add intro-to-research-final-project

.gitignore

@@ -1,4 +1,6 @@
 *.lock
 public/
-resources/
+resources/_gen/
 isableFastRander/
+.hugo_build.lock
+*Zone.Identifier

README.md

@@ -13,12 +13,14 @@ git clone https://github.com/JamesFlare1212/NancyPortfolio.git
 Then, install Hugo.
 
 For Linux:
+
 ```bash
 wget https://github.com/gohugoio/hugo/releases/download/v0.122.0/hugo_extended_0.122.0_linux-amd64.deb
 dpkg -i hugo_extended_0.122.0_linux-amd64.deb
 ```
 
 For MacOS:
+
 ```bash
 brew install hugo
 ```
@@ -31,3 +33,40 @@ hugo server
 ```
 
 Open the browser and go to `http://localhost:1313/` to see the blog.
+
+## Roadmap
+
+- [x] Blind Contour Drawing Exercise
+- [x] Bridge 1 – Shifting Identities: past, present and future identity exploration
+- [x] Bridge 1: True Stories
+- [x] Memoir Critique Notes
+- [x] Bridge 2: Letter of Advice
+- [x] Mask Artifact Observation & Research
+- [x] Response: Personality Testing
+- [x] Bridge 2: Mask Making
+- [x] what is creative making
+- [x] Mask Critique Notes
+- [x] Bridge 3:
+- [x] Mask Gratitude
+- [x] TIME-PROJECT 2-PHOTOROMAN
+- [x] TIME PROJECT 2 PHOTO-ROMAN
+- [x] PROJECT 3. Evolution / Development – Cartography
+- [x] Mask in Context
+- [x] Bridge 3: Bardo Anthology Book Cover/Poster Design – Group Project
+- [x] Group Poster Critique Notes
+- [x] Bridge 4 – "othering" Site Specific Project Proposal
+- [x] Proposal Critique Note
+- [x] Bridge 03: The Bardo Anthology (reflection)
+- [x] Bridge 4 – Project Prototypes
+- [x] IS1 – Intro to Research final project
+- [ ] Rebuilding System and Networks – Memory Palace
+- [ ] Power of Line
+- [ ] TIME PROJECT 3 Sagittarius A Soundscape
+- [ ] FINAL – OPEN WORKS TIME TRAVELING: Whimsical Tracks-A Fairytale Odyssey
+- [ ] Expansion Into Space:"Can Future Steps Echo in the Past?"
+- [ ] Bridge 1: Archive of Self
+- [ ] Bridge 1: Reflection
+- [ ] Bridge 2: Found Footage/Voice of Place
+- [ ] Bridge 2: Reflection
+- [ ] Bridge #3: Be My Guide
+- [ ] Bridge #4 Reply, Replay, Repair

content/portfolio/blind-contour-drawing-exercise/index.md

@@ -27,3 +27,7 @@ This was a blind contour exercise, we were grouped in pairs and drew a blind con
 ## Reflection
 
 I'm a bit drawing too fast during the exercise, therefore I didn't have a clear overview of my whole drawing and result in a massive line drawing. I should slow my pace next time and draw it in a more careful way.
+
+## Comments
+
+{{< comments >}}

content/portfolio/bridges/bardo-anthology-book-cover/index.md

@@ -0,0 +1,100 @@
++++
+slug = "bardo-anthology-book-cover"
+showonlyimage = false
+draft = false
+image = "portfolio/bridges/bardo-anthology-book-cover/featured.avif"
+date = 2023-10-26T11:08:02+08:00
+title = 'Bardo Anthology Book Cover / Poster Design'
+description = "This project is connected with integrated seminar 1. The purpose of the project is group cooperation, and the finished product is a book."
+summary = ""
+weight = 0
++++
+
+> Published 2023/10/26 at 2:28 pm
+
+## Introduction
+
+This project is connected with integrated seminar 1. The purpose of the project is group cooperation, and the finished product is a book. Each group will be assigned different opposite themes, while integrated studio 1 is to create corresponding posters according to familiar themes and contents.
+
+Our project theme is hero/monster, and the team members are Fany, Ali, Ruoyu and Nancy.
+The poster will be divided into four parts, each of us responsible for a different part and put it in a different context.
+
+## Research
+
+{{< gallery >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/mystical-blue-elegance.avif" caption="Mystical Blue Elegance" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/urban-chic-glamour.avif" caption="Urban Chic Glamour" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/ethereal-water-dance.avif" caption="Ethereal Water Dance" >}}
+{{< /gallery >}}
+{{< load-photoswipe >}}
+
+The theme chosen by our group is: "1919-1938: Between the World Wars: Modernism & Art Deco". During this period, between World War I and World War II, society underwent great changes. Modernist art explores the inner world of human beings, emphasizes individualism and irrational emotional expression, pays attention to visual effects and decorative sense, and applies a large number of geometric patterns. We focused on the artist Erte specially, who is known for his elegant, elongated figures and extravagant costumes and set designs that captured the exuberance of the era. We are inspired by his figure drawing and black background that enforce the character.
+
+## Empathize
+
+Since our theme is hero/monster, our overall content will be more oriented to teenager, because there will be a variety of fantasy scenes, magical monsters, difficult to resolve conflicts, which attract more attention of those teenager who are passionate fantasy. Therefore, the location where the poster is hung is probably in the school, and the specific location will be placed around the elevator and drinking fountain, because people will have a lot of time to do nothing here, and the poster placed here can be better read by them.
+
+## Define
+
+For the context we needed to include in our poster, I think we will mainly use the two contexts of place and horror. To echo the above mentioned fantasy scene, Magic monster, we will create a mysterious magic scene, creating a suspenseful thriller atmosphere. At the same time, it can be combined with horror elements, such as ghost creatures and dark forces, so that the scene appears more novel and make people nervous. These creative points are both appealing to teenagers and echo the hero/monster theme of our poster.
+
+## Ideate
+
+{{< figure src="portfolio/bridges/bardo-anthology-book-cover/mindmap.avif" width=480px caption="Mind Map" >}}
+
+## Prototype
+
+{{< gallery >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/prototype-1.avif" caption="Prototype 1" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/prototype-2.avif" caption="Prototype 2" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/prototype-3.avif" caption="Prototype 3" >}}
+{{< /gallery >}}
+
+### Stage 1 Reflection
+
+I think the team challenge we have now is that we don't have a particularly efficient way of communicating, and most of the communication is done online, which means we have a lot of problems that can't be solved in a timely manner. I think the way to improve is offline communication, so that we can become more efficient and have more unified ideas, and better finish the production of posters.
+
+My two prototype posters took inspiration from the Art Deco artist Erté, using a black background to accentuate the figures in a sleek, stylized manner. While this allowed me to capture the elegant elongation characteristic of Erté's work, the prototypes feel rather monotonic in texture and composition. For future iterations, I aim to push myself further in paper collage techniques - layering diverse scraps and experimenting with dynamic angles and shapes to build visual interest and depth. This will help me move beyond uniformity into more nuanced collages that better showcase the energy and imagination of the Art Deco era. With more varied paper elements and daring arrangements, I hope to produce posters with the stylish flair and vivacity that Erté brought to his iconic designs.
+
+## Poster Creating Process
+
+{{< gallery >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-1.avif" caption="Process 1" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-2.avif" caption="Process 2" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-3.avif" caption="Process 3" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-4.avif" caption="Process 4" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-5.avif" caption="Process 5" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-6.avif" caption="Process 6" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-7.avif" caption="Process 7" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-8.avif" caption="Process 8" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-9.avif" caption="Process 9" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-10.avif" caption="Process 10" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-11.avif" caption="Process 11" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-12.avif" caption="Process 12" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-13.avif" caption="Process 13" >}}
+  {{< figure src="portfolio/bridges/bardo-anthology-book-cover/process-14.avif" caption="Process 14" >}}
+{{< /gallery >}}
+
+## The Final Poster
+
+{{< figure src="portfolio/bridges/bardo-anthology-book-cover/final-poster.avif" width="480px" caption="Final Poster" >}}
+
+> Figure drawing: Rouyu
+>
+> Background drawing: Nancy & Fany
+>
+> Typography: Fany
+>
+> Collage: Fany & Rouyu & Nancy
+
+### Stage 2 Reflection
+
+I think the biggest problem our team encountered was that we lacked a team member in the production process, and our work process was indeed greatly affected. At the beginning of the project, we misunderstood the size of the poster, and the previous design scheme could not be used, so we had to start over. This has certainly added to our workload. As a member of the team, I should have strengthened communication with other members and worked out an optimization plan based on the current situation. But I was trying to take on extra work on my own, trying to make up for the lack of staff. This obviously puts a lot of pressure on me personally.
+
+What I find interesting about this project is that when we work together as a group to make posters, we can feel that our different styles are integrated together, but not out of place. Each of us has a different solution to the problem, and it is interesting to compare the best. At the same time, I think the most interesting place is that I found some useful things in the recycling shelf of the making center, which undoubtedly greatly helped our group project process.
+
+Through reflection, I realized the importance of teamwork. Each of us has our own strengths, and we need to give full play to our professional strengths and share the responsibility for the project. I shouldn't blame myself for other people's mistakes. The team needs to encourage each other. I shouldn't try to do it all by myself, the team needs to work together.
+
+## Comments
+
+{{< comments >}}

content/portfolio/bridges/letter-of-advice/index.md

@@ -6,11 +6,11 @@ image = "portfolio/bridges/letter-of-advic/featured.avif"
 date = 2023-09-25T19:40:58-04:00
 title = 'Letter of Advice'
 description = "A formal letter full of advice to Mina."
-summary = ""
+summary = "A formal letter full of advice to Mina."
 weight = 0
 +++
 
-> Published 2023/09/25 at 9:20 pm
+> Published 2023/09/25 at 2:28 pm
 
 ## Interview
 
@@ -30,10 +30,42 @@ weight = 0
 **Interview Audio**
 
 <audio controls>
-  <source src="Minas-response-to-Nancy.m4a" type="audio/aac">
+  <source src="minas-response-to-nancy-enhanced-90p.m4a" type="audio/aac">
   Your browser does not support the audio element.
 </audio>
 
+{{< details "**\>\>\>** This is the optimized transcript of the interview (Click to expand)" >}}
+Q: How do your hobbies or interests shape the people you spend time with in public?
+> I think it's because I spend a lot of time doing the things I enjoy. For example, in high school, I joined sports and clubs, so I met a lot of people, like my friends. Many of my friends are from the sports teams or clubs I joined. It's because I spend a lot of time doing those activities, so I naturally started talking to people who have the same interests. I think they also have similar experiences as me, so they can relate to my experience very easily.
+
+Q: Can you share a moment when you felt out of place in a social situation, and how did you handle it?
+> I think I'm personally more introverted. When I meet someone who is more extroverted, I tend to speak less because I get a bit scared. However, when I meet someone who is more introverted, I tend to be the one who talks more. I think, especially in a group of people who are super extroverted, I usually feel very out of place. But sometimes, I push myself to try to engage more, and I'm working on it. Another moment I would feel out of place is when I'm with friends from different cultural backgrounds. Back when I was in Shanghai, I had a few friends who didn't speak Chinese. Sometimes, I would talk to other friends who could speak Chinese when they weren't there. I never realized that it was kind of rude because they couldn't understand what I was saying, and they would feel very out of place. I didn't realize that until I met other people who spoke the same language as me when I didn't, and I felt that way too. That's an experience where I felt very out of place.
+
+Q: What kind of events or gatherings do you enjoy most, and why?
+> I really enjoy hanging out with a few close friends. While I do enjoy hanging out with a bunch of people and meeting new people, I think what I enjoy the most is having a movie night or going somewhere with my super close friends because I just feel so comfortable. I don't get stressed a lot when I'm just hanging out with a few people, as I'm supposed to.
+
+Q: Have you ever had to adapt your behavior based on the people you were with in a public space?
+> Yes, definitely. This is a very small thing, but I think whenever you're hanging out with a group of people and they have the same perspective on something, I'm really good at speaking with them or even just about celebrities or the music they like. If you know they don't like certain things, you tend to try to avoid talking about it. So, especially when I'm not super close with them, I'm always thinking, "What if I say this and they don't want to be friends with me?" I adapt a lot of my behavior based on who I'm hanging out with.
+
+Q: How do your friends influence your social activities and interactions?
+> My friends influence my social activities and interactions by sometimes inviting me to hang out with their friends. Even though I don't usually do those social activities, sometimes I think I should try it out and see if I like it. For example, one time, my friend wanted to go to karaoke, and I had never done that before. At first, I didn't want to go because I thought it was so embarrassing and didn't want to sing in front of everyone. But then I went, and it was very fun, so we went back. I think a lot of times, my friends can influence my social activities and interactions by making me try new things.
+
+Q: Do you think your neighborhood or where you grew up has influenced your social identity? How?
+> Yes, I definitely think so. A lot of my perspectives or what I believe in are things that I learned as a kid, and I think it's really hard for me to forget about those things and adopt the new things I've learned as I grew up. For example, the things my mom told me 10 years ago, just on a random day, I still think about. Sometimes, when I do something that goes against those beliefs, I feel so guilty. So, I think it definitely influenced me in a lot of ways, especially in terms of my social activities.
+
+Q: What's an example of a challenge you've faced when trying to fit into a new group or community?
+> I was struggling so much and trying really hard to fit in by doing things they liked. For example, I would watch TV shows they were talking about or start listening to music they liked, just to try to fit in. That usually doesn't work because they have been watching those TV shows their whole life or have been watching those cartoons since they were kids. I think that was very hard for me, but over the years, I learned that it's actually more interesting when you bring something new into the group and share that instead of forcing yourself to adopt what they like.
+
+Q: How do you use social media in your daily life, and how does it impact your social interactions?
+> I check my social media way too frequently, and I think I get very frustrated. For example, when I'm texting my friend and suddenly they don't reply, I start thinking, "Did I do something wrong? What is happening? What are they doing? Do they not like me anymore?" I overthink those online interactions more than when I'm hanging out with other friends in person. I tend to focus more on the interactions I have online because you can easily look back, but in the moment, it's harder to remember. Sometimes, I don't even remember things happening in person, but there's more evidence online. I think that is not a good thing, and I should try to focus more on living in the moment.
+
+Q: How do you express your social identity through your clothing, appearance, or personal style, and what messages do you aim to convey?
+> I don't think I have a really strong social identity through my clothing because, to be honest, I just follow the trends. It's true that I don't have a distinct social identity in that sense. I think my style or how I dress is really based on the people around me. For example, in high school, I would go to the places my friends all went to, so I really just followed the trends. I don't think I have a strong identity in terms of styling or appearance.
+
+Q: Have you ever encountered stereotypes or biases related to your social identity, and how did you respond to them?
+> Oh yeah, I definitely encountered stereotypes. For example, there are different beauty standards in Asia and Western cultures. In Western cultures, they want to be tanned, and I don't really care about that, but I was just too lazy to wear sunscreen. In Asia, people tend to prefer pale skin. Girls are told, "You need to be pale, wear sunscreen, and hold an umbrella when the sun is out." When I was in China, I remember a lot of people asking if I was Asian or not, even though I look Asian. They would say, "Oh, I'm surprised you're Asian because you're so tanned." I got really tanned one summer, and whenever I was with my friends, they would just assume I wasn't Asian, so they would talk about things in Chinese, but I could understand what they were saying. It was kind of awkward because obviously, here, they can tell I'm Asian, but in China or Taiwan, when I went back, they would say, "Oh, you don't look Asian," and I'm like, "I'm Asian. I look 100% Asian." I wasn't sure if I should be offended or if it was a compliment. I think I was just confused by that.
+{{< /details >}}
+
 ## Letter of advice for Mina
 
 Dear Mina,
@@ -60,6 +92,7 @@ With love and encouragement,
 Nancy
 
 {{< figure src="portfolio/bridges/letter-of-advic/letter-to-Mina.avif" width=480px caption="Letter of advice for Mina" >}}
+{{< load-photoswipe >}}
 
 ## Reflection
 
@@ -72,3 +105,7 @@ Based on my suggestions to my partner, I began to use design thinking at my stud
 For the making part of this project, I'm pretty good at origami, but I had a different feeling when I folded the envelope and put the letter in. When I first printed the letter, it was just a normal writing assignment, no different from the previous ones. But when I folded it and put it in the envelope, its state changed completely. It is no longer a simple assignment, but a real letter. It is my sincere advice to my partner.
 
 The interview part, also the research part of the whole project, is the place where we really get to know each other. I‘ve been a little scared before a formal interview. I'm not a particularly social, talkative person, but as the interview progressed I tried to focus more on the problem itself rather than my own state. Concentration is a very magical thing, you will enter a state of "only the person in front of you is with you", so that you can better resonate with her, to understand her, to stand in her point of view to think, solve problems.
+
+## Comments
+
+{{< comments >}}

content/portfolio/bridges/othering-site-specific-project-proposal/index.md

@@ -0,0 +1,61 @@
++++
+slug = "othering-site-specific-project-proposal"
+showonlyimage = false
+draft = false
+image = "portfolio/bridges/othering-site-specific-project-proposal/featured.avif"
+date = 2023-11-08T09:47:38-05:00
+title = 'Othering Site Specific Project Proposal'
+description = "This blog post outlines a project focusing on the theme of injustice towards people with disabilities."
+summary = "This blog post outlines a project focusing on the theme of injustice towards people with disabilities."
+weight = 0
++++
+
+> Published 2023/11/08
+
+## Introduction & Research
+
+In this project, I would study the theme of "Injustice". I want to explore how groups of people with disabilities have historically been marginalized and "otherized," suffering from various experiences of segregation, discrimination and oppression. Examples of oppression of the disabled from the Middle Ages to modern times are listed, reflecting the mainstream society's disregard and prejudice towards the disabled for a long time. This "otherization" exacerbates the vulnerable position of the disabled. I would like to call on people to pay attention to the rights and interests of the disabled, implement barrier-free environment, and improve relevant laws and regulations.
+
+In medieval Europe, people with disabilities were often seen as being in league with the devil and needed to be separated. Some areas even practice the barbaric practice of drowning disabled babies. This reflects the fear and prejudice against disability that prevailed in the Middle Ages. In the 19th century in Britain and the United States, disabled people were inhumanely sent to madhouses and chums, where they were interned with the mentally ill. This severely deprives them of their personal freedom and treats them as "others" who need to be excluded from society. Under Nazi Germany's euthanasia program, 300,000 disabled people were systematically slaughtered. The disabled were regarded by the Nazi authorities as a group whose "life is not worth living" and were subjected to horrific genocide. To this day, in many countries, persons with disabilities are segregated in education, public Spaces lack accessibility, and there is a variety of explicit and implicit discrimination in employment. This reflects that mainstream society's disregard for the rights and interests of the disabled still exists.
+
+## Research on Artist
+
+{{< figure src="portfolio/bridges/othering-site-specific-project-proposal/mood-board.avif" width=768px caption=" " >}}
+{{< load-photoswipe >}}
+
+## Empathize
+
+The main audience for this project is the general public, especially those who still have misunderstandings and prejudices towards people with disabilities. Through this project, I hope to help the audience gain a deeper understanding of the needs and feelings of people with disabilities, and cultivate empathy and inclusiveness.
+
+For most members of society, disability issues may still be unfamiliar territory. Many may have never put themselves in the shoes of disabled people to consider the difficulties a disability brings to one's life. They may not be aware of the importance of an accessible and friendly social environment for the disabled. Therefore, I hope that through this project, more people will face the issues of disability, and understand that disability should not obstruct one's pursuit of self-worth.
+
+By conveying the stories and feelings of individuals with disabilities, I hope to help the audience deepen their empathy for the disabled, reflect on their own potential biases, and take action to support the disabled community and create better environments for their growth and development. If everyone could do a little something for the disabled, we could together build a more caring and equitable society.
+
+## Define
+
+The stereotype that this project wants to explore and critique is the misconception that people with disabilities cannot live and work independently. Many believe that the disabled rely on assistance from others in order to live, and cannot have normal jobs.
+
+I think it is important to criticize and correct this stereotype because it severely damages the dignity and development opportunities of people with disabilities. This misunderstanding leads to low expectations from society towards the disabled, hindering them from accessing equal education and employment. Many disabled individuals are fully capable of living and working independently with assistive devices, accessible environments, and self-effort. Mainstream society needs to realize that disability should not be presumed as a reason for dependence – every disabled person should have the right to choose their own lifestyle and career. If society can break this bias and provide fair treatment and support for the disabled, they would also have more opportunities to achieve self-worth and contribute to society.
+
+Through this project, I hope more people will recognize the independence of the disabled, reflect on their own prejudices, and take action to help the disabled enjoy equal rights and live with dignity and autonomy. This is crucial not only for the disabled themselves, but also for building a just and inclusive society.
+
+## Ideate
+
+{{< figure src="portfolio/bridges/othering-site-specific-project-proposal/mind-map.avif" width=768px caption=" " >}}
+
+{{< figure src="portfolio/bridges/othering-site-specific-project-proposal/mind-map_02.avif" width=768px caption=" " >}}
+
+{{< figure src="portfolio/bridges/othering-site-specific-project-proposal/mind-map_03.avif" width=768px caption=" " >}}
+
+I plan to create an installation art work, the purpose of which is to arouse the public's care for people with disabilities. The work will use objects such as wheelchairs, crutches, and glasses to represent disability, and will be accompanied by broken mirrors to illustrate misunderstandings in mainstream society. The inclusion of obstacles in the space symbolizes the accessibility problems faced by persons with disabilities. At the same time, contrasting lighting and audio of disabled people telling stories will create a moving atmosphere. Viewers can deepen their empathy for disability by experiencing interactive games in which people with disabilities complete simple tasks. It is hoped that this installation will raise awareness of the need for support and respect for people with disabilities, and then take action to promote their rights.
+
+## Thumbnail Sketches & Materials
+
+{{< gallery >}}
+  {{< figure src="portfolio/bridges/othering-site-specific-project-proposal/sketches.avif" >}}
+  {{< figure src="portfolio/bridges/othering-site-specific-project-proposal/sketches-2.avif" >}}
+{{< /gallery >}}
+
+## Comments
+
+{{< comments >}}

content/portfolio/bridges/project-prototypes/index.md

@@ -0,0 +1,54 @@
++++
+slug = "project-prototypes"
+showonlyimage = false
+draft = false
+image = "portfolio/bridges/project-prototypes/featured.avif"
+date = 2023-11-16T15:59:23-05:00
+title = 'Project Prototypes'
+description = "This blog post documents my journey through experimental prototyping for a creative project, tangible ideas and refining concepts."
+summary = "This blog post documents my journey through experimental prototyping for a creative project, tangible ideas and refining concepts."
+weight = 0
++++
+
+> Published 2023/11/16
+
+## Introduction
+
+Here we aim to develop creative ideas for the final through experimental, playful prototyping. The goal is to take initial concepts and make them tangible in a low-stakes, exploratory way. The prototyping phase will provide crucial experience developing my concepts through risk-taking and play. I’ll observe what works, what doesn’t, and determine the logical next steps to move the project forward. This is an opportunity to make ideas tangible and evaluate as the project takes shape.
+
+## Prototype 1
+
+{{< gallery >}}
+  {{< figure src="portfolio/bridges/project-prototypes/prototype-1-a.avif" >}}
+  {{< figure src="portfolio/bridges/project-prototypes/prototype-1-b.avif" >}}
+{{< /gallery >}}
+{{< load-photoswipe >}}
+
+This is my first prototype. I focused on top to down installation and experimented with different material combinations including transparent objects, twisters, sequins, opaque ornaments and small shiny stones. My goal was to explore how light and shadow interacted with these materials to produce different visual effects. For instance, each material reflected light differently.
+
+### Reflection
+
+Upon reflection, I realize there is a mismatch between my original intent to explore light and shadow, and the actual installation I created. Going forward, I want to set aside those experiments for now, and focus more on developing the installation itself.
+
+I will keep the twister as the overarching framework, but remove some materials like the transparent fabrics, since I’m pivoting away from light and shadow effects.
+
+## Prototype 2
+
+{{< gallery >}}
+  {{< figure src="portfolio/bridges/project-prototypes/prototype-2-a.avif" >}}
+  {{< figure src="portfolio/bridges/project-prototypes/prototype-2-b.avif" >}}
+{{< /gallery >}}
+
+For my second prototype, I utilized a bottom to up installation. The foundation is a 10×10 grid built out of twisted sticks. On top, I constructed realistic structures using various materials. Soft wool was used to pave roads, while shiny, reflective papers created metaphorical obstacles. The exterior was covered in disorganized wool tufts.
+
+Through this installation, I aimed to communicate two ideas. First, the soft, woolen roads represent the proper path that should be followed. In contrast, the highly visible reflective obstacles signify pitfalls that can be noticed and avoided if one has sight. Second, the chaotic external wool tufts symbolize negative events. A seeing person could easily navigate around obstacles and reach the endpoint. However, as a blind individual, the journey would be much more difficult filled with unknown barriers.
+
+## Final Reflection
+
+Making the second prototype was challenging because I had to pivot and change directions from my original exploration of light and shadow effects. Shifting focus required me to rethink the installation’s purpose and meaning from scratch while still building upon some aspects like the twisted stick framework. I struggled with letting go of certain ideas I was attached to while being open to a new creative direction.
+
+I don’t feel fully ready to begin the final artwork yet. While I have a basic conceptual framework with the second prototype, I need to further refine the symbolic meanings and what I want viewers to take away. For example, I need to solidify what the wool roads and reflective obstacles represent metaphorically and test if those come across clearly. I also should explore other materials and structures beyond just a grid to see if a different configuration better suits the experience I want to create. Taking time to resolve these open questions and experiment more will help set me up for success when constructing the final installation.
+
+## Comments
+
+{{< comments >}}

content/portfolio/bridges/shifting-identities/index.md

@@ -99,3 +99,7 @@ If I did this project again I would change my way of doing photoshop, instead of
 I got mostly positive reviews, which made me feel really grateful. Allen thinks that the color of my container fits my work very well. Although at first glance, there are a mixed colors which made him confused, but after a closer look, he feels that the colors of each part are actually linked together to form a harmonious. Ali is very fond of my future one, he said it's kind of out of reality, the closure I used made me out of body, but my spirit is still moving through my body. Mina said she found I have a strong focal point, both the future and past one are facing to the middle, and there is a continuous line directed from the left to right and a reflected red circle at the background.
 
 There still can be a bit improvement, the past one is a bit too cold compare to the other ones. As a result, I will change the tone of my past version in order to increase the continuity.
+
+## Comments
+
+{{< comments >}}

content/portfolio/bridges/the-bardo-anthology-reflection/index.md

@@ -0,0 +1,40 @@
++++
+slug = "the-bardo-anthology-reflection"
+showonlyimage = false
+draft = false
+image = "portfolio/bridges/the-bardo-anthology-reflection/featured.avif"
+date = 2023-11-10T16:52:12-05:00
+title = 'The Bardo Anthology (reflection)'
+description = "This post reflects on my experience working on a group project that involved writing a creative fiction novel, as well as creating posters."
+summary = "This post reflects on my experience working on a group project that involved writing a creative fiction novel, as well as creating posters."
+weight = 0
++++
+
+> Published 2023/11/10
+
+{{< figure src="portfolio/bridges/the-bardo-anthology-reflection/presentation.avif" caption=" " >}}
+{{< load-photoswipe >}}
+
+In this project, we are divided into groups to accomplish two specific tasks, one is the novel writing for seminar, the other is the poster making for studio. The novel is built based on different themes and archetypes. The theme for our group is monster/hero.
+
+## Writing Process
+
+This project pushed me way outside my comfort zone since I had never attempted creative fiction writing before. I found the entire process of imagining characters and settings then translating those ideas into text incredibly challenging but also stimulating. Our brainstorming and feedback sessions inspired me to explore directions I never would have thought of on my own. Using online collaborative documents took some adjustment but allowed us to watch the story unfold in real-time together. Even though the end result was rough around the edges given our time constraints, the experience taught me so much about generating and refining creative work. I also picked up new technical skills in utilizing digital platforms to facilitate remote collaboration.
+
+{{< figure src="portfolio/bridges/the-bardo-anthology-reflection/writing-process.avif" caption=" " >}}
+
+## Making Process
+
+Working together with my classmates to write a cohesive narrative was an interesting challenge. Since we all had unique writing styles and different ideas about plot and characters, it sometimes felt like we were pulling the story in multiple directions. I learned how to listen to everyone’s input and find compromises so we could blend our perspectives into one narrative. There were times when we disagreed over story directions or when miscommunications occurred, but through open discussions we found ways to align our visions. Although the process was difficult at times, it was rewarding to see our separate voices and concepts transformed into a unified story in the end. Especially when we tried to make the novel more stylized, when we added the header and footer embellishments and the first character oversize, we really felt like it wasn’t just some text anymore, it really did have a novel feel in it, which gave us a sense of accomplishment.
+
+{{< figure src="portfolio/bridges/the-bardo-anthology-reflection/making-process.avif" caption=" " >}}
+
+## Researching Process
+
+The research process was an integral part of brainstorming our storyline and settings before beginning the writing process. We realized that high-quality research lays the foundation for the creative work that follows. Our initial ideas come from researching sources of inspiration and references to build a compelling concept. Once we established a solid base through research, the creative writing process could develop organically from there. We tried to explore many ideas by referencing novels, films, and other narratives we found inspiring in their storytelling techniques. Sources like Moana, Divergent, and Godzilla sparked our imagination. Researching visual references was also key, since we wanted to connect our characters to specific locations. By gathering images of settings we envisioned, we could align our understanding of the story’s physical context. Overall, this project showed me how dedicated research time informs the creative process from start to finish.
+
+{{< figure src="portfolio/bridges/the-bardo-anthology-reflection/researching-process.avif" caption=" " >}}
+
+## Comments
+
+{{< comments >}}

content/portfolio/bridges/true-stories/index.md

@@ -29,7 +29,6 @@ Since then, the nature of the hide-and-seek has changed. It was no longer a game
 
 My masterpiece, whatever it is, was proof of the absurdity of art. It encourages viewers to delve into abstraction, question what exactly they're looking at, and appreciate the joy that unfolds when artists hide behind their own art. Even if I was just playing hide-and-seek at first.
 
-
 ## Going Up!
 
 With each laborious step up the staircase in the New York City subway, the environment around me underwent a dramatic transformation. What had begun as a narrow, dimly lit underpass gradually gave way to a bright, expansive vista. Emerging from the subterranean shadows, my eyes struggled to adjust to the sudden onslaught of sunlight. My brow furrowed, and my palms began to glisten with a hint of nervous sweat. I pursed my lips, attempting to acclimate to my new surroundings, as the faint scent of rubbish still lingered in the air, now masked by the overpowering perfume of hurried urbanites passing by.
@@ -53,3 +52,7 @@ During my writing on the project, I had a new perspective on words. Previously,
 For this project, I did not use materials that I had not used before, so there is not much that can be reflect in this section. However, when I used keynote for typesetting, my ideas began to change according to my typesetting, such as the length of the article and the composition of the picture.
 
 For the researching part,  When I read this book, “Sophie Calle - True Stories” I was surprised by the magic that unfolded within its pages. It taught me that even a simple picture combined with concise words could carry the enchantment of a full-fledged novel. The book approached storytelling from a unique angle, using abstract yet intriguing images and wrapping things up with sentences that left you thinking deeply. What struck me most was how quickly it drew me into the protagonist's world. I found myself feeling what they felt and contemplating the same thoughts they did.  It was like a direct connection to their experiences and emotions. This book showed me that simplicity, when done right, can have a profound impact on readers. It proved that brevity, combined with thoughtful imagery and endings, can deliver an immersive and thought-provoking experience akin to that of a much longer novel.
+
+## Comments
+
+{{< comments >}}

content/portfolio/bridges/what-we-see-when-we-read/index.md

@@ -0,0 +1,27 @@
++++
+slug = "what-we-see-when-we-read"
+showonlyimage = false
+draft = false
+image = ""
+date = 2023-10-09T02:34:22-04:00
+title = 'What We See When We Read'
+description = "My text-based media choice is “Flipped”, a funny, heartfelt coming-of-age story novel written by Wendelin Van Draanen, published in 2001."
+summary = "My text-based media choice is “Flipped”, a funny, heartfelt coming-of-age story novel written by Wendelin Van Draanen, published in 2001."
+weight = 0
++++
+
+> Published 2023/10/09 at 2:40 pm
+
+My text-based media choice is “Flipped”, a funny, heartfelt coming-of-age story novel told from two perspectives that offers insights into young romance and personal growth written by Wendelin Van Draanen, published in 2001.
+
+The novel was adapted into the movie” Flipped” in 2010.
+
+I think the adaptation of "Flipped" from a novel to a movie was a really good success. The choice of transforming this coming-of-age story into a film was appropriate, it allowed for a visual exploration of the dual perspectives and detailed emotions that form the core of the narrative. The medium of film is well-suited to capture the visual and emotional nuances of the characters' growth and the evolving dynamics of young romance. The cinematography and soundtrack were also done well, can enhance the emotional resonance of the story, creating a more immersive experience for the audience.
+
+However, the question of whether a different medium, such as a TV show depends on the depth and scope of the text-based media. What makes "Flipped" successful is its intimate narrative style and exploration of the emotional evolution of its main character, which can be diluted over the course of multiple episodes of a TV show, where the plot tends to become loose.
+
+If I were in charge of the adaptation, I might have considered expanding the film's runtime to delve even deeper into the characters' inner thoughts and backgrounds. This could provide a more comprehensive understanding of the protagonists' growth. The original book is written from both the boy and girl perspectives. The two protagonists each use their own perspective to tell the same thing, the protagonists take turns to tell, the boy talks after the girl talks, the girl talks after the boy talks, and so on. So when you see a girl talking about it, you will be confused, it is the same thing, and when you see a boy talking about it, it seems to be completely different, and you will be tempted to flip the book over and look back at what the boy said. “flip” would be a verb here, it would be an act of reading a book, which is difficult to show in a movie.
+
+## Comments
+
+{{< comments >}}

content/portfolio/group-poster-critique-notes/index.md

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++++
+slug = "group-poster-critique-notes"
+showonlyimage = false
+draft = false
+image = "portfolio/group-poster-critique-notes/featured.avif"
+date = 2023-10-27T08:06:43-05:00
+title = 'Group Poster Critique Notes'
+description = "This blog post discusses the progress of my art deco prototype project, comparing gouache and oil sticks techniques, and the next steps for refining design elements."
+summary = "This blog post discusses the progress of my art deco prototype project, comparing gouache and oil sticks techniques, and the next steps for refining design elements."
+weight = 0
++++
+
+> Published 2023/10/27
+
+{{< gallery >}}
+  {{< figure src="portfolio/group-poster-critique-notes/prototype-1.avif" caption="Prototype 1 - Ali" >}}
+  {{< figure src="portfolio/group-poster-critique-notes/prototype-2.avif" caption="Prototype 2 - Ali" >}}
+  {{< figure src="portfolio/group-poster-critique-notes/prototype-3.avif" caption="Prototype 1 - Rouyu" >}}
+  {{< figure src="portfolio/group-poster-critique-notes/prototype-4.avif" caption="Prototype 1 - Rouyu" >}}
+  {{< figure src="portfolio/group-poster-critique-notes/prototype-5.avif" caption="Prototype 2 - Fany" >}}
+  {{< figure src="portfolio/group-poster-critique-notes/prototype-6.avif" caption="Prototype 1 - Fany" >}}
+  {{< figure src="portfolio/group-poster-critique-notes/prototype-7.avif" caption="Prototype 1 - Nancy" >}}
+  {{< figure src="portfolio/group-poster-critique-notes/prototype-8.avif" caption="Prototype 2 - Nancy" >}}
+{{< /gallery >}}
+{{< load-photoswipe >}}
+
+One of my prototypes is painted with gouache and the other with oil painting sticks. Fany enjoyed the texture created by the oil sticks and the fine details drawn with colored pencils. Overall, the gouache prototype looks more cohesive because its style aligns closely with art deco aesthetics. This feedback helps me understand which elements reflect art deco style well, giving me insight for further research and revisions.
+
+My next steps will be to carefully analyze how positive and negative shapes work in my poster, make thoughtful color choices, and add more tactile textures.
+
+Our group has scheduled two offline meetings, from 5pm to midnight on Sunday, October 29, and 7pm to midnight on Wednesday, November 1. Having two in-person work sessions will enable us to effectively collaborate and problem-solve. We will continue exploring art deco style, considering how positive/negative shapes impact the design, and experimenting with different color palettes and fonts.
+
+To maintain visual consistency across posters, we will fully integrate the 4 designs, with each person spearheading a different step. Rouyu will compose the overall layout and detailed drawings, I will handle the painting, and Fany and Ali will create paper collages. We will finalize the composition and drawings by Saturday, painting by Monday, and devote the remaining time to paper collages and typography.
+
+## Comments
+
+{{< comments >}}

content/portfolio/intro-to-research-final-project/index.md

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++++
+slug = "intro-to-research-final-project"
+showonlyimage = false
+draft = false
+image = "portfolio/intro-to-research-final-project/featured.avif"
+date = 2023-11-23T12:43:48-05:00
+title = 'Intro to Research Final Project'
+description = "This post delves into a research project on the theme of \"Injustice,\" focusing on the historical marginalization and oppression of people with disabilities."
+summary = "This post delves into a research project on the theme of \"Injustice,\" focusing on the historical marginalization and oppression of people with disabilities."
+weight = 0
++++
+
+> Published 2023/11/23
+
+## Introduction
+
+In this project, I would study the theme of "Injustice." I want to explore how groups of people with disabilities have historically been marginalized and "otherized", suffering from various experiences of segregation, discrimination and oppression. Examples of oppression of the disabled from the Middle Ages to modern times are listed, reflecting the mainstream society’s disregard and prejudice towards the disabled for a long time. This "otherization" exacerbates the vulnerable position of the disabled. I would like to call on people to pay attention to the rights and interests of the disabled, implement barrier-free environment, and improve relevant laws and regulations.
+
+In medieval Europe, people with disabilities were often seen as being in league with the devil and needed to be separated. Some areas even practice the barbaric practice of drowning disabled babies. This reflects the fear and prejudice against disability that prevailed in the Middle Ages. In the 19th century in Britain and the United States, disabled people were inhumanely sent to madhouses and chums, where they were interned with the mentally ill. This severely deprives them of their personal freedom and treats them as "others" who need to be excluded from society. Under Nazi Germany’s euthanasia program, 300,000 disabled people were systematically slaughtered. The disabled were regarded by the Nazi authorities as a group whose "life is not worth living" and were subjected to horrific genocide. To this day, in many countries, persons with disabilities are segregated in education, public Spaces lack accessibility, and there is a variety of explicit and implicit discrimination in employment. This reflects that mainstream society’s disregard for the rights and interests of the disabled still exists.
+
+## Why Conceptual Art?
+
+This is a project for social good, the core of which is to communicate and discuss social issues related to people with disabilities, rather than simply pursue aesthetic experience.
+It attempts to arouse the public’s concern and empathy for people with disabilities through installation art, trigger the public’s reflection on the mainstream social prejudice, and promote the rights and interests of people with disabilities. This is in line with conceptual art’s focus on social issues and concepts.
+
+## Site Specific
+
+I will choose to site on Central Park because of its seamless integration with the natural surroundings. This setting provides an optimal environment for people to truly immerse themselves in the installation and enhance their overall experience.
+
+## Links to Seminar
+
+First of all, in the grant proposal, I will emphasize the social impact of the project. In the application, data and cases should be used to fully demonstrate the reality of the difficulties faced by people with disabilities, and the far-reaching positive impact that the success of this project can have on the promotion of disability equality. This can impress donors. Then I can try to scale up the promotion. Promote the project through social media, schools, communities and other channels to gain more audience participation and maximize project influence. This makes it easier to secure higher levels of funding. Finally, a variety of supporting programs are presented. Such as volunteer recruitment, online publicity, questionnaires, etc., so that funders can see the comprehensiveness and sustainable impact of the project. This can increase the rational use of funds.
+
+## Prototype
+
+{{< gallery >}}
+  {{< figure src="portfolio/bridges/project-prototypes/prototype-2-a.avif" >}}
+  {{< figure src="portfolio/bridges/project-prototypes/prototype-2-b.avif" >}}
+{{< /gallery >}}
+{{< load-photoswipe >}}
+
+I utilized a bottom to up installation. The foundation is a 10×10 grid built out of twisted sticks. On top, I constructed realistic structures using various materials. Soft wool was used to pave roads, while shiny, reflective papers created metaphorical obstacles. The exterior was covered in disorganized wool tufts.
+
+Through this installation, I aimed to communicate two ideas. First, the soft, woolen roads represent the proper path that should be followed. In contrast, the highly visible reflective obstacles signify pitfalls that can be noticed and avoided if one has sight. Second, the chaotic external wool tufts symbolize negative events. A seeing person could easily navigate around obstacles and reach the endpoint. However, as a blind individual, the journey would be much more difficult filled with unknown barriers.
+
+## Critique
+
+Leia suggested me to take a new perspective, not only to reflect the difficulties in the lives of disabled people from the device itself, but to directly let healthy people feel the difficulties in their lives more intuitively. In addition to making the road more rugged, I should try to better restore the daily feelings of disabled people from the physical level. For example, I should have made a pair of glasses to make their vision more blurred, but that was a little too deliberate, and Heloise showed me a good way to start, not with clarity, but with the direction of vision, if I could redirect the normal person to see the deer, so that instead of looking straight ahead, he was forced to look down. The direction of vision is distorted, and the road is more rugged, so as to better reflect the feelings of the disabled.
+
+## Process Point
+
+This is the type of eye glass I’m going to manipulate:
+
+{{< figure src="portfolio/intro-to-research-final-project/glass.avif" width="320px" caption=" ">}}
+
+This is the final installation prototype I built in blender, The right part is the Angle you would see if you put on the glasses.
+
+{{< figure src="portfolio/intro-to-research-final-project/blender-process-point.avif" caption=" ">}}
+
+## Further Planning
+
+I plan to purchase a variety of metal tubes to create more rugged pathways. These tubes, along with clay, will be used to craft crutch shapes, symbolizing the challenges faced by people with disabilities.
+
+My vision for the final project is a life-sized interactive installation featuring my specially designed eyes. The dimensions of the installation will be a 4x4x2 cubic meter cube, consisting of 100 grids filled with diverse obstacles.
+
+I estimate that crafting the glasses will take about 3 hours, while the production time for each crutch will be 1 hour. To form the obstacles, I intend to make approximately 20 crutches, totaling 20 hours. The construction of the entire frame is expected to take around three hours.
+
+## Critique Notes
+
+What I took away from the comments was, first, that Prin emphasized deep thinking about the audience’s interaction with me. He advised me to think hard about how I wanted them to feel when they interacted with my passport. Then Bryan made two very constructive suggestions. First, he suggested that I create a ground installation related to my subject to add more dissonance. Second, he encouraged me to create an audio to better give people a visual and auditory sense of what it’s like to be disabled.
+
+These two pieces of advice have been very useful to me. The first piece of advice helped me establish more clearly my theme of improving empathy for people with disabilities. I want them to be able to empathize and appreciate the chaos and pain of everyday life for people with disabilities. The second suggestion gave me more possibilities to improve the device.
+
+In the next project, I plan to finish the remaining three installations first and make sure they fit in with the theme. Secondly, I will set out to create a corresponding ground installation to further enhance the viewer experience. Finally, I plan to start working on an audio program aimed at getting people to better empathize with the feelings of people with disabilities. This series of steps will make my art work more comprehensive and more deeply touch the audience’s emotions.
+
+So next I’m going to build a finished scene by buying the planks to support the whole setup, and then I’m going to buy more wire, twisters, and chains that made up the installation.
+
+Finally, the installation will become an accessible cuboid area, where people can walk around and feel the device. It took me 5 hours to build a quarter of the area, so I have 15 hours to build the rest of the area, and then the whole scene should be 5 hours to build.
+
+## Self Accountability
+
+This is my work from the beginning of class:
+
+{{< figure src="portfolio/intro-to-research-final-project/self-accountability.avif" width="320px" caption=" ">}}
+
+I spent most of my time using blender to design the ground effect of the installation, in order to better simulate the feeling of disabled people, I designed the ground to be uneven. Below is a design of the ground I built in blender:
+
+{{< figure src="portfolio/intro-to-research-final-project/blender-self-accountability.avif" caption=" ">}}
+
+## Process Photo
+
+{{< gallery >}}
+  {{< figure src="portfolio/intro-to-research-final-project/work-sample-1.avif" >}}
+  {{< figure src="portfolio/intro-to-research-final-project/work-sample-2.avif" >}}
+  {{< figure src="portfolio/intro-to-research-final-project/work-sample-3.avif" >}}
+{{< /gallery >}}
+
+## Presentation
+
+{{< gallery >}}
+  {{< figure src="portfolio/intro-to-research-final-project/presentation-1.avif" >}}
+  {{< figure src="portfolio/intro-to-research-final-project/presentation-2.avif" >}}
+  {{< figure src="portfolio/intro-to-research-final-project/presentation-3.avif" >}}
+  {{< figure src="portfolio/intro-to-research-final-project/presentation-4.avif" >}}
+{{< /gallery >}}
+
+## Final Reflection
+
+What I learned from combining research with making a project was that research provides crucial context, inspiration and depth to inform the concept and execution of the project. Exploring the historical marginalization of disabled groups gave me insight into themes of injustice to integrate.
+
+What I learned about how to communicate my ideas through this medium exploration was that installation art and symbolic objects can convey concepts in an experiential, emotionally resonant way. Tactile interactions through art elicit visceral reactions that written or verbal communication cannot.
+
+Writing the Spark Grant Proposal was helpful for making the Studio project because it forced me to fully flesh out my vision, including specific details about the artistic goals, audience impact, and logistical considerations. Developing the written proposal enabled me to approach the creative work with more intention and strategy.
+
+What I learned about myself as an artist/designer during this project was that I am capable of addressing complex emotional themes related to human rights and inclusion through art. Pushing beyond my comfort zone to explore an ambitious installation project showed me that I can leverage my technical design skills to send a meaningful message that resonates with viewers. This built my confidence to tackle evocative subjects creatively.
+
+## Spark Proposal and Presentation
+
+<div style="width: 100%; max-width: 600px; margin: 0 auto; display: block;">
+  <embed src="Spark-Grant-Proposal_Yinan.pdf" type="application/pdf" width="100%" height="600px">
+</div>
+
+<div style="width: 100%; max-width: 600px; margin: 0 auto; display: block;">
+  <embed src="Spark-Grant-Powerpoint_Yinan.pdf" type="application/pdf" width="100%" height="600px">
+</div>
+
+## Comments
+
+{{< comments >}}

content/portfolio/mask-artifact-observation-and-research/index.md

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++++
+slug = "mask-artifact-observation-and-research"
+showonlyimage = false
+draft = false
+image = "portfolio/mask-artifact-observation-and-research/featured.avif"
+date = 2023-09-28T19:46:01-04:00
+title = 'Mask Artifact Observation & Research'
+description = "Explored three Native American masks from the Yup'ik, Tlingit, and Emberá cultures, discussing their spiritual and social purposes, construction materials."
+summary = "Explored three Native American masks from the Yup'ik, Tlingit, and Emberá cultures, discussing their spiritual and social purposes, construction materials."
+weight = 0
++++
+
+> Published 2023/09/28 at 1:41 pm
+
+## Mask Artifact Observation
+
+- 2 Masks from [The Metropolitan Museum of Art](https://www.metmuseum.org/)
+- 1 Mask from the [The Museum of Cultural Masks: Second Face](https://www.maskmuseum.org/home/)
+
+### Yup'ik, Native American
+
+> From [The Metropolitan Museum of Art](https://www.metmuseum.org/)
+>
+> Subjective reaction: It gives me the joy of having a good harvest (catching a lot of fish) and a hunger for prey.
+
+{{< gallery >}}
+  {{< figure src="portfolio/mask-artifact-observation-and-research/mask-1.avif" caption="Mask 1" >}}
+  {{< figure src="portfolio/mask-artifact-observation-and-research/mask-1-front-facing.avif" caption="Mask 1 Front Face" >}}
+  {{< figure src="portfolio/mask-artifact-observation-and-research/mask-1-close-up.avif" caption="Mask 1 Close Up" >}}
+{{< /gallery >}}
+{{< load-photoswipe >}}
+
+#### Form and Function
+
+| Form - "What is there?" | Function - "What does it do?" |
+|--------------------------|--------------------------------|
+| Line: Curving lines outline the shapes of animals like birds, fish, and seals. More angular lines depict the human hand and fingers. | The lines bring symbolic meaning to each animal and create visually engaging, flowing shapes that draw the eye throughout the composition. |
+| Color: Natural wooden browns, blacks, and tans are used. Grasses and possible feathers add earthy greens, yellows, and neutrals. | The natural colors connect the mask to the environment and materials where it was created. The colors lend an authentic, organic feel. |
+| Composition: The central composition is a human/ animal hybrid face, perhaps representing a mythical being. | The arrangement represents the interconnectedness between humans, animals, and all living things. The composition moves the eye around the mask. |
+| Size/Scale: around 50cm×70cm | This scale allows the mask to completely transform the wearer into another being when worn. The scale lends a sense of the mythical. |
+| Form: The mask is made from natural materials like wood, grasses, and possibly feathers. | The organic materials make the mask feel authentic to its place of origin, not artificial or fake. The materials connect it to the natural world. |
+| Emphasis: The central human/animal hybrid face draws the most focus. | This prominent central face emphasizes the transformative power of the mask. It is the most important part compositionally. |
+| Unity: Circular frames around the central face and outer edge unify the composition. | Unity makes the disparate images feel cohesive. |
+| Variety: A diversity of animals are represented - birds, fish, seals, human figures. | This variety symbolizes the breadth of the living world and relationships between its realms. |
+| Material: The main material is wood which grounds the mask in nature. Grasses add organic texture.| The natural materials connect the mask back to the Yup'ik's natural world and make it feel authentic. |
+
+### Tlingit, Native American
+
+> From [The Metropolitan Museum of Art](https://www.metmuseum.org/)
+>
+> Subjective reaction: The first reaction was joy and happiness, but as I gazed at its completely black pupils, I felt a sense of fear and numbness.
+
+{{< gallery >}}
+  {{< figure src="portfolio/mask-artifact-observation-and-research/mask-2.avif" caption="Mask 2" >}}
+  {{< figure src="portfolio/mask-artifact-observation-and-research/mask-2-front-facing.avif" caption="Mask 2 Front Face" >}}
+  {{< figure src="portfolio/mask-artifact-observation-and-research/mask-2-side-facing.avif" caption="Mask 2 Side Face" >}}
+{{< /gallery >}}
+
+#### Form and Function
+
+| Form - "What is there?" | Function - "What does it do?" |
+|--------------------------|--------------------------------|
+| Line: Angular, geometric lines outline the eyes, nose, and mouth. | The stylized lines create an abstracted, exaggerated face that conveys a distinctive Tlingit aesthetic. |
+| Color: The mask features red and green pigments on a wooden base. | The symbolic colors likely denote a particular spirit being or ancestral energy according to Tlingit culture. |
+| Composition: The composition focuses solely on a central forward-facing face with enlarged facial features like oval eyes, a wide nose, and open mouth. | The exaggerated proportions emphasize the importance of identity and transformation through the mask. |
+| Size/Scale: around 30cm× 40cm | This integrated scale allows the wearer to fully become the spirit being or ancestor when worn in ritual. |
+| Form: The mask is carved from wood and then painted with pigments. | The durable wood and permanent pigments reflect the sacredness of the rituals and repeated use of the mask. |
+| Emphasis: The centralized forward-facing face draws emphasis. | This focus reflects the mask's purpose of transforming identity through exaggerated features. |
+| Unity: Repeating reds, greens, and black unify the composition through color. | The uniform colors create a cohesive Tlingit aesthetic. |
+| Variety: The exaggerated, abstracted facial features create captivating visual interest. | The stylized variety reflects Tlingit ideals of form and aesthetics. |
+| Material: The material is a kind of mental. | The mask was likely worn as part of a headdress without eye holes. |
+
+### Emberá Macaw
+
+> From the [The Museum of Cultural Masks: Second Face](https://www.maskmuseum.org/home/)
+>
+> Subjective reaction: It is a really cute one, round black eyes with beautiful feathers around.
+
+{{< gallery >}}
+  {{< figure src="portfolio/mask-artifact-observation-and-research/mask-3.avif" caption="Mask 3" >}}
+  {{< figure src="portfolio/mask-artifact-observation-and-research/mask-3-front-face.avif" caption="Mask 3 Front Face" >}}
+  {{< figure src="portfolio/mask-artifact-observation-and-research/mask-3-side-facing.avif" caption="Mask 3 Side Face" >}}
+{{< /gallery >}}
+
+#### Form and Function
+
+| Form - "What is there?" | Function - "What does it do?" |
+|--------------------------|--------------------------------|
+| Line: Curving lines outline the shape of the macaw's head, beak, and neck. | The lines capture the essence of the bird's form in a stylized, elegant way. |
+| Color: Blue, yellow, and black colored palm fibers. | The colors reflect the natural hues of the Blue-and-Gold Macaw plumage. |
+| Composition: Central beak shape framed by abstracted facial disk and neck shapes. | Focused on the macaw's most recognizable feature, its beak. |
+| Size/Scale: Small, made to be worn or displayed. | Allows mask to represent the macaw's spirit and meaning. |
+| Form: Woven from dyed palm fibers. | The natural material connects to the Emberá's landscape and culture. |
+| Emphasis: Vibrant beak draws the eye. | Emphasizes the macaw's essence and symbolic meaning. |
+| Unity: Repeating blues and yellows unify the composition. | Creates a cohesive macaw form. |
+| Variety: Abstracted shapes add visual interest. | Stylization captures macaw spirit without replicating detail. |
+| Material: Dyed palm fibers | connect back to materials in Emberá environment |
+
+## Written Response
+
+### Yup'ik, Native American
+
+> #### Why the mask was made?
+>
+> This Yup'ik mask shows the artist's view of nature's connections using animal images. It was made to represent supernatural beings and stories and worn in important community dance ceremonies. The mask has both spiritual and social purposes.
+>
+> #### How it was made?
+>
+> The mask seems to be carved from wood and includes natural materials like hair, grass, and maybe feathers. The wood makes it durable, and the mixed materials give it symbolic texture, connecting it to the Yup'ik environment.
+>
+> #### How it was used?
+>
+> This mask was worn during dance ceremonies and rituals in the Yup'ik community. Wearing it allowed the person to become the depicted spiritual being and reconnect with ancestral stories. Wearing it publicly showed the owner's status and knowledge.
+
+### Tlingit, Native American
+
+> #### Why the mask was made?
+>
+> This Tlingit mask was made to represent a specific spirit or ancestor. It was worn during important ceremonial potlatches to share tribal myths and histories with the community.
+>
+> #### How it was made?
+>
+> The Tlingit mask is carved from wood and painted with symbolic red and green pigments. The sturdy wood and lasting pigments highlight the sacred nature of the mask and its role in recurring ceremonies. The stylized carved lines give it a distinctive Tlingit look.
+>
+> #### How it was used?
+>
+> The Tlingit mask was worn as part of a ceremonial headdress by a dancer or storyteller. Wearing the mask allowed the person to fully embody the specific ancestral spirit during dramatic retellings of myths and histories. Its visual impact strengthened the oral performance and the social aspects of the potlatch gatherings.
+
+### Emberá Macaw
+
+> #### Why the mask was made?
+>
+> The Emberá people made masks like this Macaw, representing animal spirits, for shamans to use in healing and purification rituals. These masks connect to their belief system and help restore balance in their villages, with the vibrant colors of the macaw holding symbolic meaning.
+>
+> #### How it was made?
+>
+> The mask is woven from palm fibers dyed in bright blues, yellows, and blacks. The natural fibers and colors link to the Emberá's surroundings and resources.
+>
+> #### How it was used?
+>
+> Shamans would use the Macaw mask in communal rituals, either wearing it or displaying it prominently. This brings the energy and symbolism of the macaw into the ritual to promote healing and purification. The lively colors and form of the mask reinforce the ritual's meaning and intentions.
+
+## Comments
+
+{{< comments >}}