Longwen Wei

Chinese symbols in Australia

Abstract

This practice-based research has focused on the Chinese symbols in Australia. It was the first attempt to explore and reveal Asian historical and cultural symbols in non-Asian countries. It started with the inquiry to the use of Chinese symbols in design at the backdrop of globalisation. By asking the question, “how does a communication designer construct historical and cultural symbols through local knowledge?” the project set out to find a way of building new symbols by practising locally. Local knowledge has shown a perspective of historical particularism. It requires us to abandon a global and universal view of history. It informed us to re-examine those universal Chinese symbols and turn to a notion of symbols based on local history and culture. Pierce’s semiotics, which symbol stands for an object based on conventional reasons, and Bourdieu’s cultural fieldwork, Foucault’s knowledge of archaeology, and Derrida’s Archive Fever have provided theoretical framework support and guidance for this project. As practice-based research, the project has answered the research question by transdisciplinary practices, including semiotic analysis, discourse analysis, archival research, observation and interview as cultural fieldwork, poster design, editorial design, and book design.

In addition, this project provides a new perspective for the coexistence of multi-cultures in the context of globalisation. It forces people to rethink the relationship between the developed culture and traditional culture - Does the disappearance of traditional culture always follow cultural development? As communication designers, can we balance multiple cultures in a culturally diverse environment or even multiculturalism? And how do we handle the forgotten histories and vanishing cultures through communication design? Chinese symbols in Australia will continue to explore the Asian symbols in non-Asian countries in the future.

In Phase 1, I researched Chinese cultural symbols broadly. I dug into the Chinese symbols by researching Chinese history in Australia through online archives and local museums to seek the possibility of constructing and innovating the Chinese symbols in Australia. I found the potential symbols, such as banana, bonsai, Chinese medicine, and others. Then, the constructed symbols were presented through poster design. It revealed the uniqueness and irreplaceability of the symbols in the context of "Chinese in Australia". Hence, local knowledge was an indispensable factor in my practice. Furthermore, through the research and design practice, I learnt that all the history and cultures are constantly shaping the symbols. In return, the symbols represent history and culture in a certain way.

In phase 2, I conducted a more in-depth study on the symbols of phase 1. By practising the theory of Pierce's semiotic, which symbol stands for an object based on conventional reasons, I used the collected materials to retell the historical and cultural events behind the symbols by using photo editing, writing and editorial design. The interview is another crucial part of phase 2. As a practice based on anthropology's methodology, the interview has become a way to respond to the symbols and reveal the relationship between local people and the symbols. I interviewed five people living in Australia, transcribed the records, and translated them into English and Chinese. All the results were edited into a book as a representation, reflection and construction of the symbols.

Phase 3 is focused on constructing the symbols with book design. Moreover, the book reflects an urgent need to symbolise and archive Australia's Chinese history and cultures (especially those about to be forgotten and the dying culture) through its form. The book is around 320 pages include the archival history and interview of each symbol. It's a small and portable book which is 11 x 15.5, lay-flat binding. For the materials collation of the book, I created a folder and a list that includes the thumbnails, copyright, year creation, short description and the URL for each symbol. Another of the most important things I've done for this stage was to decide further on Typography and editorial design details. The book reveals that there's no single line for a historical narrative, and it also informed the forming of the Chinese symbol in Australia. It proves that a symbol is not constructed with a single history, culture or experience, but is the intersection of multiple chances.