https://xinaidesign.com XinAiDesign Sun, 20 Jul 2025 18:30:10 +0000 https://xinaidesign.com en https://xinaidesign.com/folder-bg Sat, 11 Nov 2023 07:47:48 +0000 XinAiDesign https://xinaidesign.com/folder-bg https://xinaidesign.com/FD-Details Sat, 11 Nov 2023 07:48:10 +0000 XinAiDesign https://xinaidesign.com/FD-Details Frandisco Studio↗️&nbsp;is an art and design collective operated collaboratively by its members. We are committed to creative exchange and the ignition of inspiration, encouraging members to form project teams freely, collaborate on creations, and collectively transform abstract ideas into tangible works. FolDer Magazine is an art and design experimental publication project born within Frandisco Studio. Our inaugural issue revolves around the theme of visual poetry, aiming to disrupt the traditional textual form of poetry through visual experimentation, and explore the essence of poetic meaning through a visual approach. ‘Rebellion’ has been a crucial theme throughout modern design and art history. Artists and designers were constantly subverting the ideas of their predecessors from humanism to modernism. Visual poetry, also known as concrete poetry, is a form of poetry where words and visual elements take the lead. Its most distinctive feature lies in its departure from traditional poetic formatting. Prior to the mid-20th century, poetry was considered a specific art form consisting solely of written words. However, visual poetry introduces playful typography and imagery, liberating poetry from the constraints of conventional textual arrangement. This prompts us to consider the possibility of poetry transcending singular forms and even breaking free from the confines of two-dimensional space, allowing for various expressions of ideas, poetic sensibility, and aesthetic appeal. Inspired by visual poetry, we embarked on our own visual experiments, exploring the following questions: How can we transform the text of common paper products into graphical content? How can we present a harmonious integration of words, imagery, and visuals inspired by classical poetry? Can poetry be written using pictograms and symbols? Can those fleeting and beautiful moments of poetic inspiration in life be captured and conveyed through words and illustrations? Through self-conducted workshops and ongoing exchanges, we have developed our own artistic and design works through the collision of creativity. The result is FolDer Magazine, a collection showcasing these unique creations and demonstrating the potential richness of visual poetry in a contemporary context. Frandisco工作室↗️是一个由成员们共同运营的艺术与设计团体。我们致力于创意交流和灵感激发，鼓励成员们自由组成项目小组，合作创作，将抽象的创意共同转化为有形的作品。FolDer杂志就是在Frandisco Studio中孕育而生的艺术与设计实验刊物项目，我们的创刊号以视觉诗为主题展开，在视觉实验中尝试打破诗的传统文字形式，以视觉的方式探索诗意的真谛。 在近代的设计史与艺术史中，“反叛”是一个至关重要的主题。从人文精神到现代主义，艺术家与设计师们通过不断颠覆前人的理念将诗的概念重新定义。 视觉诗，也被称为具像诗，其最显著的特点是与传统诗歌不同的版式编排。在二十世纪中期之前，诗被认为是一种仅包含文字的特定文学形式。而视觉诗将趣味性的排版和图像引入到诗中，使诗能够摆脱传统文字排印的限制。 这让我们开始思考或许诗也可以超越单一的形式，甚至摆脱二维空间的限制，以各种方式表达理念、诗意和情趣。因此，我们以视觉诗为灵感，从以下几个问题出发开始了各自的视觉实验：如何将常见纸制品的文字转化为图形化的内容？如何呈现古诗中文字、意象与画面的统一？诗是否可以用象形文字和符号写成？生活中那些短暂而美妙的诗意瞬间，是否能被词句和绘画所捕捉和传达？ 在自办的工作坊和持续的交流中，我们在创意碰撞中发展自己的艺术或设计作品。最终产出的FolDer杂志集结了这些独特的创作，展示了视觉诗在当代背景下可能的丰富内涵。 ︎︎︎主编 / Chief Editor:艾鑫&nbsp; &nbsp; Xin Ai ︎︎︎设计师 / Designers:艾鑫&nbsp; &nbsp; Xin Ai张宵&nbsp; &nbsp; Xiao Zhang (Elliot) ︎︎︎编辑 / Editors:贺靖涵&nbsp; &nbsp; Jinghan He (Jing)张灵希&nbsp; &nbsp; Lingxi Zhang (Lynsee) 罗喆元&nbsp; &nbsp; Zheyuan Luo (ZeeAnn)张宵&nbsp; &nbsp; Xiao Zhang (Elliot) ︎︎︎贡献者 / Other Participants:焦依昭&nbsp; &nbsp; Yizhao Jiao (Wolf)王家琪&nbsp; &nbsp; Jiaqi Wang (Rachel)聂晨曦&nbsp; &nbsp; Chenxi Nie (Patty) ︎︎︎特别鸣谢 / Special Thanks Andrew Long Daniel Fletcher Francisco Casaroti Tim Hutchinson Tony YardMonica Biagioli Ravin RaoriOwen WellsScott House ︎︎︎联系我们 / Contact Us http://frandis.co@frandis.cofrandiscostudio@outlook.com https://xinaidesign.com/back-ground-1 Mon, 29 May 2023 15:07:46 +0000 XinAiDesign https://xinaidesign.com/back-ground-1 https://xinaidesign.com/Yesterday-in-the-Wind-Details-copy Mon, 29 May 2023 15:11:09 +0000 XinAiDesign https://xinaidesign.com/Yesterday-in-the-Wind-Details-copy One way of determining whether a creature is self-aware is the mirror test, through which humans recognize themselves, develop self-awareness, distinguish themselves from others and locate their social identity by analysing the results of their mirror images. Dynamic interactive works are like mirrors, but more abstract, translating human behaviour into the behaviour of the installation: the person does something, which triggers something else. I believe that when viewers engage with an interactive work, their perception is ‘circular’. The work exhibits a quality that can be interacted with - the viewer interacts with the work - the work perceives and changes (information is received by sensors and then programmed to respond) - the viewer perceives and changes (information is received by visual, auditory and tactile means and then continues to interact with the work).How tangible objects convey important information about how people interact with them is a feature Gibson has named ‘Affordance’. The simplest application of affordance is a door with a handle on one side only, the side without the handle cannot be pulled open, it has to be pushed open.So that people don't hesitate about how to open the door. I think the affordance of the mirror (smooth surface) is to make people want to see their own reflection. I don't think everyone is as in love with their reflection as Narcissus in greek mythology, but the fact is that people do like to look at their reflection: think of a car window, a puddle after the rain, a security camera in a supermarket. Ultimately, humans are social creatures and communication and interaction are instinctive, as Donald Norman writes in The Design of Everyday Things: “Affordance is not a property, it is a relationship. The presence or absence of affordance depends on the properties of the object and the subject.” This makes me think about the differences between human perception and analysis. I believe that perception is a manifestation of human "animality," while analysis is a manifestation of human "sociality." For example, when we see a car while walking on the street, we may analyze its brand, whether it is expensive, and the type of person who owns it. However, when we are in nature, we don't analyze the price of a tree; instead, we engage our sensory organs to smell the leaves, listen to the sound of the wind passing through the leaves, and observe how sunlight projects onto the grass through the gaps in the leaves. The relationship between perception and analysis is similar to the relationship between traditional oil paintings and interactive installations: When you appreciate a traditional oil painting, you are the viewer, and the painting is the object being admired. The painting is not created by you, does not belong to you, and, more definitively, has no connection to you. However, in interactive installations, the audience often becomes a part of the artwork. Your actions change the artwork, and it can even be said that you partially create the artwork. I decided to create an interactive installation to reflect the relationship between human beings and perception. In natural environments, people can focus more on their perception rather than analysis. In urban environments, people are more concerned with their sociality, and analysis often takes precedence. Urban parks, as natural spaces within cities, exist at the intersection of analysis and perception, making them the ideal location to exemplify this relationship. Therefore, I chose a park as the location for my project. In a park, information is simpler and more subtle, without distractions that would divert people's attention. It is in such moments that individuals can truly concentrate on their reflection and self-image. 判断一个生物是否有自我意识的方法之一是镜子测试，人类通过分析自己的镜像结果来认识自己，发展自我意识，将自己与他人区分开来，定位自己的社会身份。动态交互装置就像一面镜子，但表现出的形象更加抽象。人的行为会被转化为装置的行为，简单来说，人的某些特定行为的发生会触发其他的东西发生。我相信，当观众与交互装置互动的时候，他们的感知是 “循环”的。作品表现出一种可以互动的特质--观众与作品互动--作品感知和变化（信息由传感器接收，然后通过编程做出反应）--观众感知和变化（信息由视觉、听觉和触觉方式接收，然后继续与作品互动）。 有形物品会表现出一种特征，暗示人们该如何与之互动，这种特征被实验心理学家吉布森命名为 “功能可供性”。其最简单应用是一种只有一侧有把手的门，没有把手的一边自然不能拉开，只能推开，这样人们就不会对如何开门犹豫不决。我认为镜子的可供性（光滑的表面）是为了让人们想看到自己的影子。我不认为每个人都会像希腊神话中的纳西索斯那样爱上自己的倒影，但事实是人们的视线总是追逐着自己的倒影：想想车窗，雨后的水坑和超市里的安全摄像头。 归根结底，人类是社会性的动物，交流和互动是我们的本能。正如认知心理学家唐纳德-诺曼在《设计心理学》中写道： “可供性不是一种属性，它是一种关系。可供性的存在与否取决于物体和主体的属性”。这让我思考起人的感知和分析这两种行为的不同之处。我认为感知是人类“动物性”的体现，而分析是人类“社会性”的体现。 举个例子来说，当我们走在街上见到一辆车，我们会分析这辆车是什么品牌，价格是否昂贵，是什么身份的人拥有它。但是当我们在自然中的时候，我们不会去分析一棵树的价格，而是用我们的感受器官，闻叶子的味道，听风吹过树叶的声音，看阳光如何从叶子的缝隙间投射到草地上。 它们之间的关系还像传统油画和交互装置的关系：当你欣赏传统油画的时候，你是观看的人，画是被欣赏的客体。这幅画不是你创造的，也不属于你，更绝对的说法是，你和它毫无关系。但是在交互装置中，观众往往成为作品的一部分。你的行为改变了作品，甚至可以说你在部分地创造这个作品。因此我决定制作一个交互装置来反映人与感知的关系。在自然的环境中，人可以更专注于自己的感知，而非分析。在城市中，人更注重自己的社会性，分析往往占据主导。 城市公园作为一个城市中的自然场所，处于分析与感知的交接地带，是最能体现这种关系的地点。因此我选择了公园作为我项目的地点。在公园中，信息更简单、更微妙，没有会转移人们注意力的干扰。正是在这样的时刻，个人可以真正专注于自己的反思和自我形象。 https://xinaidesign.com/back-ground Mon, 29 May 2023 14:35:05 +0000 XinAiDesign https://xinaidesign.com/back-ground https://xinaidesign.com/Chinese-Numerology-Algorithms-Details-copy Mon, 29 May 2023 14:31:14 +0000 XinAiDesign https://xinaidesign.com/Chinese-Numerology-Algorithms-Details-copy There is a complete and rigorous order system in the universe that guides the development and transformation of life and matter. However, in the era of ‘slash-and-burn’ agriculture, people lived in chaos and could not understand how the wind blew or how the water flowed. With the evolution of civilization, people began to establish logical relationships and use what is known to try to explain what is unknown, gradually glimpsing the true face of the world. It can be said that using order to control chaos is an eternal theme in human life. In the process of exploring the origin of the world, the Book of Changes, also known as the I Ching or Zhouyi, was born in China during the Bronze Age. It has been compiled and developed by many scholars over generations, covering knowledge in divination, astronomy, calendrics, and other fields, and was considered a compulsory subject for ancient Chinese government officials’ selection exams. From a classical philosophical perspective, it explains the laws of the universe’s operation through the theory of Yin and Yang. The inventor of binary, Gottfried Wilhelm Leibniz, believed that there was a significant similarity between the logical symbols in the Book of Changes and his binary number system. This book will be based on Leibniz’s perspective, using a graphical visual language to explain the mathematical and classical philosophical principles in the Book of Changes by analyzing the binary structure, and elucidating the relationship between the concepts of Yin and Yang and algorithms from a modern perspective. 宇宙有一套完整而严密的秩序系统，引导着生命和物质的发展与变化。但是在“刀耕火种”的年代，人们生活在混乱之中，无法理解风如何刮，水怎样流。随着文明的演变，人们开始通过建立逻辑关系，用已知的事物去尝试解释未知的事物，从而逐渐窥探到世界的真实面貌。 可以说，通过秩序来控制混乱是人类生活中的永恒主题。而在人类探索世界本源的过程中，易经应运而生。 易经，又称周易，是在青铜器时代诞生的中国经典著作。它经历了多代学者的整理和发展，涵盖了卜卦、天文、历法等多个领域的知识，被视为古代科举的必修科目。它从一种古典哲学的视角，通过阴阳二元论来解释宇宙运行的规律。 二进制的发明者戈特弗里德·莱布尼兹认为，易经中的逻辑符号和他的二进制数字表之间有着显著的相似性。本书将基于莱布尼兹的观点，采用图形化的语言，通过分析二进制结构来解释易经中的数学和古典哲学原理，从现代视角阐述阴阳等概念与算法之间的关系。 <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/831b66feaee517d204bb7d7cc7bda3e25f029fd1d1d4dfdbe25b56e61ffc7e65/.gif" data-mid="180298887" border="0" src="https://freight.cargo.site/w/1000/i/831b66feaee517d204bb7d7cc7bda3e25f029fd1d1d4dfdbe25b56e61ffc7e65/.gif" /><img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/d44354c3fe89ab875ddffee5e274feba5df165e423222e9f44107638ddaed337/.gif" data-mid="180298888" border="0" src="https://freight.cargo.site/w/1000/i/d44354c3fe89ab875ddffee5e274feba5df165e423222e9f44107638ddaed337/.gif" /> Authored and published solely by me. ISBN 978-1-3999-5427-3 Special Thanks to: Elliot Zhang Maria Da Gandra Ravin RaoriTim Hutchinson https://xinaidesign.com/buttplug-1 Sun, 20 Jul 2025 18:30:10 +0000 XinAiDesign https://xinaidesign.com/buttplug-1 Free Butt Plugs Across London #Riso&nbsp;#Zine 2025/06 <img width="2137" height="1500" width_o="2137" height_o="1500" data-src="https://freight.cargo.site/t/original/i/0db5dea5b553a279686786183acf1fe0a863ed53123bde7b3d36685438ffb243/scan.gif" data-mid="236050023" border="0" src="https://freight.cargo.site/w/1000/i/0db5dea5b553a279686786183acf1fe0a863ed53123bde7b3d36685438ffb243/scan.gif" /> 伦敦免费肛塞图鉴 通过将真实存在且可在市面上购买的肛塞模型与敌意尖刺的照片并置，我并不是在发明一种比较，而只是指出一个已经存在的事实。两个形状如此相似的物体却能发挥完全相反的功能——前者热情邀请，后者冰冷拒绝。 Free Butt Plugs Across London By juxtaposing models of real, commercially available butt plugs with photos of hostile spikes, I am not inventing a comparison; I am simply pointing out an existing fact. Two objects with such similar shapes can serve completely opposite functions—one offers a warm invitation, while the other delivers a cold rejection. https://xinaidesign.com/Chinese-Numerology-Algorithms Sun, 07 May 2023 13:20:28 +0000 XinAiDesign https://xinaidesign.com/Chinese-Numerology-Algorithms Chinese Numerology &amp; Algorithms↗️ #BookDesign 2023/05 <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/c93ae8e6552661cf5656610319c17f1a9d8d95a35548ccab25c776c159493f92/.jpg" data-mid="197731491" border="0" src="https://freight.cargo.site/w/1000/i/c93ae8e6552661cf5656610319c17f1a9d8d95a35548ccab25c776c159493f92/.jpg" /> <img width="1594" height="1127" width_o="1594" height_o="1127" data-src="https://freight.cargo.site/t/original/i/be8933ce60c60a890746c849c75f787388546058cd73e9b02b42fe4238f40aeb/3.gif" data-mid="179658760" border="0" src="https://freight.cargo.site/w/1000/i/be8933ce60c60a890746c849c75f787388546058cd73e9b02b42fe4238f40aeb/3.gif" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/6e2ee19e99c3aae8cbebd165531da28ddd7e6821966b81b76378cc867dbc867b/.gif" data-mid="177934176" border="0" src="https://freight.cargo.site/w/1000/i/6e2ee19e99c3aae8cbebd165531da28ddd7e6821966b81b76378cc867dbc867b/.gif" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/831b66feaee517d204bb7d7cc7bda3e25f029fd1d1d4dfdbe25b56e61ffc7e65/.gif" data-mid="177930859" border="0" src="https://freight.cargo.site/w/1000/i/831b66feaee517d204bb7d7cc7bda3e25f029fd1d1d4dfdbe25b56e61ffc7e65/.gif" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f1ffe211e561220a40ec64e6033eea6248193403fa80649191c4b022be23d36d/2.jpg" data-mid="197731699" border="0" src="https://freight.cargo.site/w/1000/i/f1ffe211e561220a40ec64e6033eea6248193403fa80649191c4b022be23d36d/2.jpg" /> 《中国命理学与算法》基于莱布尼兹的观点，采用图形化的语言，通过分析二进制结构来解释《易经》中的数学和古典哲学原理，从现代视角阐述了阴阳等概念与算法之间的关系。 Chinese Numerology &amp; Algorithms is based on Leibniz’s perspective, uses a graphical visual language to explain the mathematical and classical philosophical principles in the Book of Changes by analyzing the binary structure, and elucidating the relationship between the concepts of Yin and Yang and algorithms from a modern perspective. https://xinaidesign.com/Yesterday-in-the-Wind Thu, 18 May 2023 19:11:53 +0000 XinAiDesign https://xinaidesign.com/Yesterday-in-the-Wind Yesterday, in the Wind↗️ #Interactive Installation 2023/05 <img width="2667" height="1778" width_o="2667" height_o="1778" data-src="https://freight.cargo.site/t/original/i/43ab2ac2b46693a71166ca9cc09a81ffebcc97f2aff7c2de5af6894a06afea9a/2023-05-18-20.24.29.jpg" data-mid="179213410" border="0" src="https://freight.cargo.site/w/1000/i/43ab2ac2b46693a71166ca9cc09a81ffebcc97f2aff7c2de5af6894a06afea9a/2023-05-18-20.24.29.jpg" /> 《昨日，在风中》是一个交互投影装置。这个作品讨论了在自然环境中的人与感知的关系，探索了当前不可阻挡的城市化进程对人类的认知的影响。这个作品在伦敦传媒学院2023年的Degree Show上得到了首次展出。 Yesterday, in the Wind is an interactive projection. The work discusses the relationship between human and perception in natural environments and explores the impact of current unstoppable urbanisation on human perception. This work was first shown at 2023 Degree Show of London College of Communication. https://xinaidesign.com/FolDer-Magazine Fri, 03 Mar 2023 20:09:27 +0000 XinAiDesign https://xinaidesign.com/FolDer-Magazine FolDer Magazine↗️ #EditorialDesign #Print 2023/01 <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/3b9ba2f6adec4653e932f2a73d138c5b1db4018daf818cc47868642463c064fb/.jpg" data-mid="196341868" border="0" src="https://freight.cargo.site/w/1000/i/3b9ba2f6adec4653e932f2a73d138c5b1db4018daf818cc47868642463c064fb/.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/b30f4a767bb9759fef7381abbd965f9042f4d46850d03c5734d471d278cc82f4/.jpg" data-mid="196341853" border="0" src="https://freight.cargo.site/w/1000/i/b30f4a767bb9759fef7381abbd965f9042f4d46850d03c5734d471d278cc82f4/.jpg" /> <img width="3000" height="2000" width_o="3000" height_o="2000" data-src="https://freight.cargo.site/t/original/i/f2b870b5dff49ca3119163f78ad0eb377179469b1b46d3da409f54703b98278b/-.jpg" data-mid="196341849" border="0" src="https://freight.cargo.site/w/1000/i/f2b870b5dff49ca3119163f78ad0eb377179469b1b46d3da409f54703b98278b/-.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/5a547742ef3615e172a8d53a64996ed9bc271513c58e623b83bc91e17b94151d/2.jpg" data-mid="196341858" border="0" src="https://freight.cargo.site/w/1000/i/5a547742ef3615e172a8d53a64996ed9bc271513c58e623b83bc91e17b94151d/2.jpg" /> <img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/62f9765de97870d54bc6386c55294525fd0f531e8a84a23e0db5e74a4f590a78/3.jpg" data-mid="196341863" border="0" src="https://freight.cargo.site/w/1000/i/62f9765de97870d54bc6386c55294525fd0f531e8a84a23e0db5e74a4f590a78/3.jpg" /> 《FolDer杂志》是在Frandisco 工作室中孕育而生的艺术与设计实验刊物项目，我们的创刊号以视觉诗为主题展开，在视觉实验中尝试打破诗的传统文字形式，以视觉的方式探索诗意的真谛。 FolDer Magazine is an art and design experimental publication project born within Frandisco Studio. Our inaugural issue revolves around the theme of visual poetry, aiming to disrupt the traditional textual form of poetry through visual experimentation, and explore the essence of poetic meaning through a visual approach.