未来提案｜厦门大学创意与创新学院2026毕业设计作品③

爱是一扇敞开的门

Love is an Open Door

数字媒体艺术

Digital Media Arts

张清逸 ZHANG Qingyi

指导老师 | 马文MA Wen, Ben Thompson

《爱是一扇敞开的门》探讨了东亚家庭中爱与控制交织的动态关系。在绝对的家长权威下，子女常被视为父母的延伸，私人空间被视为共享而非私有。

一切始于一扇被划破的门——这段记忆后来被揭示为跨越数代人的集体模式的一部分。随着人们对心理健康和童年创伤的认识日益加深，这些经历终于得以被表达出来，而非被掩盖。

通过使用MIDI控制器，观众将穿行于一个边界不复存在的家庭“全景监狱”之中。这不仅是对记忆的呈现，更是一场重拾“自我”的触觉仪式。它将个人的伤痕转化为一种关于韧性的共同语言。

Love is an Open Door examines the complex dynamics of East Asian families, where love is intertwined with control. Under absolute parental authority, children are often treated as extensions of their parents, and private space is understood as shared rather than owned.

It began with a slashed door—a memory that later revealed itself as part of a collective pattern shared across generations. As awareness of mental health and childhood trauma increases, these experiences are finally being articulated rather than silenced.

By using MIDI controllers, the audience navigates a domestic "Panopticon" where boundaries are ceased to exist. This is not just a display of memory, but a tactile ritual of reclaiming the "Self." It transforms personal scars into a shared language of resilience.

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导师评语 Mentor’s Review

一扇门的意义从不在于它开着还是关着，而在于谁有权决定开合。这件作品把这个几乎无人追问的权力问题，还原成一个可以用身体走完的空间：你不停地推开门，却始终没有真正离开过同一个房间。它讲的不是某一个家庭的故事，是一代人共同的沉默——那些被"为你好"层层包裹、因而始终说不出口的经验。最难得的是它的克制。谈论家庭伤痕的作品通常要在结尾递上一个拥抱，因为不递，观众受不了。她不递。她只做两件事：命名，承认。爱当然是一扇敞开的门。问题在于，那扇门是从哪一侧被推开的。

The meaning of a door has never been determined by whether it is open or closed, but by who has the power to decide when it opens and when it shuts. This work transforms that almost unquestioned issue of power into a space that can be physically traversed: you keep pushing open doors, yet you never truly leave the same room. It is not a story about a single family, but about the shared silence of a generation—the experiences wrapped layer after layer in the phrase “for your own good,” and therefore never spoken aloud. What is most remarkable is its restraint. Works that address family wounds often feel compelled to offer an embrace at the end, because without one, the audience may find it too difficult to bear. She does not offer one. She does only two things: she names, and she acknowledges. Love is, of course, an open door. The question is: from which side is that door being pushed open?

马文 MA Wen

臭鼬家族

The Skunk Family

数字媒体艺术

Digital Media Arts

徐心儿 XU Xin’er

指导老师 | 马文MA Wen, Emit Snake-Beings

我、我妈、我外婆，头发都提前白了。这是一个遗传性问题。在医学上有名字，但名字不好听。在家里，我们管它叫"那一撮"。

我做了三件事：取唾液，把导致“那一撮”的基因片段（我们三人的DNA电泳图）封进亚克力砖；从我们三人头上各拔出一根白头发，放在我出生那年我妈穿的棉衣上扫描——没修图；买三只廉价臭鼬毛绒玩具，加上机械身体和气味装置。

"臭鼬"在中文里不是骂人的话。我外婆年轻时怕被人叫"白头老老"，于是在结婚时把头发染黑。我妈也染。我是家里第一个不染的。我妈问过我一次，这件作品到底是讲什么。我说，讲我们三个人的头顶。她说，行。

My mother, my grandmother, and I all went gray prematurely. It is a hereditary condition. It has a medical name, but it doesn’t sound good. At home, we call it “that patch.”

I did three things: I collected saliva samples and sealed the gene fragments responsible for “that patch”—along with the DNA electrophoresis images of the three of us—inside acrylic blocks; I took one strand of white hair from each of our heads, placed them on the cotton coat my mother wore in the year I was born, and scanned them—without any retouching; and I bought three inexpensive plush skunk toys, adding mechanical bodies and scent-emitting devices to them.

“Skunk” is not an insult in Chinese. When my grandmother was young, she was afraid of being called “white-haired old woman” by others, so she dyed her hair black when she got married. My mother did the same. I am the first person in our family who chose not to dye my hair. My mother once asked me what this work was really about. I told her: it is about the tops of the heads of the three of us.She said, “Okay.”

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导师评语 Mentor’s Review

我们习惯把偏见想象成一种观念，以为讲清道理就能改。这件作品告诉你不是。偏见早已不在脑子里，它沉到了呼吸的深处，伪装成我们对"洁净"与"得体"的本能。三代女性共有的白发，在医疗话语里是一处需要被修正的缺陷；在这里，它被放大、被封存、被送到你面前——不是请你理解，是请你先闻到。气味是唯一一种无法防御的媒介：眼睛可以移开，耳朵可以走远，鼻子不行，你只要还在呼吸，就已经同意了。所谓审美距离，本就是视觉独享的特权，这件作品把这份特权取消掉。白发不需要被修好。它只需要被放大到你无法移开视线。

We often imagine prejudice as a kind of belief—something that can be changed once we explain the truth clearly enough. This work tells you otherwise. Prejudice is no longer only in the mind. It has already sunk deep into the rhythm of our breathing, disguising itself as our instinctive understanding of what is “clean” and what is “proper.” The gray hair shared by three generations of women is, within medical discourse, a defect in need of correction. Here, however, it is magnified, preserved, and placed directly in front of you—not asking you to understand it, but asking you to smell it first. Scent is the only medium that cannot be defended against: your eyes can turn away, your ears can move elsewhere, but your nose cannot. As long as you continue to breathe, you have already consented. The so-called aesthetic distance has always been a privilege belonging exclusively to vision. This work revokes that privilege. Gray hair does not need to be fixed. It only needs to be amplified until you can no longer look away.

马文 MA Wen

The Last Ashes

数字媒体艺术

Digital Media Arts

林子晴 LIN Ziqing

指导老师 | 马文 MA Wen, Ben Thompson

这是一款以“数字废墟考古”为主题的第一人称叙事游戏。作品设定在信息降解的未来，玩家作为数字考古学家，在数据废墟、故障记忆与伪历史系统中寻找被删除的真相。作品通过低模视觉、故障界面、电子垃圾与循环结局，呈现AI内容泛滥、历史被改写和现实被系统筛选后的不稳定状态。游戏不追求传统通关胜利，而希望观众在迷失、辨认与重启中思考：谁在书写历史，谁在定义真相？

The Last Ashes is a first-person narrative game based on the idea of “digital ruin archaeology.” Set in a future age of information decay, the player becomes a digital archaeologist, searching for deleted truths within data ruins, corrupted memories and false history systems. Through low-poly visuals, glitch interfaces, electronic waste and a looping ending, the work presents an unstable reality shaped by the flood of AI-generated content, rewritten history and system-filtered perception. Rather than offering a traditional sense of victory, the game invites the audience to experience confusion, recognition and reset, while asking: who writes history, and who defines truth?

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导师评语 Mentor’s Review

数据不会腐烂，数据只会失效。"数字废墟"这个词本身就带着悖论——废墟之所以成其为废墟，是因为曾经有人相信过它。这件作品真正的意图，是替一堆被系统丢弃的东西，重新补上一段被相信过的历史。它设想的未来并不遥远：真相不再被粗暴删除，而是以修正的名义反复改写，直到看上去几乎正确。玩家在其中所做的一切——辨认、怀疑、拼接——最终换来的不是通关，是一次重新命名。灰烬不是燃尽之后的空无，是烧过了却仍不肯散尽的证据。她把这份不肯散尽交到你手上，同时收走了一样东西：一次干净的胜利。

Data does not decay; it only becomes obsolete. The term “digital ruins” carries a paradox within itself—a ruin becomes a ruin precisely because someone once believed in it. The true intention of this work is to restore a lost history of belief to a collection of things discarded by the system. The future it imagines is not distant: truth is no longer erased through blunt deletion, but repeatedly rewritten in the name of correction, until it appears almost indistinguishable from what is right. Everything the player does within the work—identifying, doubting, reconstructing—ultimately leads not to victory, but to an act of renaming. Ashes are not an emptiness left behind after something has completely burned away. They are evidence of something that has endured the fire and still refuses to disappear. She places this refusal to vanish into your hands, while taking something away from you in return: the possibility of a clean victory.