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University of Southern California Dissertations and Theses
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Exploration and reflection: a precipitation of personal memory and experience
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Exploration and reflection: a precipitation of personal memory and experience
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Content
Exploration and Reflection: A Precipitation of Personal Memory and Experience
by
Han Ivy Sun
A Thesis Presented to the
FACULTY OF 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 2021
Copyright 2021 Han Ivy Sun
ii
Table of Contents
List of Figures iii
Abstract iv
Introduction 1
Types of Memory 1
From My Memories to Yours, a Plan for Design Projects 5
Project One: Traveling in My Mind 8
My Travels 8
Memories of a Scene: Places I've been to in My Mind 9
Key West, FL. 12
Los Angeles, CA 13
Chicago, Il 14
Project Two: Mapping the Collective Mind 15
My Childhood 16
Beijing City center: Rings 18
Memories of History 21
Project Three: Mapping the Collective Mind 30
Memories of Time: Sunsets, Sunrises and Skies 32
This set of painting takes place at 6:17a.m. and 6:17p.m 32
The first sky: May 2019. @5:37pm. #Playa Vista, CA 90045 34
The second sky: October 2019. @7:34pm. #Manhattan Beach, CA 90266 35
The third sky: January 2020. @7:12pm. #Downtown LA, CA 90017 36
Project Four: Times of My Mind 37
Memories of Imagination 40
The use of color to represent different eras 40
Selected specific materials 40
To understand the color palette 41
Conclusion 42
References 44
iii
List of Figures
Fig. 1 Human Memory 2
Fig. 2 Overview of the forms and functions of memory 3
Fig. 3 My Refrigerator Doors 6
Fig. 4 Fifteen states I drew 10
Fig. 5 Book cover, book back 11
Fig. 6 Book page of Key West 12
Fig. 7 Book page of Los Angeles 13
Fig. 8 Book page of Chicago 14
Fig. 9 Dongcheng Gate is Beijing Railway Station 17
Fig. 10 Schematic diagram of loop 19
Fig. 11 Map of old Beijing in Qing and Ming 20
Fig. 12 Beijing map in 1950 20
Fig. 13 The gate I draw with the year of demolition 21
Fig. 14 The summary as poster of the comprehensive information that I drew 23
Fig. 15 Hand-held book made by me: graphic design version 25
Fig. 16 Hand-held book made by me: real printing product version 26
Fig. 17 Using the Xuanwumen as an example for my design concept 28
Fig. 18 Here’s what it’s like to read with 3D glasses 29
Fig. 19 This set of paintings takes place at 6:17a.m. and 6:17 p.m. 32
Fig. 20 The painting of the sky in Playa Vista looked like 34
Fig. 21 The painting of the sky in Manhattan Beach looked like 35
Fig. 22 The painting of the sky in downtown Los Angeles looked like 36
Fig. 23 The real time box I made that looks like 40
Fig. 24 The box detail, seen from different angles 42
iv
Abstract
My thesis explores and reflects on personal memory and experience. I begin with
memories that are based on my own experiences. The things that exist in my mind are recorded
and reviewed through graphic and other design media. As a result, these projects allow me and
the viewer to become time-travelers moving forward and backward through memories, those are
shared across culture, geography, history and tradition. Even though we all move across time as
individuals, my work will show the connection between the way we remember and the
experiences we share.
In many ways this thesis is a very personal document. It recounts how I have integrated
memory, experience and thinking about time into design. Here I examine four design projects
that connect experiences of space and time: through multiple road trips (Project 1— Travelling in
My Mind); as history through the examination of mapping and place of my hometown (Project
2—Mapping the Collective Mind); through repetitions and differences of time experienced as the
“same” event (Project 3—Looking in My Mind); and in the projection of time into the present as
a material object that conflates our common understanding of time as linear with scientific and
philosophical notions of the copresence of past, present, and future (Project 4–Times of My
Mind).
Keywords: time travelling, space evolution and imagination, individual memories and
experience, value of feedback in history, culture and landscape; digital design, product design,
human-centered design
1
INTRODUCTION
My projects are dedicated to exploring and reflecting on personal memory and
experience. I begin with memories that are based on my own experiences. The things that exist in
my mind are recorded and reviewed through graphic and other design media. My admittedly
impossible ambition is to retain all the memories that are meaningful to me: my childhood
experiences, the growth of life, my history and culture, and the places I have been.
Every memory is a story, and I want to express each one differently by creating
emotionally engaging experiences for the viewer that rely on relationships between objects and
the past. Many objects hold memory while staying functional. Such objects carry records of the
time of first use as well as their history from the past to present. Places also record memory, the
passing of time, hours of the day; months; years, and even millennia. The four projects discussed
in this thesis paper are attempts to represent space and time, memory and experience. They
document multiple road trips (Project 1—Travelling in My Mind); map time and place (Project
2—Mapping the Collective Mind); reconstruct repetitions and differences of time experienced as
the “same” event (Project 3—Looking in My Mind); and conflate our common understanding of
time as linear (Project 4–Times of My Mind).
Types of Memory
Our experiences of memory deal with different parts and types of human memory.
According to the multi-store memory model (Atkinson & Shiffrin, 1968), memory functions
across four fundamental levels. The model is illustrated below:
2
Fig. 1 Human Memory and its relationship to my projects
1
Of particular interest to me as a designer working with memory and representations or
declarative and procedural memory, both of which belong to long-term memory but in very
different ways. The Oxford Dictionary of Psychology (4 ed.) defines “declarative memory” as
memory for which the:
Information contained in it is acquired by a form of learning that requires conscious
awareness and that occurs quickly, often in a single trial, generally involving the
formation of associations among multiple stimuli.
2
This is to say memories of a specific instance such as the first time one successfully rides
a bicycle: it is a personal experience that demands recalling when a reconstruction of the
circumstance is required. Whereas “procedural memory” focuses on obtaining the skills of riding
a bike, especially the ability to ride with unconscious memories. “Muscle memory” is the most
1
Atkinson, R. C., & Shiffrin, R. M. (1968). Human memory: A proposed system and its control processes. In
Psychology of learning and motivation (Vol. 2, pp. 89-195). Academic Press.
2
Oxford Dictionary of Psychology (4 ed.) Retrieved Feburay 28th, 2020, from https://www.oxfordreference.com/
3
representative example for procedural memory, often involved in automatic movements that
include not only riding bikes but also throwing, swimming, dancing, etc. Procedural memory is
formally defined as:
. . a form of learning that is relatively slow, requiring repetition over many trials, often
involving associations of sequential stimuli and permitting storage of information about
predictive relations between events, expressed primarily by improved performance at
skilled tasks, often occurring without conscious awareness or understanding of what is
being learned and therefore being a form of non-declarative memory.
3
As described, declarative and procedural memory are highly individual and relate to my
own relationship to the representations I produced in projects one and three. Projects two and
four, however, deal with collective notions of memory and the structure of temporal frames
through which we read histories and places within them. For this I must consider a different
model of memory—an overview of the forms and functions of memory. A more pertinent model
of memories to these projects is shown below.
3
Oxford Dictionary of Psychology (4 ed.) Retrieved Feburay 28th, 2020, from https://www.oxfordreference.com/
4
Fig. 2 An overview of the forms and functions of memory and its relationship to my projects
4
This model divides memories into individual memories and collective ones. The
implicit/explicit duality discussed earlier mainly resides in the individual area, but as short-term
memories are enhanced into life-long memories and shared among communities, memory studies
step into the social and culture areas (Isurin, 2017). Individual memories together construct
collective memories, while social constructs, including common sentiments, values, and
identities also serve as inducible factors to it (Roediger III & Wertsch, 2008). As a result,
collective memories are highly fluid and malleable in a contemporary context.
A person is a sum of memories. My experiences determine who I am and carry the story
of my encounters in the process of growing up. Maturity of the mind is not to use memory to
beautify the past, but to look at the past more objectively and try to appreciate the past. These
projects allow me and the viewer to become time-travelers moving forward and backward
through memories, those that we share through and across culture, biography, histories, and
4
Memory. (2021, February 17). In Wikipedia. Retrived from https://en.wikipedia.org/wiki/Memory
5
traditions. Though we all move across time as individuals, my work shows the connection
between the way we remember and the experiences we share.
From My Memories to Yours, a Plan for Design Projects
My goal is to transmit my personal memory and experiences of culture, history,
geography and societal influences through design. Personal feedback, conceptual thinking and
critical ideas address our forgotten history, memory fragments, and the impact of contemporary
society. The famous memory scientist and Nobel Prize winner, Eric Kandel, once said:
"Experience and memory have made us." He added: "Memory is like glue, sticking our spiritual
life together, making our lives full of continuity." In fact, patients who experience a complete
loss of memory feel as if they have awakened from a long period of unconsciousness if previous
memories no longer exist.
5 6
Perhaps as we emerge from Covid, we all feel a bit like we are emerging from a state of
unconsciousness, but even though the COVID-19 epidemic has trapped people at home and the
world has been locked down for a year, our ability to travel in our minds has never stopped. We
all have our own stories, that we remake again and again and which can be preserved through
artistic records.
5
“Memory, as you know, makes us who we are,” Kandel said. “It’s the glue that binds our mental life together.
Without the unifying force of memory, we would be broken into as many fragments as there are moments in the
day.” https://news.harvard.edu/gazette/story/2010/02/memories-are-made-of-this/
6
Saying goodbye is never easy, but farewell is also the norm in life. These days, we can record the things that are
meaningful to us in many ways and save them in other forms. Every time I see the recorded past, I will have a
different interpretation. This is really an interesting and warm private secret. That means our memories give
continuity to life, making each of our lives unique. Personal feelings make the best stories: momentary emotions,
remembered emotions and experienced emotions. They hold tiny or magnificent private stories, in ways that can't
portray the side of life in memory, or even reflect the destiny of human beings and society.
6
I am able to experience travel even while staying at home. I love traveling. Whenever I
go to a place, I buy at least one souvenir magnet and bring it back home. I have so many that
even a large refrigerator cannot hold them. I open the refrigerator daily, see my many magnets
and visualize each place I visited and what occurred there.
Fig. 3 My refrigerator currently only has enough for the West Coast refrigerator magnets
The magnets evoke memory fragments. These objects and the images that they represent
present a past but also a relevant experience to my mind’s eye, intentionally or unintentionally.
The awakening memories of experiences are meaningful and worthwhile and they become the
on-going experiences that form the basis of my designed objects. Images trigger very specific
declarative memories. These are the mechanisms I deploy in my first project, Illustration of
Places.
A secondary part of memory emphasizes collective memory, the memories held by a
family, a community, a city, a nation, etc. These memories are felt through experiences built
around one's environment and through shared routines; the shared procedural memories that
recall things and places changed or even destroyed long ago. I was born and grew up in the
7
mulit-faceted capital of China, Beijing. Like the city, my big family is also filled with diversity.
My family is involved with all aspects of life: education, business, finance, healthcare, catering,
media, architecture, and graphic design.
I have always visited museums and paid attention to exhibitions by artists from all over
the world whether in person or online. As a designer, I draw from these experiences of fine art
that affected me the most. I am interested in design and art images with clear direction. I always
remember the moments when I encounter such an artwork. This kind of artwork quickly grabs a
person’s eye and stimulates other's interest in it causing reflective thinking. Those works are
unforgettable and timeless. I aim to do the same in my own work. My projects afford people the
ability to reflect and to feel the resonance in their hearts. Project 2: Mapping the Collective
Mind, attempts to reconcile the city my family grew up in with the city it has become. It asks
where past memories are located in a landscape that presently is unrecognizable.
Growing up in a city that was constantly changing, is at the root of my being an artist and
designer. I can sit quietly for an afternoon and just do one thing, for example painting. Project 3:
attempts to return to a state of suspended time through painting. In it, I do not record my
impressions of routine or of sublime events—the rising and setting of the sun—but my
recollection of them.
My work records the times that awaken people’s memories to their basic humanity. No
matter whether an experience is good or bad, it existed, and is an indelible, precious experience.
That time itself could be the barrier to recognizing memories and meaning is the focus of my
final Project 4, Block Time Box, which seeks to collapse all time frames, making memory itself
everything and nothing.
8
PROJECT ONE: TRAVELING IN MY MIND
When we are young, we are present to the world. When we grow up, we see the world
through recordings of these memories in artifacts like photos or videos. I choose to be present
and touch the world first-hand. I am curious about the world; I like to go to different places,
understand different cultures, go out for a walk, watch where parallel time and space meet so that
I can regain the joy of life and re-understand myself and others.
Travel allows me to see new horizons and patterns, experience a variety of different
things, and see the work from different points of view. As I mentioned before, when I travel I
collect magnets which years later affixed to my refrigerator door conjure memories of my
journeys. The work in my first project functions like those magnets except they are derived from
my memories of those as I depict them.
My Travels
When I was an undergraduate, about six years ago, I started taking road trips. Every
summer, I took my dog on a road trip. From 2013 to 2019, we traveled all over the United States,
except Hawaii, Texas and some deserts. Cumulatively, we traveled an estimated 75,000 miles.
Our first “short” trip took nearly two weeks. We traveled from Michigan to Chicago then to
Indianapolis and Cincinnati and then to Columbus before returning back to Michigan.
For me, as long as the car had gasoline and the cell phone had navigation, everything was
okay. The second month-long trip started again from Michigan, heading east through Pittsburgh
to New York, and also to Boston. Because I had a Canadian visa, I chose to go back to Toronto
and go all the way around to Michigan. The third trip took two months along with my mom, my
9
dad and my dogs. I went back and revisited my first trip, Wisconsin, Iowa, Kansas, through
Missouri, Tennessee, to Atlanta, Georgia, and then all the way south, to Orlando, Florida, Miami,
and my super favorite island, Key West (I've flown over twice before), then to South Carolina,
North Carolina, Virginia, to New York, and a second trip back.
Then I moved to California, and started a trip to the West Coast with my dog, this time
for about a month. From Los Angeles, through Santa Barbara, San Jose, San Francisco, ending in
Portland, Oregon. Then I went north, to Seattle and Vancouver, Canada. On the return, I drove
the beautiful Highway 1 and returned to Los Angeles. I try to record my journeys in my memory.
I like to integrate myself into the scenery so every place evokes my footprints, my mood (joy and
sorrow) and my story. These trips have become my exclusive memory of the taste of time, and
also of the most treasured memories.
Memories of a Scene: Places I've been to in My Mind
These compositions depict each destination’s memory. My illustrations are projections
of my declarative memories of places and moments spaced out along long stretches consumed by
activities led by procedural memory: driving, eating, drinking, getting gas, etc. none of which
stand out.
10
Fig.4 Fifteen states I drew
I chose a city that impressed me and had left a unique impression from one of the 15
states. I then created illustrations of the three-dimensional memory of these places using basic
geometry (squares, rectangles, triangles, circles, rectangles) and basic colors (black, white, red,
blue, green, pink). As studies of colors and emotions have shown, high saturation, and basic
colors, evoke strong emotion. (Wilms & Oberford, 2018)
11
These places do not exist in museums or galleries; they are real buildings that exist in my
mind. The reproduction of the scene is based on local architecture. I use parts of buildings drawn
from memory to reflect the scene. The basic elements are: walls, stairs, windows, corners.
Mainly the use of front and rear and near the level to show a sense of space.
7
The collection of these illustrations appear in a book on the left facing pages. On the
right-facing page, I recount each place's personal story, the corresponding illustrations expressed
one by one. The cover of the storybook is the basic element I use, and the back of the book uses
a sentence as the introduction name of the story book.
Fig.5 Book cover(left), book back(right)
I designed the book cover to reflect a sense of space. The doorways, stairs and windows
float in blackness. These are my architectural elements that create buildings and rooms. The
primary elements of my compositions are clearly architectural—angular planes with perspectival
juxtapositions and incisions. But there is no attempt at representational accuracy. These are not
images of specific sites. Rather they represent my psychological impressions of being in those
7
These locations are: New York; Atlanta, GA; Philadelphia, PA; Nashville, TN; Key West, FL; Miami, FL;
Portland, OR; Chicago, IL; San Francisco, CA; Los Angeles, CA; Ann Arbor, MI; Seattle, WA; Cincinnati, OH;
Indianapolis, IN and Salt Lake City, UT.
12
sites. That being said, I am no impressionist! My use of color is anything but naturalistic. Here,
there's no gentle Monet observing the world going by, because my story isn't a calm lake. My
stories are very alive, they are about the existence of temperature. What's more, I chose
contrasting colors to reflect the vibrant atmosphere, such as red or pink vs. green or blue, yellow,
or white vs. black, and so on. In the pages that follow, I would like to use three different
illustrations as examples.
Key West, FL.
Key West is an island about a four hour drive from Miami. There is an oyster restaurant
there that grabbed my attention. I want to remember it. It's my secret must-go. It is at the heart of
the island. I've been to Key West five times in four years, and every time I have to stop by the
restaurant at least once a day. The owner knows me well and knows exactly what I want to order.
He automatically prepares my favorite seafood meal for me whenever he sees me: raw three
oyster combo.
Fig.6 Book page of Key West
My illustration of my memories of the restaurant depicts a small two-story building, the
first floor is open, and the second floor is not. The inside of the gate passage on the first floor is
13
white to indicate its accessibility. Dark blue represents the sea, and yellow is the light of the
sunset. The second floor shows the sunset that blends with the water at through small building’s
window. The side of the staircase is black and blends into the background as it leaves the upper
left of the frame. To me this implies an endlessness, beyond the frame that moves past the
physical location of the site just like the existence of this restaurant in my mind. The red front of
the restaurant stands out and signals the presence of the owner and his family's oysters that I
love.
Los Angeles, CA.
Fig.7 Book page of Los Angeles
The city of Los Angeles is famous all over the world. For me the city is like a treasure
chest. You can't imagine it without having been in it. I use every visual effect from near and far
to reflect the city's diversity. Every color is at play showing the city is all-encompassing in every
way. As with my Key West illustration, the black in the middle is not meant to be solid but
symbolizes a space beyond the image. The side of the stairs is also black, which shows the fusion
of an individual’s path with the variety and possibility of the city. At the same time, the active
contrast between pink and green hints at the inexhaustible freshness of new experiences available
14
in Los Angeles. The yellow color behind the transparent door behind the red wall, echoing the
yellow of the roof, shows the city's mystery, while round and square windows show the city's
famous multi-ethnic culture. The whole illustration wants to express its infinite possibilities.
Chicago, IL.
Fig.8 Book page of Chicago
I spent my undergraduate life in Michigan, the nearest big city was Chicago. Every
month, as long as there were no exams, I went to Chicago to play and eat. Chicago is famous for
its museums, and I enjoy visiting museums and art exhibitions. Every time my mind and
imagination received a strong shock of artistic resonance.
In my illustration I use the circle as the whole base, showing a fickle feeling. Every time I
view art it is a novel experience for me. This set of colors is not selected often and a lot, a small
number of colors are my aesthetic standards. I use dark blue and pink as the contrast between the
two directions, dark blue symbolizes the museum, pink symbolizes the art exhibition. The yellow
gate in the museum, like the red ladder in the art exhibition, gives me a guiding and edifying role
in art. Putting pink and red together creates a seemingly incompatible state.
15
PROJECT TWO: MAPPING THE COLLECTIVE MIND
My second project focuses on experimentation with photography, landscape mapping,
historical storytelling, and contemporary events. It engages historical backgrounds and the
placemaking processes. Exploration into the reasons behind the demolition of architecture are the
first step to entering deeply into this project. It is paired with an examination of childhood
memory development and subsequent loss and reconstruction. I rely on research of sites within
central Beijing as well as pair historical images that I pair with the contemporary experience of
those sites.
During the past 30 years, China’s urban construction development process is equivalent
to the historical construction of Europe in the past century. Throughout that period, many
precedents have eliminated historical preservation and blindly put together modern architecture
and weakened the cultural heritage. With the increase in the openness of the society, the
economic activities (such as: tourism) in the historical districts are constantly affecting the local
history and culture.
When it comes to childhood, different people have different memories. Memories of
childhood may fade over time, but there are experiences of childhood that are hidden in people's
consciousness and slowly penetrate into their character, both inside and outside as an important
part of life. In short, childhood is short, but its impact on a person's life is long-term. A person's
character, outlook on life, values and childhood experiences are inextricably linked and
influenced.
I believe that everything in one's childhood has its corresponding meaning for that
person. Everyone has a childhood favorite snack, a unique flavor of soda, a special game, and
16
secret streets. However, looking back, a once playful place known to a child no longer exists,
leaving the individual with an inevitable trace of loss and regret. The rapid development of the
city, the changes, remodeling of the local culture and its historic streets makes the city lose its
historical memory. People are losing the awareness of the importance of traditional culture, so
protecting this heritage is worth paying attention to. We live in different historical environments,
and every city continues to improve or be disturbed by its construction because of rapid
developments. Every city is for both demolishing and/or protecting old buildings.
My Childhood
I was born and raised in the capital of China, Beijing. However, when I was a child, the
city looked completely different from its present state, many old buildings have undergone a
silent demolition. And some of the historical relics with long histories have not been spared. I
feel very sorry for this; these ancient buildings actually have a very magical architectural style
and cannot be reproduced. As with many of the world’s metropolises in the last fifty years, urban
construction and the transformation of dangerous old housing have gradually taken Beijing’s
cultural heritage of iconic symbols away from us: the old city walls, buildings, hutongs,
courtyards. They carry generations of historical memories and record the homes of Beijinger in
the bulldozers and in the smoke. Today, Beijing is the capital of the country, an international city
and a city of culture both past and present. As we look forward, we also need to look back.
Beijing, which is filled with tall buildings, has all but destroyed the old city area. People have
long forgotten what the city of Beijing was like, the original ecological patterns and Beijing
flavor has undergone irreversible changes.
17
This project focuses on buildings and architecture that history has erased over the last 60
years in a neighborhood in Beijing, China. It shows awareness of the destroyed landscapes and
how they are integrated intentionally and unintentionally into the present. It creates an
educational wake-up call and activates historical and cultural interest, and at the same time,
renews and reconstructs placemaking in an urban landscape.
I use photographs, time and events as the foundation in the most direct, clear, and
intuitive way, re-connecting history and awakening people's attention to historical significance.
My intention was to show the images of the past at the same time, and from the same vantage
point as new Beijing Street scenes. Using real images for comparison reflects on the great
changes that have taken place in Beijing. In addition, I use the stories of the past and present to
allow people to experience these histories in depth.
Fig.9 Dongcheng Gate is Beijing Railway Station (Left: past; Right: current view)
When I researched what caused the phenomenon of cultural transmission and loss in
urban environments, I found that many ancient cities are surrounded by a strong historical and
cultural atmosphere, when neighborhoods continue from one era to another, when their regional
features and structures are relatively solidified, but inevitably become "obsolete" as the natural
result of urban change.
18
Local traditional culture is the core character that defines first-tier cities, so even
globalization cannot eliminate these local characteristics which would lead to the loss of cultural
competitiveness of the city. But the protection of traditional culture does not mean the traditional
culture cannot be changed. Moreover, China is the most active place for contemporary social and
economic changes, as the capital Beijing not only faces problems such as demolition,
transformation and renewal brought about by rapid urbanization, but also must deal with the
strong impact of globalization. This is a huge threat to the historic district of the old
neighborhood.
Beijing City Center: Rings
Beijing Tiananmen is the center point, in the form of a wreath, from the second ring to
the fifth ring and is also the urban area of Beijing. In time, the Fifth Ring Road divides Beijing
into two worlds before and after the 21st century; Ring, not only the highway, but also a symbol,
a standard, a signal. This circle is a boundary, forming the city's absolute central symbol,
psychologically also producing a strong "circle" and "outside" feeling. Since ancient times,
China has had a dual structure of urban and rural areas, the five rings reinforce this difference.
This demand was provided by the city walls in previous societies, but after the walls were
removed, the fast-moving loop filled the gap and became a status symbol. The more in the center
point, the higher the status, which is the core of my study of the region, the second ring and the
third ring area.
With the current subway ring map, it is clear and intuitive to see each circle as an area of
the ring line, a ring covered with a ring. The gray part of the center point area is the area I
studied. I also hand-drawn a timeline map. (See figure below)
19
Fig.10 Schematic diagram of the current subway loop (left); The sketch map of the loops I hand-
painted indicates the first to fifth loops, the corresponding age of each loop and the number of
kilometers between the adjacent loops(right)
In the old times, that is the Ming and Qing periods (Beijing Gate is the Ming and Beijing
City Gate is Qing City) a series of gates were built according to the grade and architectural
specifications of the time. They are divided into four categories: Miyagi City Gates (four), the
Imperial City Gates (four), the inner-city gates (nine) and the outer city gates (seven). This area
has a special name in folk tradition. It is called "inside and outside the seven imperial cities
four." The sixteen city gates are the stable gate in the north, Desheng gate, located in the south of
Xuanwu gate, Zhengyang gate, Chongwenmen, right Anmen, Yongding gate, left Anmen,
located in the west of the West Straight Gate, Chengmen, XipingMen, Guang'anmen, located in
the east of the East Straight Gate, Chaoyang Gate, Dong pumen Gate, Guangdao Gate.
20
Fig.11 Partially enlarged map of Beijing in the late Qing Dynasty (1644-1912)
(left); map of
Beijing in the Republic of China. Beijing was called Peking (1912-1948) at the time. (right).
8
Fig.12 Beijing map in 1950, according to a simplified version of the old photos of the city walls
in Beijing, it can be seen that the layout is exquisite.
8
Yujianshenhua. "Why is Beijing also called Sijiucheng? What gates are there in Beijing today?" Wukongwenda.
Feb 26, 2017. https://www.wukong.com/question/6439478516403667213/.
21
Memories of History:
I chose contrasting colors: blue to red and pink, because 3D glasses must be worn to see
and understand the image. (See figure below)
Fig.13 In the version I drew, there is a year of demolition next to each gate.
I drew the map of the area in a concise way, with blue and red as the tone. The location of
each gate is also indicated, the year the gate was demolished. The unmarked gate is still there
today. I use red squares to represent the position of each gate, just to fill the gap in the number
nine, so that the integration is very harmonious. As we can see, eleven city gates no longer exist
at all: Tiananmen Gate (1960), China Gate (1912), Jingmen in the North (1968), Yongding Gate
in the South (1932), Xuanwumen (1965) and Chongwenmen (1968);
At the same time, I found historical pictures of each city gate and the face of the present
day. I chose to tell the story of these eleven already completely out-of-the-way doors in a
22
contrasting way. Each introduction to the city gate includes the year of demolition, the year of
the present image, historical background, the reconstruction of the building in the present era,
and its geographical coordinates.
The gates began being demolished in 1912 and were gradually torn down until 1969. Each
of these gates corresponds to the name of the current location as follows:
● West Straight Gate is Kaide Mall, Chongwen Gate is the Golden Wheel Building
● The Stability Gate is the Anzhen Building
● Yancheng Gate is tianyi Department Store Building
● Dongcheng Gate is Beijing Railway Station
● XuanwuMen is Xishiku Cathedral
● Tian'anmen is the Tian'anmen Department Store
● DongpingMen is the southern station of Beijing Railway Station
● Chang'anMen is chang'an Street Rainbow Bridge
● Chaoyang Gate is the business district SOHO
● Guang'anmen is the market mouth selling gold
● Ximenmen is Baiyunguan Temple
● Yongding Gate is Yongding Gate Ring Bridge
● China Gate is Tiananmen Square
● Dong straight gate is Dong straight gate ring bridg
I first made a timeline poster to show the city gate's coherent story. (See figure below)
23
Fig.14 The summary version as a poster of the comprehensive information drawn by me has an
historical background introduction along with current, and past pictures showing the gates in the
form of lines. Each time point is used as a demarcation to show a sense of clarity.
The color choice for this poster is red and cyan which allows me to layer information
differently when filtered through red and cyan lenses. In the use of color, I adjust saturation and
transparency to reflect the importance of text information and coverage of information
perspective. For example: the background text is blue, the upper layer is covered with red in a
translucent way, the big red letter is the location information: Beijing, China. At the same time,
there are big blue characters: inside nine and outside seven. (The folk name we mentioned earlier
is also known in Beijing.)
The top left corner of the poster is the historical background of the site. During the
Revolution Movement the walls and some of the gates were torn down to make room for the
24
development of the city, but others remain as tourist attractions. The Second Ring Road follows
the line of the old city walls, which were used together with the gates as points of reference when
navigating the city and address during the Yuan (1271-1368), Ming (1368-1644), and Qing
(1644-1911) dynasties. The inner city, formerly referred to as Jing Cheng or Da Cheng, had nine
gates.
In the upper right corner of the poster is a summary of City Wall and gates. In the middle
is the introduction of the nine city doors, on the left is the demolition of the era, the middle is
distributed with the old city gate look (the whole picture is covered in blue, showing a blue-
based, a whole feeling.) The connection between the age and the picture, connected by the name
of the cash location, seems to be a point at a distance, while the near look is the name of the
contemporary location.
The background layer of the poster is a detailed historical survey printed in red. At the
same time, the lower right side with a bold way, focusing on explaining what is the inner nine
outside seven. It means that there are nine city gates in the inner circle and seven city gates in the
outer circle.
25
Fig.15 Hand-held book made by me: graphic design version.
I then made a hand-held book, each of which introduced a separate city gate. The picture
on the left is the floor plan of this manual, and the picture on the right is the real manual that
folds out. I chose to introduce the first Chinese gate to be demolished in 1912 as an example.
China Gate is now the place where Beijing's most important national leaders are located:
Tiananmen. All major events are held here, and the Mao Zedong Memorial Hall is placed here.
This is the heart of China; it is the most meaningful place for China.
The entire manual has twelve small squares with the layout as the design base, the
design’s style makes the whole manual open and close in a very novel and interesting way, like
playing with a toy in hand; doing a small game. The whole manual, opened and flattened,
comprises left and right full poster sides, the front is based on the middle line of the text
introduction (above right), the opposite is the center of the picture introduction (above left). All
the pictures have a 3D effect, which when seen through 3D classes alters what can be seen. All
the historical pictures and converted to black and white to represent the past.
26
The right-facing side is broken into three sets of horizontal panels. The middle two panels
of the right facing side use type in Chinese in blue and English in red both name the city gate
named "Chinese gate”—Zhong Hua. The lower left corner of the small grid is the demolition of
the year 1912, the lower right corner of the small grid is the how it appears today. The upper
panels of the right-facing side describe the site. On the upper left is a written introduction to the
gate in English. The upper right corner is a simplifted detail of my larger map showing the dates
of the gate’s destruction.
The left -facing side is similarly broken up into 6 panels. The left column is covered with
red translucent images, and the right is dominated by blue. The right column’s images appear
upside down in the flattened spread but are right-side-up when the sheet is folded. The spread
mixes images of the past and present including one image in the lower right that superimposes
the past over the present. The map in the lower left corner is the first area map I drew (Fig.13).
Fig.16 Hand-held book made by me: Real printing product version.
27
Then I made an introduction book that was easy to read. I didn't extend the use of red and
blue color schemes because the colors referenced the United States rather than the red and
yellow of the Chinese flag which could not be applied to the color range of 3D glasses. I
replaced red with pink which looks different in print but has little effect on the use of 3D.
In this book pink represents the year of demolition, and blue represents the present state
of the site. This choice of color is due to experiments that I conducted. I printed two versions, put
on 3D glasses to see the effect. I found that the pink line will be particularly clear. I chose to use
slashes to cross out pictures of the present era, inspired by the reality of Beijing's development.
Since the reform and opening up of Beijing, the walls of the removed places have been painted
with red circles and slashes in them. I chose to follow this "break-down" style and apply this
unique look to my work.
28
Fig.17 I use the Xuanwumen as an example for my design concept.
Each spread of the book pairs a changed site designated as “Rapid” on the left-facing
page with and a right-facing page called “Nostalgia.” “Rapid” appears in pink and `Nosalgia" in
blue. My intention was to make people pay attention to historyy by focusing on the historical era,
making the present era an auxiliary that introduces the various stages of the city gates.
29
Fig.18 Here's what it's like to read with 3D glasses.
The right-hand page is about the past and describes the location of Xuanwumen in the
south. The name of the site is blue, with a pink line underneath holding the name of the location,
with pink translucent overlays in the middle of the old-time picture. At the bottom of the picture
in the middle is the year of the demolition, 1965, and further down in pink font to introduce the
historical background of the city gate.
On the left side we see what the site looks like today. It has now become Sishku
Cathedral. The name of the location is pink, and as a response to the right page, the bottom line
is changed to blue and is crossed with the name of the place today. The middle of the picture
with blue translucent covers the image of the present era, and adds a bold slash on the blue
picture, echoing the "dismantling" style.
To catch the eye, and to play a historical point of view, the middle of the picture shows
2019 (the year I did the project). The blue picture on the right side of the center has vertically
written geographical coordinates that are convenient for people who visit these sites. Further
down on the same line introduces the city gate’s contemporary background.
30
PROJECT THREE: LOOKING IN MY MIND
When I was a child, my favorite hobbies among many were painting and horseback
riding. I began painting at the age of six and as I got older began seriously studying watercolor
painting, Chinese ink painting, sketching and oil painting. Painting remains a passion, I also
sometimes draw all afternoon, but I’m never tired or drained after.
As a visual designer and artist, the colorful sunsets of Los Angeles hold the greatest
attraction for me. I choose to live in the city center, in a high-rise, with overall floor-to-ceiling
windows where I could enjoy the sunset view from my home every day. Watching these sunsets,
I feel very surprised and relaxed; I look forward to seeing the sunset every day, quietly guessing
what color today's sunset will be. Each day I hope to see the pink sky turn to orange and purple,
there are unexpected sky colors. This is my favorite moment of the day. I can capture the color of
the sky with my phone or camera, but the color of the sky I'm shooting and the actual colors I see
with the naked eye are not the same. What I see with my “naked” eye cannot be recorded with a
camera.
I set an alarm clock to ring half an hour before the sun sets and start looking forward to
seeing the sunset began. Because I look forward to seeing the next sunset, my friend has
renamed me - “sunset girl.” I record the memory of the sunset—not the observed sunset—in
paintings. Perhaps, between the sunset in my mind and the sunset I see, there is some deviation,
because the human memory cannot fully “restore” the original appearance of things. But for the
sunset painted with my hand, to be able to record the sunset in my mind, is enough.
31
I moved to Los Angeles in 2017 and that is when I started to record the sunsets in my
mind, noticing the variety of colors that composed them daily. I vividly remember where I was at
five o’clock each day when the sun set and feel that it is of profound significance for me to
record the sunsets in the form of painting.
In photographing the sunset, I wanted to most accurately reproduce the colors of the
original sky. I bring out the color that is closest to my visual memory as seen by the naked eye
but so many of the colors are almost impossible to match. This is not a simple process. I needed
to adjust the color to match the colors I am trying to reproduce. As a result, the color presented is
not the best color. During the color grading process, occasionally some unplanned, novel and
beautiful colors appeared. I tried a variety of media to capture and “restore” the record of the
sunset. At first, I chose to watercolor, but the color proved to be too light. Then, I tried Chinese
ink painting, and created an abstract version of the sunset, but the color still did not match.
Finally, I chose oil painting, where the color can be very distinctive and significant, and the
texture was thick, creating a vivid and lively effect that I wanted.
I sit by the floor-to-ceiling windows of my home, raise my brush, close my eyes, and
remember the beautiful sunset. I chose not to paint a big picture, instead I chose to draw on a
surface half the size of an A4 paper, this is because I wanted to quickly and as realistically as
possible recreate the sunset that existed in my mind. The impressions need to be as immediate as
the sunset is fleeting.
32
Memories of Time: Sunsets, Sunrises, and Skies
Sunsets and sunrises fall into two categories, the first of which is morning and evening at
the same time. The second category is to record the sky directly, where the time, place, and
coordinate points that occur are specific.
(See figure below)
Fig.19 This set of paintings takes place at 6:17 a.m. and 6:17 p.m.
The location is in my home, downtown Los Angeles, located on 9
th
street. I see sunrises
and sunsets with city views from the glass windows of my home. However, in my paintings, I
made the decision to not indicated whether it is AM or PM. It's a necessary and interesting
exploration to find out which is morning and which is night. The sky on the left is dominated by
pink and orange, with dark blue at the top and bottom, and dark purple in the middle of dark blue
and pink below. The nearby tall buildings are represented. by solid rectangles in pure black with
scattered neatly arranged solid dots with small verticals and small squares representing the
windows of every well-lit home. And in the sky, there are a large number of white small dots,
33
representing scattered distant small stars. There are also a small number of five-point stars,
representing the nearest big stars and some slashes, representing meteors — of course, this is part
of my imagination. Finally, I specifically added some meteors to bring the whole picture to life.
This all happened at 6:17pm.
The sky on the right is made up of yellow, pink and orange. There is no trace of blue. The
tall buildings beneath are still represented by solid black rectangles, while the black rectangles at
this time are without any white presence, which means that the sky is just bright, no one has
turned on the lights or, during the day the lights are not visible. Now look at what is painted in
the sky, only solid white clouds, large and small, representing clearly visible high or distant
clouds. Because it's dawn, these white clouds are especially noticeable by our eyes. This happens
at 6:17 a.m. The two painting form a diptych.
The second analogy is an oil painting that exists separately, but has special textured
details that are closer to the occurrence of every evening’s sunsets for nearly the two years.
There are times when I'm driving and times when I look up at the sky, the thing that these
moments have in common is that I can’t record them. I chose to show three different styles of
sky; the order of time is also from long past to more recent, this is taken is shown in sets of side
by side photographs: the left shows the overall work and the right is a detail of part of the sky
which clearly shows the texture and depth of the oil painting. I will introduce the creative
concept and style of each oil painting when I explain each work individually.
34
The first sky: May 2019. @5:37pm. #Playa Vista, CA 90045
Fig.20 The painting of the sky in Playa Vista looked like.
I remember being in the dog park, taking pictures and videos of my dog on my cell phone
until there was no electricity and my phone shut down. Then the sun began to set while there was
a full moon still visible. The yellow moon is as clear as the egg yolk, the sky has not darkened
and, the sky is blue while white clouds are clearly visible. At this time the sunset color is pink
and dark pink also mixed with a hint of purple, clouds shuttle in pink, it is particularly attractive.
This is the sunset in my first memory, and it is also the most impressive view of the sky. In the
image, I paint the clear yellow moon like an egg yolk, deliberately sketching out a circle of the
outer edge. My intention is to clearly display the full moon's clear outline. I depict white clouds
using only a little moisture directly on the paper, painting some dry, some thick showing a trace
of texture. The background color of the sky is soft blue, in sharp contrast to the sunset and clouds
that cover it.
35
The second sky: October 2019. @7:34pm. #Manhattan Beach, CA90266
Fig.21 the painting of the sky in Manhattan Beach looked like.
It's by the sea, but I find that the sunset area seen by the sea is particularly large. It's as if
I'm enveloped by the sunset. The beach and the edge of the sky, there is no blue-sky color——
this really surprises me. I could never have imagined that the sunset by the sea would blend in
with the whole beach, and even integrate me into it. The sunset here is a large area of color
overlap, a red sunset is easily encountered and sometimes referred to as a fire cloud. In this
painting, I use blocky techniques to show a large area of sunset color. The blue sky, is drawn by
the same method. The sky blocks are softer this time and more present withing the blue
background. The most striking feature of this painting is that the colored sunset does not exist
above the sky, and the sunset is drawn separately. Their colors consist of solid crimson and large
red, solid orange, translucent red-pink, and solid yellow. The whole picture resembles feels more
36
like an abstract painting and if you don't mention that it's a piece of the sky it's hard to quickly
connect the painting directly to the sky. The abstract large chunks are the essence of the painting.
The third sky: January 2020. @7:12pm. #Downtown LA, CA90017
Fig.22 The painting of the sky in downtown Los Angeles looked like.
It was downtown Los Angeles and the sky was grey and foggy. The sunset was coming to
an end. But although all day the gray sky made me feel tired, from behind the clouds, a yellow-
orange sunset appeared and let me feel hope in disappointment. I was pleasantly surprised by this
feeling, I thought of life. A person's life will not always be smooth, there will be big ups and
downs, there will be bad times that can happen at any time. However, to have a positive and
optimistic attitude to face life, as long as there is hope in the heart, a person will not be defeated
by anything. This is the sky to remind me to be an optimistic person. Live a good life, cherish
every day, enjoy the present, do not blind despair. In the painting, the gray sky is the entire
37
background, a dark gray and light gray composition in which no gaps between the colors produce
a completely cloudy sky. Above the gray I drew the white clouds and then I drew a little yellow
and orange light coming out of the clouds. Solid yellow and orange are broken by white. I drew
another layer of white on the yellow-orange completely covering the color. As can be seen, some
whites are particularly thick, but the yellow-orange color behind them is also strong. The result is
particularly bright and eye-catching while the sky is harmonious overall.
PROJECT FOUR: TIMES OF MY MIND
The previous works I have discussed (Projects 1 – 3) deal with time and memory in a
standard way that assumes a past, the present, and a possible future. Whether in time or space,
there is a vague correlation between past, present and future. But the future already exists, and
the past never fades away. I agree with Platonism: only ideas and forms are absolute and eternal.
9
The relationship between space and time can be explained by Einstein's theory of relativity.
10
In
fact, the past, present, and future exist at the same time, and this is also the relationship of time
and space. Spacetime is a whole, time and space cannot be viewed separately.
I made a work that is related to the future. I made a “time box.” With this time box I
focus on the relationship between past, present and future. For the passage of time, we mostly
rely on feeling. If you think about time carefully, whether it is from the perspective of life or
9
Russell, 2013 Russell, Bertrand. History of western philosophy: Collectors edition. Routledge, 2013.
http://people.uvawise.edu/pww8y/Supplement/PhilSup/Russell%20HistWPhil%201945/318HistWPhil%20Rus%20
RomanticMvmt.pdf
10
Einstein, 1948 Einstein, Albert. The special and general theory. Prabhat Prakashan, 1948.
38
from the perspective of history, the ability of humans to have precise time has only been
acquired in the past few hundred years. In fact, even today more accurate time scales and
measurements are still difficult problems.
Our feeling is that time is passing: that is, the past is certain, the future is uncertain, and
reality is now. But many physicists and philosophers have different views. They believe that the
passage of time is probably an illusion, that time does not flow at all. And consciousness may
involve thermodynamics or quantum mechanical processes, which provide us with an impression
of life at every moment.
11
From the definite past to the tangible present, to the uncertain future,
we feel as if time is passing unstoppably. The passage of time may be the most basic aspect of
human perception of the world, because we feel that time is slipping away deep in our hearts,
and this feeling is even more real than our perception of matter or space.
12
In daily life, we divide time into three parts: past, present and future. Although this seems
obvious, it goes against modern physics. Einstein once expressed this in a letter to a friend, “The
past, present, and future are just an illusion, albeit an extremely stubborn kind.”
13
11
Davies, P. (2014) Davies, Paul. 2014. “That Mysterious Flow.” Scientific American: A Matter of Time 23 (4s): 8–
13. https://doi.org/10.1038/scientificamericantime1114-8.
12
These views conflict with a profound and shocking paradox: in existing physics, the concept of time flow cannot
be found. In fact, physicists insist that time does not flow at all, it merely exists. Some philosophers even argue that
the concept of the passage of time is meaningless and that the discussion of the flow of time is based on an illusion.
(Davies, 2014)In the physical world we live in, time is the most basic. How can we go wrong with such a problem?
Or is there a certain key characteristic of time that has not been recognized by scientists?
Davies, Paul. 2014. “That Mysterious Flow.” Scientific American: A Matter of Time 23 (4s): 8–13.
https://doi.org/10.1038/scientificamericantime1114-8.
13
NPR.2013- NPR. 2013. “Resetting the Theory of Time.” NPR.org. NPR. May 17, 2013.
https://www.npr.org/2013/05/17/184775924/resetting-the-theory-of-
time#:~:text=Albert%20Einstein%20once%20wrote%3A%20People,he%20said%2C%20is%20an%20illusion..
39
Einstein’s surprising conclusion came directly from him. The special theory of relativity, which
believes that this moment does not have any absolute and universal significance. According to
this theory, "simultaneity" is relative. Two things may happen at the same time in one frame of
reference, but if viewed from another frame of reference, they may happen at different times.
The most straightforward conclusion is that both the past and the future are determined. For this
reason, physicists prefer to think of time as a panoramic time that has been laid out as a whole.
All past and future events are already there together. This idea is sometimes called "block
time".
14
The idea that there is a special moment "now" or that there is a process that can
systematically turn the future into the present is inconsistent with the above-mentioned view of
panoramic time. In short, time does not pass or flow in the eyes of physicists.
This time box is an abstract thing. I put color and meaning on different sides of the same
box. I use the time box to represent my general ideas of past, present and future. The same box
expresses the concept of time, while different aspects express the traditional concept of time. My
intention is to show the past, present and future as simultaneous states in parallel worlds.
14
(Scientific American Special, 2017) “[Scientific American Special] - Volume 16 Number 1(2006).Pdf.” 2017.
Docme.su. August 30, 2017. https://www.docme.su/doc/1764249/-scientific-american-special------volume-16--
number-1-200....
40
Memories of Imagination
This time box consists of three time points, and three colors to show different time points.
Fig.23 The real time box I made that looks like.
Use three different color to represent different era:
● Black = past time – bottom and two sides
● Sliver = nowadays one side in the middle.
● Gold = future – on the top.
Selected specific materials:
● Pure black opaque board(3pc),
● golden yellow mirror board(1pc),
● silver mirror board(1pc),
● glue gun,
● alcohol wipe
● small size of pushpins.
41
To understand the color palette:
● Black = past time – bottom and two sides
Since the past is a fact that cannot be reversed or changed, I use black solid to express the past.
Not a mirror effect.
● Sliver = nowadays one side in the middle.
The time now is fleeting every day, so I only use one surface, and the silver is also a mirror
material.
● Gold = future – on the top.
The future is hopeful and there are too many possibilities. So, I used gold, which represents light.
At the same time, I also used alcohol cotton to wipe out some transparency of the golden mirror
surface, which can be seen with the naked eye, to show many unknown possibilities. I wiped the
mirror (Gold with more clear space, silver has less clear space) with alcohol wipe to create a
transparent perspective. What I want to express is the possibility of both now and in the future;
the past time is pure black because it is impossible to change, it’s just out there.
● The small pushpin is like a person, standing in front of three eras and examining his past,
so that there will be a better present and future.
42
Fig.24 The details of box in different sides look.
CONCLUSION
In the four design projects that make up my thesis I connect experiences of space and
time, this forms a basis for my ambitions as a designer who uses design to bring people together
through shared understandings of individual experiences. I want people to engage with all the
things that happen in their lifetimes through their own remembrances as I do in my illustration of
multiple road trips (Project 1— Travelling in My Mind). I also want viewers to recognize the
histories that they have not experienced in their own times, but that continue to exist through
time as I have done through my examination with mapping and place (Project 2—Mapping the
Collective Mind). My work hopes to provide a model for an audience to consider how their own
memories resonate with the past through repetitions and differences of time experienced as the
43
“same” (Project 3—Looking in My Mind). Most of all I want to share my belief that there is more
than we can know in time and space and that every day of our lives, we travel in time. All we can
do is to do our best to cherish this wonderful journey.
44
References
Atkinson, R. C., & Shiffrin, R. M. (1968). Human memory: A proposed system and its control
processes.
In Psychology of learning and motivation (Vol. 2, pp. 89-195). Academic Press.
Memory. (2021, February 17). In Wikipedia. Retrived from
https://en.wikipedia.org/wiki/Memory
(redraw the image, this one may delete)
Oxford University Press. (2015). Declarative Memory. In Oxford Dictionary of Psychology (4
ed.) Retrieved Februray 28th, 2020, from https://www.oxfordreference.com/
Roediger III, H. L., & Wertsch, J. V. (2008). Creating a new discipline of memory studies.
Memory studies, 1(1), 9-22.
Surin, L. (2017). Role of Individual Memory in the Construction of Collective Memories.In
Collective Remembering: Memory in the World and in the Mind (pp. 236-272). Cambridge
University Press.
Wilms, L., Oberfeld, D. Color and emotion: effects of hue, saturation, and brightness. (2018).
Psychological Research 82, 896–914.
Abstract (if available)
Abstract
My thesis explores and reflects on personal memory and experience. I begin with memories that are based on my own experiences. The things that exist in my mind are recorded and reviewed through graphics and other design media. As a result, these projects allow me and the viewer to become time-travelers moving forward and backward through memories, those are shared across culture, geography, history, and tradition. Even though we all move across time as individuals, my work will show the connection between the way we remember and the experiences we share. ❧ In many ways, this thesis is a very personal document. It recounts how I have integrated memory, experience, and thinking about time into design. Here I examine four design projects that connect experiences of space and time: through multiple road trips (Project 1ㅡTravelling in My Mind); as history through the examination of mapping and place of my hometown (Project 2ㅡMapping the Collective Mind); through repetitions and differences of time experienced as the “same” event (Project 3ㅡLooking in My Mind); and in the projection of time into the present as a material object that conflates our common understanding of time as linear with scientific and philosophical notions of the copresence of past, present, and future (Project 4ㅡTimes of My Mind).
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Lost and found: escape from the longing past towards the uncertain future of art and design
Asset Metadata
Creator
Sun, Han Ivy
(author)
Core Title
Exploration and reflection: a precipitation of personal memory and experience
School
Roski School of Art and Design
Degree
Master of Fine Arts
Degree Program
Design
Degree Conferral Date
2021-12
Publication Date
10/15/2021
Defense Date
10/15/2021
Publisher
University of Southern California
(original),
University of Southern California. Libraries
(digital)
Tag
culture and landscape,digital design,experience,human-centered design,Imagination,individual memories,OAI-PMH Harvest,product design,space evolution,time-traveling,value of feedback in history
Language
English
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Connell, Brian O. (
committee chair
), Burruss, Laurie (
committee member
), Trujillo, Osvaldo (
committee member
), Wojciak, Ewa (
committee member
)
Creator Email
jellysun9@gmail.com,sunhan@usc.edu
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Tags
culture and landscape
digital design
human-centered design
individual memories
product design
space evolution
time-traveling
value of feedback in history