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[recent works - design project]

︎︎︎rabbit-hole 兔子洞
︎︎︎metamorphosis 变形者

︎︎︎3M studio 3M工作室
︎︎︎kudos 有赞商店

︎︎︎charper for omies ajax
寻觅者,寻觅着

[recent works - photography]

︎︎︎auxiliary line 辅助线
︎︎︎margin of error 试错空间
︎︎︎slide time 滑梯时间
︎︎︎parade 巡游
︎︎︎exit 出口
︎︎︎fractal 分形,分形
︎︎︎twdntk 不用知道的事


[not so recent]

︎︎︎dot-com 点阵
︎︎︎anti-clockwise 逆时针行者
︎︎︎grid. web. mesh. 网.网.网.
︎︎︎unfold 目之所及
︎︎︎living image 静态动图
︎︎︎a chase 追逐
︎︎︎spell casting 咒语日夜


[side b]

︎︎︎backstage 后台
︎︎︎recycle bin 回收站
︎︎︎burst in 是谁闯入
 




rabbithole
an (un)professional
mind mining manual

兔子洞
一份(不)专业的
大脑挖矿指南


Individual Project
09. ~ 12. 2022

*design writing *illustration *animation *design reflection


The project introduces a series of practices on pouring fugitive ideas, which extracted from the designer’s accumulated daily notes, into new structures and patterns to probe into methods of constructing and presenting the labyrinth created. This can be seen as an experiment to take a glimpse at the relationship between our daily life activity and the seemingly ultimate question like “who we are” or “who we want to be” as part of our self-examination. ︎

该项目介绍了设计师将一系列 “逃逸想法” - 那些不记下来就马上会遗忘的点子,注入新结构,新模式的实践。这次实践探讨了我们如何通过构建各类体系来编织想法,最终实现各人独特的产出。这些体系也许是迷宫,也许是流水线,也许是循环结构。这些装入容器,在容器中碰撞的想法,在多大程度上能产生化学作用,生成定制版本的自我表达。这是一个实验,用以窥探我们的日常生活与那些看似终极的问题,如 “我们是谁” 或 “我们想成为谁” 的联系,作为自我审视的一部分。

     


It's a manual, a useless guide on how to present something that exists mainly 'in the air', that is difficult to simply throw a page from wikipedia to you to explain with. So, let’s begin with this gleaning, information gleaning .

这是一本手册,一个关于如何呈现“那些总是悬浮在空中”的思绪的 “无用指南”,这很难用一页维基百科来向你解释。所以,不如让我们从了解拾穗开始,信息拾穗。

I glean information with my notes. These notes accumulated in almost ten years when I was waiting for a bus, walking to a park, or wondering around on the street, etc. I called them fugitive ideas. A few of these pieces left on tissues, receipts, labels, packages or all sorts of accessible daily 'wastes' that were hard to retrieve, but the majority lies safely in my Notes. They are neatly placed in order and detailed to date, despite the fact that they are still a bunch of useless, non-related trivial nonsenses.  I wonder if these primitive, scribbled words are more eloquent than a well crafted resume for 'self-promotion'. They are the reflection of my intrinsic parts.



我用笔记来做信息拾穗。这些笔记积累了将近十年,当我等公交、走在公园或在街上漫无目的地游荡时。我称它们为“流逝的思绪”。其中有几段留在了纸巾、收据、标签、包装或各种难以找回的日常“废品”上,但大部分都安全地存放在我的笔记中。它们按日期整齐地放置,尽管它们仍然是一堆无用的、不相关的琐碎胡说。我不禁想知道,这些原始的、潦草的文字是否比一份精心制作的简历更能用于“自我推广”。它们是我内在自我的反映。
            




    


The multiplication of these notes reminds me of a notion called 'wiki-rabbit-hole', which refers to a certain learning pathway when we kept clicking on links to navigate relevant contents but ended up in the middle of nowhere. Notes were written down for a reason. It functioned as an outlet for the unexplainable feelings. However, as time passes, when the memory fades, these notes leave us an unsolvable labyrinth. How we manage to present these kaleidoscopic pieces of thoughts?

After weeks of investigation, I got some feedbacks from some giant figures.

这些笔记的增多让我想起了一个叫做“维基兔子洞”的概念,指的是当我们不断点击链接浏览相关内容,最终却发现自己置身于茫茫大海。笔记之所以被写下,究其原因,它们是那些无法解释的情感的出口。然而,随着时间流逝,记忆消退,这些笔记为我们留下了一个难以解决的迷宫。我们如何呈现这些千变万化的思绪碎片呢?

经过数周的调查,我找到了一些建议。


︎︎︎ “Vormgever came to my mind. To give form, or to create a form into which we can pour ideas." - from Critic ALL!

︎︎︎“Vormgever浮现在我的脑海中。给予形式,或者创建一个我们可以注入思想的形式。” - from Critic ALL!

︎︎︎ “What we need is never a spear, we need a leaf a gourd a shell a net a bag a sling a sack a bottle a pot a box a container. A holder. A recipient.”  - Ursula K. Le Guin

︎︎︎“我们所需要的永远不是一支矛,我们需要的是一片叶子,一个葫芦,一个贝壳,一个网,一个袋子,一个投石器,一个麻袋,一个瓶子,一个壶,一个盒子,一个容器。一个持有者。一个接受者。” - Ursula K. Le Guin

︎︎︎ “All you got to do is look over your notebooks.…..and think of anything that comes into your head, especially the miseries.…..then arrange in lines of two, three or four words each, don't bother about sentences.” - Allen Ginsberg

︎︎︎“你需要做的就是查看你的笔记……并思考任何浮现在你脑海中的事物,尤其是痛苦……然后将它们排列成每行两、三或四个词,不必担心句子的结构。” - Allen Ginsberg

︎︎︎ “Structuralism is quite indifferent to the cultural value of its object: anything from War and Peace to the War Cry will do. The method is analytical, not evaluative.” 
- Terry Eagleton

︎︎︎“结构主义对其对象的文化价值完全不感兴趣:从《战争与和平》到《战争号角》都可以。这种方法是分析性的,而不是评价性的。” - Terry Eagleton

︎︎︎ “Oulipians are rats who construct the labyrinth from which they plan to escape.” - Raymond Queneau, founder of Oulipo

︎︎︎ “Oulipians是那些构建他们计划逃脱的迷宫的老鼠。”  - Raymond Queneau, founder of Oulipo


feedback a.
The simplest way to deal with ideas that’s nowhere to be categorised is just like the way of making a Dadaist poem. If you have no notes in record, the method helps to generate random sentence combinations.

要处理难以分类的想法,最简单的方式就像制作达达主义诗歌那样,如果你没有记录的习惯,这种方法能快速生成随机的句子组合。

feedback b.
But the uncertainty bothers us, we fancy the randomness in the beginning not in the end. So here comes Oulipo, specialised at seeking for new structures and patterns with constraints based on mathematical theories and problems. Against Dada, they introduced forms and systems to trigger the creations of poems. It’s surprising that Queneau described Oulipians as "rats who construct the labyrinth from which they plan to escape." Apart from Oulipo writers, the practice derives from film editing - Kuleshov Effect, also well-known as montage, gives me more inspiration on how to make new stuff with the same content, but rather different storytelling.

但不确定性让我们感到不安,我们喜欢开始时的随机性而不是结束时的。所以Oulipo出现了,它擅长基于数学理论和问题寻找新的结构和模式的约束。与达达主义相对立,他们引入了形式和系统来触发诗歌的创作。令人惊讶的是,Queneau描述Oulipians为“构建迷宫的老鼠,他们计划从中逃脱”。除了Oulipo作家,这种实践还源于电影剪辑,即蒙太奇,为我提供了如何用相同的内容制作新作品,但叙事方式却大不相同的灵感。

feedback c.
To make one thing morphing into another thing, the formula is needed when we cast the spell. So based on these insights, I obey three notions as follows:

  • RABBITHOLE - burrow into 

  • CONTAINER - carry around

  • HOPSCOTCH - land at


and launched Rabbithole Manifesto as a standard principle for my following practice. I hope the project to be a mind mining machine to review old thoughts and spark new surprises. Different from a gold miner, this practice treasures the approaches to the gem underneath, the attempts to run out of forking pathways, the overlapped pencil marks to solve the labyrinth. 

为了使一件事物转变为另一件事物,当我们 “施法” 时需要一个公式。因此,基于这些见解,我遵循以下三个概念:

  • 兔子洞 - 随时随地钻入混乱
  • 容器 - 随身携带的化学实验
  • 跳房子 - 自我定义时间轴

并启动了“兔子洞宣言”作为我后续实践的标准原则。我希望这个项目成为一个思维挖掘机,回顾旧的思考并激发新的惊喜。与淘金者不同,这种实践珍视寻找隐藏宝石的方法,试图走出分叉路径的尝试,和帮助解决迷宫的那些重叠的铅笔痕迹。





   

In a bid to try this new gear, I made some Oulipo style
physical prototypes to play with and used them to generate
creative poetries with various graphic attempts. I was eager
to see where these notions led me to when I embedded these
random Notes contents to either literature structures or
graphic layouts.

为了尝试这种新方法,我制作了一些Oulipo风格的实体原型。并用它们生成了带有各种图形尝试的创意诗歌。当我将这些随机的笔记内容嵌入到文学结构或图形布局中时,我急切地想知道这些概念会引导我走向何方。


                        



       


    
















The idea of making animation was emerged at the very beginning. The words keep appearing and vanishing, just like those irretrievable floating thoughts. The memory card was designed for the exhibition along with the publication. Some files might need a good stretch after years of “archiving”, some ideas might want a look-back to spark up new waves and storms.

最初,我就有制作动画的想法。文字不断地出现和消失,就像那些无法找回的飘渺思绪。为了展览以及出版,我设计了一个存储卡。经过多年的“归档”,有些文件可能需要好好的整理,有些想法可能需要回顾以激发新的思潮和风暴。



































In the exhibition, I wanted to present a rabbit hole structure, placing all the animations I made at various entrances, letting them play on loop. The words on the white wall come from one of the poems, aiming to represent the journey of trying to find clarity amidst confusion. Viewers might get lost amidst the wall full of information, or perhaps feel even more lost after watching the animations filled with various characters and images. But gradually, they would realize that this is reality. Chaotic thoughts are always there, and we can never escape from them. This also resonates with what "chaos theory" describes. Since we can't escape from them, let's put these thoughts together as a playground. Step out of them, transition from being trapped to being an observer, a controller.

在展览中,我想呈现一个兔子洞结构,把我制作的所有动画安置在各个洞口,让他们循环播放。白墙上的字来自其中的一首诗歌,为了表现出这种在混乱中试图找到头绪,厘清思路的历程。观者也许会迷失在满墙的信息中,也许会在看完各个飞翔着各种字符、画面的动画视频后感到更加迷失。但渐渐的,他们会发现这就是真实,混乱的思绪永远在那里,我们永远无法摆脱这些思绪,这也是“混沌理论”所讲述的。既然无法摆脱,就把这些思维放在一起当成一个游乐场吧,跳出它们,从一个受困者,成为一个旁观者,掌控者。