assemble disparate elements to create unexpected compositions. My thesis work has
1 Veale T, Cardoso FA. Computational Creativity: The Philosophy and Engineering of Autonomously Creative
Systems. Springer International Publishing AG; 2019. doi:10.1007/978-3-319-43610-4
2
led me to explore the bridging of the contemporary hip-hop culture with the ancient heritage of
the Song Dynasty in the East.
Why Hip Hop? First, my relocation to Los Angeles over two years ago immersed me in the
city’s vibrant graffiti culture, an integral part of the hip-hop scene. This exposure naturally
sparked my interest in hip-hop. Additionally, I have an interest in current trends with US and
Chinese culture. Hip-hop’s fascinating journey from its underground origins to becoming a
global mainstream phenomenon in just fifty years, coupled with its rich tapestry of language and
cultural references, has fueled my desire to create hip-hop-inspired visuals. Hip-hop, as observed
in urban landscapes, is characterized by specific rhythmic patterns in vocal body of work that
pays homage to the blend of hip-hop vocals and beats. Its structure integrates distinct wordplay,
rhyme schemes, and a notable continuity in lyrical flow. This rhythmic foundation in hip-hop is
apt for sound visualization, potentially enhancing audience engagement with complementing
visuals. In various environments I participate in Los Angles, ranging from house parties and
nightclubs to more unconventional venues, I can observe manifestations of the hip-hop culture,
such as street dance confrontations or graffiti art. Over time, exposure to these settings cultivates
an appreciation for the professionals curating the auditory and Chinese traditional and visual
experience—the DJs and VJs. Online engagement, on the other hand, the digital domain provides
numerous avenues for me to explore hip-hop, such as dedicated blogs, music streaming,
watching dance or rap battle videos, and hip-hop reality shows.
3
Hip-hop music in mainland China has evolved significantly since 1989, intertwining with
rock and fostering an underground subculture by the year 2000. This culture thrived in bars and
entertainment venues, forming regional cultural identities.2 By 2017, a reality TV show
sensationalized hip-hop, leading to a commercial and fan-driven scene in China. The Frankfurt
School, an institution specializing in the disciplines of sociology and critical philosophy,
3 whose
critique resonates with this shift, noting that the entertainment-focused culture industry
diminishes thought-provoking and rebellious elements of culture. Mass production quashes
subcultures’ self-expression and uniqueness.4 Chinese hip-hop initially was a vehicle for
rebellion and social commentary, but over time, it assimilated into the mainstream, mirroring
U.S. hip-hop themes like power and brotherhood, occasionally perpetuating misogyny, and
homophobia.
In the early 2000s, a “traditional Chinese” hip-hop emerged, with pop singer like Jay Chou,
Wang Leehom, and David Tao infusing traditional Chinese martial arts, medicine, and folklore
into their lyrics. Fast forward to 2020, hip-hop in China has become mainstream, but much of its
content is homogenized, focusing on themes like success and gender, often losing the cultural
uniqueness that once set it apart. Despite this, there’s potential for a resurgence of “Chinese
style” hip-hop, drawing from ancient poetry and classical artistic methods. The fusion of historic
literary forms with modern pop culture could rejuvenate the genre, creating a musical expression
that resonates more deeply with listeners, moving beyond mere commercial appeal to genuine
2 Hip-hop in China: just on the road, but dying before its time. ThePaper.cn. (n.d.).
https://m.thepaper.cn/kuaibao_detail.jsp?contid=1729930&from=kuaibao
3 Theodor WA, Zoltán T, Michael L. The Frankfurt School. 1st ed. Routledge; 2017. doi:10.4324/9781315132105 4 Horkheimer, M., Adorno, T. W., Jephcott, E., & Noeri, G. S. (2020). Dialectic of enlightenment. Stanford
University Press.
4
cultural engagement. In a more specific context, I chose Song Cí that represents one of the
pinnacles of Chinese literature to fuse with hip-hop. Song Cí represent a literary genre that
seamlessly blends Chinese traditional language and music, making it an avenue for creative
exploration and expression. The project entails harmoniously blending almost-forgotten literary
structures from the past with the vibrant tapestry of contemporary pop culture.
What’s more, in today’s rapidly evolving digital landscape, I’ve learned the remarkable
progress of software tools, thanks to the wealth of tutorials shared by fellow designers on
platforms like YouTube and various online communities. The industry constantly develops new
platforms. Figma, Canvas, and other emerging online collaborative tools are gradually eclipsing
Adobe Suites, approaching diverges from traditional corporate frameworks and challenges topdown methodologies. Instead, it champions community-driven knowledge sharing and iterative
innovations, fostering collaboration and growth within communities. One enduring question that
has long intrigued me is whether we should rely solely on new technologies or continue to utilize
the tried-and-tested tools we’re already proficient in. I believe this question applies to my current
project and the broader scope of my career. My recent conclusion is to embrace the everevolving landscape of technology, incorporating new tools to achieve specific creative
objectives. In essence, my journey as a designer is characterized by a dynamic approach that
combines the wisdom of the past with the innovations of the present, ensuring a continuously
enriching and boundary-pushing creative experience that mirrors me blending ancient Song and
current technology.
5
Design Renaissance: The Synergy of Technology and Creativity
Design Thinking Workflow
Design thinking is a dynamic problem-solving methodology centered on comprehending
user needs, fostering inventive solutions, and perpetually enhancing them through collaborative
efforts and empathy. There are also other design thinking ways, including storyboarding, mind
mapping, SWOT Analysis (Assessing the project’s strengths, weaknesses, opportunities, and
threats to inform decision-making.) etc.
Figure 1. Design Thinking.
Source: https://www.theagileelephant.com/what-is-design-thinking/
However, in practical application, the process of generating ideas and translating them into
compelling visuals can often be a complex endeavor when following a specific design thinking
methodology. For instance, when creating a poster for an exhibit, it’s hard to use design thinking
to get inspiration for a visually oriented design. The approach like design thinking is typically
excels in problem-solving rather than fostering aesthetically driven design. Using design
thinking, I can delve into the client’s requirements through problem analysis, interviews,
6
shadowing, etc. yet it often falls short in sparking that artistic inspiration needed for visually
compelling design.
To address this challenge, I’ve developed a practical framework known as the input and
output model, which is designed to immerse individuals in the realm of visual design (illustrated
in Figure 2). Capture and dig data sources from digital and physical world, then using visualize
tools or generative tools to create visual productions. Sometimes, this process can recycle several
times. The model is underpinned by the fundamental concept of leveraging a wide range of
creative tools, encompassing 2D and 3D design approaches, coding, and interactive multimedia
applications.
Figure 2. Input and Output Model Workflow.
Source: Author’s own
7
Theory of Assembly
Theory of Assembly and speculative design could frame functions as a comprehensive
guide, offering strategies and critical frameworks dedicated to advancing research and thinking
for this project. “ Theory of assembly” refers to combining various elements or components to
create a whole, often in the context of culture, technology, or creativity. Kyle Parry uses the
assembly related to design and art field. Kyle Parry is an instructor, writer, and editor who’s
research is at the intersection of contemporary culture, digital media, and critical theory. In his
book “A Theory of Assembly: From Museums to Memes,“ he contends that assembly stands out
as a potent and all-encompassing cultural phenomenon in the digital age. Using diverse examples
such as GIFs, paintings, and social movement hashtags, Parry illustrates how assembly has
assumed a role of equal significance to narrative and representation. Combining the concept of
assembly theory with the fusion of Hip-hop and Song Cí is an interesting lens through which we
can analyze the cultural and artistic dynamics at play. It emphasizes the interplay and interaction
of these components, resulting in a new, often synergistic outcome. The assembly of Hip-hop
and Song Cí holds cultural significance. It represents a meeting point between contemporary
urban expressions and traditional Chinese heritage—this fusion as a response to contemporary
issues and an attempt to bridge cultural gaps. In the context of assembly theory, the fusion of
Hip-hop and Song Cí can collectively revise what cultural forms matter. It challenges
conventional boundaries and encourages the exploration of new artistic territories, inviting
audiences to question and expand their understanding of cultural expression.
8
Midjourney
Midjourney is an AI-powered application known for its capabilities in text-to-image
synthesis, text-to-motion image generation, and image blending techniques.
5 This versatile AI
tool holds the potential to bring a multitude of creative concepts to life. I was elated when I
discovered that I could harness the power of this remarkable AI tool. I revisited the input and
output workflows to refine my creative process further. In the initial stage, I adopted an approach
akin to that of a traditional graphic designer or typographer. It involved crafting engaging text,
experimenting with layouts through randomized arrangements, or adhering to a structured grid
system. However, despite these efforts, I encountered a challenge: the content remained
challenging to visualize promptly.
Figure 3. Visualize Content.
Source: Author’s own
Fortunately, the Midjourney update serves as a text-to-image visual tool for realizing my
creative ideas. Midjourney’s capabilities, which encompass everything from transforming text
5 Wikimedia Foundation. Midjourney. Wikipedia. https://en.wikipedia.org/wiki/Midjourney
9
into animated visuals to blending images seamlessly, have unlocked a realm of innovative
possibilities. The utilization of this powerful AI tool, combined with a diverse array of sources of
inspiration ranging from real-world patterns, colors, architectural subtleties, and traditional
narratives to speculative designs, has facilitated extensive creative exploration. Acquiring the
capacity to envision alternatives enables us to assess and make judgments. As Anthony Dunne
asserts in “Speculative Everything,” speculation and imagination form the foundation of design.
Anthony thinks that design is not only a reference to fine arts or for practical purposes; the most
significant is design imagination6. This process transcends mere practicality, reaching into the
realm of design imagination, where creativity knows no bounds. With Midjourney as a
collaborative partner in this creative journey, the capacity to envision alternatives and push the
boundaries of design becomes not only attainable but also profoundly exhilarating. Ultimately,
this spirit of boundless imagination propels the creation of visually captivating content,
seamlessly bridging the gap between words and the enchanting realm of
visual storytelling.
6 Dunne, A. (2024). A Methodological Playground: Fictional Worlds and Thought Experiments. In Speculative
Everything: Design, Fiction, And Social Dreaming. Book, MIT Press.
10
Figure 4. Image Created by Mijourney.
Source:Author’s own
Audio Visualization
Another significant process to develop the whole picture is engaging in the use of audio
visualization. Audio visualization, essentially, is visual audio, including sound effects, music
genres, speech and language, animal sounds, environmental sounds, etc. Audio visualization is a
typical input-to-output workflow. The source input involves either recording sounds or searching
for audio online and offline, while the output focuses on visualizing audio characteristics. As a
visual creator, the initial step in handling input is to curate and organize sound elements
logically. My role is to craft visual representations, which can emerge either consciously or
subconsciously. For instance, I’ve worked on various projects in the last two years, aiming to
unlock the possibilities of audio visualization. These projects have explored a wide array of
concepts and artistic expressions.
“See the voice,” This project is the deformation of the spectrum. This project’s core
concept is to put stereotypes of cultural music audio to create random audio spectrums or other
visual experiments. The audio’s shape becomes the critical visual as a postcard. Red and yellow
are quintessential colors in Chinese tradition. Red signifies joy and happiness, while yellow,
especially since the Qing Dynasty, has been associated with official imperial attire, often
recognized in its brightest hue, eclipsing all other colors. Traditional Chinese music also plays a
role, embodying the “see the Chinese voice” in both sight and sound. However, I believe the
Chinese color palette is richer than just vivid red and yellow. Drawing inspiration from several
Ming and Qing Dynasty traditional paintings, I’ve identified more muted tones to symbolize
traditional Chinese hues. Mandarin being the most widely spoken and recognized language, and
a significant portion of Chinese music is performed in this lingua franca. Yet, the true essence of
11
Chinese vocal tradition is captured in its myriad regional dialects. These dialects, rich in regional
idiosyncrasies and a profound sense of local identity, offer a warmth and intimacy that Mandarin
often cannot. Each dialect is a mosaic of unique slang and expressions, a living relic of ancient
heritage. Some are so distinct from Mandarin they could nearly be classified as separate
languages. In homage to this diversity, I have chosen to focus on the dialect of my birthplace,
Changsha, extracting and visualizing hip-hop dialects songs that showcase the vernacular of my
roots.
Figure 5. See the Voice.
Source: Author’s own
12
Figure 6.See the Voice.
Source: Author’s own
“Posthuman,” is an audio archive project. The history and the future of humanity through
a mix of voices. We need to look back to understand humans after 100 years and the future.
Thus, I’ve curated sounds capturing the essence of humanity from the 1920s to the 2020s. Every
two decades, I’ve highlighted pivotal events that have influenced global political, ecological,
environmental shifts, and more. The vastness and intricacies of these events challenge manual
selection. As a solution, I created a probabilistic program, which can randomly select events
based on category, region, and timeframe. For a comprehensive breakdown, refer to the table
below. The program, in its operation, selects an attribute from each category – for instance, it
might pick a significant natural disaster in Europe during the 1940s.
13
Figure 7.Databases to be Selected.
Source: Author’s own
Future sounds are represented by extracting the currently detected universe, such as sound on
mars, voyager Step sounds of interstellar space, the sound of the solar wind, and so on. Finally,
audio visualization is used to generate images.
14
Figure 8. Posthuman.
Source:Author’s own
Building upon the previous examples, it can discern some initial insights into sound
visualization. Sound visualization can be categorized into three aspects. Initially, there’s the
creation of basic motifs imbued with cultural significance. Upon viewing sonograms or spectral
displays, we subconsciously associate these visuals with auditory experiences. Next, there is the
use of abstract designs to conjure a specific ambience when depicting sound. Lastly, I enter the
15
domain of dynamic sound visualization, where visual elements are modified live in response to
the audio’s features.
Audio visualization can enhance the fusion of Hip-hop and Song Cí these two distinct art
forms. It provides a visual representation of the music, lyrics, and poetic elements, creating a
multisensory experience for the audience. In Hip-hop, rhythm is crucial, and lyrics often contain
poetic and narrative elements. Audio visualization can emphasize the rhythmic patterns in the
music, making it easier for the audience to connect with the beat and flow of the Hip-hop
elements. It can also visually represent the poetic structure and wordplay in the lyrics, making
them more accessible. The fusion of Hip-hop and Song Cí is a cultural bridging exercise,
connecting contemporary urban culture with traditional Chinese heritage. Audio visualization
can help convey this fusion by visually representing elements from both cultures. It can
incorporate visual motifs, symbols, and styles that evoke both Hip-hop and Song Cí
aesthetics.Both Hip-hop and Song Cí often tell stories or convey narratives. Audio visualization
can serve as a visual storytelling tool, providing imagery that complements the narrative
elements in the music and lyrics. What’sWhat’s more, in live performances and music videos,
audio visualization can be a powerful tool. It can be used to create visually captivating live
shows or music videos that align with the fusion‘stheme and style. This can elevate the overall
artistic impact of the performance.
16
Chapter 1: Dance with Hip-pop Cí
Figure 9. Dance with Hip-hop Cí Poster.
Source: Author’s own
17
Hip-pop and Song Dynasty Culture in Art and Design
Believe it or not, hip-hop has been born a half century. Hip-hop is a multifaceted
cultural movement that originated primarily in African American and Latinx communities in the
South Bronx, New York City, during the 1970s.7 Its short history has given birth to various
subgenres with unique regional characteristics.8 At the 1970s, there is pioneers began using
turntables and mixing techniques to create new beats and sounds, and improvising lyrics over
these beats, creating the foundation of hip-hop music.
9 Hip-hop has impact on a multitude of
artistic domains, encompassing urban street art, visual graphic design, sartorial trends, and
architectural design.
Hip-hop culture influence on graphic design, with typography and lettering, concert
posters, album arts, etc. For instance, Hip-hop album cover art has become cultural iconography.
Many hip-hop albums feature visually artwork that reflects the themes and messages of the
music. Album art typically serves as the listener's initial visual introduction to the music. Its role
extends beyond setting the tone; it encapsulates the essence of the music, the artist's persona, and
other relevant information. It's commonplace for pop music to feature artist portraits on covers,
directly connecting fans with figures like Tyler, Beyoncé, Adele, The Beatles, and others who
often opt for photographic covers. This approach simplifies the audience's interpretation and
acceptance of the album's narrative. Conversely, punk and rock genres, which are deeply rooted
7 Hip-hop (culture). Wikipedia. https://en.wikipedia.org/wiki/Hip_hop_(culture)
8 The ultimate history of hip-hop. Visual.ly. (n.d.). https://visual.ly/community/Infographics/entertainment/ultimatehistory-hip-hop
9 Hip-hop: A culture of vision and voice. The Kennedy Center. (n.d.). https://www.kennedycenter.org/education/resources-for-educators/classroom-resources/media-and-interactives/media/hip-hop/hip-hop-aculture-of-vision-and-voice/
18
in artistic subcultures, frequently employ abstract, collage, or surreal artwork to capture their
countercultural spirit, exemplified by Pink Floyd's iconic “Dark Side of the Moon” cover. Hiphop albums, aiming to bridge the gap between the music's style and the artist's individuality,
often incorporate visuals that resonate with hip-hop identity, such as graffiti, cannabis leaves,
and gold chains, or iconic images of the rappers themselves to convey authenticity. These album
covers often employ bold typography, vibrant colors, and imagery.
Figure 10. Dr. Dre's '2001' (1999) Hip-hop Album Cover.
Source: https://www.one37pm.com/music/best-rap-album-covers
Figure 11. Bia-Whole Lotta Money. Hip-hop Album Cover
19
Source: https://pitchfork.com/news/nicki-minaj-and-bia-share-whole-lotta-money-remix-listen/
Figure 12.Drake-Honestly, Nevermind. Hip-hop Album Cover.
Source: https://www.discogs.com/release/23602511-Drake-Honestly-Nevermind
20
Figure 13 Dark Side of the Moon, Rock Album Cover.
Source: https://vocal.media/beat/igor-by-tyler-the-creator-album-review
The typography in hip-hop graphic design often mimics graffiti’s stylized scripts or uses bold,
impactful fonts that convey strength and defiance.This is a contrast to the often more refined
typography found in classical music design or the psychedelic and experimental fonts associated
with rock from the 1960s and 1970s. For example, the poster for a Kendrick Lamar concert uses
a contrast fonts scheme with a mix of oranges and blacks. The design incorporates geometric
shapes and typography that mirror the complexity of Lamar’s lyrics.
21
Figure 14. The Poster for Kendrick Lamar Concert.
Source : https://www.cryptoarena.com/events/detail/kendricklamar22
Hip-hop’s close ties with streetwear fashion have led to a crossover between music
merchandise and mainstream fashion, influencing design in ways that genres more disconnected
from fashion trends, like classical or jazz, typically do not. For example, brands like Supreme
which “hijacking” from artist Barbara Kruger,
10 A Bathing Ape (BAPE), and FUBU have
created logos and designs that resonate with hip-hop enthusiasts. Barbara Kruger is a graphic
designer and conceptual artist known for her pieces that explore power dynamics, identity,
consumer culture, and sexuality.
11 While there wasn’t a direct lawsuit between Barbara Kruger
and Supreme, the aesthetic similarities and the commentary around them brought attention to
issues of appropriation, influence, and the commercialization of art and design.
10 Graphéine, T. (2022, December 19). Barbara Kruger/supreme: Who’s hijacking whom? Graphéine - Agence de
communication Paris Lyon. https://www.grapheine.com/en/history-of-graphic-design/barbara-kruger-supreme-whois-hijacking-whom 11 Barbara Kruger. Barbara Kruger - Bio | The Broad. (n.d.). https://www.thebroad.org/art/barbara-kruger
22
Figure 15. Supreme Logo.
Source: https://commons.wikimedia.org/wiki/File:Supreme_Logo.svg
Figure 16. Biennial Branding by Barbara Kruger.
Source : https://officemagazine.net/biennial-branding-barbara-kruger
Female rappers are gradually take over strides in today’s hip-hop music.12 With Nicki
Minaj crafting her iconic “Barbi world” and Cardi B revitalizing the 90s acrylic nail trend, their
impact on fashion is undeniable.
“It’s a very androgynous look,” says Elizabeth Way, assistant curator at the FIT Museum.
“They dressed this way to play on an equal playing field ...... It was only over time that women
began to gain respect and confidence that they could bring more femininity and amplify what
had always been there: jewelry, hair and makeup.”13
12 Today’s female rappers are ushering in a new era of Hip Hop Fashion. (n.d.).
https://fashionista.com/2023/02/new-female-rappers-fashion-style-history 13 Gee, A. (2019, March 21). Female rappers are taking over hip-hop, but misogyny still prevails. UPROXX.
https://uproxx.com/music/female-rappers-misogyny-patriarchical-standards/
23
However, challenges persist. Even as they ascend the charts and influence trends, these
female artists face entrenched gender biases. Megan Thee Stallion’s expressive twerking
becomes a point of contention, criticized for its sensuality. Similarly, the critiques often suggest
that female artists commodify their sexuality or align with the “bad boy” trope. Such criticisms
highlight the gendered dynamics that female rappers have to navigate, even in an era of their
rising prominence.
Figure 17.Cardi B’s Iconic Nail.
Source: https://www.instagram.com/p/CS7JLT6M2za/
Rap, DJing, breaking, and graffiti art—represent the foundational pillars of hip-hop
culture.14 Rap, often referred to as MCing (Master of Ceremonies), it involves rhythmic and
lyrical vocal delivery, often accompanied by beats and music. DJs (Disc Jockeys) use turntables,
mixers, and records to manipulate and blend music, creating unique beats and soundscapes.
Breaking, is the dance element of hip-hop, which involves a dynamic and acrobatic style of
dance characterized by moves like spins, flips, freezes, and intricate footwork. Graffiti art, or
14 Chang J. Can’t Stop, Won’t Stop: A History of the Hip-hop Generation. 1st ed. St. Martin’s Press; 2005.
24
“writing,“ is the visual component of hip-hop culture. Graffiti artists use various techniques to
create elaborate and colorful artwork on walls, surfaces, and public spaces. The styles often
feature bold, expressive letterforms used in everything from logos to posters.
Figure 18. Photograph, Graffiti at LA.
Source: Author’s own
In China, The Song(宋) Dynasty was a remarkable period in Chinese history, marked by
exceptional achievements across various artistic disciplines, including painting, poetry,
calligraphy, and ceramics. Song Cí (宋词) is a collection of literary genre that represents the
essence of the eastern culture, which generation, creation, and spread are closely related to
music.
15 The music that accompanies the lyrics is Yan Yue(宴乐), also known as banquet music,
15 Wikimedia Foundation. (2023a, February 6). Cí (poetry). Wikipedia.
https://en.wikipedia.org/wiki/C%C3%AD_(poetry)#Song
25
which originated from the “quzi lyrics“ found in the Dunhuang caves. Song Cí are characterized
by an artificial formalism and an anti-scientific illusion.
Among the literati of the Song Dynasty, there were four cherished arts: burning incense,
savoring tea, displaying paintings, and arranging flowers(烧香点茶,挂画插花).
16 The
elegance of Song Dynasty culture remains a dreamlike memory that has endured the test of time.
Burning Incense: In the Song Dynasty, the art of burning incense was refined to reduce smoke
and extend the aromatic experience. Instead of direct incense burning, special charcoal cakes
were employed, placed in incense burners. This unique approach allowed the fragrance to gently
rise from the burner and even linger in the air, creating a multi-dimensional sensory experience.
Hanging Paintings: Song literati would frequently rotate the paintings in their studios or living
spaces to suit different seasons, moods, or cultural occasions. Savoring Tea: Brewing and
coming together to appreciate and savor tea was considered a sophisticated way of life for the
literati of the Song Dynasty. Flower Arrangements: The art of flower arrangement during the
Song Dynasty was characterized by meticulous attention to detail and aesthetics. Commonly
used flowers included plums, orchids, bamboo, chrysanthemums, and peach blossoms. Song
Dynasty flower arrangers carefully considered the height, orientation, and quantity of flowers to
create a natural and harmonious ambiance. Various layout styles, such as single-point, paired,
three-point, and five-point arrangements, each held specific symbolism and contributed to unique
16 Wu, Z. (1883). Meng Liang Lu: 20 juan. Jia hui tang Ding shi.
26
aesthetic effects. In essence, the Song Dynasty encapsulated a golden era of artistic
sophistication and cultural refinement.
Figure 19. A Ding Carved ‘Lotus’ Incense Burner.
Source: https://www.zacke.at/auction/lot/151-a-ding-carved-lotus-incense-burner-northern-song-dynasty/?lot=12053&sd=1#
Figure 20. Flower Basket, Li Song.
Source: https://www.dpm.org.cn/collection/paint/230007.html
27
Source: Author’s own
Hip-pop culture Song culture
Rapping Burning Incense
DJing Savoring Tea
Break dancing Hanging Paintings
Graffiti Flower Arrangements
Figure 21.Comparing with Hip-hop and Song Culture.
28
Lyrics of Hip Pop Music and Song Cí
Hip-hop lyrics often celebrated the joy of dancing, partying, and having a good time. After
becoming the mainstream, hip-hop has integrated into more. The lyrics began to reflect a wider
range of topics and themes, including social and political issues, personal struggles, and
experiences of discrimination and inequality. Matt Daniels, data visualization experts,
computational journalist, and his team conducted an analysis of lyrics from 50,000 songs
29
performed by 500 artists who have made appearances on the Billboard Rap Chart.17 His project,
“The Language of Hip-hop,” help me find some common words and vibes in hip-hop music.
Figure 22. The Most “Hip-hop“ Words.
Source: https://pudding.cool/projects/vocabulary/
17 Visualizing what makes rap lyrics so unique - fast company. (n.d.).
https://www.fastcompany.com/90144098/visualizing-what-makes-rap-lyrics-so-unique
30
It can easily notice that certain words and slangs only show in hip-hop music. While the specific
slang and lyrics can vary over time and across different regions and subgenres of hip-hop, I
synthesize some common slang terms and lyrics that have been popular in the genre.
Figure 23. Common Slang in Hip-hop.
Source: Author’s own
Song Cí had a wide range of themes, including love, landscapes, idylls, banquets, and
expressing personal feelings.18 The language of the words was usually simple and clear,
18 Whole Song Ci. (1707). Gui Zhang Tang.
31
expressing sincere feelings and emphasizing rhyme and rhythm. Some words are also
characterized by social customs and political issues. They are categorized into Euphemism and
Magnificence. Musical genres include small, medium, and long tunes. The musical nature of
Song Cí is such that they are often used in musical performances and operas. Song Cí provided a
rich source of lyrics for traditional Chinese music and opera, making these performances more
culturally rich. Like previous the hip-hop common world, I also like to analysis the frequency of
words or slangs in Song Cí. Through yixuan’s blog19, who study in statistics and actuarial
science, using whole Song Cí (The Book with a total of 1,330 lyricists and 21,116 compositions
of the Song Dynasty are included.20)as text sources, acquiring 99 high-frequency 2 characters
Chinese words. He benefits data text mining, which is the process of analyzing text data to get
19 东风何处是人间. (2011). https://yixuan.blog/cn/2011/03/text-mining-of-song-poems/ 20 Wikimedia Foundation. (2022, September 19). 全宋詞. Wikipedia.
https://zh.wikipedia.org/zh/%E5%85%A8%E5%AE%8B%E8%A9%9E
32
useful conclusions. Text mining is a very complex process, involving word segmentation, word
frequency statistics, feature selection, clustering, etc.
Figure 24. High-frequency Words in Song Cí.
Source: https://yixuan.blog/cn/2011/03/text-mining-of-song-poems/
33
When analyzing the high-frequency words found in Hip-hop music and Song Cí mentioned
above, an observation emerges both genres tend to focus on certain themes, including “Money
and Wealth”, “Dance and Celebration”, etc. Additionally, they each possess their unique cultural
narratives based on the thematic elements.
Figure 25. Theme in Hip-hop and Song Cí.
Source: Author’s own
Another, translation hip-hop with Song Cí. The library of Song words for the translation
comes from the 99 high-frequency words mentioned above, and the hip-hop colloquialisms are
collected and organized from the internet. This was then used as the text to make a series of
stickers and digital art archive.
Figure 26. Translation in Hip-hop and Song Cí.
Source: Author’s own
34
Figure 27. Sticker and Digital Archive
Source: Author’s own
Meme and Sticker Design
Hip-hop culture has had a profound influence on sticker design, contributing to a vibrant
and expressive genre of stickers that capture the essence of the hip-hop movement. Stickers in
the streets of Los Angeles, often referred to as “street art stickers” or “slaps,” are a ubiquitous
form of self-expression and artistic communication in the city’s urban landscape.
35
Figure 28. Poster, LA Voice
Source: Author’s own
The poster has been creatively crafted, drawing inspiration from the vibrant world of
voice, and features a collage of photographs showcasing an array of graffiti and stickers found
throughout the LA downtown area. These visual elements serve as a canvas for a mix of
emotions, unspoken protests, and bold advertisements.
Stickers for expressing the diverse and dynamic aspects of hip-hop, making them a
powerful and visually captivating form of cultural expression. I’ve created a series of stickers
that blend hip-hop lyrics and high-frequency Song vocabulary, seamlessly merging these two
distinct sources of inspiration. The stickers serve as the primary canvas for this artistic endeavor.
The overall aesthetic maintains a fashion street vibe, keeping it raw and simple to draw the
audience’s focus directly to the text. The sticker layout mimics that of a hip-hop dictionary,
introducing unique hip-hop terminology with a brief explanatory paragraph and an
accompanying lyrics example. Drawing inspiration from streetwear giants like Supreme, I’ve
36
chosen a contemporary and easily legible font, Arial Black, ensuring the clarity. At the same
time, according to the above mentioned, female hip-hop musicians perhaps emphasize more on
female characteristics these days, considering that hip-hop music has a strong cultural symbol.
That's why I used pink to characterize super strong female attributes.
Figure 29. Sticker Design.
Source: Author’s own
37
Figure 30. Sticker Design.
Source: Author’s own
Figure 31. Sticker Design.
Source: Author’s own
38
But I didn’t stop at just the fusion of hip-hop and Song. I sought additional connections.
Drawing from the rich cultural tapestry of the Song Dynasty which I mentioned above, I
incorporated elements such as incense burning, traditional scroll paintings, tea ceremonies, and
flower arrangements. This is where visual storytelling comes into play. The visuals are carefully
integrated into Song Dynasty-style hanging scroll paintings, creating a juxtaposition of ancient
and modern. These scrolls not only provide a canvas for the visuals but also enrich the cultural
narrative of the stickers. Furthermore, I extended this fusion to tea packaging, incorporating hiphop vocabulary into the design. This not only adds a layer of cultural complexity but also offers a
multi-sensory experience, connecting the worlds of hip-hop and traditional Chinese culture in a
truly innovative way.
Figure 32. Peripheral Product Design
Source: Author’s own
39
Figure 33. Hip-hop Scrolls.
Source: Author’s own
Figure 34. Hip-hop Tea.
Source: Author’s own
40
Figure 35. Hip-hop Tea.
Source: Author’s own
Live Performance (video)
Contemporary society is characterized by a cult of the self, where the emphasis is on selfimprovement, self-realization, and self-optimization. Also, people have been stuck in the digital
world for too long. It’s time to put down their phones and get back to the real world.
Individualism, social media addiction and less and less connection between people after Covid19. Hip-hop Ci provides a healthy aesthetic lifestyle for all while., creating a space where people
meet people, meet the sound, and see the body. Join a party where East meets West through
interactive art installations, dancing bodies and sounds. Audience can dance in the space I create,
and they will see the image generated by their own body or voice in real time. Devices can also
be controlled to generate vision. The audience experience is more personalized and engaged.
41
Figure 36. Mock-up, Dance with Hip-hop Ci.
Source: Author’s own
Figure 37. Photograph, Dance with Hip-hop Ci.
Source: Author’s own
42
The real-time visual effects during the performance draw inspiration from Song Dynasty
patterns. The composition of the intricate floral design is achieved through a blend of flowing
lines and segmented circular elements, unfurling seamlessly in two or four directions, shaping
the foundational aesthetics of wave scrolls and intricate entanglements. Another source of floral
inspiration derives from the Song Dynasty’s incense burning vessels. These patterns incorporate
elements such as dots, diamonds, and flowers, interspersed with empty spaces, emphasizing
repetition and symmetry in their arrangement. Consequently, I have crafted visual elements that
can dynamically respond to sound in the following manner.
Figure 38. Song Dynasty Flower-patterned.
Source:https://vnwya.owisdomnsf.top/index.php?main_page=product_info&products_id=142827
43
Figure 39. Song Dynasty Flower-patterned Celadon Incense Burner.
Source: https://vnwya.owisdomnsf.top/index.php?main_page=product_info&products_id=142827
Figure 40. The Real-time Visual Effect.
Source: Authors’ownAuthors’own
44
Chapter 2: Touch and listen the Hip-pop Cí.
Audio Sculpture
My artistic exploration revolved around the intricate interplay between auditory and visual
elements, ushering the audience into a multisensory. Intrigued by the fundamental nature of
sound, I delved deeper into its essence, pondering whether it could be perceived through senses
beyond sight.
Figure 41. Process of Input-Output workflow.
Source: Authors’ownAuthors’own
To execute this vision, I employed a design approach rooted in the input-output workflow
mentioned earlier. It was essential to capture the various facets of sound, including its frequency,
loudness, wavelength, and timbre, and translate them into visual representations that would
45
resonate with our senses. Through craftsmanship, I transformed these sonic attributes into a rich
tapestry of visual geometries, serving as the input parameters for my artistic experiment. Firstly,
the sounds of the live performance mentioned above were recorded and transformed into abstract
white stripes through sound visualization. After that, the basic form of the striped pattern was
extracted, and a flat minimal pattern was created in plaster. The pattern mimics the basic shape
of the Song Dynasty floral pattern with twisted lines. Finally, the sound sculpture was obtained
by repeating it on all sides of a three-dimensional sculpture resembling the sound pattern. It is
shown below.
Figure 42. Sound Visualization.
Source: Authors’ownAuthors’own
46
Figure 43. Meta Pattern.
Source: Authors’ownAuthors’own
Figure 44. Audio Sculpture.
Source: Authors’ownAuthors’own
47
In this performance, the boundaries between the sensory realms blurred, as individuals
experienced sound in a manner that was both visually captivating and tangibly palpable. The
fusion of sound and artistry, brought to life through the input-output design thinking model,
offered a testament to the transformative power of artistic exploration and its ability to redefine
our perception of the world around us.
Digital Audio Sculpture
In the foreseeable future, this transformed sculpture will not merely visualize sound; it will
become an apparatus for sound amplification, offering an immersive and responsive experience
for its audience. The core functionality lies in its ability to receive audio input directly from the
audience, a testament to the symbiotic relationship between creators and viewers. Assembling
different sensors into the audio sculpture to adjust different audio visualization.
For instance, by introducing sophisticated sensors, such as infrared detectors, the
installation will astutely react to the presence and movement of people. As individuals approach
the sculpture, the visual projection will magnify in scale, and the sound will crescendo in
volume, enveloping them in an intensified auditory and visual experience. Conversely, as they
move away, the visuals will gracefully diminish in size, mirroring the diminishing audio,
creating an engaging interplay between proximity and perception. Furthermore, the incorporation
of pressure sensors will add yet another layer of interactivity. When individuals interact with the
sculpture by touching it, the visuals and soundscapes will respond dynamically, expanding in
magnitude to intensify the sensory encounter.
48
Figure 45. Digital Audio Sculpture
Source: Authors’ownAuthors’own
49
Chapter 3: Generated the Hip-pop Cí
Container Digital Archive
During the Song Dynasty, burning incense and crafting intricate flower arrangements held
significant cultural and entertainment value, as mentioned earlier. Moreover, as part of my
exploration into the Midjourney, I have embarked on the creation of a digital incense container
archive. These exquisite incense container sets are generated using machine learning techniques,
harnessing the synergy of visual and textual inputs. To craft these sets, I began by extensively
researching authentic Song Dynasty burning incense images. This search laid the foundation for
a collaborative endeavor that bridges artificial intelligence and human creativity. Using these
images as a basis, I employed prompts to guide the machine-learning process.
Figure 46. Silver Incense Burner of the Song Dynasty (Pengzhou Cellar Collection).
Source: https://www.sohu.com/a/504799845_454884
On one side, the incense burner fashioned by machine learning encapsulates a blend of
randomness, amusement, and peculiarity. Take, for instance, the unexpected emergence of a gunshaped burner after feeding the AI with an array of Song Dynasty incense burner images—a
concept quite alien from a human perspective. Yet, the "gun" burner oddly resonates with the
thematic violence of firearms in hip-hop culture clashes. Moreover, the AI's attempts at
50
replicating the intricate designs of the Song era often result in a surreal touch, with their
unorthodox three-dimensional forms and material choices causing a subtle unease.
Figure 47. Digital Incense Burner.
Source: Authors’ownAuthors’own
Furthermore, this element of unpredictability infuses the design process with wonder,
though it also compounds the workload. Through the principles of ASSEMBLY, leveraging
random graphic combinations, one can swiftly generate a multitude of product concepts without
the need for conventional modeling, enabling rapid visualization of draft sketches. However, the
execution isn't as straightforward as it may seem. To achieve a desirable "sketch" or product
requires considerable input and directives. For artists, this process transforms their practice into a
series of dialogues and commands, a method that may be less intuitive and gratifying than handson personal creation.
Despite these challenges, and the ethical quandaries AI creation raises—such as questions
around copyright and the propensity for over-imitation—I still view this tool with a sense of
51
optimism. After all, it is the human element and its inherent creativity that is the ultimate driving
force behind these tools.
Figure 48. Video, Digital Incense Burner.
Source: Authors’own
52
Conclusion
Design thinking is a dynamic problem-solving methodology rooted in empathy and
collaboration, which cannot serve as a visual orientation solution from my personal visual
practice. The “input and output workflow” was developed to address this challenge, immersing
individuals in graphic design using various creative tools, including 2D and 3D design, coding,
and interactive multimedia applications. I use assembly theory as a frame to guide me to connect
Hip-hop and Song culture, utilize “input and output workflow” to progress visual creation and
apply immersive audio visualization with multiple sensory experiences. Exploiting current
technology brings ancient culture to mainstream trend.
Some organizations and artists, like me, are experimenting with new technologies to
investigate space construction, cultural heritage. The Harvard FAS CAMLab 21 has been delving
into cutting-edge technologies including immersive digital realms, machine learning, and the
creation of generative art to explore and represent the rich tapestry of Chinese cultural heritage.
Their projects and research have brought ancient structures to life, such as the digitized
architectures of Luoyang, the intricate Liao dynasty pagodas, through immersive, interactive
experiences that they term embodied architecture. In a similar vein, artist Nancy Baker Cahill22
harnesses the power of virtual reality to craft ethereal entities that seem to float above the urban
landscape of New York. This melding of technology and art extends to her creation of three21 Harvard FAS CAMLab. (n.d.). https://camlab.fas.harvard.edu/#theme 22 designboom, ravail khan I. (2023, September 26). Nancy Baker Cahill’s Ar Hybrid Creature Soars and evolves
across New York’s cityscape. https://www.designboom.com/art/nancy-baker-cahill-ar-hybrid-creature-evolvesacross-new-york-cityscape-cento-whitney-museum-of-american-art-09-26-2023/
53
dimensional pieces that offer audiences not just a visual feast but an experiential journey,
encouraging people to contemplate real-world dynamics through a digital lens.
The last imaginings and practices of a student’s life, I am constantly challenged to learn
new software with new tools as a last gasp of imagination and practice. From time to time, I get
stuck in the software dilemma again, using the software or expressing the content. I spend a lot
of time trying to express new visualizations, a process that is very painful and lonely when
adjusting unresolved parameters again and again. I critique my own work, often feeling
disconnected from the practical side of production and real-world applications. But when I
witness those exceptional and breathtaking outcomes, I reminded of why I persevere. When
individuals learn to blend the new with the tradition, their creations are more than just artifacts;
They connect across times, ideologies, and geographies. It leads to a diversity of thought that is
essential in tackling global issues where multifaceted perspectives are paramount. Moreover, it
drives forward the narrative that innovation is not about discarding the past but rather integrating
it with the present to pave a future that respects heritage while embracing progress. In a world
that is rapidly transforming through technology, such an approach ensures that the essence of our
diverse histories isn’t lost but is instead repurposed, reimagined, and revitalized for enduring
relevance.
54
References
Barbara Kruger. Barbara Kruger - Bio | The Broad. (n.d.).
https://www.thebroad.org/art/barbara-kruger
Chang J. Can’t Stop, Won’t Stop: A History of the Hip hop Generation. 1st ed. St. Martin’s
Press; 2005.
Designboom, ravail khan I. (2023, September 26). Nancy Baker Cahill’s Ar Hybrid Creature
Soars and evolves across New York’s cityscape. https://www.designboom.com/art/nancybaker-cahill-ar-hybrid-creature-evolves-across-new-york-cityscape-cento-whitneymuseum-of-american-art-09-26-2023/
Dunne, A. (2024). A Methodological Playground: Fictional Worlds and Thought Experiments. In
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Gee, A. (2019, March 21). Female rappers are taking over hip-hop, but misogyny still prevails.
UPROXX. https://uproxx.com/music/female-rappers-misogyny-patriarchical-standards/
Graphéine, T. (2022, December 19). Barbara Kruger/supreme: Who’s hijacking whom?
Graphéine - Agence de communication Paris Lyon. https://www.grapheine.com/en/historyof-graphic-design/barbara-kruger-supreme-who-is-hijacking-whom
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Horkheimer, M., Adorno, T. W., Jephcott, E., & Noeri, G. S. (2020). Dialectic of enlightenment.
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https://en.wikipedia.org/wiki/Midjourney
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Parry K. A Theory of Assembly: from Museums to Memes. University of Minnesota Press;
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Staff, R. T. B. (n.d.). The most iconic hip-hop ‘80s fashion. rock the bells.
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The ultimate history of hip-hop. Visual.ly. (n.º.).
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Today’s female rappers are ushering in a new era of Hip Hop Fashion. (n.d.).
https://fashionista.com/2023/02/new-female-rappers-fashion-style-history
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Abstract (if available)
Abstract
Hip-hop, which originated in Bronx, New York, constantly integrates into new music genres and synthetic sound, whose short history gives birth to various subgenres with regional characteristics. Similarly, Song Cí, which lasted from 960 to 1279 AD primarily in Kaifeng, (the capital during the Northern Song Dynasty) China, is a collection of literary genres representing the spirit of the essential Chinese language, in which generation, creation, is spread and closely related to music. The question arises: are the values that people wanted to convey through music 3,000 years ago similar to those we enjoy today? As a Gen Z digital artist, my thesis will draw a comparative analysis and subsequent integration of the Eastern and Western cultural pop phenomena. Further I intend to devise a musical formalism that encapsulates the substantive and affective facets of these poetries. This project aims to integrate hip-hop music from North America and the ancient Chinese literary genre to create another iteration of global culture. The integration will be achieved through interactive performances, interactive audio, audio visualization, and physical installations. The project offers a new method of blending traditional and contemporary aesthetics of both Eastern and Western cultures through audio-visual experiments. It explores the visual interaction of melody with dynamic body capture, with the hope of creating a unique and engaging experience for the audience.
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University of Southern California Dissertations and Theses
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Asset Metadata
Creator
Peng, Qiyu
(author)
Core Title
Hip-pop Cí a design renaissance: the synergy of technology and creativity in digital and physical immersive media
School
Roski School of Art and Design
Degree
Master of Fine Arts
Degree Program
Design
Degree Conferral Date
2023-12
Publication Date
11/14/2023
Defense Date
12/13/2023
Publisher
Los Angeles, California
(original),
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
audio visualization,hip-hop,immersive media,media design,OAI-PMH Harvest,Song Cí
Format
theses
(aat)
Language
English
Contributor
Electronically uploaded by the author
(provenance)
Advisor
Wojciak, Ewa (
committee chair
), Ellenburg, Jason (
committee member
), West, Jennifer (
committee member
)
Creator Email
mantapeng0@gmail.com,qiyupeng@usc.edu
Permanent Link (DOI)
https://doi.org/10.25549/usctheses-oUC113766181
Unique identifier
UC113766181
Identifier
etd-PengQiyu-12471.pdf (filename)
Legacy Identifier
etd-PengQiyu-12471
Document Type
Thesis
Format
theses (aat)
Rights
Peng, Qiyu
Internet Media Type
application/pdf
Type
texts
Source
20231114-usctheses-batch-1106
(batch),
University of Southern California
(contributing entity),
University of Southern California Dissertations and Theses
(collection)
Access Conditions
The author retains rights to his/her dissertation, thesis or other graduate work according to U.S. copyright law. Electronic access is being provided by the USC Libraries in agreement with the author, as the original true and official version of the work, but does not grant the reader permission to use the work if the desired use is covered by copyright. It is the author, as rights holder, who must provide use permission if such use is covered by copyright.
Repository Name
University of Southern California Digital Library
Repository Location
USC Digital Library, University of Southern California, University Park Campus MC 2810, 3434 South Grand Avenue, 2nd Floor, Los Angeles, California 90089-2810, USA
Repository Email
cisadmin@lib.usc.edu
Tags
audio visualization
immersive media
media design
Song Cí