厦门大学艺术学院2020届设计系本科生毕业作品展（下）

发布时间：2020年7月4日分类：毕业设计浏览量：1349

“这是一个没有发生过的早晨……”

时间

2020.06.xx

艺术家

Artists

陈渝 Chen Yu | 陈聿飞 Chen Yufei

程洪凌 Cheng Hongling | 郝琳 Hao Lin

胡添翼 Hu Tianyi | 姜晓璇 Jiang Xiaoxuan

林阳晴 Lin Yangqing | 李文强 Li Wenqiang

刘伊宁 Liu Yining | 彭小真 Peng Xiaozhen

邱陈颖 Qiu Chenying | 戚玥 Qi Yue

申雨晨 Shen Yuchen | 童思佳 Tong Sijia

王朴玉 Wang Puyu | 王若愚 Wang Ruoyu

王婉冰 Wang Wanbing | 汪宇航 Wang Yuhang

王梓伊 Wang Ziyi | 蔚晓霞 Wei Xiaoxia

杨文钰 Yang Wenyu | 游晓敏 You Xiaomin

宅病症

homebody syndrome

作者 | 陈渝

Artist | Chen Yu

指导老师 | 朱红

Mentor | Zhu Hong

video,color, 16:9, 4m33s

宅病症1.0：这是我失眠的34天，这也是我熬夜的第35天

homebody syndrome 1.0 : It's been 34 days of insomnia,It was also the 35thday I stayed up late.

影像

video,color, 16:9, 3m12s

宅病症2.0：我大概还是在做梦吧

homebody syndrome 2.0：I was probably stilldreaming.

作品通过作者本人在夜间对生活行动的记录，通过这件作品让更多的人去直观感受“宅”的生活状态，并借“宅病症”来探讨“宅”对于当代青年生理与心理的负面影响。

Through the author's own recordings of his actionsat night, the work allows more people to intuitively experience the"homebody" lifestyle, and uses the "homebody syndrome" toexplore the negative effects of being at home on the physiology and psychologyof contemporary youth.

一起飞吧！

Let's fly!

作者 | 陈聿飞

Artist | Chen Yufei

指导教师 | 唐琼

Mentor | Tang Qiong

插画15幅，航空清洁袋，彩色，铜版纸

15 illustrations, airline cleaning bag, color, coated paper

视觉传达设计

Visual Communication Design

普通版本&迷你版本，普通版 12.5*23.5cm 迷你版 9.0*16.7cm

Regular Edition & Mini Edition,Regular Edition 12.5*23.5cm Mini Edition 9.0*16.7cm

制作了以笑话为主题的插画航空呕吐袋。希望能在你的旅途中增添一些快乐。

Created an illustrated airline vomit bag with ajoke theme. Hope it adds some joy to your journey.

往届儿童

Past children

作者 | 程洪凌

Artist | Cheng Hongling

指导老师 | 唐琼

Mentor | Tang Qiong

装置

Installation

我通过利用和欣赏生活中的日常物品来帮助自己获得快乐和满足，这次做了一系列首饰。在创作过程中像孩子一样充满童心，去拥抱内心的好奇，对自然充满敬意，对动物充满爱意，因色彩而愉悦。这也是我进行娱乐的游戏方式。呈现了自己“玩”的创作方式和创作中“玩”的意义，“玩”的意义在于从重压下解脱出来，回归童真。

I help myself to be happy and satisfied by usingand appreciating everyday objects in life，This time I made a series of jewelry. Like a child full of innocence in thecreative process，to embrace the inner curiosity, to pay respect to nature, to love animals,to be happy because of color.This is my way of entertainment games. Presents themeaning of their "play" way of creation and the creation of "play", Themeaning of "play" is to be free from the pressure and return toinnocence.

我眠大地之眠

Limin

作者 | 郝琳

Artist | Hao Lin

指导老师 | 马文

Mentor| Ma Wen

影像

video,1920x1080, color, 16:9,13m42s

我的灵感来源于一则新闻：农村里一个老人因意外交通事故死亡后被一个路过的村民埋葬，20多天后尸体才被警方发现。在这个故事里，人在日常生活中可以很轻易的失落，死亡也可以是毫无征兆的，普通的。死亡后，尸体身上已经没有语言，陌生人挖开土壤，与老人尸体触碰，把它放进土地里。这种时刻他们无限亲密，生与死，鲜活与污秽在这里合为了一体。受此启发，我在一个普通的北方乡村游荡许久后，对夜晚的野外十分着迷。在拍摄了大量不同时间段和地点的自然风景素材后，我把它们组接起来，描述了一场无认知地图的黑夜漫游。同时我也在影像里放置了不同的时间，呈现出一种动态的观看方式。在这场迷失在田野的漫游里，我从黄昏进入黑夜，遗忘了时间、空间和自我，参与了整个混沌但轻盈的宇宙。

I was inspired by a news story about an old man in the countryside who was buried by a passing villager after being killed in a traffic accident.20 It was many days before the body was found by the police. In this story, people can be easily lost in everyday life, and death can be without warning, ordinary. After death, there is no language left in the body, and strangers dig up the soil, touch the old man's body and put it in the ground. Such moments they are infinitely close, where life and death, freshness and filth become one. Inspired by this，after wandering around an average northern village for a long time, I became fascinated by the wilderness at night. After photographing a largenumber of natural landscapes at different times and places, I assembled themtogether to describe a cognitive mapless darkness roams. I have also placeddifferent times in the video, presenting a dynamic way of seeing. In thisroaming lost in the fields, I move from dusk into night, forgetting time, spaceand myself, participating in the whole chaotic but light universe.

没有发生过的一天

A day that never happend

作者 | 胡添翼

Artist | Hu Tianyi

指导老师 | 马文

Mentor | Ma Wen

2020，Gif，尺寸不定

我把前夜的梦境、白日的生活、对现状的思考，制作成一个个影像片段，它们共同构建了没有发生过的一天。

斑点狗一遍遍地追来，我一遍遍地逃。止步在永恒的回廊。我自愿选择终结。肠子穿过脑。

没有发生过的：事件发生在可预测或不可预测的未来，时间线上还未发生；掩饰已发生过的事实；从认识层面抹去事实；只存在于虚构中的事件；观测者绝对消失，即全人类灭绝，事件不被认知。

I made a fragment ofimages of the previous night's dreams, the daytime life, my thoughts on thesituation.Together they built a day that never happened.

The spotted dog cameafter me over and over, and I fled over and over. Stopping in the cloisters of eternity. I choose extinction voluntarily. Gut through the brain.

What never happened:events occurring in the predictable or unpredictable future,not yet happened ontimeline ; covering up facts that have happened; erasing facts from the levelof perception; events that exist only in fiction; absolute disappearance of theobserver, i.e., extinction of all humans, events not cognized.

通天塔图书馆

Babel Library

作者 | 姜晓璇

Artist | Jiang Xiaoxuan

指导老师 | 马文

Mentor | Ma Wen

游戏设计与制作

Interactive Game Design

这个系列的交互设计主要是从流量对社会事件的影响出发。在阅读了博尔赫斯的《通天塔图书馆》和《关于天赐的诗》之后产生灵感，探究了记忆以及轮回的关系。通过运用Unreal Engine 4和Pixel Game Maker MV制作了一个系列的交互型游戏作品。是作者本人对无尽空间和记忆的理解的产物。

系列设计第一部分疫情期间的故事为主线，制作了一款互动像素游戏。主要内容是一个失忆的女孩在森林里寻找出路，在冒险途中记录了路人的故事，最后探究到了自己的身世…

第二部分，一个家暴图书馆，制作了一款第一人称互动场景。这是一个更为长远的计划。场景里装载了大量的图书用于记载受过家暴的人所经历的事情。而在未来的策划里可以衍生为一个参与的人不仅可以阅读，并且可以参与编辑场景里的书本的项目。

The interaction design for this series focuses onthe impact of flow on social events. Inspired by reading Borges' Library of theTower and Poem on the Divine, it explores memory and the reincarnation ofRelationships. Created by using Unreal Engine 4 and Pixel Game Maker MV tocreate A series of interactive game pieces. A product of the author's ownunderstanding of endless space and memory.

The first part of the series design focuses on thestory during the epidemic and produces an interactive pixel game. The mainstory is about an amnesiac girl who searches for a way out of the forest,records the stories of passersby during her adventures, and finally exploresher own ...of his life...

The second part, a domestic violence library,produced a first-person interactive scenario. This is a much longer termproject. The scene is loaded with books to document the experiences of peoplewho have experienced domestic violence. In the future, this could lead to aproject in which the participants not only read, but also edit the books in thescene.

密阳

Mi Yang

作者 | 林阳晴

Artist | Lin Yangqing

指导老师 | 孙超

Mentor | Sun Chao

影像

video,1080P, color, 16:9, 6m30s

通过动画与真实场景的结合，来制作作品。题材基于校园霸凌事件，作品主旨是为了引起观众对校园霸凌的重视，以及呼吁被霸凌者能够勇敢为自己发声。动画的形式希望能够给观众呈现一个轻松的状态来解读这个沉重的话题。

以动画表情及合成声音的结合来塑造人物形象，借由虚拟形象来展现被霸凌者不愿公开和揭露的心理。作品中暗示了人性的冷漠和社会制度的缺陷。

The work is produced through a combination ofanimation and real scenes. The theme is based on the school bullying incident,the main purpose of the work is to draw the audience's attention to the schoolbullying, as well as to call the bully can be brave Give voice to yourself. Theanimation is intended to provide the audience with a light-heartedinterpretation of this heavy topic.

The combination of animated facial expressions andsynthesized sounds creates a character image, a virtual image to show thereluctance of the bullies to disclose and reveal their identity. Psychology.The work hints at the indifference of humanity and the flaws of the socialsystem.

人生规划

Life Planning

作者 | 李文强

Artist | Li Wenqiang

指导老师 | 马文

Mentor | Ma Wen

软件《人生规划》的设计针对我国应试教育的环境下，学生做选择时容易陷入短期的功利主义的特征。通过更多的信息，以及相对客观的算法来进行个人信息分析，及人生规划。

The design of the application "Life Planning" is aimed at the environment of exam-oriented education in my country, and students are prone to fall into short-term when making choices. Features of utilitarianism. Through more information and relatively objective algorithms for personal information analysis and life planning.

界面设计

Interface Design

在进行第一步地自我认知阶段中，使用者将自己的信息以多种角度来输入到程序中，从而得到一个基础数据。在第二个阶段中，使用者通过移动设备的信息监控，综合分析出使用者的行为模式和价值取向，并对于第一阶段的基础数据进行加权处理，得到相对客观的数据。在第三个阶段里，程序结合个人价值取向，能力，网络信息，政府政策等各个因素来对使用者进行指导，并在后续的学习过程中扮演监督和辅助的角色。

In the self-cognition phase of the first step, the user enters his information into the program from various angles to obtain a basic data. In the second stage, the user monitors the information of the mobile device, comprehensively analyzes the user's behavior patterns and value orientation, and weights the basic data of the first stage to obtain relatively objective data. In the third stage, the program combines individual value orientation, ability, network information, government policies and other factors to guide users, and plays a role of supervision and assistance in the subsequent learning process.

永生

Everness

作者 | 刘伊宁

Artist | Liu Yining

指导老师 | 马文

Mentor | Ma Wen

影像

video, 16:9, 5m9s

我在隔离在家这段期间记录了我住的房子里的日常画面，是一些视觉上没什么愉悦感的画面。只是生活环境的常态。这种常态是我们平时身处其中，却并不曾直面的，但当出于不可抗因素，而不得不直面它时，它却转变成了另一种不同的常态。在视频里我用浏览和口述日记的形式，讲述了这段时间的日常。但是也并不是写实主义的日常，语言与图像之间存在一些关联影响，但是加入了对故事的虚构，虚构的部分来自个人记忆，事实上记忆也许也已经是多重虚构后的结果了。事件的发生也不是全都遵循拍摄的时间，我们过去的记忆和当下的记忆都在可能性中同时存在。

The daily images I recorded in the house I lived in during my time at home in isolation were images that were not visually pleasing. Just the normality of the living environment. This normality is something that we are usually in but don't face, but when, out of force majeure, we have to face it, it is It shifted to a different kind of normality. In the video I use the form of browsing and oral journaling to describe the daily life of the period. But not realistically everyday either, there are some correlative influences between language and images, but with the addition of fictionalizing the story. The fiction is partly from personal memory, and in fact memory may already be the result of multiple fictions. The events do not all follow the time of the shooting, our past memories and present memories exist simultaneously in the possibility.

笼中鸟

Caged Bird

作者 | 彭小真

Artist | Peng Xiaozhen

指导老师 | 朱红

Mentor | Zhu Hong

影像

video,color,2m39s

拉夫克拉夫特的《克苏鲁的呼唤》为我带来灵感启发，这一系列小说主题为在宇宙中人类的价值毫无意义，并且所有对神秘未知的探求都会招致灾难的结局。

作者采用装置与影像结合的方式，再配以背景音来营造一个压抑疯狂的氛围，作品中镜头作为高等生物---克苏鲁神话中的古神来观察关在笼子里的人类--低等生物，由于在镜头眼中，人类是简单无知的，所以用人偶的形象来代替。运用过度曝光的滤镜来记录人偶身体麻木的一生以及思维在接触了超出自己想象的事物最后走向疯狂吊死。这便是我的作品《笼中鸟》的想法。

I was inspired by Lovecraft's The Call of Ksulu, aseries of novels on the theme of the value of humanity in the universeMeaningless and all quest for the mysterious unknown leads to a catastrophicend.

The author uses a combination of installation andvideo, with a soundtrack to create an atmosphere of oppressive madness, inwhich the camera acts as a high, unified lens. Creatures - The ancient gods ofKsuru mythology came to observe humans in cages - lowly creatures, and since inthe eyes of the camera, humans are Simple and ignorant, so images of dolls areused instead. The overexposed filter is used torecord the physical numbness ofthe doll's life and the way the mind, after being exposed to things beyondone's imagination, ends up going Crazy Hanging. That's the idea behind mypiece, Caged Bird.

另一个世界

Another World

作者 | 邱陈颖

Artist | Qiu Chenying

指导老师 | 林琳

Mentor | Lin Lin

视觉传达设计

Visual Communication Design

Space, projection, games, 3Dprojection, books, jewelry

我将儿童画与现实生活中的实物通过技术手段相结合，创造出带有超现实主义色彩的产物。将产物作为故事主角，让一些孩子以此创作故事，我将这些故事制成封面相同但内容却完全不同的绘本。将故事内容制作成一款面向家长的游戏，让家长意识到自己是不可以替代孩子的思想的，儿童也是独立的个体，和家长一样，是平等的。家长应该去了解孩子的思想，去帮助他，而不是控制。

I combine children's painting with real life objects through technicalmeans to create products with surrealistic colors. I used the product as theprotagonist of the story and asked some children to create stories. I madethese stories into picture books with the same cover but completely differentcontent. Make the content of the story into a game for parents to make parentsrealize that they cannot replace the ideas of their children, and that childrenare independent individuals and equal to parents. Parents should understandtheir child's mind and help him, not control it.

我已经把你藏好了

I‘ve hidden you well

作者 | 戚玥

Artist | Qi Yue

指导老师 | 孙超

Mentor | Sun Chao

影像

17分23秒视频影像；30则文字秘密；30张照片（黑色信封）

17m23s ，video, 30 textsecrets, 30 photographs (black envelopes)

生活必须被适当搁置和隐蔽，不属于讨论范围，也许⼈的成熟是从拥有秘密开始。秘密有时是糖，有时也是毒药。漫漫长路，如影随行，背负着前行，脚步只会愈发沉重，我们需要的是倾诉埋藏，就像对着⼀个树洞讲述种种。如果你把它交给我，我将把你藏好。揭开这些秘密，看得见的是这人间同样的疾苦；是这人间同样的真实；还有我们由此引发的思考。

Life must be properly shelved and hidden from discussion, and perhaps humanmaturity begins with the possession of secrets. Secrets are sometimes sugar andsometimes poison. The long road, like a shadow, carrying forward, the stepsonly get heavier, what we need is to talk and bury, as if to a The tree holetells all sorts of things. If you give it to me, I will hide it from you. Whenwe uncover these secrets, we see the same human suffering; the same humanreality; and the thoughts that arise from it.

你好

Hello

作者 | 申雨晨

Artist | Shen Yuchen

指导老师 | 林琳

Mentor| Lin Lin

游戏操作界面 & 现场效果图

Game interface & Site rendering

游戏设计与制作

Game Design, Unity exe 可操作程序, 16:9

我通过叙事与交互空间的结合来实现对于家庭中个人成长创伤的疗愈。

我通过剧本塑造了一个以家庭为主题的幻象世界，借由三棱柱式的类洞穴空间引导参与者进行探索，观众可以在行进的过程中通过墙上的显示器参与故事中的交互。

最终，我塑造了一个虚拟的守护者角色“哥哥”的形象来与参与者进行对话和交谈，希冀以此带来慰藉。

Through the combination of narrative and interactive space, I realize thehealing of personal growth trauma in the family.

I created a family-themed illusion world through the script. By using thetriangular prism-like cave space to guide the participants to explore, theaudience can participate in the interaction of the story through the walldisplay while traveling.

In the end, I created the image of a virtual guardian character"brother" to talk and talk with the participants, hoping to bringsolace.

二十二

Twenty Two

作者 | 童思佳

Artist | Tong Sijia

指导老师 | 唐琼

Mentor | Tang Qiong

影像

video, color, 16:9, 18m30s & e book,color, total 104 pages

我们所认识的世界是以主观分析客观，而我们转述的世界则更具有主观色彩，是我们想要别人知道的。我借助影像与电子书这两大载体，构建了计划生育背景下，独立成章又相互依存的综合叙事。通过提供爷爷、奶奶、外婆三个不同视角下，叙述的“我”的出生成长及相关事件，而给出主观的事实。观者可以以任意视角去理解这些事实。

影像在线观看链接：https://www.bilibili.com/video/BV1af4y1y7ur/

The world as we know it is objective with asubjective analysis. And the world we relay is more subjective, what we wantothers to know. With the help of images and e-book, I have constructed acomprehensive narrative that is independent and interdependent in the context offamily planning. By providing "my" birth and upbringing and relatedevents from the perspective of my grandfather, grandmother and grandmother, itgives the subjective facts. The viewer can interpret these facts from anyperspective.

Online video viewing link:https://www.bilibili.com/video/BV1af4y1y7ur/

新画布

New Canvas

作者 | 王朴玉

Artist | Wang Puyu

指导老师 | 唐琼

Mentor | Tang Qiong

装置

轻粘土, 丙烯, 彩色,5.5*5.5*3cm ，52件

Installtion, Light clay, acrylic, colorful, 5.5*5.5*3cm, 52 pcs.

我做了一些“小便池”，把一些当代艺术作品画在了上面，这是这个时代的一种新画布。

I made some urinals and painted some contemporary art on them, which is anew kind of canvas for this era.

边缘的记忆

The memory of someone in borderline personality

作者 | 王若愚

Artist | Wang Ruoyu

指导老师 | 唐琼

Mentor | Tang Qiong

影像

video, color,B&W, 4:3, 16:9, 6m53s

作品呈现成一个长度为6：14的影片，有一个旁白在讲述我的成长故事，从出生到23岁的现在，具体分了出生、幼儿园、小学、初中、高中大学五个部分，每个部分有一张或多张用照片、绘画做成的小动画。作为一个游走在自我认识和人际关系边缘的人，我希望能够客观辩证地看待这些回忆的片段，利用个人性的回忆，将它们重塑为可被集体阐释的作品。

The work is presented as a film 6:14 in length, with a narrator telling mystory of growing up, from birth to the age of 23 , specifically in fivesections: birth, kindergarten, elementary school, middle school, high schooland college, each with one or more photographs, drawings and paintings. madeinto little animations. As someone who wanders the edges of self-awareness andrelationships, I want to be able to objectively and dialectically look at thesepieces of memory and use the Personal recollections, reshaping them into worksthat can be interpreted collectively.

自我对话

Self dialogue

作者 | 王婉冰

Artist | Wang Wanbing

指导老师 | 孙超

Mentor | Sun Chao

摄影

digital photo, color

我是个善于交际的人。人与人之间的交流以及交往的各个小细节，我比较容易感知得到，在我看来，管理自己的情绪是一件很重要的事情，很多过激情绪影响下，我可能已经被情绪左右而当下并不自知，露出了自己厌恶的模样，也影响到其他无辜的人。

拍摄这组照片，为的是做到尽可能多的过激反应不要发生、不进入眩晕状态，将对过激情绪的反应延迟或直接消化，为理性和思考腾出清醒的那段时间。

I'm a sociable person. It's easier for me toperceive all the little details of human interaction and interactions, and inmy opinion, managing my emotions is A very important thing, a lot ofover-emotional influences, I may have been influenced by emotions and not awareof it in the moment, revealing myself The look of disgust affects otherinnocent people as well.

The photos were taken in order to do as much aspossible not to overreact, not to go into a state of vertigo, to delay ordirectly digest the reaction to the overreaction, and to free up that time ofclarity for reason and thought.

我与我的对话

Me VS My conversation

作者 | 汪宇航

Artist | Wang Yuhang

指导老师 | 马文

Mentor | Ma Wen

游戏设计

game design, 16：9

一次独立时间，我有过一次故事的编写，当黑与白这类事物的对立其实留有矛盾，那我们所熟知的对抗又该如何判断，我抱着这样的想法去试着构想过一个世界，我们透支着心中的善来创作我们现实的善，往往结果是我们的心中会慢慢的存有恶意，我们花费的心中的恶，去实现我们现实中的恶意，却会留下我们心中的善。当事物的起源有了矛盾的启示，那么我们所谓的判断的所谓是何？我们还如何保留心境，我们还如何对所谓善恶做出评价？我们做出的一切都是再将我们心中的对立面放大而已。我觉得这样的创作思路很是有意义，便向着这样的方向做出改进。

One independent time, I had a story to write, when the opposition of thingslike black and white actually left a contradiction, that what we know as I havetried to conceive of a world with the idea that we create our own through thegoodness of our hearts. The reality of goodness often results in the gradualpresence of malice in our hearts, and we spend the evil of our hearts torealize the reality of our Malice, however, leaves the good in our hearts. Whenthere is a contradictory revelation of the origin of things, what is theso-called of our judgment? How else do we retain our minds, how else do weevaluate so-called good and evil? All we make is just another amplification ofthe opposites we have in mind. I thought this was a very interesting way tocreate and madeimprovements in that direction.

再造病人

Remarking Patients

作者 | 王梓伊

Artist | Wang Ziyi

指导老师 | 朱红

Mentor | Zhu Hong

影像

video, color, B&W, 1920×1080, 7m13s

从高科技背景下人们对手机这一电子产品的依赖入手，思考手机作为人类精神中无法摆脱的伴生性存在对人类心理和生理影响。丧失自我意识和深度思考能力的“梦游人”正在增多,在无意识的自我精神损耗和重复单一行为过程中促成了生活的漂浮状态,对手机的依赖从常态转变成病态,精神领域与手机中的虚拟空间产生联系,同时与现实发生交错与侵蚀。作品通过作者本人在疫情期间对自身生活的记录，从旁观者的视角呈现手机依赖症患者所处的自我意识困境。

The work starts from the perspective of mobilephone dependence, and the number of "sleepwalkers" who have losttheir self-awareness and ability to think deeply is on the rise. Mentaldepletion and repetition of single-behaviour processes contribute to a floatingstate of life, with a shift from normative to pathological dependence on mobilephones, associated with Reality is intertwined and eroded. By recording thenormality of one's own behavior, the work looks at the dilemma ofself-consciousness created by mobile phones from the perspective of others.

如果云知道

If Cloud Knew

作者 | 蔚晓霞

Artist | Wei Xiaoxia

指导老师 | 唐琼

Mentor | Tang Qiong

装置

平均60cm-120cm，羊毛毡

installation, average 60cm-120cm, wool felt

这是一场和云的对话。

我一直有一个习惯，每次走在路上，都会喜欢一边走一边仰头看着天空上的云，同时想一些事情，可能是最近发生一些琐碎的事情，或者是让我印象深刻的事情。或者是一些天马行空的想法。

小时候的云是在听我说，现在我想听云对我说，所以我展开了这次对话。

It's a conversation with the clouds.

I've always had a habit of looking up at the clouds in the sky whenever I'mwalking along and thinking about something at the same time. It could besomething trivial that happened recently, or something that struck me. Or maybeit's some wild idea.

When I was a kid, the clouds were listening to me, but now I want to hearthem speak to me, so I started this conversation.

焦虑吗

Anxiety

作者 | 杨文钰

Artist | Yang Wenyu

指导老师 | 孙超

Mentor | Sun Chao

影像

video, color, 16:9, 3m26s

游戏时的无畏状态与毕业焦虑时的畏惧状态相反。

游戏成瘾的心流体验机制告诉我，“游戏人生”，把人生看作游戏，你可以是游戏的开发者和体验者。

作品用三个童年游戏的影响来表现三个方面的焦虑状态。我将这三个视频呈环形摆放，视频的前半部分是以游戏的反复失败为内容，配以当下令自己焦虑和自我否定的话语，并将话语处在日常中令人讨厌的声音中——蚊子的叫声、刀叉划过玻璃的声音、闹铃、小孩哭泣等。眼前是反复的失败，悲观的想法与烦躁的声音萦绕脑海，制造视觉、听觉的双重焦虑感受。但最后的转折我仍采用胜利的结局，我想向观者传达积极的一面。游戏可以一直重头再来，一直游戏是因为你有想赢并且有赢的自信，这使我们能一往无前。面对毕业，我们不知道未来会发生什么，种种的焦虑绊住了我们前进的脚步，还没有开始就否定自己、否定自己的二十几年来的努力，既然已无法回头，何不带着玩游戏的心态，带着自信与勇气，拼到底，要相信自己，你其实可以，只要你迈出这一步。

The state of fearlessness when gaming is the opposite of the state of dreadwhen it comes to graduation anxiety.

The mind-stream experience mechanism of gaming addiction tells me that by"gaming life" and seeing life as a game, you can be the developer andexperiencer of the game.

The work uses the effects of three childhood games torepresent three aspects of the anxiety state. I placed the three videos in acircular format, with the first half of the video featuring the repeatedfailure of the games, accompanied by a description of when to order your ownanxiety and Self-defeating discourse, and to situate the discourse in theannoying sounds of everyday life - mosquitoes screeching, knives and forksslicing through glass. Alarm bells, crying children, etc. In front of me arerepeated defeats, pessimistic thoughts and irritated voices haunting the mind,creating both visual and auditory feelings of anxiety.

But for the final twistI still use the winning ending, I want to convey the positive side to theviewer. The game can be played all the time, all the time because you want towin and have the confidence to win, which allows us to move forward. Facinggraduation, we don't know what the future holds and all the anxiety that tripsus up and denies us before we even start. Self, denying yourself for overtwenty years of hard work, since there is no turning back, why not play thegame with confidence and courage Fight to the end, and believe in yourself thatyou actually can, if you take that step.

与艺术结合看待社交恐惧症——《开心果》

Looking at social phobia in conjuction with art——<common Pistache>

作者 | 游晓敏

Artist | You Xiaomin

指导老师 | 林琳

Mentor | Lin Lin

影像

video,color,4:3,1m59s

第一幕：三个人在逛街时看见了喜欢的店，一起走进欣赏，两人在快到之前突然兴奋地交谈起来，一起快速走到一面墙前手舞足蹈地观赏，墙面的颜色开始流动，剩下的“我”在两人突然兴奋之后没有反应过来，在他们的话题之间插不进去，就自己走到另一面墙前，看看他们看看墙面，墙面逐渐从色彩缤纷变得黯淡。

第二幕：三个人从三个入口进入迷宫，在迷宫里探索寻找出口，其中两个人先相遇了，两个人就开心地一起走出迷宫，“我”还在迷宫里寻找出口，直到看见墙面从五彩缤纷逐渐黯淡，才意时到“我”被留下了。

第三幕：接上一幕的结尾，我被留在迷宫的角落里，“我”被高耸的四面墙困住，但这只是我的错误认知，因为是我自己把自己封闭起来。我在封闭的空间里无聊，无所事事，瘫在地上。或许是现实，朋友还在外面等我；或许是我的潜意识希望朋友还在等我。社恐人士的内心是渴望社交的。

Act I: Three people are shopping and see a shopthey like. They walk in together and admire it. The colors of the wall began toflow, and the rest of "I" was left in a state of sudden excitement.Not responding after that, not being able to get in between theirconversations, I went over to the other wall myself and looked at them lookingat the wall. The walls gradually change from colorful to dull.

Act II:Three people enter the maze through three entrances and explore the mazelooking for an exit, two of them meet first and the two of them As we happilywalked out of the maze together, "I" was still looking for an exituntil I saw the walls fade from color to color. By the time "I" amleft behind.

Act III: At the end of the previous act, I am left inthe corner of the labyrinth, trapped by the four towering walls, but that isonly me. Misperceptions, because I was the one who had closed myself off. I'mbored, idle and paralyzed in my enclosed space. Maybe it's the reality that myfriends are still out there waiting for me, or maybe my subconscious wants themto be waiting for me. The social-phobic's heart is hungry for socialization.