Difference between revisions of "User:Tao Yu"
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典型的梦核风格图像 梦核取材多为童年时期常见的场景 | 典型的梦核风格图像 梦核取材多为童年时期常见的场景 | ||
| − | ''' | + | '''二、“中式梦核”艺术之缘起''' |
| − | + | 梦核是一种诞生于欧美互联网的在线美学形式，其起源与欧美语境下网络原住民“Z世代”的心理补偿机制和“新冠”大流行的历史境况有关。面对社会与技术的加速发展变迁以及步入成年的心理动荡，该世代中一些人开始藉由对童年依恋的表达，以缓释其焦虑。2020年初，以“Z世代”为实践主体的梦核文化在欧美的TikTok、YouTube、Instagram等主流社交媒体平台上流行起来。而新冠疫情的爆发加剧了人们生活的困顿与不确定性，也促使促使更多人渴望逃离现实。其中，“Z世代”中的一些人以互联网兴盛初期那些低保真、低质量的数字图像风格作为载体，试图通过建构超现实的梦境来开展富有抵抗意味的美学表达。 | |
| − | + | 而时下中国“Z世代”青年由于拥有相似的境况，使得梦核这一为“Z世代”所特有的怀旧实践也在中国迅速找到了其生存土壤。不过，不同于欧美世界里梦核文化所侧重传达的对个体存在意义的求索与追问，中式梦核着重追忆传统和过往的社会交往经验。在沿袭门、道路、空房间等令人不安的阈限场所的同时，中式梦核也发掘出如童年的漫画书、老冰棍、习题册等回忆物。可以说，回忆物的不同正是中国与欧美社交平台上的梦核作品之间最显著的视觉表征差异。它的实现依靠作品标题以及图像中关系化、情景化的注解，如“姥姥家”、“叔叔的小轿车”、“妈妈还没有下班”、“千禧年的老照片”。最后，中式梦核在传播过程中弱化了对美学价值的强调，但强化了对缅怀过去和展望未来的积极思考。在“温暖”与“不安”的天平上，中式梦核明显更偏向“温暖”一端。 | |
| − | + | 近年来，“中式梦核”的青年亚文化在B站、豆瓣、小红书等平台上尤为火爆。这种梦核受到千禧年代互联网上旧图像外观的影响，典型地表现为经由技术模拟手段做旧的低保真图像。其内容高度根植于中国城市“Z世代”（又称“互联网世代”，出生于1995~2009年间的一代）的早年生命经历，如千禧年前后的春节、小学微机课、儿时住所。与摆弄随身听、追忆像素游戏等技术怀旧行为相比，这种梦核实践的特殊之处在于其鲜明的反思意识。创作者通过诉诸无人的画面、扭曲的背景音乐、悖论性的标题（如《你可以回到过去，但那里已经没有人了》）等手段，制造出一种既熟悉又陌生、既温馨又怪异的梦境般审美体验。 | |
| + | [[File:dream-core 1.jpg]] | ||
| + | 中式梦核图像——童年小卖部 中式梦核图像——小学微机课 | ||
| − | ''' | + | '''三、“中式梦核”的元素运用''' |
| − | + | '''（一）中式风格的超现实场景''' | |
| − | + | 中式梦核艺术中出现的建筑、房屋等，由于社会发展等诸多因素，造成了千禧一代童年的高度相似性，也由此产生许多共同的场景记忆，为集体记忆的涌现埋下基础。其中包含强烈的中国本土特色，比如具有年代感的中式建筑风格，像老旧的蓝玻璃居民楼、黄木装修的老房子；还有那些充满中国生活气息的场景，如学校门口的小卖部、挂满钟表的文具店、村镇间的客车等，这些都是能唤起人们对特定时期中国生活记忆的典型元素。中式旧核场景中的房屋多建于20世纪七八十年代，那时我国商品房政策尚未实行，住房主要由国家提供，实行的是公房与单位建房实物分配制度。此类房屋样式多模仿苏联的赫鲁晓夫楼，特点是造价低廉，清一色火柴盒型的外观。这也导致了千禧一代儿时多居住于此类外观相似的建筑。 | |
| − | [[File: | + | [[File:dream-core 2.jpg]] |
| + | 中式梦核图像——老旧蓝玻璃楼 中式梦核图像——黄木装修的老房子 | ||
| − | |||
| + | '''（二）语焉不详的旁白文字''' | ||
| − | + | 文字也是在“梦核”美学中经常被使用的元素。文本的内容可以从没有上下文的词组短句到一段完整的对话或独白，并且会根据画面情境选择相衬的字体颜色、大小和内容。这些旁白文本可以引导观者从特定思路或情境中感知画面，达到与观者的互动。“中式梦核”的创作者们通常会使用宋体，这些经典的字体都是Z世代刚刚接触电脑时常用的字体，字体越普通越经典就越容易触发观看者的怀旧情绪。 | |
| − | + | [[File:dream-core 3.jpg]] | |
| − | + | 中式梦核图像——广告传单 中式梦核图像——QQ宠物弹窗 | |
| − | |||
| − | + | '''（三）模糊不清的人物形象''' | |
| + | “中式梦核”图像运用高饱和度、高对比度以及模糊的滤镜等手法，营造出一种仿佛在做梦的感觉。也常选用创作者自己童年时的照片或家人年轻时的照片作为创作的基础图像，在这些作品中，相片中人物的面部、外露的肢体或者是整个形象都被用色块涂抹遮挡，这种做法是基于“梦核”美学中对超现实意味的人像的处理，模糊掉人物的面孔和身形，在隐藏身份信息的同时，带来一种荒诞，不安的效果。 | ||
| − | + | [[File:dream-core 4.jpg]] | |
| + | 中式梦核图像——无正脸地放烟花 中式梦核图像——无正脸的晚会 | ||
| − | |||
| + | '''（四）诡异梦幻的音乐搭配''' | ||
| − | + | 背景音乐多以慢速音乐为主，节奏舒缓，能够营造出一种沉浸感，同时也加深了作品整体的不安、诡异或梦幻的情绪。“梦核”音乐中常用的背景音元素包括齿轮咬合的金属摩擦声，机器运转时低沉的轰隆隆的声音，风扇扇叶旋转的声音，灯管闪烁时的沙沙声等。这些经过低保真的声音处理背景音容易让听者联想起自己站在空旷无人空间中的体验。 | |
| − | + | [[Media:music dream 1.mp3]] [[Media:music dream 2.mp3]] [[Media:music dream 3.mp3]] | |
| + | 录音展示1 录音展示2 录音展示3 | ||
| − | |||
| − | ''' | + | '''四、“中式梦核”中怀旧的本质''' |
| − | + | 在“梦核”美学中，尽管最初引人入胜的是其画面中呈现的奇异梦幻的超现实主义风格，但从创作素材的选取，中式梦核带来的所谓画面效果的“恍惚感”会带给人精神极大的抚慰及放松，这也是为何青年会沉醉于此类技术图像之中。青年们在怀旧中汲取能量，于记忆中休憩身心，这也是当下社会中为数不多属于他们“自己”的空间。技术图像中表现的某一处地点、某一件物体抑或某一种情感，都可以与个体记忆碎片耦合，使得人们可以短暂回到过去的滋味和气息之中，获得一种特别的安全感。 | |
| − | ''' | + | '''术语''' |
| + | |||
| + | 中式梦核 (Chinese Dream-Core) | ||
| + | |||
| + | 怀旧 (Nostalgia) | ||
| + | |||
| + | 超现实主义 (Surrealism) | ||
| + | |||
| + | 低保真图像 (Lo-fi Images) | ||
| + | |||
| + | 梦核美学 (Dream-Core Aesthetics) | ||
| + | |||
| + | 集体记忆 (Collective Memory) | ||
| + | |||
| + | 文化认同 (Cultural Identity) | ||
| + | |||
| + | 画面效果 (Visual Effect) | ||
| + | |||
| + | 情感共鸣 (Emotional Resonance) | ||
| + | |||
| + | 技术图像 (Technological Images) | ||
| + | |||
| + | |||
| + | '''问题''' | ||
| + | |||
| + | 1. “中式梦核”艺术在当今青年文化中兴起的主要影响是什么？ | ||
| + | |||
| + | 2. “中式梦核”中怀旧元素的运用与西方梦核的表现有何不同？ | ||
| + | |||
| + | 3. 在“中式梦核”中，创造梦境般体验的关键视觉和听觉技巧有哪些？ | ||
| + | |||
| + | 4. 为什么“中式梦核”特别强调具有中国特色的建筑和童年物品？ | ||
| + | |||
| + | 5. “中式梦核”如何为中国“Z世代”的文化身份做出贡献？ | ||
| + | |||
| + | |||
| + | '''参考文献''' | ||
| + | |||
| + | [1] 黄顺铭, 刘欣庭. 制造“梦境”：技术怀旧视角下的中式梦核实践[J]. 新闻记者, 2024. | ||
| + | |||
| + | [2] 谢昕烨. 新媒体与旧记忆——“中式旧核”艺术在本土语境下的流变与成因[J]. 艺苑, 2024. | ||
| + | |||
| + | [3] 姚瑶. 怀旧情结下的“梦核”美学艺术表达研究[D]. 导师：车建全. 广州美术学院, 2024. | ||
| + | |||
| + | [4] 张菁芮. 精神分析视域下梦核的艺术表现与审美心理研究[J]. 大众文艺, 2023. | ||
| + | |||
| + | [5] 王润 . 媒介与怀旧：媒介记忆研究的新方向与实践进路 [J]. 新闻与写作,2022. | ||
| + | |||
| + | [6] 丁方舟. 重回本真:当代中国青年基于网络空间的怀旧话语实践研究[J]. 中国青年研究, 2019. | ||
| + | |||
| + | == '''Final Exam Paper (English Version)''' == | ||
| + | |||
| + | == '''《Chinese Dream-Core》''' == | ||
| + | |||
| + | '''I. The Concept of "Dream-Core"''' | ||
| + | |||
| + | The term "core" originates from the French word coeur, meaning "heart." When used as a suffix, it dates back to the 1930s, referring to a "stubborn or unyielding minority group." Among the words incorporating "core" as a suffix are terms like "weird-core" and "trauma-core," which belong to a category of "core art" that represents emerging styles in online literary and artistic aesthetics."Dream-core," as part of this movement, is a new form of experimental visual art that followed the "vaporwave" trend. Its works evoke emotional resonance by presenting images reminiscent of childhood memories or dream-like scenarios. | ||
| + | |||
| + | |||
| + | '''II. The Origins of "Chinese Dream-Core" Art''' | ||
| + | |||
| + | Dream-core is an online aesthetic form that originated in Western internet culture. Its emergence is closely tied to the psychological coping mechanisms of "Generation Z," the digital natives of the West, as well as the historical context of the COVID-19 pandemic. Faced with the rapid social and technological transformations and the psychological turbulence of entering adulthood, some members of this generation began expressing a nostalgic attachment to their childhood as a way to alleviate their anxiety.In early 2020, dream-core culture, driven primarily by "Generation Z," gained popularity on mainstream social media platforms in the West, such as TikTok, YouTube, and Instagram. The outbreak of the COVID-19 pandemic further exacerbated the challenges and uncertainties of daily life, fueling a stronger desire among people to escape reality. Within this context, some members of "Generation Z" adopted the low-fidelity, low-quality digital image styles from the early days of the internet as a medium. Through these visuals, they constructed surreal dreamscapes as a form of aesthetic resistance and emotional expression. | ||
| − | |||
| − | + | However, China's Generation Z youth, sharing similar circumstances, quickly embraced dream-core as a nostalgic practice unique to their generation. Unlike the Western dream-core culture, which focuses on exploring and questioning the meaning of individual existence, Chinese dream-core places greater emphasis on reminiscing about traditions and past social interactions. While inheriting unsettling liminal spaces such as doors, roads, and empty rooms, Chinese dream-core also incorporates memory objects like childhood comic books, old popsicles, and exercise books.The distinction in memory objects represents the most notable visual difference between dream-core works on Chinese and Western social platforms. This differentiation is achieved through the titles of the works and contextualized annotations within the images, such as "Grandma’s House," "Uncle’s Little Car," "Mom’s Still at Work," and "Old Photos from the 2000s."Lastly, during its dissemination, Chinese dream-core de-emphasizes aesthetic value while strengthening reflective thinking on cherishing the past and envisioning the future. On the spectrum between "warmth" and "unease," Chinese dream-core leans significantly towards the "warmth" end. | |
| − | |||
| − | + | In recent years, the youth subculture of "Chinese Dream-Core" has gained significant popularity on platforms such as Bilibili, Douban, and Xiaohongshu. This dream-core aesthetic is influenced by the appearance of old internet imagery from the early 2000s and is typically characterized by low-fidelity images aged through technical simulation methods. Its content is deeply rooted in the early life experiences of China’s urban Generation Z (also known as the "Internet Generation," born between 1995 and 2009), such as Spring Festival celebrations around the millennium, elementary school computer classes, and childhood homes.Unlike nostalgic practices involving portable music players or pixelated games, this dream-core phenomenon is marked by a distinct sense of introspection. Creators evoke a dreamlike aesthetic experience that feels both familiar and alien, warm yet uncanny. This is achieved through elements like desolate scenes, distorted background music, and paradoxical titles such as "You Can Return to the Past, But There’s No One There Anymore." | |
| − | ''' | + | '''III. The Elemental Use in "Chinese Dream-Core"''' |
| + | |||
| + | '''1. Surreal Chinese-Style Scenes''' | ||
| + | |||
| + | The buildings and houses depicted in Chinese dream-core art reflect the shared childhood experiences of the millennial generation, shaped by social development and other factors. This collective similarity gives rise to shared scene-based memories, laying the groundwork for collective nostalgia. These scenes often feature strong elements of Chinese local culture, such as distinctly aged architectural styles: old blue-glass residential buildings, wooden interiors of vintage houses, or everyday scenes like convenience stores outside school gates, stationery shops adorned with clocks, and inter-town buses. These elements are quintessential triggers of memories tied to specific periods in Chinese life.The houses in Chinese dream-core often date back to the 1970s and 1980s, a time when China had not yet implemented its commercial housing policy. Housing was primarily state-provided under a public and workplace-built housing distribution system. The architectural designs of such buildings were often inspired by the Khrushchyovka apartments of the Soviet Union, characterized by their low cost and boxy, uniform "matchbox" appearance. As a result, many millennials spent their childhoods in buildings of strikingly similar designs. | ||
| + | |||
| + | |||
| + | '''2. Ambiguous Narratives in Text''' | ||
| + | |||
| + | Text is another frequently used element in the "dream-core" aesthetic. The content of the text can range from contextless phrases and short sentences to complete dialogues or monologues, with font color, size, and content carefully tailored to the visual scene. These narrative texts serve to guide viewers toward specific interpretations or emotions, facilitating interaction with the artwork.In "Chinese dream-core," creators often employ fonts like Song Ti (宋体), which were commonly used during the early days of computer use among the "Z generation." These classic and unadorned fonts evoke a sense of nostalgia, as their simplicity resonates with memories of early computer experiences, further deepening the viewer's emotional engagement. | ||
| + | |||
| + | |||
| + | '''3. Blurred Human Figures''' | ||
| + | |||
| + | In "Chinese dream-core" imagery, techniques such as high saturation, high contrast, and blurred filters are employed to create a dream-like atmosphere. Creators often use childhood photos of themselves or images of family members in their youth as the base for their creations. In these works, the faces, exposed limbs, or even entire figures of the individuals in the photos are obscured with color blocks or smudges.This approach aligns with the "dream-core" aesthetic's surreal treatment of human figures, blurring the identity of the subjects. While concealing personal details, it also introduces a sense of absurdity and unease, heightening the emotional and psychological depth of the artwork. | ||
| + | |||
| + | |||
| + | '''4. Eerie and Dreamlike Music Accompaniment''' | ||
| + | |||
| + | The background music in "Chinese dream-core" often features slow-paced compositions with a soothing rhythm, creating an immersive atmosphere while amplifying the overall sense of unease, eeriness, or dreamlike emotions in the artwork. Commonly used sound elements in "dream-core" music include the metallic grinding of gears, the low hum of machines in operation, the whirring of fan blades, and the static noise of flickering fluorescent lights.These low-fidelity processed background sounds evoke a sensory connection, often reminding listeners of the experience of standing alone in a vast, empty space, enhancing the surreal and nostalgic quality of the works. | ||
| + | |||
| + | |||
| + | '''IV. The Essence of Nostalgia in "Chinese Dream-Core"''' | ||
| + | |||
| + | In the aesthetics of "dream-core," while the initial allure lies in its surreal, dreamlike style, the essence of "Chinese dream-core" reveals itself through the unique "blurred" effect evoked by its visual elements. This effect offers profound psychological comfort and relaxation, explaining why young people are drawn to such digitally crafted images.Through nostalgia, the youth find energy and solace, reclaiming a rare and personal space in today's society. The representation of a specific location, object, or emotion in these technological images resonates with fragmented personal memories. This resonance allows individuals to briefly revisit the flavors and sensations of the past, fostering a unique sense of security and emotional grounding. | ||
| + | |||
| + | |||
| + | |||
| + | '''Terms and Expressions''' | ||
中式梦核 (Chinese Dream-Core) | 中式梦核 (Chinese Dream-Core) | ||
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| − | ''' | + | '''Questions''' |
| + | |||
| + | 1. What is the primary influence behind the emergence of "Chinese Dream-Core" art in today's youth culture? | ||
| + | |||
| + | 2. How does the use of nostalgic elements in "Chinese Dream-Core" differ from Western interpretations of Dream-Core? | ||
| + | |||
| + | 3. What are the key visual and auditory techniques used in "Chinese Dream-Core" to create a dreamlike experience? | ||
| + | |||
| + | 4. Why does "Chinese Dream-Core" place a strong emphasis on traditional Chinese elements, such as architecture and objects from childhood? | ||
| + | |||
| + | 5. In what ways does "Chinese Dream-Core" contribute to the cultural identity of the "Z Generation" in China? | ||
| − | |||
| − | + | '''References''' | |
| − | + | [1] 黄顺铭, 刘欣庭. 制造“梦境”：技术怀旧视角下的中式梦核实践[J]. 新闻记者, 2024. | |
| − | + | [2] 谢昕烨. 新媒体与旧记忆——“中式旧核”艺术在本土语境下的流变与成因[J]. 艺苑, 2024. | |
| − | + | [3] 姚瑶. 怀旧情结下的“梦核”美学艺术表达研究[D]. 导师：车建全. 广州美术学院, 2024. | |
| + | [4] 张菁芮. 精神分析视域下梦核的艺术表现与审美心理研究[J]. 大众文艺, 2023. | ||
| − | + | [5] 王润 . 媒介与怀旧：媒介记忆研究的新方向与实践进路 [J]. 新闻与写作,2022. | |
| − | [ | + | [6] 丁方舟. 重回本真:当代中国青年基于网络空间的怀旧话语实践研究[J]. 中国青年研究, 2019. |
Latest revision as of 16:28, 30 December 2024
My name is Tao Yu. I graduated from Hunan University of Technology in 2021 and worked as a Japanese teacher at a high school for about a year. While teaching knowledge to students, I also learned a lot of things. I then participated in the graduate school entrance exam and was accepted into Hunan Normal University's Japanese translation major with first place.
At the university, I always demanded the best from myself and passed the JLPT N1 as well as the Level 6 University English exam. In order to improve my leadership skills, I became a member of the class council in class, and my sense of responsibility and energy gradually grew stronger. I also joined a subtitling group as a hobby and have translated several works including manga, anime, and video games.
Nov 6, 2024
I talked with Mira about how to improve oral Japanese today.
Nov 7, 2024
I talked with Mira about Japanese’s eating habits today.
Nov 8, 2024
I talked with Mira about my favorite sport, and I learned how to describe the rules.
Nov 9, 2024
I talked with Mira about my plans for next year, and I practiced using future expressions.
Nov 10, 2024
I talked with Mira about my favorite music, and I learned new words about instruments.
Nov 11, 2024
Today, I took a break from learning English with Mira.
Nov 12, 2024
I talked with Mira about my favorite subject in school, and I learned how to explain my reasons.
Nov 13, 2024
I talked with Mira about my favorite restaurant, and I practiced describing food.
Nov 14, 2024
I talked with Mira about my favorite place to relax, and I learned some adjectives for feelings.
Nov 15, 2024
Today, I didn’t have time to talk with Mira because of my homework.
Nov 16, 2024
I talked with Mira about my travel experiences, and I learned how to describe locations.
Nov 17, 2024
I talked with Mira about how to stay motivated, and I practiced giving suggestions.
Nov 18, 2024
I talked with Mira about my favorite hobby, and I learned new expressions to describe it.
Nov 19, 2024
I talked with Mira about my favorite book, and I practiced explaining why I like it.
Nov 20, 2024
Today, I didn’t have time to talk with Mira because I was busy with a project.
Nov 21, 2024
I talked with Mira about my family traditions, and I learned some vocabulary related to family activities.
Nov 22, 2024
I talked with Mira about a recent trip I took, and I practiced describing places I visited.
Nov 23, 2024
Today, I took a break and didn’t have a conversation with Mira.
Nov 24, 2024
I talked with Mira about my hobbies, and I learned how to talk about my interests in more detail.
Nov 25, 2024
I talked with Mira about my dream job, and I practiced using future tense to talk about career goals.
Nov 26, 2024
Today, I didn’t have time to talk with Mira because of an exam.
Nov 27, 2024
I talked with Mira about the weather in different seasons, and I practiced using adjectives to describe weather conditions.
Nov 28, 2024
I talked with Mira about a movie I watched recently, and I learned how to express my opinions on films.
Nov 29, 2024
Today, I didn’t have time to talk with Mira because I was catching up on some work.
Nov 30, 2024
I talked with Mira about my plans for the weekend, and I practiced using future tenses and time expressions.
Dec 1, 2024
I talked with Mira about healthy habits, and I learned new phrases related to fitness and wellness.
Dec 2, 2024
Today, I took a break and didn’t have a conversation with Mira.
Dec 3, 2024
I talked with Mira about my favorite season, and I practiced explaining what I like to do during that time of year.
Dec 4, 2024
I talked with Mira about technology and its impact on our lives, and I learned new vocabulary related to gadgets and social media.
Dec 5, 2024
Today, I didn’t have time to talk with Mira because I was working on an assignment.
Dec 6, 2024
I talked with Mira about my future travel destinations, and I practiced using the conditional tense.
Dec 7, 2024
Today, I took a break and didn’t have a conversation with Mira.
Dec 8, 2024
I talked with Mira about my favorite foods from different countries, and I learned how to compare different cuisines.
Dec 9, 2024
I talked with Mira about a recent event in the news, and I practiced discussing current events.
Dec 10, 2024
Today, I didn’t have time to talk with Mira because I was preparing for a presentation.
Dec 11, 2024
I talked with Mira about my plans for the holiday season, and I practiced using expressions related to celebrations and family gatherings.
Dec 12, 2024
Today, I shared with Mira my favorite books and we discussed different genres and authors. It was a great way to enhance my reading comprehension skills.
Dec 13, 2024
I talked with Mira about environmental issues and learned some new vocabulary related to sustainability and conservation.
Dec 14, 2024
I practiced my pronunciation with Mira by reading aloud a short story. She gave me tips on how to improve my fluency.
Dec 15, 2024
Today, I didn’t have a conversation with Mira as I was busy.
Dec 16, 2024
I discussed with Mira about the importance of time management and shared some strategies I've been using to stay organized.
Dec 17, 2024
I talked with Mira about my favorite hobbies and activities, and we compared notes on how they help us relax and unwind.
Dec 18, 2024
Today, I practiced my listening skills with Mira by watching a documentary together and discussing our thoughts on it afterward.
Dec 19, 2024
I had a conversation with Mira about cultural differences and how they impact our daily lives. It was an enriching experience learning about each other's backgrounds.
期末论文 (中文版)
《中式梦核》
一、“梦核”的概念
“核(core)”一词来自法语单词“coeur”，意思是“心”。这个词被当作后缀使用则是来自20世纪30年代，指的是“顽固或不屈不挠的少数群体”。在那些以“核”为后缀的词汇中，也包括怪核(weird-core)、伤核(trauma-core)等在内的“核艺术”，用以指代新兴的网络文艺美学风格。而梦核(dream-core)是在“蒸汽波”之后一种新的影像实验艺术，其作品通过展现与童年记忆或梦境相似的画面，唤起人们的情感共鸣。
典型的梦核风格图像 梦核取材多为童年时期常见的场景
二、“中式梦核”艺术之缘起
梦核是一种诞生于欧美互联网的在线美学形式，其起源与欧美语境下网络原住民“Z世代”的心理补偿机制和“新冠”大流行的历史境况有关。面对社会与技术的加速发展变迁以及步入成年的心理动荡，该世代中一些人开始藉由对童年依恋的表达，以缓释其焦虑。2020年初，以“Z世代”为实践主体的梦核文化在欧美的TikTok、YouTube、Instagram等主流社交媒体平台上流行起来。而新冠疫情的爆发加剧了人们生活的困顿与不确定性，也促使促使更多人渴望逃离现实。其中，“Z世代”中的一些人以互联网兴盛初期那些低保真、低质量的数字图像风格作为载体，试图通过建构超现实的梦境来开展富有抵抗意味的美学表达。
而时下中国“Z世代”青年由于拥有相似的境况，使得梦核这一为“Z世代”所特有的怀旧实践也在中国迅速找到了其生存土壤。不过，不同于欧美世界里梦核文化所侧重传达的对个体存在意义的求索与追问，中式梦核着重追忆传统和过往的社会交往经验。在沿袭门、道路、空房间等令人不安的阈限场所的同时，中式梦核也发掘出如童年的漫画书、老冰棍、习题册等回忆物。可以说，回忆物的不同正是中国与欧美社交平台上的梦核作品之间最显著的视觉表征差异。它的实现依靠作品标题以及图像中关系化、情景化的注解，如“姥姥家”、“叔叔的小轿车”、“妈妈还没有下班”、“千禧年的老照片”。最后，中式梦核在传播过程中弱化了对美学价值的强调，但强化了对缅怀过去和展望未来的积极思考。在“温暖”与“不安”的天平上，中式梦核明显更偏向“温暖”一端。
近年来，“中式梦核”的青年亚文化在B站、豆瓣、小红书等平台上尤为火爆。这种梦核受到千禧年代互联网上旧图像外观的影响，典型地表现为经由技术模拟手段做旧的低保真图像。其内容高度根植于中国城市“Z世代”（又称“互联网世代”，出生于1995~2009年间的一代）的早年生命经历，如千禧年前后的春节、小学微机课、儿时住所。与摆弄随身听、追忆像素游戏等技术怀旧行为相比，这种梦核实践的特殊之处在于其鲜明的反思意识。创作者通过诉诸无人的画面、扭曲的背景音乐、悖论性的标题（如《你可以回到过去，但那里已经没有人了》）等手段，制造出一种既熟悉又陌生、既温馨又怪异的梦境般审美体验。
中式梦核图像——童年小卖部 中式梦核图像——小学微机课
三、“中式梦核”的元素运用
（一）中式风格的超现实场景
中式梦核艺术中出现的建筑、房屋等，由于社会发展等诸多因素，造成了千禧一代童年的高度相似性，也由此产生许多共同的场景记忆，为集体记忆的涌现埋下基础。其中包含强烈的中国本土特色，比如具有年代感的中式建筑风格，像老旧的蓝玻璃居民楼、黄木装修的老房子；还有那些充满中国生活气息的场景，如学校门口的小卖部、挂满钟表的文具店、村镇间的客车等，这些都是能唤起人们对特定时期中国生活记忆的典型元素。中式旧核场景中的房屋多建于20世纪七八十年代，那时我国商品房政策尚未实行，住房主要由国家提供，实行的是公房与单位建房实物分配制度。此类房屋样式多模仿苏联的赫鲁晓夫楼，特点是造价低廉，清一色火柴盒型的外观。这也导致了千禧一代儿时多居住于此类外观相似的建筑。
中式梦核图像——老旧蓝玻璃楼 中式梦核图像——黄木装修的老房子
（二）语焉不详的旁白文字
文字也是在“梦核”美学中经常被使用的元素。文本的内容可以从没有上下文的词组短句到一段完整的对话或独白，并且会根据画面情境选择相衬的字体颜色、大小和内容。这些旁白文本可以引导观者从特定思路或情境中感知画面，达到与观者的互动。“中式梦核”的创作者们通常会使用宋体，这些经典的字体都是Z世代刚刚接触电脑时常用的字体，字体越普通越经典就越容易触发观看者的怀旧情绪。
中式梦核图像——广告传单 中式梦核图像——QQ宠物弹窗
（三）模糊不清的人物形象
“中式梦核”图像运用高饱和度、高对比度以及模糊的滤镜等手法，营造出一种仿佛在做梦的感觉。也常选用创作者自己童年时的照片或家人年轻时的照片作为创作的基础图像，在这些作品中，相片中人物的面部、外露的肢体或者是整个形象都被用色块涂抹遮挡，这种做法是基于“梦核”美学中对超现实意味的人像的处理，模糊掉人物的面孔和身形，在隐藏身份信息的同时，带来一种荒诞，不安的效果。
中式梦核图像——无正脸地放烟花 中式梦核图像——无正脸的晚会
（四）诡异梦幻的音乐搭配
背景音乐多以慢速音乐为主，节奏舒缓，能够营造出一种沉浸感，同时也加深了作品整体的不安、诡异或梦幻的情绪。“梦核”音乐中常用的背景音元素包括齿轮咬合的金属摩擦声，机器运转时低沉的轰隆隆的声音，风扇扇叶旋转的声音，灯管闪烁时的沙沙声等。这些经过低保真的声音处理背景音容易让听者联想起自己站在空旷无人空间中的体验。
Media:music dream 1.mp3 Media:music dream 2.mp3 Media:music dream 3.mp3
录音展示1 录音展示2 录音展示3
四、“中式梦核”中怀旧的本质
在“梦核”美学中，尽管最初引人入胜的是其画面中呈现的奇异梦幻的超现实主义风格，但从创作素材的选取，中式梦核带来的所谓画面效果的“恍惚感”会带给人精神极大的抚慰及放松，这也是为何青年会沉醉于此类技术图像之中。青年们在怀旧中汲取能量，于记忆中休憩身心，这也是当下社会中为数不多属于他们“自己”的空间。技术图像中表现的某一处地点、某一件物体抑或某一种情感，都可以与个体记忆碎片耦合，使得人们可以短暂回到过去的滋味和气息之中，获得一种特别的安全感。
术语
中式梦核 (Chinese Dream-Core)
怀旧 (Nostalgia)
超现实主义 (Surrealism)
低保真图像 (Lo-fi Images)
梦核美学 (Dream-Core Aesthetics)
集体记忆 (Collective Memory)
文化认同 (Cultural Identity)
画面效果 (Visual Effect)
情感共鸣 (Emotional Resonance)
技术图像 (Technological Images)
问题
1. “中式梦核”艺术在当今青年文化中兴起的主要影响是什么？
2. “中式梦核”中怀旧元素的运用与西方梦核的表现有何不同？
3. 在“中式梦核”中，创造梦境般体验的关键视觉和听觉技巧有哪些？
4. 为什么“中式梦核”特别强调具有中国特色的建筑和童年物品？
5. “中式梦核”如何为中国“Z世代”的文化身份做出贡献？
参考文献
[1] 黄顺铭, 刘欣庭. 制造“梦境”：技术怀旧视角下的中式梦核实践[J]. 新闻记者, 2024.
[2] 谢昕烨. 新媒体与旧记忆——“中式旧核”艺术在本土语境下的流变与成因[J]. 艺苑, 2024.
[3] 姚瑶. 怀旧情结下的“梦核”美学艺术表达研究[D]. 导师：车建全. 广州美术学院, 2024.
[4] 张菁芮. 精神分析视域下梦核的艺术表现与审美心理研究[J]. 大众文艺, 2023.
[5] 王润 . 媒介与怀旧：媒介记忆研究的新方向与实践进路 [J]. 新闻与写作,2022.
[6] 丁方舟. 重回本真:当代中国青年基于网络空间的怀旧话语实践研究[J]. 中国青年研究, 2019.
Final Exam Paper (English Version)
《Chinese Dream-Core》
I. The Concept of "Dream-Core"
The term "core" originates from the French word coeur, meaning "heart." When used as a suffix, it dates back to the 1930s, referring to a "stubborn or unyielding minority group." Among the words incorporating "core" as a suffix are terms like "weird-core" and "trauma-core," which belong to a category of "core art" that represents emerging styles in online literary and artistic aesthetics."Dream-core," as part of this movement, is a new form of experimental visual art that followed the "vaporwave" trend. Its works evoke emotional resonance by presenting images reminiscent of childhood memories or dream-like scenarios.
II. The Origins of "Chinese Dream-Core" Art
Dream-core is an online aesthetic form that originated in Western internet culture. Its emergence is closely tied to the psychological coping mechanisms of "Generation Z," the digital natives of the West, as well as the historical context of the COVID-19 pandemic. Faced with the rapid social and technological transformations and the psychological turbulence of entering adulthood, some members of this generation began expressing a nostalgic attachment to their childhood as a way to alleviate their anxiety.In early 2020, dream-core culture, driven primarily by "Generation Z," gained popularity on mainstream social media platforms in the West, such as TikTok, YouTube, and Instagram. The outbreak of the COVID-19 pandemic further exacerbated the challenges and uncertainties of daily life, fueling a stronger desire among people to escape reality. Within this context, some members of "Generation Z" adopted the low-fidelity, low-quality digital image styles from the early days of the internet as a medium. Through these visuals, they constructed surreal dreamscapes as a form of aesthetic resistance and emotional expression.
However, China's Generation Z youth, sharing similar circumstances, quickly embraced dream-core as a nostalgic practice unique to their generation. Unlike the Western dream-core culture, which focuses on exploring and questioning the meaning of individual existence, Chinese dream-core places greater emphasis on reminiscing about traditions and past social interactions. While inheriting unsettling liminal spaces such as doors, roads, and empty rooms, Chinese dream-core also incorporates memory objects like childhood comic books, old popsicles, and exercise books.The distinction in memory objects represents the most notable visual difference between dream-core works on Chinese and Western social platforms. This differentiation is achieved through the titles of the works and contextualized annotations within the images, such as "Grandma’s House," "Uncle’s Little Car," "Mom’s Still at Work," and "Old Photos from the 2000s."Lastly, during its dissemination, Chinese dream-core de-emphasizes aesthetic value while strengthening reflective thinking on cherishing the past and envisioning the future. On the spectrum between "warmth" and "unease," Chinese dream-core leans significantly towards the "warmth" end.
In recent years, the youth subculture of "Chinese Dream-Core" has gained significant popularity on platforms such as Bilibili, Douban, and Xiaohongshu. This dream-core aesthetic is influenced by the appearance of old internet imagery from the early 2000s and is typically characterized by low-fidelity images aged through technical simulation methods. Its content is deeply rooted in the early life experiences of China’s urban Generation Z (also known as the "Internet Generation," born between 1995 and 2009), such as Spring Festival celebrations around the millennium, elementary school computer classes, and childhood homes.Unlike nostalgic practices involving portable music players or pixelated games, this dream-core phenomenon is marked by a distinct sense of introspection. Creators evoke a dreamlike aesthetic experience that feels both familiar and alien, warm yet uncanny. This is achieved through elements like desolate scenes, distorted background music, and paradoxical titles such as "You Can Return to the Past, But There’s No One There Anymore."
III. The Elemental Use in "Chinese Dream-Core"
1. Surreal Chinese-Style Scenes
The buildings and houses depicted in Chinese dream-core art reflect the shared childhood experiences of the millennial generation, shaped by social development and other factors. This collective similarity gives rise to shared scene-based memories, laying the groundwork for collective nostalgia. These scenes often feature strong elements of Chinese local culture, such as distinctly aged architectural styles: old blue-glass residential buildings, wooden interiors of vintage houses, or everyday scenes like convenience stores outside school gates, stationery shops adorned with clocks, and inter-town buses. These elements are quintessential triggers of memories tied to specific periods in Chinese life.The houses in Chinese dream-core often date back to the 1970s and 1980s, a time when China had not yet implemented its commercial housing policy. Housing was primarily state-provided under a public and workplace-built housing distribution system. The architectural designs of such buildings were often inspired by the Khrushchyovka apartments of the Soviet Union, characterized by their low cost and boxy, uniform "matchbox" appearance. As a result, many millennials spent their childhoods in buildings of strikingly similar designs.
2. Ambiguous Narratives in Text
Text is another frequently used element in the "dream-core" aesthetic. The content of the text can range from contextless phrases and short sentences to complete dialogues or monologues, with font color, size, and content carefully tailored to the visual scene. These narrative texts serve to guide viewers toward specific interpretations or emotions, facilitating interaction with the artwork.In "Chinese dream-core," creators often employ fonts like Song Ti (宋体), which were commonly used during the early days of computer use among the "Z generation." These classic and unadorned fonts evoke a sense of nostalgia, as their simplicity resonates with memories of early computer experiences, further deepening the viewer's emotional engagement.
3. Blurred Human Figures
In "Chinese dream-core" imagery, techniques such as high saturation, high contrast, and blurred filters are employed to create a dream-like atmosphere. Creators often use childhood photos of themselves or images of family members in their youth as the base for their creations. In these works, the faces, exposed limbs, or even entire figures of the individuals in the photos are obscured with color blocks or smudges.This approach aligns with the "dream-core" aesthetic's surreal treatment of human figures, blurring the identity of the subjects. While concealing personal details, it also introduces a sense of absurdity and unease, heightening the emotional and psychological depth of the artwork.
4. Eerie and Dreamlike Music Accompaniment
The background music in "Chinese dream-core" often features slow-paced compositions with a soothing rhythm, creating an immersive atmosphere while amplifying the overall sense of unease, eeriness, or dreamlike emotions in the artwork. Commonly used sound elements in "dream-core" music include the metallic grinding of gears, the low hum of machines in operation, the whirring of fan blades, and the static noise of flickering fluorescent lights.These low-fidelity processed background sounds evoke a sensory connection, often reminding listeners of the experience of standing alone in a vast, empty space, enhancing the surreal and nostalgic quality of the works.
IV. The Essence of Nostalgia in "Chinese Dream-Core"
In the aesthetics of "dream-core," while the initial allure lies in its surreal, dreamlike style, the essence of "Chinese dream-core" reveals itself through the unique "blurred" effect evoked by its visual elements. This effect offers profound psychological comfort and relaxation, explaining why young people are drawn to such digitally crafted images.Through nostalgia, the youth find energy and solace, reclaiming a rare and personal space in today's society. The representation of a specific location, object, or emotion in these technological images resonates with fragmented personal memories. This resonance allows individuals to briefly revisit the flavors and sensations of the past, fostering a unique sense of security and emotional grounding.
Terms and Expressions
中式梦核 (Chinese Dream-Core)
怀旧 (Nostalgia)
超现实主义 (Surrealism)
低保真图像 (Lo-fi Images)
梦核美学 (Dream-Core Aesthetics)
集体记忆 (Collective Memory)
文化认同 (Cultural Identity)
画面效果 (Visual Effect)
情感共鸣 (Emotional Resonance)
技术图像 (Technological Images)
Questions
1. What is the primary influence behind the emergence of "Chinese Dream-Core" art in today's youth culture?
2. How does the use of nostalgic elements in "Chinese Dream-Core" differ from Western interpretations of Dream-Core?
3. What are the key visual and auditory techniques used in "Chinese Dream-Core" to create a dreamlike experience?
4. Why does "Chinese Dream-Core" place a strong emphasis on traditional Chinese elements, such as architecture and objects from childhood?
5. In what ways does "Chinese Dream-Core" contribute to the cultural identity of the "Z Generation" in China?
References
[1] 黄顺铭, 刘欣庭. 制造“梦境”：技术怀旧视角下的中式梦核实践[J]. 新闻记者, 2024.
[2] 谢昕烨. 新媒体与旧记忆——“中式旧核”艺术在本土语境下的流变与成因[J]. 艺苑, 2024.
[3] 姚瑶. 怀旧情结下的“梦核”美学艺术表达研究[D]. 导师：车建全. 广州美术学院, 2024.
[4] 张菁芮. 精神分析视域下梦核的艺术表现与审美心理研究[J]. 大众文艺, 2023.
[5] 王润 . 媒介与怀旧：媒介记忆研究的新方向与实践进路 [J]. 新闻与写作,2022.
[6] 丁方舟. 重回本真:当代中国青年基于网络空间的怀旧话语实践研究[J]. 中国青年研究, 2019.