Che's Green Notebook —Copy of poems by four Latin American poets
是什么塑造了拉丁美洲魔幻现实的世界，寻访马孔多从地方知识到科学知识；从原始作物到经济作物；从原始岩画到科学图解三个宏大的视角来探讨拉美的魔幻与现实，这让我开始思考拉美的苦难的背后是什么？在结构性困境的背景下个人的能动性又在哪里？
于是我们把目光聚焦在了这一时期最具魔幻色彩的人物——切·格瓦拉。当我们拿起这本书，感受到这本书厚重的历史感，映入眼帘的是一张遗产清单——两本日记、一张彩色铅笔绘制的地图、十二卷胶卷、还有一本绿色笔记本……这是1967年切·格瓦拉被枪杀时的遗物。
绿色笔记本抄录着拉美四位诗人的诗歌，而正是这本毫无军事价值的诗歌陪伴着切·格瓦拉走过人生中最后的旅程。
本书把四件遗物都设计进了这本书中，书籍页面中穿插着档案的元素，正是为了抽象的还原出这样一个“历史现场”，当我们面对切·格瓦拉这样一个已经被符号化的人物时能够真正的面对他的精神世界。
What Shapes the World of Latin America's Magic Reality, Searching for Macondo explores the magic and reality of Latin America from three grand perspectives: from local to scientific knowledge; from primitive to cash crops; and from primitive petroglyphs to scientific illustrations, which made me begin to think about what lies behind Latin America's suffering? And where is the individual's agency in the context of structural dilemmas?
So we focused on the most magical figure of the period, Che Guevara. When we pick up the book and feel the heavy sense of history in this book, what comes to our eyes is an inventory of the legacy - two diaries, a map drawn in colored pencil, twelve rolls of film, and a green notebook ...... which was Che Guevara's was shot in 1967.
The green notebook was a transcription of poems by four Latin American poets, and it was this poetry, which had no military value, that accompanied Che Guevara on the last journey of his life.
The four relics are designed into this book, and the pages of the book are interspersed with archival elements, in order to abstractly restore this "historical scene", so that we can truly face the spiritual world of Che Guevara when we are confronted with such a symbolized figure.
Media · Technology｜Personal Computers & Counterculture - Seeking the 1960s
本作品中，保留了计算机的控制与镇静，同时穿插着反文化的活跃，使用穿插的形式链接了斯图尔特· 布兰德、弗雷德· 特纳、巴克敏斯特· 富勒等人的语录及评价，形成一种现今与60年代的对话。
Media · Technology｜Personal Computers & Counterculture - Seeking the 1960s follows on from the explorations of IWV2023. It extends around the counterculture to the communal movement, cybernetics, the birth of the personal computer, and the evolution of the Internet and the intelligent connection of all things. Taking the Global Overview as a starting point, it extends to cybernetics, the control of people, the control of society, the control of machines. The technological object is a product of cultural politics; technology does not develop on its own, it always emerges from a struggle with the intercalibration of individual and collective politics. Counter-mainstream culture is active, bohemian, jubilant in its sedation, like the development of computers, which, in the post-war 1960s, birthed new life out of desolation.
In this work, the control and calm of the computer is retained, while the vibrancy of the counterculture is interspersed, using interspersed links to quotes and comments by Stewart Brand, Buckminster Fuller, Fred Turner and others to form a kind of dialog between the present day and the 1960s.
Whole Earth——Whole Earth System、Whole Earth Catalog、Whole Earth Digitization、Whole Earth Networks
The series is based on the Inter-World-View sub-theme of media technologies and is divided into four volumes: "Whole Earth System", "Whole Earth Catalog", "Whole Earth Digitization" and "Whole Earth Networks".The four-volume series begins with an account of social upheaval in the United States in the 1960s, referencing the close relationship between the forgotten culture of Cold War studies and the counterculture of the neo-communists. The interior text follows Brand's lead, beginning with the art scene in the 1960s, then the New Commune movement in the Southwest, and finally the behind-the-scenes story of the computer revolution in the San Francisco Bay Area in the 1970s.
■Sci-Fi
但着眼当下，对于科幻，我们的思维逐渐固化，缺乏新的想象和科幻中产生新事物的可能性，大家似乎对于未来都不抱更好的想象，科幻具有引领人类世界发展的功能变弱了。
我把从古至今著名的科幻作品（绝大多数为科幻小说和电影）中承载作品价值观的事物及其具有预见性、启示性的台词以及语录做了一个合集。这也是一种对于已有科幻题材和科幻想象的总结。以这些信息蒙太奇式、歌剧式的书籍编辑组合企图激发人们思考科幻的未来还有何种可能？我们是否还能做出如玛丽·雪莱《弗兰肯斯坦》一样的开创式的科幻作品呢？我们是否要构筑一个新世界的乌托邦？科幻的思考真的会让我们的世界变得更好吗？我们在面对科幻作品时，可以再跳出诸如机器人、平行时空、黑洞、星际穿越、新生命等等这样已有的科幻想象，从而创造出世界新的篇章吗？
There have been many explorations of sci-fi, from the earliest discussions of why justice is done by Plato in The Ideal State through the mouth of Socrates to the imagery of human evolution with the appearance of the Black Cube in 2001: A Space Odyssey, sci-fi has always existed as a prophet. To this day, when we look at sci-fi from hundreds of years ago, we see that those interesting reflections still have a huge impact on every aspect of the world we live in.
However, nowadays, our thinking about science fiction is becoming more and more fixed, and we lack new imagination and the possibility of producing new things in science fiction. It seems that people do not have better imagination about the future, and the function of science fiction to lead the development of the human world has become weaker.
I have made a collection of lines and quotes from famous sci-fi works (most of them are science fiction novels and movies) that carry the values of the works and are prescient and revelatory. It is also a kind of summary of existing science fiction themes and science fiction imagery. With these informational montages and operatic editorial assemblages of books, it attempts to inspire people to think about what is possible for the future of science fiction? Can we still make groundbreaking works of science fiction like Mary Shelley's Frankenstein? Are we going to construct a new world utopia? Does sci-fi thinking really make our world a better place? Can we create a new chapter in the world by stepping outside of such pre-existing sci-fi imagery as robots, parallel time, black holes, star trekking, new life ...... and so on when confronted with sci-fi again?
Time · Life
Thinking about problems at a deep time scale is not about avoiding the troubled present, but about reimagining it and using the slow and ancient story of creation and annihilation to resist the rapidly moving greed and turmoil of today. By embarking on a journey downwards, we aim to reveal the significance of the burial of life and its vertical imagination, in an attempt to find a language of hope in the Anthropocene.
Mnemosyne Atlas
瓦尔堡的《图集》作为一种“文化科学”（或“无名之学”），始终未曾放弃对危机的诊断与回应：《图集》在艺术史、人类学（进化论心理学）等多个层面上揭示出欧洲文明的精神分裂症候，并以激进的姿态转入当下的现实历史，《图集》同时回应着瓦尔堡时代的危机与当代的危机，或者说，这两种危机之间并不存在本质性的区别。一个世纪之后，我们不仅没有远离那些黑色的图板，反而与之更加邻近。
The work is undertaken from the grid layout of the book mapped: "ideaアイデア" magazine issue 370, the overall layout logic in accordance with the order of the Goddess of Memory atlas panels of the picture arrangement, and at the end of each atlas placed with its description of the article, for the sake of immersion in reading, the book as a whole, no page numbering, more fluent reading, more able to be immersed in the atlas.
As a "science of culture" (or "science without a name"), Warburg's Atlas has never given up diagnosing and responding to crises: it reveals the schizophrenic symptoms of European civilisation on several levels, including art history and anthropology (evolutionary psychology), and turns radically to the real history of the present. schizophrenic symptoms, and with a radical turn to the real history of the present, the Atlas responds simultaneously to the crisis of the age of Warburg and the crisis of the present day, or rather, there is no essential difference between these two crises. A century later, not only are we not far from those black panels, but we are even closer to them.
Literary and artistic country
文艺史往往成为文明史的代表，但这不意味着文艺和文明在创造主体上的一致性，二者的契合度自身就是文明的体现。本书把将抗日战争1938年的地点转移贯穿这本书中，书籍页面中穿插着大字与图像的交融，正是为了抽象地还原出抗日时期的紧迫感。
In Europe, politics and art, war and pain, turbulent debates and personal fate are intertwined; In Asia, suffering has already become the most instinctive experience for artists. In 1938, Wuhan, as a transportation hub, saw tens of millions of refugees passing through it, whether by train, boat, or walking. During this great migration, young students and artists resolved their despair through singing and an exhibition hall in a city. The voice of the times is intertwined with the whispers of the unknown.
The history of literature and art often represents the history of civilization, but this does not mean the consistency between literature and civilization in terms of the creative subject. The degree of fit between the two is itself a reflection of civilization. This book runs through the relocation of the location of the Anti Japanese War in 1938, and the pages of the book are interspersed with the fusion of large characters and images, precisely to abstract the sense of urgency during the Anti Japanese period.
整本书就像一张大网，将点状闪光的人物连结成片：读者将会惊喜地发现，冥冥中一切都有着巧妙的联系，同时代的人物并不是各自为营而是错综复杂地交集着。
书本在开本大小与审美气质上，借鉴了《Atlas Of The Copenhagens》，封面设计到图片处理都采取黑白色为基调，使叙述更为客观，在整体讲故事的声调上，也更显平稳。在编排逻辑上，人物挨个出场，有如电影报幕，非常连贯。电影风格这一点，在目录的设计中也可寻到依据。
Tianwen's Literary and Artistic Nation section focuses on the development of literature and art in China in 1938, against the backdrop of the war's turmoil. Several important international friends are mentioned as "individuals" representing "countries", such as Ulysses S. Evans and Paik Chou-en, etc. I have expanded the term "country" to "China and the West. Seizing this clue, I expanded the "country" to "Middle West" and the "independent individual" to "human network". "The Spanish Civil War and the War of Resistance Against Japan were taken as the historical background of the book, i.e. the dark line, and a multi-character compilation was organized. Under the influence, transmission, assistance, and participation of international friends, and under the working together, cooperation, and fellowship of Chinese and Western historical figures, the literary and artistic content with unique glory unfolds, which is mainly divided into five panels in the book for interpretation: theater, film, photography, painting, and politics.
The book is like a web of dots and glittering figures: the reader will be pleasantly surprised to discover that everything is intricately connected, and that the contemporaries do not work in isolation, but are intricately intertwined.
The book borrows from the illustrated Atlas Of The Copenhagens in terms of size and aesthetic quality, with black and white as the base for the cover design and image processing, making the narrative more objective and the overall storytelling tone smoother. In terms of organization logic, the characters appear one by one, like a movie curtain call, very coherent. This movie style can also be found in the design of the catalog.
Cosmic Mapping
俄罗斯宇宙论是一种混杂性又融合化的意识形态，它结合了非常多不同的关键特征，比如伪科学、神秘主义、新神建造以及新时代思维。
本书参考测绘书籍，建立一个板块将苏联设计史以时间线的形式从头至尾贯穿。根据设计史中出现的具有先锋派特点的关键词：红色、倾斜、力量感、不规则感和几何图形，作为本书的视觉效果。内容编辑逻辑参考天问设计社会板块场刊的叙事线，将宇宙主义思想映射到人（社会）和机器上，最后回应宇宙主义中的永生概念，使得整本书的结构是一种球形循环的节奏，是一个互相牵制关联的状态。
"The earth is the cradle of mankind, but mankind cannot be bound to the cradle forever."
Russian cosmology is a hybrid and syncretic ideology that combines many different key features, such as pseudoscience, mysticism,New God-building, and New Age thinking.
This book refers to surveying and mapping books and creates a section that runs through the history of Soviet design in the form of a timeline from beginning to end.
The visual effects of this book are based on the keywords with avant-garde characteristics that appear in the history of design: red, tilt, sense of power, irregularity and geometric figures. The content editing logic refers to the narrative line of Tianwen Design's social section journal, maps cosmism ideas to people (society) and machines, and finally responds to the concept of immortality in cosmism, making the structure of the entire book a spherical cycle. Rhythm is a state of mutual restraint and correlation.
项目成员：王静霞
Montage and Image
从 1899 年到 1909 年，电影语法进入了一个混乱的实验时期，电影制作人急于测试将单个电影镜头剪辑成更有意义的东西的可能性。正如现代主义者回应“组合图片”的幻觉主义一样，达达主义者、建构主义者和超现实主义者都制作了挑战古典叙事体系的电影。
本书以蒙太奇的四个发展阶段为叙事线，书中穿插蒙太奇影像图片以及各个阶段的代表人物。叙事逻辑由小逐渐变大，反映了蒙太奇逐渐完善的过程。
Montage is an artistic practice that has existed almost since the birth of photography itself. When the first train roared across the screen, "film" was born.
From 1899 to 1909, the grammar of cinema entered a period of chaotic experimentation, with filmmakers eager to test the possibilities of editing individual shots into something more meaningful. Just as the Modernists responded to the illusionism of the "assembled picture," the Dadaists, Constructivists, and Surrealists all produced films that challenged the classical narrative system.
This book follows the four stages of montage as a narrative line, interspersed with images of montage images and representative figures from each stage. The narrative logic gradually changes from small to large, reflecting the gradual refinement of montage.
Viewing the Garden from Multiple Perspectives
As an extension of the garden and time section, this book extracts the concepts of "collection" and "observation of Fa", which are the blood and blood of ancient Chinese gardens. However, under the construction of the Western context, China's local construction does not follow the precious tradition in the blood well, but is more "Western". By quoting a series of papers, this book attempts to explore the possibility of local construction in China from four aspects: past, present, future and practice. Therefore, as a book in local context, the book uses the vertical text rule to construct the book itself, and refers to surveying and mapping books, and uses a lot of white space and search to reflect and demonstrate the concepts of "collection" and "observation", which is also an exploration of ancient architecture gardens built on two-dimensional books. Editors always think: architecture is happening.
Art·Education
本书将“八五新潮”作为全书叙事的起始点，把1920~1985这一段历史划分为五大章节，通过倒叙的方式展示以中国美术学院为中心的“艺术”与“教育”的发展和这段历史对世界的延伸、影响。内容选择上以时间线为主，人物线为辅的方式，展示不同视角下“艺术”与“教育”的联系。
视觉上，红色的时间轴贯穿全书，选用了较为厚重和纹路明显的的纸样，以展现历史的厚重与时间在书中缓缓向前流动的“动”与“静”。
"Pure aesthetic education is to cultivate our feelings, to make us have noble and pure habits, and to make people's egoism and selfish thoughts of self-interest and detriment to others to be gradually discouraged."
This book takes the "85th New Wave" as the starting point of the whole narrative, and divides the history of 1920~1985 into five chapters, showing the development of "art" and "education" centered on the China Academy of Art and the development of this period of time through flashbacks. Through flashbacks, it shows the development of "art" and "education" centered on the China Academy of Art, and the extension and influence of this history on the world. The selection of content is based on a timeline, supplemented by a character line, to show the connection between "art" and "education" from different perspectives.
Visually, the red timeline runs throughout the book, and heavy and distinctive paper patterns were chosen to show the heaviness of history and the "movement" and "stillness" of time flowing slowly forward in the book.
Vessel carrying road
“道以成器，而器以载道。”器以载道是中国传统造物的意境，具体体现于人与自然的关系中，是天人合一。中国传统文化所理解的器非止为器，而是知识与思想的载体。显然，如果人们仅满足于对器物形制特点的描述，不能通过器见人睹事，那么我们就会与己身文明的精蕴失之交臂。目见以器，心怀以道，这是我们学习中国文化时所必须抱有的态度。不论是佛教观音，亦或是丝绸之路、外销航海，器物的传播不仅代表了文化的传承更迭，更展现时代文明的延续进步。
The relationship between "Dao" and "Vessel" was first seen in "The upper form is called the Dao, while the lower form is called the vessel" The simple Dao ware view reflects the ancient people's serious thinking about the relationship between artifacts and human artifacts and nature. In the process of craft creation, the design, production and production of utensils strictly follow its "Dao".
"The way is to make the best of the vessel, and the vessel is to carry the way." Carrying Dao is the artistic conception of traditional Chinese creation, which is embodied in the relationship between man and nature, which is the unity of heaven and man. The tool understood by Chinese traditional culture is not just a tool, but a carrier of knowledge and thought. Obviously, if people are only satisfied with the description of the physical characteristics of the objects, and can not see people through the objects, then we will miss the essence of our own civilization. We must have an attitude when we learn Chinese culture. Whether it is Buddhist Guanyin, or the Silk Road, or export navigation, the spread of artifacts not only represents the inheritance and change of culture, but also shows the continuation and progress of civilization of The Times.
Object with belief
本书围绕“制器尚象”主题，以不同人物身份为篇章，海陆丝绸之路贸易为背景展开器物与器物之道的叙述，同时将时间线延续到当代，通过一些艺术家的带有宗教性色彩的作品演绎出如今的器以载道。
The Book of Changes proposes the concept that the metaphysical is called the Tao, and the metaphysical is called the tool. If an object only has functional attributes and does not carry the "great way", such an object is superficial and crude. Some people may ask what the Great Way is. Laozi said that the Great Way is indescribable, and its essence is a philosophical thought. The way of artifacts is refined, which not only includes the purpose of use, but also carries cultural connotations.
This book revolves around the theme of "making objects and valuing images", with different character identities as chapters and the sea land Silk Road trade as the background, to narrate the relationship between objects and the way of objects. At the same time, the timeline is extended to the contemporary era, and through the works of some artists with religious connotations, the current objects and the way of objects are portrayed.
Archaeological Notes
书籍分为三个部分，文字、图腾、符号。一二部分主要是利用文字与器物的相对来讲述文字刚刚形成到文字还没有系统化的形成的阶段的发展历程，即文字的发展，第三部分则是通过器物上留下的痕迹去思考和推测文字的使用场景，即文字的来源。本书采用的是大量的图形叙事来更清晰明了地感受文字，图腾，符号与器物之间的联系。
课程前期对《the archives of dark》进行了测绘，从内容到形式都进行了拆解分析研究的基础上，参考了《the archives of dark》采用图册的形式，用图像去解释说明内容。利用图像的排列组合以及位置关系去传达信息。
The content of the book "Archaeological Notes" is based on the text and cultural text section of "Tianwen". After thousands of years of development from scratch, this book starts from the perspective of an archaeologist, starting from Zhou Yuan, and pushing the timeline all the way back to primitive society. From the discovery of ruins one by one, the excavation of cultural relics echoes the corresponding text symbols.
The book is divided into three parts, text, totem, and symbol. The first and second parts mainly use the relationship between words and utensils to tell the development process from the beginning of writing to the stage when writing has not yet been systematically formed, that is, the development of writing. The third part is about thinking and thinking through the traces left on the utensils. Speculate the usage scenario of the text, that is, the source of the text. This book uses a large number of graphic narratives to more clearly feel the connection between words, totems, symbols and artifacts.
In the early stage of the course, "the archives of dark" was surveyed and mapped. Based on the disassembly and analysis of content and form, "the archives of dark" was used in the form of an atlas and images were used to explain the content. Use the arrangement, combination and positional relationship of images to convey information.
版式设计：童子杨
编辑 ：李羽晗 刘梓晴
责编 ：郭 星 王肖肖 刘梓晴
审核 ：刘益红
投稿邮箱 ：sjnews@caa.edu.cn
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