{"id":95,"date":"2021-01-24T02:42:27","date_gmt":"2021-01-24T02:42:27","guid":{"rendered":"https:\/\/lilyhonglei.net\/?page_id=95"},"modified":"2026-02-11T16:22:22","modified_gmt":"2026-02-11T16:22:22","slug":"ar-art","status":"publish","type":"page","link":"https:\/\/lilyhonglei.net\/?page_id=95","title":{"rendered":"AR"},"content":{"rendered":"\n<p class=\"has-text-align-center\"><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-cyan-bluish-gray-color\"> <\/mark> <\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Lily Xiying Yang (Virtual Reality Artist) on &quot;Creativity and Activism in Extended Reality&quot;\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/3fmQ-SdLe8o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><figcaption>Artist talk on Creativity &amp; Activism in Extended Reality, <a href=\"https:\/\/leonardo.info\/civicrm\/event\/info%3Fid%3D706%26reset%3D1\" target=\"_blank\" rel=\"noreferrer noopener\">Stanford University<\/a><\/figcaption><\/figure>\n\n\n\n<p>Browse Lily Honglei&#8217;s Augmented Reality (AR) projects<\/p>\n\n\n\n<ul class=\"wp-block-list\"><li><strong><em><a href=\"#butterfly\">Butterfly Lovers<\/a><\/em><\/strong><\/li><li><strong><em><a href=\"#god\">Statue of Democracy<\/a> &amp; <a href=\"#tankman\">Tank Man<\/a> (in collaboration with John Craig Freeman)<\/em><\/strong><\/li><li><strong><em><a href=\"#shadowplay\">Shadow Play: Tales of Urbanization in China<\/a><\/em><\/strong><\/li><li><strong><em><a href=\"#https:\/\/lilyhonglei.net\/?page_id=908#ar\">Sunken Garden<\/a><\/em><\/strong><\/li><li><strong><em><a href=\"#crystalcoffin\">Crystal Coffin &#8211; Virtual China Pavilion<\/a><\/em><\/strong><\/li><li><a href=\"#falling\"><strong><em><strong><em>From Lewisburg <\/em><\/strong>to<\/em><\/strong> <strong><em>Silicon Valley<\/em><\/strong><\/a><\/li><li><strong><em><a href=\"#takeout\">Chinese Take Out<\/a><\/em><\/strong><\/li><li><a href=\"#manifestar\">about Manifest.AR<\/a><\/li><\/ul>\n\n\n\n<p class=\"has-text-align-center\"><mark style=\"background-color:rgba(0, 0, 0, 0)\" class=\"has-inline-color has-cyan-bluish-gray-color\">___________________________________PROJECTS__________________________________<\/mark><\/p>\n\n\n\n<p class=\"has-text-align-center\" id=\"butterfly\"><strong><em>Butterfly Lovers<\/em>&nbsp;at Times Square<\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"576\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2022\/06\/butterfly-lovers-timesSquare.jpg?resize=1024%2C576&#038;ssl=1\" alt=\"\" class=\"wp-image-1203\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2022\/06\/butterfly-lovers-timesSquare.jpg?resize=1024%2C576&amp;ssl=1 1024w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2022\/06\/butterfly-lovers-timesSquare.jpg?resize=300%2C169&amp;ssl=1 300w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2022\/06\/butterfly-lovers-timesSquare.jpg?resize=768%2C432&amp;ssl=1 768w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2022\/06\/butterfly-lovers-timesSquare.jpg?w=1280&amp;ssl=1 1280w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><figcaption><em>The<\/em> <em>Butterfly Lovers<\/em> AR at Times Square, NYC<br>Lily Honglei Art Studio\u00a9<\/figcaption><\/figure>\n<\/div>\n\n\n<p><strong>Credit<\/strong>: Painting by Lily &amp; Honglei, Augmented Reality by John Craig Freeman, Documentation by Will Pappenheimer and John Craig Freeman<br><strong>Year of Production:<\/strong>&nbsp;2009-2011<br><strong>Medium<\/strong>: Oil on paper, Augmented Reality application for mobile phone<br><strong>Augmented Reality&nbsp;Installation Locations<\/strong>:<br>1)&nbsp;<strong><a href=\"https:\/\/medium.com\/@lebonrach\/remediating-collective-memory-or-just-a-moving-image-augmented-reality-in-contemporary-southeast-b00349fed394\">Times Square in New York<\/a><\/strong>, U.S.<br>2)&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/www.icaboston.org\/exhibitions\/onview\/manifest_ar_2011\/\" target=\"_blank\"><strong>Boston Institute of Contemporary Art&nbsp;<\/strong><\/a>(ICA), U.S, during&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/bostoncyberarts.org\/events\/events2011\/event_details_page.php?page_id=&amp;eventid=619&amp;catid=0&amp;startpage=1&amp;showdate=\" target=\"_blank\"><strong><em>Boston Cyberart Festival 2011.<\/em><\/strong><\/a><br>3)&nbsp;<strong><a rel=\"noreferrer noopener\" href=\"http:\/\/www.unseensculptures.com\/\" target=\"_blank\"><em>Unseen Sculptures<\/em><\/a><\/strong>&nbsp;exhibition at Surry Hills, Sydney (as part of the&nbsp;<a href=\"http:\/\/lilyhonglei.files.wordpress.com\/2011\/03\/shf11_media_release_3.pdf\">Surry Hill Festival<\/a>) and around the Melbourne CBD, Australia.<br>4)&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/lilyhonglei.wordpress.com\/2011\/10\/03\/mediating-place-exhibition-at-harbor-gallery-ma\/\" target=\"_blank\"><em><strong>Mediating Place<\/strong><\/em><\/a>&nbsp;exhibition at Harbor Gallery, University of Massachusetts Boston, U.S.<\/p>\n\n\n\n<p class=\"has-text-align-justify\"><strong>Work Description<\/strong>: Derived from a popular Chinese folktale&nbsp;<em>Butterfly Lovers<\/em>&nbsp;(\u6881\u5c71\u4f2f\u4e0e\u795d\u82f1\u53f0\uff09regarded as the equivalent of<em>&nbsp;Romeo and Juliet<\/em>, the painted figures in traditional costumes are placed at Times Square in New York City. The site-specific Augment Reality installation addresses issues of Chinese diaspora and cultural identity, and visualizes the restless, roaming cultural spirit of the East hidden in western metropolis.<\/p>\n\n\n\n<p class=\"has-text-align-justify\">Integrating painting and mobile phone augmented-reality application, artists weave storytelling of Chinese folklore into a contemporary, global circumstance. The two layers are contradictory yet interpenetrated: while the&nbsp;<em>Butterfly Lovers<\/em>&nbsp;symbolizes perpetual repression of humanity and resistance in Chinese culture,&nbsp;the night scene of Times Square in Manhattan is an emblem of Americanism and consumerism. As Chinese immigrant artists, we have witnessed many tragic stories of our friends pursuing American dreams. Although being surrounded by crowds and dazzling material world, they live in isolation, and struggle to survive. Our own life experience and the fate of immigrants urge us to expose the situation through artworks. What is the real relationship between&nbsp;cultural spirit and material reality? This is&nbsp; the question raised by&nbsp;<em>Butterfly Lovers<\/em>.<\/p>\n\n\n\n<p><em>Butterfly Lovers<\/em>&nbsp;AR has been exhibited around the world, recent shows including&nbsp;<a href=\"http:\/\/sa2013.siggraph.org\/en\/attendees-1\/works-on-display.html\">SIGGRAPH Asia 2013 in Honglei Kong<\/a>.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-full\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"720\" height=\"395\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2022\/04\/butterflyLovers-ar.jpg?resize=720%2C395&#038;ssl=1\" alt=\"Lily Honglei, public art, Asian American, Asian American artist, Chinese American artist, augmented reality art\" class=\"wp-image-1008\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2022\/04\/butterflyLovers-ar.jpg?w=720&amp;ssl=1 720w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2022\/04\/butterflyLovers-ar.jpg?resize=300%2C165&amp;ssl=1 300w\" sizes=\"auto, (max-width: 720px) 100vw, 720px\" \/><\/figure>\n<\/div>\n\n\n<p class=\"has-text-align-center has-text-color\" style=\"color:#999999\"><em>Butterfly Lovers AR&nbsp;<\/em>at&nbsp;<a href=\"http:\/\/sa2013.siggraph.org\/en\/attendees-1\/works-on-display.html\">SIGGRAPH Asia 2013 in Honglei Kong<\/a>. Mobile phone screenshots by Arthur Clay.<\/p>\n\n\n\n<p>** Launch&nbsp;<em>Butterfly Lovers<\/em>&nbsp;<em>Layar&nbsp;<\/em>application on mobile phone:&nbsp;<a href=\"http:\/\/www.layar.com\/layers\/butterflylovers\">http:\/\/www.layar.com\/layers\/butterflylovers<\/a><\/p>\n\n\n\n<p class=\"has-text-align-center\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"17\" class=\"wp-image-88\" style=\"width: 150px;\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&#038;ssl=1\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?w=153&amp;ssl=1 153w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&amp;ssl=1 150w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/p>\n\n\n\n<p class=\"has-text-align-center\" id=\"god\"><strong><em>Goddess of Democracy &amp; Tank Man<\/em><\/strong>&nbsp;at Tiananmen Square<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-embed-handler wp-block-embed-embed-handler wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Goddess of Democracy ICA\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/s7JSUAJXvUY?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>Credit:<\/strong>&nbsp;&nbsp;<a href=\"http:\/\/fourgentlemen.blogspot.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">4gentlemen<\/a><br><strong>Year of Completion:<\/strong>&nbsp;2011<br><strong>Medium:<\/strong>&nbsp;Computer 3D Models, Augmented Reality application for mobile phone<br><strong>Augmented Reality Installation Locations:<\/strong><br>1)&nbsp;<a href=\"http:\/\/fourgentlemen.blogspot.com\/2011_01_01_archive.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Tiananmen Square, Beijing, China<\/strong><\/a><br>2)&nbsp;<a href=\"http:\/\/lilyhonglei.com\/ar\/fourgentlemen.blogspot.com\/2011\/02\/egypt-china.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Tahrir Square, Cairo, Egypt<\/strong><\/a><br>3)&nbsp;<a href=\"http:\/\/fourgentlemen.blogspot.com\/2011\/06\/note-on-22th-anniversary-of-1989.html\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Saint Mark Square, 2011 Venice Biennale (June 4th &#8211; November 27th), Italy<\/strong><\/a><br>4)&nbsp;<a href=\"http:\/\/johncraigfreeman.wordpress.com\/2011\/10\/15\/tiananmen-squared-by-4-gentlemen-aroccupywallstreet\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>AR Occupy Wall Street, New York City, U.S<\/strong><\/a><br>5)&nbsp;<a href=\"http:\/\/manifestarblog.wordpress.com\/ica\/4gentlemen\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Boston Institute of Contemporary Art (ICA), U.S<\/strong><\/a>.<\/p>\n\n\n\n<p class=\"has-text-align-justify\"><strong>Work Description:&nbsp;<\/strong>Although it has been more than thirty years since Tiananman Protest took place in 1989, the authority persistently uses all means erasing the facts that Chinese people pursued democracy in this democratic and anti-corruption movement. In China, nowadays, young people are not aware the courageous actions, such as &#8216;Tank Man&#8217; and erecting &#8216;Statue of Democracy&#8217; facing Mao&#8217;s portrait on Tiananman Tower, emerged during student movement of 1989. Nonetheless, history should not be forgotten.&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-justify\">Information and communication technologies have inspired people to express their thoughts freely. We as artists, taking advantages of the development&nbsp; of mobile phone technology and smartphone applications, have revived the history of 1989 Tiananman Protest that&nbsp; has tremendous implications waiting&nbsp; for further examinations by our contemporaries.&nbsp;(<a href=\"http:\/\/fourgentlemen.blogspot.com\/2011\/01\/tiananmen-square-augmented-reality.html\" target=\"_blank\" rel=\"noreferrer noopener\">continue reading<\/a>)<\/p>\n\n\n\n<p class=\"has-text-align-center\" id=\"tankman\">[<strong>ESSAY<\/strong>]<\/p>\n\n\n\n<p class=\"has-text-align-center\">Dr. Margaret Hillenbrand, University of Oxford<br><strong><em>Remaking Tank Man, in China&nbsp;<\/em><\/strong>(<a href=\"https:\/\/journals.sagepub.com\/doi\/abs\/10.1177\/1470412917703154\" target=\"_blank\" rel=\"noreferrer noopener\">Journal of Visual Culture<\/a>)<\/p>\n\n\n\n<p class=\"has-text-align-justify\">&#8230; This notion of digital questing, and via camera-based platforms, steps up a notch in a recent work by the anonymous artistic collective 4Gentlemen (a pseudonym used by the Lily and Honglei art studio). Entitled Tian\u2019anmen Squared, it uses the smartphone technologies of augmented reality to allow Tank Man\u2019s spirit to return to Beijing and stalk his former haunts (4Gentlemen, 2011). More commonly associated with military or gaming applications, augmented reality has shaped up in the last few years as a potent tool for conceptual artists. Its highwater mark so far is probably Amir Badaran\u2019s Frenchising Mona Lisa, an app which allows users to train their phones on any version of Da Vinci\u2019s painting and watch as the enigmatic one miraculously removes her feather-light veil and wraps the Tricolore around her head as if it were a hijab. French secularism, sartorial hypocrisy (why are some scarves ok and others not?), curatorial control, the whims of iconography, and the shifting status of the artist all coalesce as targets within the frame here. Criticized by some as a self-promoting prankster, Badaranargues for the value of augmented reality as a \u2018legitimate installation art medium\u2019 (Hube, 2014). He seeks, as he puts it, to \u2018bring AR-as-art into the museum\u2019 (Hube, 2014) and his abiding gripe is, indeed, with the Louvre as a stuffily sacrosanct institution which he debunks via invasionary attacks, essentially breaking into the museum to make his mischief. These notions of appropriate space-use, and how to violate it, have been crucial to augmented reality as an art form, as interventionist installations such as Sander Veenhof and Mark Skwarek\u2019s 2010 AR exhibition in MoMA showed very clearly. Over 30 artists took part in the \u2018art invasion\u2019 exhibition, showing their works all over the building and effectively annexing the museum space for any visitor who had the app installed.<\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"aligncenter size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"1024\" height=\"666\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/tankMan-1-2.jpg?resize=1024%2C666&#038;ssl=1\" alt=\"\" class=\"wp-image-171\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/tankMan-1-2.jpg?resize=1024%2C666&amp;ssl=1 1024w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/tankMan-1-2.jpg?resize=300%2C195&amp;ssl=1 300w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/tankMan-1-2.jpg?resize=768%2C499&amp;ssl=1 768w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/tankMan-1-2.jpg?resize=1536%2C998&amp;ssl=1 1536w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/tankMan-1-2.jpg?w=1600&amp;ssl=1 1600w\" sizes=\"auto, (max-width: 1000px) 100vw, 1000px\" \/><figcaption>Figure 13. 4Gentlemen: Tiananmen Squared, 2011<\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"has-text-align-justify\">Needless to say, this idea of spatial pranking has broader implications. Some of these have been mapped, quite literally, by 4Gentlemen, who have used the AR application Layar to invade the space of Tian\u2019anmen Square and its surrounds with verboten memories. Once downloaded onto a smartphone, the app uses geolocation software to superimpose a computer-generated icon of Tank Man, sized to the original scale, at the exact GPS co-ordinates on Chang\u2019an Avenue just off the square in Beijing where the face-off between man and machine took place. In keeping with the photographic nature of this enterprise, the app also allows users to take pictures of the scene in the viewfinder, with the Tank Man icon overlaid. On one level, then, the Tian\u2019anmen Squared project shares space with the work of Baradan, Veenhof, and Skwarek, infiltrating consecrated ground with below-theradar visual messaging \u2013 but with a sharper twist. Tian\u2019anmen Squared is not simply iconoclastic (Frenchising Mona Lisa) and anti-establishment (squatting in MoMA); it does not merely work on or alongside existing canonical works. Its impulse is also recuperative, since it reinstates at the original flashpoint of its occurrence a virtual icon of memory which state censorship has attempted to wipe from the public \u2018hard drive\u2019. Tank Man \u2013 the wraith, the disappeared, the deleted \u2013 thus stages a defiant return to the square, commandeered back from US liberalist discourse and installed once more in the highly localized site of his political agency, while also mimicking, through his hidden presence in the open air of central Beijing, the very machinations of the public secret.<\/p>\n\n\n\n<p class=\"has-text-align-justify\">Like most AR technologies, Tian\u2019anmen Squared merges public space with sudden and clandestine computer-generated icons, but here publicness is both more municipal and more prosaic than in Frenchising Mona Lisa, which takes the rarified air of the Louvre as its stage. Tian\u2019anmen Squared, by contrast, launches from the backdrop of air pollution, traffic noise, and the locale which, more than any other in China, denotes and connotes public space as state power \u2013 and is, for that reason, highly surveilled. The app user, surrounded by a mass of vehicles, pedestrians, and sightseers, connects with the forbidden image of Tank Man in a move which echoes Chen Shaoxiong\u2019s Ink History in its staging of the public secret, but heightens the sense of raw theatre through its outdoor performance, and the way it turns user into actor. The public secret as drama also plays out within the app\u2019s visual field. The ambient streetscene is viewed in two planes on the smartphone until the Tank Man graphic \u2013 the secret \u2013 appears, sleekly contoured, pinpoint-sharp, and rendered along three axes so that its dimensionality \u2018steps out\u2019 from the rest of the pictorial field (Figure 13), chromatically and perspectivally compelling despite being invisible to all around, almost grail-like in its sudden onscreen materialization. Ultimately, the effect of Tian\u2019anmen Squared is, once again, to combine the spectral and the comedic (or at least the playfully subversive) with this notion of digital quest.<\/p>\n\n\n\n<p class=\"has-text-align-justify\">Indeed, although 4Gentlemen call Tank Man reloaded a \u2018virtual monument\u2019, it might be truer to argue, as already suggested, that the project exemplifies Lev Manovich\u2019s point that if the 1990s were about the virtual, \u2018It is quite possible that this decade of the 2000s (and beyond) will turn out to be about the physical \u2013 that is physical space filled with electronic and visual information\u2019 (Manovich, 2006). Taking Tank Man out of the ether and onto the street is, in this sense, entirely of a piece with other shifts in Chinese digital culture, which, as Michel Hockx has pointed out, is presently trialing the move from the World Wide Web to the freer climes of the app format. Hockx describes how online literary superstar Han Han has created a new app for accessing his work which makes use of \u2018the functionalities of Internet connectivity [while] entirely bypassing the browser-based media of the World Wide Web\u2019 (Hockx, 2015: 106).<\/p>\n\n\n\n<p class=\"has-text-align-justify\">Although Han Han has explicitly denied that his aim is to avoid censorship, the app format certainly opens up \u2018new, independent avenues\u2019 (Hockx, 2015: 107) for digital expressivity. Rendering Tank Man as an app fits neatly within this rationale, chasing down further the notion mooted in the \u2018Directions to the Museum\u2019 video: namely, that in the face of conspiracies to silence, which now focus near-obsessively on control of the internet (as shown by the Baidu search results for Tian\u2019anmen), web-inflected physical space may emerge as an agile zone for the performance of what we might now rightly call rituals of revelation. The app, and to a lesser extent the video, are practices which allow users to embody in physical space and corporeal movement the keyboard commands of \u2018find\u2019 and \u2018search\u2019 \u2013 though the term \u2018questing\u2019 may indeed be more apposite here, since it captures better the extent to which the pursuit of Tank Man in contemporary China has an almost ceremonial character. Again, the point is not exposure, or even, necessarily, direct contestation. The quest can be justly called ritualistic or ceremonial because it is through the performance of looking \u2013 not via any object thus found, let alone exposed \u2013 that the lineaments of the public secret are held up for scrutiny.<\/p>\n\n\n\n<p class=\"has-text-align-justify\">In this sense, it is unsurprising that the underlying logic of Tian\u2019anmen Squared reiterates the theme of inbetweenness that is immanent to both the public secret and the other artistic forms discussed here which seek to do it revelatory justice. The app is both web-driven and yet browser-free, digital and yet grounded in the materiality of the body as it moves. Above all, it exploits again and again the status of the repurposed photograph as an interstitial object. Using the app generates a complex mise-en-ab\u00eeme, in which the security cameras record the user who scopes the street with his or her smartphone until the graphic of man and tank appears on screen, the vehicle\u2019s guns trained telescopically on the user too. At this point, the user may decide, as mentioned earlier, to take a screenshot of man and tank superimposed over the street scene. In short, the app enables no fewer than five separate camera\/photographic operations, an emphatic profusion which begs its own set of questions. On one level, this is just an organic response to the memoryscape all around: just as power flows from the barrel of a (tank) gun, to paraphrase Mao Zedong, so is history now inescapably filtered through the lens. The augmented reality app of Tank Man performs this shift repeatedly, from original photograph to computer graphic, from computer graphic back to mixed media smartphone photograph, from virtual environment to the square, and from that physical location back to the screen.<\/p>\n\n\n\n<p><em><strong>Tank Man Redux<\/strong><\/em><\/p>\n\n\n\n<p class=\"has-text-align-justify\">What\u2019s more, the app, by its very nature, is designed to rove and roam from location to location, as we see in Figure 14, which shows Tank Man in Union Square. In so doing, these iterative journeys, from square to square and beyond, seem to parlay directly with Ai Weiwei\u2019s well-known Studies of Perspective series (Toushi yanjiu, 1993\u20132003), in which the artist photographs himself flicking the bird to various landmarks of authority: the White House, the Eiffel Tower, Red Square, the basilica in the Piazza San Marco, the Reichstag, the Mona Lisa (again). In naming the series as a whole Studies of Perspective, Ai Weiwei\u2019s main point of propaganda is to make the middle finger matter more than the monument, to undermine the icons of establishment power with an equally iconic gesture of disrespect. Yet the linchpin, the coruscating core, of the series is Studies of Perspective: Tian\u2019anmen Square, and the power of that semi-selfie snapshot, taken only six years after the crackdown, derives from its allusive and politically aggravating geometric similarity to Tank Man (Figure 15).<\/p>\n\n\n\n<p class=\"has-text-align-center\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/lilyhonglei.com\/img\/lilyhonglei-tankman-review2.jpg?w=584\" alt=\"Lily Honglei, augmented reality, china, media art\"  ><br>Figure 14. 4Gentlemen: Tiananmen Squared, 2011.<\/p>\n\n\n\n<p class=\"has-text-align-center\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/lilyhonglei.com\/img\/aiweiwei-review.jpg?resize=584%2C0\" alt=\"lilyhonglei, china, new media art, augmented reality\" width=\"584\" height=\"0\"><br>Figure 15. Ai Weiwei: A Study of Perspective: Tian\u2019anmen Square,1993\u20132003.<\/p>\n\n\n\n<p class=\"has-text-align-justify\">Ai\u2019s insurgent middle finger, at the bottom left of the foreground, stands in for the lone protestor, while the tanks become the Gate of Heavenly Peace, adorned with Mao\u2019s huge portrait \u2013 which has been obliterated by Ai\u2019s finger. In both images, the stand-off occurs across the same bottom-left\/top-right diagonal axis, in the midst of emptied public space. But the crushing downwards momentum of Tank Man \u2013 in which the tanks have \u2018advanced across mostof the pictorial field along the lines and vectors on the street indicating the forward direction of the traffic\u2019 (Hariman and Lucaites, 2007: 217) \u2013 is reversed as Ai\u2019s finger protrudes as an aggressive repoussoir, taking the place of the tanks and bearing down not on the protester but on the site of state power. The planed patterning of the road markings in the original Tank Man shots, which tamely follow the convoy of vehicles, is undone in Ai\u2019s photo, which scatters these narrow white lines across the visual field.<\/p>\n\n\n\n<p class=\"has-text-align-justify\">A Study of Perspective: Tian\u2019anmen Square is Tank Man redux, then, with a vengeance. If so, it is ultimately predictive about the remixing of icons in digital times, and in China most particularly. Already with Ai\u2019s photograph \u2013 a gelatin silver print, and thus an analog object par excellence \u2013 we witness a process at work that revs up noticeably under digitality. Even as echoes of Tank Man ricochet left and right across Ai\u2019s photo, Tian\u2019anmen Square also testifies to the partial dissolution of that source image, or rather to its capacity to absorb intrusive adaptation whilst retaining its strong recognition quotient. As an \u00fcber-image, Tank Man may twist and bend, yet the centre can still hold, in much the same way that an aesthetic remediation of the black-andwhite photograph of the gate at Auschwitz, emblazoned with the infamous words \u2018Arbeit macht frei\u2019, could be composed of matchsticks and still refer unmissably back to its photographic point of origin. Under digitality \u2013 within the universe of memes \u2013 remakes and remixes of photographic icons have proliferated, for the obvious reason that the speed, profusion, and plasticity of the online environment vastly multiply the opportunities for reversioning. In a non-censored web, though, these repeated remediations tend, in practice, to belong quite tightly within the same genus: they are clear scions of their photographic patriarch, as we see with \u2018Syrian beach boy\u2019, whose remakes \u2013 for all their quantity \u2013 are remarkably alike. Their purpose, after all, is in large part to keep memory refreshed, so it scarcely behooves such remediations to stray too far from the master image. This \u2018family resemblance\u2019, to borrow Wittgenstein\u2019s term, typically breaks down when Tank Man is remediated in Chinese online spaces, for the simple reason that secrecy, not forgetfulness, is the core antagonist against which the remix is battling \u2013 and battling secrecy, as discussed earlier, requires clandestine tactics.<\/p>\n\n\n\n<p>&#8230; &#8230;read more about&nbsp;<a href=\"http:\/\/lilyhonglei.com\/forbiddenCity\/#review\" target=\"_blank\" rel=\"noreferrer noopener\">Tank Man<\/a><\/p>\n\n\n\n<p class=\"has-text-align-center\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"17\" class=\"wp-image-88\" style=\"width: 150px;\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&#038;ssl=1\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?w=153&amp;ssl=1 153w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&amp;ssl=1 150w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/p>\n\n\n\n<p class=\"has-text-align-center\" id=\"shadowplay\"><strong><em>Shadow Play: Tales of Urbanization in China&nbsp;<\/em><\/strong>(by Lily X Yang, He Li and Honglei Li)<\/p>\n\n\n\n<p class=\"has-text-align-center\">Phase I<\/p>\n\n\n\n<p>Commissioned by&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/turbulence.org\/\" target=\"_blank\">New Radio and Performing Art INC (NRPA),<\/a>&nbsp;the AR installation of&nbsp;<em>Shadow Play: Tales of Urbanization of China<\/em>&nbsp;portrays a society undergoing an unprecedented process of urbanization. The narrative of the &#8216;Family of the Village Head&#8217; is based upon a series of real-life incidents that have taken place during this time of tumult; clashes over land eviction, kidnapping of children, suicides of migrant workers, and man-made environmental catastrophes are among them.<\/p>\n\n\n\n<div class=\"wp-block-jetpack-tiled-gallery aligncenter is-style-square\"><div class=\"tiled-gallery__gallery\"><div class=\"tiled-gallery__row columns-3\"><div class=\"tiled-gallery__col\"><figure class=\"tiled-gallery__item\"><img decoding=\"async\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/c1-3.jpg?resize=530%2C530&#038;strip=info&#038;ssl=1 530w\" alt=\"\" data-height=\"530\" data-id=\"174\" data-link=\"https:\/\/lilyhonglei.net\/?attachment_id=174\" data-url=\"https:\/\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/c1-3.jpg\" data-width=\"755\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/c1-3.jpg?ssl=1&amp;resize=530%2C530\" layout=\"responsive\"\/><\/figure><\/div><div class=\"tiled-gallery__col\"><figure class=\"tiled-gallery__item\"><img decoding=\"async\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/c1-fourdemon.jpg?resize=520%2C520&#038;strip=info&#038;ssl=1 520w\" alt=\"\" data-height=\"520\" data-id=\"175\" data-link=\"https:\/\/lilyhonglei.net\/?attachment_id=175\" data-url=\"https:\/\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/c1-fourdemon.jpg\" data-width=\"738\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/c1-fourdemon.jpg?ssl=1&amp;resize=520%2C520\" layout=\"responsive\"\/><\/figure><\/div><div class=\"tiled-gallery__col\"><figure class=\"tiled-gallery__item\"><img decoding=\"async\" srcset=\"https:\/\/i2.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/c3-7.jpg?resize=450%2C450&#038;strip=info&#038;ssl=1 450w\" alt=\"\" data-height=\"450\" data-id=\"176\" data-link=\"https:\/\/lilyhonglei.net\/?attachment_id=176\" data-url=\"https:\/\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/c3-7.jpg\" data-width=\"739\" src=\"https:\/\/i2.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/c3-7.jpg?ssl=1&amp;resize=450%2C450\" layout=\"responsive\"\/><\/figure><\/div><\/div><\/div><\/div>\n\n\n\n<p class=\"has-text-align-center\"><\/p>\n\n\n\n<p class=\"has-text-align-justify\">In executing the piece, Lily &amp; Honglei created a number of&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/lilyhonglei.com\/shadowplay\/ar-shadowplay.html#character\" target=\"_blank\"><strong>characters<\/strong><\/a>&nbsp;whose visual forms draw inspiration from traditional Chinese&nbsp;<em>shadow play<\/em>. Utilizing the capabilities of augmented reality technology, the audience may then experience the installation in real time and space through their mobile phones. The classically-inspired shadow-puppet characters are superimposed upon real-world locations in the rural and urbanizing regions in northern China. Through phone cameras, two layers of imagery are merged; the foreground comes to life in a digital application atop the background of reality. It is this dynamic between the new and the traditional, between modern realities and the age-old human condition that embodies the implications of the work.<\/p>\n\n\n\n<p><em>Shadow Play<\/em>&nbsp;became part of the<strong>&nbsp;<a href=\"http:\/\/goldsen.library.cornell.edu\/\" target=\"_blank\" rel=\"noreferrer noopener\">Rose Goldsen Archive of New Media Art<\/a><\/strong>&nbsp;at Cornell University in 2014. For more info, please visit the project that is on view via NRPA website:<a href=\"http:\/\/turbulence.org\/Works\/shadowplay\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>&nbsp;http:\/\/turbulence.org\/Works\/shadowplay\/<\/strong><\/a><\/p>\n\n\n\n<p>Phase II Shadow Play: Tales of Urbanization in China is a recipient of Creatvie Capital Awards in Visual Arts &amp; Moving Images, please find more from the project website&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/lilyhonglei.com\/shadowplay2\/about.html\" target=\"_blank\">http:\/\/lilyhonglei.com\/shadowplay2\/about.html<\/a><\/p>\n\n\n\n<p><\/p>\n\n\n\n<p class=\"has-text-align-center\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"17\" class=\"wp-image-88\" style=\"width: 150px;\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&#038;ssl=1\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?w=153&amp;ssl=1 153w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&amp;ssl=1 150w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/p>\n\n\n\n<p class=\"has-text-align-center\" id=\"crystalcoffin\"><strong><em>Crystal Coffin &#8211; Virtual China Pavilion<\/em><\/strong>&nbsp;at Giardini, 54th.Venice Biennale<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-embed-handler wp-block-embed-embed-handler wp-embed-aspect-4-3 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Crystal Coffin, Lily &amp; Honglei\" width=\"500\" height=\"375\" src=\"https:\/\/www.youtube.com\/embed\/6TdEWBdHwj0?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-embed-handler wp-block-embed-embed-handler wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"Crystal Coffin, Piazza San Marco, Vertical\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/Whsf6KLKJlQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<div class=\"wp-block-jetpack-slideshow aligncenter\" data-effect=\"slide\"><div class=\"wp-block-jetpack-slideshow_container swiper-container\"><ul class=\"wp-block-jetpack-slideshow_swiper-wrapper swiper-wrapper\"><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"480\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-185\" data-id=\"185\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/crystalCoffin1.jpeg?resize=800%2C480&#038;ssl=1\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/crystalCoffin1.jpeg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/crystalCoffin1.jpeg?resize=300%2C180&amp;ssl=1 300w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/crystalCoffin1.jpeg?resize=768%2C461&amp;ssl=1 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Mobile Phone Screenshot of Crystal Coffin &#8211; The Virtual China Pavilion  at St. Mark Square, AR Intervention at 54th. Venice Biennial<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"700\" height=\"525\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-183\" data-id=\"183\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/crystal_coffin_piazza_san_marco.jpg?resize=700%2C525&#038;ssl=1\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/crystal_coffin_piazza_san_marco.jpg?w=700&amp;ssl=1 700w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/crystal_coffin_piazza_san_marco.jpg?resize=300%2C225&amp;ssl=1 300w\" sizes=\"(max-width: 700px) 100vw, 700px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Visualization of Crystal Coffin &#8211; Virtual China Pavilion at Piazza San Marco, by John Craig Freeman<\/figcaption><\/figure><\/li><li class=\"wp-block-jetpack-slideshow_slide swiper-slide\"><figure><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"800\" height=\"459\" alt=\"\" class=\"wp-block-jetpack-slideshow_image wp-image-184\" data-id=\"184\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/crystalcoffin_giardini.jpg?resize=800%2C459&#038;ssl=1\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/crystalcoffin_giardini.jpg?w=800&amp;ssl=1 800w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/crystalcoffin_giardini.jpg?resize=300%2C172&amp;ssl=1 300w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/crystalcoffin_giardini.jpg?resize=768%2C441&amp;ssl=1 768w\" sizes=\"(max-width: 800px) 100vw, 800px\" \/><figcaption class=\"wp-block-jetpack-slideshow_caption gallery-caption\">Visualization of Crystal Coffin &#8211; Virtual China Pavilion at Gardini, 54th. Venice Biennale, by Lily &amp; Honglei<\/figcaption><\/figure><\/li><\/ul><a class=\"wp-block-jetpack-slideshow_button-prev swiper-button-prev swiper-button-white\" role=\"button\"><\/a><a class=\"wp-block-jetpack-slideshow_button-next swiper-button-next swiper-button-white\" role=\"button\"><\/a><a aria-label=\"Pause Slideshow\" class=\"wp-block-jetpack-slideshow_button-pause\" role=\"button\"><\/a><div class=\"wp-block-jetpack-slideshow_pagination swiper-pagination swiper-pagination-white\"><\/div><\/div><\/div>\n\n\n\n<p><strong>Credit:<\/strong>&nbsp;&nbsp;Concept by Lily &amp; Honglei, 3D modeling and augmented reality by John Craig Freeman<br><strong>Year of Completion:<\/strong>&nbsp;2011<br><strong>Medium:<\/strong>&nbsp;Computer 3D Models, Augmented Reality application for mobile phone<br><strong>Augmented Reality Installation Locations:<\/strong><br>1)&nbsp;<a href=\"http:\/\/lilyhonglei.wordpress.com\/2011\/04\/27\/crystal-coffin\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Gardini at Venice Biennale 2011<\/strong><\/a>, Italy<br>2)<strong>&nbsp;<a href=\"http:\/\/www.bucknell.edu\/x70622.xml\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Not Here,&nbsp;<\/em><\/a><a href=\"http:\/\/lilyhonglei.com\/ar\/The%20Samek%20Art%20Gallery%20at%20Bucknell%20University\" target=\"_blank\" rel=\"noreferrer noopener\">The Samek Art Gallery at Bucknell University<\/a><\/strong>, PA<br>3)&nbsp;<strong><a href=\"http:\/\/isea2011.sabanciuniv.edu\/other-event\/not-there\" target=\"_blank\" rel=\"noreferrer noopener\"><em>Not There<\/em><\/a><\/strong>,&nbsp;<a href=\"http:\/\/isea2011.sabanciuniv.edu\/other-event\/not-there\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>ISEA 2011 (International Symposium on Electronic Art)&nbsp;<\/strong><\/a><strong>&amp;<\/strong><a href=\"http:\/\/12b.iksv.org\/en\/paralel_etkinlikler.asp?id=39&amp;c=4\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>12th Istanbul Biennial, Turkey<\/strong><\/a><br>4)&nbsp;<a href=\"http:\/\/dumboartsfestival.com\/events\/virtual-pavillions-the-crystal-coffin\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>DUMBO Art Festival 2011<\/strong><\/a>, Brooklyn NY<\/p>\n\n\n\n<p class=\"has-text-align-justify\"><strong>Work Description<\/strong>: The augmentation is inspired by the crystal coffin displayed in Mausoleum of Mao Zedong on Tiananmen Square since 1977, a year after Mao\u2019s death. In the twenty first century, while China has been transforming itself into a modern society in many ways and gaining more influences economically and politically around the globe, Mao\u2019s crystal coffin, the immortal-looking shell, remains exist as a symbol of authoritarian ruling system. During spring 2011, a crackdown on dissent \u2013 including detaining many intellectuals and members of religious group \u2013 followed by distinct signs of revival of Maoist policies, has left people baffled about the future direction of&nbsp; China. We therefore use Crystal Coffin of Mao as main body of the virtual China Pavilion topped with a tower and roof with ancient Chinese looking,&nbsp; as regulated by Ministry of Construction of China: architectural \u2018designs must reflect traditional Chinese building styles\u2019.<\/p>\n\n\n\n<p>** Launch&nbsp;<em>Crystal Coffin<\/em>&nbsp;<em>Layar&nbsp;<\/em>application on mobile phone:&nbsp;<a href=\"http:\/\/www.layar.com\/layers\/crystalcoffin\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/www.layar.com\/layers\/crystalcoffin<\/a><\/p>\n\n\n\n<p class=\"has-text-align-center\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"17\" class=\"wp-image-88\" style=\"width: 150px;\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&#038;ssl=1\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?w=153&amp;ssl=1 153w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&amp;ssl=1 150w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><em>Great Firewall of China<\/em><\/strong>&nbsp;at Great Wall<\/p>\n\n\n\n<figure class=\"wp-block-embed is-type-rich is-provider-embed-handler wp-block-embed-embed-handler wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\">\n<iframe loading=\"lazy\" title=\"The Great Firewall of China\" width=\"500\" height=\"281\" src=\"https:\/\/www.youtube.com\/embed\/ls0AAhFDp2o?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe>\n<\/div><\/figure>\n\n\n\n<p><strong>Credit<\/strong>: &nbsp;<a href=\"http:\/\/fourgentlemen.blogspot.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">4gentlemen<\/a><br><strong>Year of Completion<\/strong>: 2011<br><strong>Medium<\/strong>: Computer generated 3D Models, Augmented Reality application for mobile phone<br><strong>Augmented Reality Installation Locations<\/strong>:&nbsp;<a href=\"http:\/\/maps.google.com\/maps\/ms?msa=0&amp;ie=UTF8&amp;t=e&amp;ecpose=28.83171575,110.76127588,2262918.17,3.107,27.309,-0.742&amp;msid=212635585748160329283.0004a792c8aabf9af1835&amp;ll=39.97712,111.533203&amp;spn=16.81921,39.462891&amp;z=4&amp;source=embed\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>Great Wall of China<\/strong><\/a><\/p>\n\n\n\n<p class=\"has-text-align-center\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/lilyhonglei.com\/ar\/greatwall.jpg\" alt=\"lilyhonglei-contemporary-chinese-art\" style=\"width: 1280px;\"><br>Inspiration from Great Firewall in virtual world art project &#8216;Land of Illusion,&#8217; by Lily &amp; Honglei 2008<\/p>\n\n\n\n<p class=\"has-text-align-justify\"><strong>Work Description:&nbsp;<\/strong>During the Qin Dynasty, Emperor Qinshihuang began building the Great Wall to keep northern nomads out of China. In the Internet age, China has invented the Great Firewall to block free thinking, to censor messages and images which criticize government policies and draw attention to violations of human rights, and to keep this activity from circulating in the blogosphere. While the ancient Great Wall of China is regarded as a wonder of human civilizations, the Great Firewall in cyberspace becomes the most sophisticated, extensive and notorious project preventing the world\u2019s largest population from expressing themselves with contemporary technologies. How does this invisible wall impact the lives of people within China and beyond in the information era? (<a href=\"http:\/\/fourgentlemen.blogspot.com\/2011\/09\/great-firewall-of-china.html\" target=\"_blank\" rel=\"noreferrer noopener\">continue reading<\/a>)<\/p>\n\n\n\n<p>** Launch&nbsp;<em>Great Firewall of China<\/em>&nbsp;<em>Layar&nbsp;<\/em>application on mobile phone:&nbsp;<a href=\"http:\/\/www.layar.com\/layers\/firewall\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/www.layar.com\/layers\/firewall<\/a><\/p>\n\n\n\n<p class=\"has-text-align-center\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"17\" class=\"wp-image-88\" style=\"width: 150px;\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&#038;ssl=1\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?w=153&amp;ssl=1 153w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&amp;ssl=1 150w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><em>Three Wise Monkeys: \u2018Hear no evil, see no evil, and speak no evil\u2019<\/em><\/strong><\/p>\n\n\n\n<p>The AR work is conceptually installed at four locations in China:<br>&#8211; Three Wise Monkeys at Sichuan, where earthquake smashed<br><a href=\"http:\/\/topics.nytimes.com\/topics\/news\/science\/topics\/earthquakes\/sichuan_province_china\/index.html\" target=\"_blank\" rel=\"noreferrer noopener\">poorly constructed school buildings to result death of thousands of students<\/a><\/p>\n\n\n\n<p>&#8211; Three Wise Monkeys at&nbsp;Aba County in Sichuan, where a&nbsp;<a href=\"http:\/\/www.telegraph.co.uk\/news\/worldnews\/asia\/china\/8829891\/Tibetan-monk-sets-himself-on-fire-in-protest-of-Chinese-rule-in-Tibet.html\" target=\"_blank\" rel=\"noreferrer noopener\">Tibetan monk set himself ablaze<\/a><\/p>\n\n\n\n<p>&#8211; Three Wise Monkeys at eastern Zhejiang Province, where the popular village head &nbsp;<br><a href=\"http:\/\/en.wikipedia.org\/wiki\/Qian_Yunhui\" target=\"_blank\" rel=\"noreferrer noopener\">Qian Yunhui<\/a>&nbsp;killed by a &#8216;traffic accident&#8217;<\/p>\n\n\n\n<p>&#8211; Three Wise Monkeys at&nbsp;the scene&nbsp;<a href=\"http:\/\/www.nytimes.com\/2011\/09\/28\/world\/asia\/shanghai-subway-accident-injures-hundreds.html\" target=\"_blank\" rel=\"noreferrer noopener\">subway trains crashed in Shanghai<\/a><\/p>\n\n\n\n<p>Find images at&nbsp;<a href=\"https:\/\/fourgentlemen.blogspot.com\/search?q=three+wise+monkeys\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/fourgentlemen.blogspot.com\/search?q=three+wise+monkeys<\/a><\/p>\n\n\n\n<p><strong>Credit:<\/strong>&nbsp;&nbsp;<a href=\"http:\/\/fourgentlemen.blogspot.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">4gentlemen<\/a><br><strong>Year of Completion<\/strong>: 2011<br><strong>Medium:<\/strong>&nbsp;Computer generated images, Augmented Reality application for mobile phone<br><strong>Augmented Reality Installation Locations<\/strong>:<br>1) Sichuan, Shanghai, Tibet, Zhejiang<br>2)&nbsp;<a href=\"http:\/\/www.digitalartweeks.ethz.ch\/web\/DAW11\/ArtPlacebo\"><strong>The Art Of Placebo<\/strong><\/a>&nbsp;exhibition in association with&nbsp;<a href=\"http:\/\/www.digitalartweeks.ethz.ch\/web\/\"><strong>Digital Arts Weeks 2011<\/strong><\/a>. Victoria Canada.<\/p>\n\n\n\n<p><strong>Work Description<\/strong>: Portraying Chinese dissent artist Ai Weiwei, the work ironically refers to principles of Three Wise Monkeys: \u2018hear no evil, see no evil, and speak no evil,\u2019 that arguably originates from&nbsp;<em><a href=\"http:\/\/en.wikipedia.org\/wiki\/Analects_of_Confucius\" target=\"_blank\" rel=\"noreferrer noopener\">Analects of Confucius<\/a><\/em>: &#8220;Look not at what is contrary to propriety; listen not to what is contrary to propriety; speak not what is contrary to propriety; make no movement which is contrary to propriety&#8221; (\u975e\u79ae\u52ff\u8996\uff0c\u975e\u79ae\u52ff\u807d\uff0c\u975e\u79ae\u52ff\u8a00\u975e\u79ae\u52ff\u52d5). Instead of reviving its original teaching of moral value, the authorities adopt Confucianism in order to constrain freedom of speech in China in the 21st century. (<a href=\"http:\/\/fourgentlemen.blogspot.com\/2011\/10\/three-wise-monkeys-see-no-evil-speack.html\" target=\"_blank\" rel=\"noreferrer noopener\">continue reading<\/a>)<\/p>\n\n\n\n<p>** Launch&nbsp;<em>Great Firewall of China<\/em>&nbsp;<em>Layar&nbsp;<\/em>application on mobile phone:&nbsp;<a href=\"http:\/\/www.layar.com\/layers\/threewisemonkeys\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/www.layar.com\/layers\/threewisemonkeys<\/a><\/p>\n\n\n\n<p class=\"has-text-align-center\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"17\" class=\"wp-image-88\" style=\"width: 150px;\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&#038;ssl=1\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?w=153&amp;ssl=1 153w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&amp;ssl=1 150w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><em>Southeast Flies the Peacock<\/em><\/strong>&nbsp;at Chinatown, Los Angles<\/p>\n\n\n\n<p class=\"has-text-align-center\"><img data-recalc-dims=\"1\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/lilyhonglei.com\/ar\/peacock.jpg\" alt=\"lilyhonglei-chinese-contemporary-artist\" style=\"width: 1260px;\"><br>Visualization of&nbsp;<em>Southeast Flies the Peacock<\/em>&nbsp;&amp;&nbsp;<em>Mad Drummer Mi Heng<\/em>, in Chinatown Los Angles, CA<\/p>\n\n\n\n<p><strong>Credit:<\/strong>&nbsp;&nbsp;paintings by Lily &amp; Honglei, Augmented Reality by John Craig Freeman<br><strong>Year of Completion:<\/strong>&nbsp;2011<br><strong>Medium:<\/strong>&nbsp;Computer generated images, Augmented Reality application for mobile phone<br><strong>Augmented Reality Installation Locations<\/strong>:&nbsp;<strong><a href=\"http:\/\/manifestarblog.wordpress.com\/la-re-play\/\" target=\"_blank\" rel=\"noreferrer noopener\">Chinatown in Log Angles, for College Art Association 2011<\/a><\/strong><a href=\"http:\/\/manifestarblog.wordpress.com\/la-re-play\/\">,<\/a>&nbsp;U.S<\/p>\n\n\n\n<p class=\"has-text-align-justify\"><strong>Work Description<\/strong>: The work assembles images of some most influential folktale of China, including&nbsp;<em>Southeast Flies the Peacock<\/em>,&nbsp;<em>The Peony Pavilion, Lady White Snake, Death of General Yang Zaixing<\/em>,and&nbsp;<em>Cowherd and Weaving Maid<\/em>, featuring tragic romances as well as epic heroes\/heroines admired by Chinese people from generation to generation. In contrast to the the spiritual, legendary figures in the foreground, which are designed as \u2018virtual sculptures\u2019 through Augmented Reality application on mobile phone, the background is set at a highly commercial area of a metropolitan city \u2013 China Town. By comparing virtual and physical, ancient and modern, east and west, we question the longevity of Chinese culture\u2019s spiritual traditions in the process of capitalization. (<a href=\"http:\/\/lilyhonglei.wordpress.com\/2011\/12\/31\/southeast-flies-the-peacock\/\" target=\"_blank\" rel=\"noreferrer noopener\">continue reading<\/a>)<\/p>\n\n\n\n<p>** Launch&nbsp;<em>Great Firewall of China<\/em>&nbsp;<em>Layar&nbsp;<\/em>application on mobile phone:&nbsp;<a href=\"http:\/\/www.layar.com\/layers\/southeastfliesthepeacock\" target=\"_blank\" rel=\"noreferrer noopener\">http:\/\/www.layar.com\/layers\/southeastfliesthepeacock<\/a><\/p>\n\n\n\n<p class=\"has-text-align-center\" id=\"takeout\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"17\" class=\"wp-image-88\" style=\"width: 150px;\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&#038;ssl=1\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?w=153&amp;ssl=1 153w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&amp;ssl=1 150w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><em>Chinese Take Out<\/em><\/strong><\/p>\n\n\n\n<p><strong>Credit:<\/strong>&nbsp;<a href=\"http:\/\/fourgentlemen.blogspot.com\/\" target=\"_blank\" rel=\"noreferrer noopener\">4gentlemen<\/a><br><strong>Year of Completion:<\/strong>&nbsp;2012<br><strong>Medium:<\/strong>&nbsp;Computer 3D Models, Augmented Reality application for mobile phone<br><strong>Augmented Reality Installation Locations:<\/strong><br>1) Presidio overlook, Golden Gate, San Francisco<br>2) Powell Street Cable Car Turntable at Market Street, San Francisco<br>3)&nbsp;Gates of San Francisco\u2019s Chinatown at Bush Street and Grand Avenue, San Francisco<\/p>\n\n\n\n<p>Find images here&nbsp;<a href=\"https:\/\/fourgentlemen.blogspot.com\/2012\/04\/artwork-reflecting-organ-harvest-in.html\" target=\"_blank\" rel=\"noreferrer noopener\">https:\/\/fourgentlemen.blogspot.com\/2012\/04\/artwork-reflecting-organ-harvest-in.html<\/a><\/p>\n\n\n\n<p class=\"has-text-align-justify\"><strong>Work Description:&nbsp;<\/strong>Collaborating with John Craig Freeman, Lily &amp; Honglei\u2019s project Chinese Take Out is presented at&nbsp;<em>ZERO1 Biennial Seeking Silicon Valley<\/em>&nbsp;in San Francisco CA.&nbsp;<em>Chinese Take Out<\/em>&nbsp;visualizes the gruesome reality that the Chinese government has been systematically harvesting organs from imprisoned Falun Gong practitioners for profit. For more info, click&nbsp;<a href=\"http:\/\/lilyhonglei.wordpress.com\/2012\/07\/12\/chinese-take-out\/\" target=\"_blank\" rel=\"noreferrer noopener\"><strong>here<\/strong><\/a>.<\/p>\n\n\n\n<p class=\"has-text-align-center\" id=\"falling\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"17\" class=\"wp-image-88\" style=\"width: 150px;\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&#038;ssl=1\" alt=\"\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?w=153&amp;ssl=1 153w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/page-deco.jpg?resize=150%2C17&amp;ssl=1 150w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/p>\n\n\n\n<p class=\"has-text-align-center\"><strong><em>From Lewisburg to Silicon Valley<\/em><\/strong><\/p>\n\n\n<div class=\"wp-block-image\">\n<figure class=\"alignleft size-large is-resized\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/fall.jpeg?resize=187%2C332&#038;ssl=1\" alt=\"\" class=\"wp-image-189\" width=\"187\" height=\"332\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/fall.jpeg?w=540&amp;ssl=1 540w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/fall.jpeg?resize=169%2C300&amp;ssl=1 169w\" sizes=\"auto, (max-width: 187px) 100vw, 187px\" \/><\/figure>\n<\/div>\n\n\n<p><strong>Credit:<\/strong>&nbsp;paintings by Lily &amp; Honglei, Augmented Reality by John Craig Freeman<br><strong>Year of Completion:<\/strong>&nbsp;2012<br><strong>Medium:<\/strong>&nbsp;Computer 3D Models, Augmented Reality application for mobile phone<br><strong>Augmented Reality Installation Locations:<\/strong><br>NYC, Lewisburg Pennsylvania, and San Francisco CA<\/p>\n\n\n\n<p class=\"has-text-align-justify\"><strong>Work Description:<\/strong>&nbsp;The connection from Lewisburg Pennsylvania to the high-tech corporate campuses of Silicon Valley can be traced in the migration of the worlds manufacturing on its never ending quest for the least expensive, least regulated labor force and the trail of economic devastation it leaves in its wake. Viewed through their own mobile device, the \u201cFrom Lewisburg, PA to Silicon Valley\u201d augmented reality public art projects asks the audience to consider their own implications in this global history. &#8211; John Craig Freeman<\/p>\n\n\n\n<p>More info click<strong>&nbsp;<a rel=\"noreferrer noopener\" href=\"http:\/\/lilyhonglei.wordpress.com\/2012\/05\/06\/zero1-biennial\/\" target=\"_blank\">here<\/a><\/strong>.<\/p>\n\n\n\n<p class=\"has-text-align-left\"><\/p>\n\n\n\n<p class=\"has-text-align-center has-white-color has-text-color\">*****  *****<\/p>\n\n\n\n<p class=\"has-text-align-center\" id=\"manifestar\"><strong>About International Artist Collaborative &#8216;Manifest.AR&#8217;<\/strong>&nbsp;<\/p>\n\n\n\n<p class=\"has-text-align-center\"><a href=\"http:\/\/www.manifestar.info\">http:\/\/www.manifestar.info<\/a><\/p>\n\n\n<div class=\"wp-block-image is-style-default\">\n<figure class=\"aligncenter size-large\"><img data-recalc-dims=\"1\" loading=\"lazy\" decoding=\"async\" width=\"634\" height=\"468\" src=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/ar-whitney.jpg?resize=634%2C468&#038;ssl=1\" alt=\"Whitney museum, lily honglei, augmented reality\" class=\"wp-image-190\" srcset=\"https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/ar-whitney.jpg?w=634&amp;ssl=1 634w, https:\/\/i0.wp.com\/lilyhonglei.net\/wp-content\/uploads\/2021\/01\/ar-whitney.jpg?resize=300%2C221&amp;ssl=1 300w\" sizes=\"auto, (max-width: 634px) 100vw, 634px\" \/><figcaption>Will Pappenheimer presenting ManifestAR&#8217;s project at Whitney Museum of American Art, New York, 2014<\/figcaption><\/figure>\n<\/div>\n\n\n<p class=\"has-text-align-justify\">Manifest.AR is an international artists\u2019 collective working with emergent forms of augmented reality as interventionist public art. The group sees this medium as a way of transforming public space and institutions by installing virtual objects, which respond to and overlay the configuration of located physical meaning. Utilizing this technology as artwork is an entirely new proposition and explores all that we know and experience as the mixture of the real and the hyper-real.\u2019 Physically, nothing changes, the audience can simply download and launch an Augmented Reality Browser app on their iPhone or Android and aim the devices\u2019 camera to view the world around them. The application uses geolocation, marker tracking and image recognition software to superimpose computer generated three-dimensional art objects, enabling the public to see the work integrated into the physical location as if it existed in the real world.\u2019<\/p>\n\n\n\n<p>The&nbsp;<em>Manifest.AR<\/em>&nbsp;collective and individual members have produced projects, exhibitions and interventions worldwide, including in New York, Venice, Istanbul, Beijing, Cairo, Copenhagen, Tokyo and Berlin. For more information, please visit:&nbsp;<a href=\"http:\/\/www.manifestar.info\/\">http:\/\/www.manifestar.info\/<\/a>, and&nbsp;<a href=\"http:\/\/manifestarblog.wordpress.com\/\">http:\/\/manifestarblog.wordpress.com<\/a><\/p>\n\n\n\n<p class=\"has-text-align-justify\">Since the beginning of 2011, as associate members of&nbsp;<em><a href=\"http:\/\/lilyhonglei.com\/ar\/#manifestar\"><strong>Manifest.AR<\/strong><\/a><\/em>, a pioneer new media artist collective, we have created a series of Augmented Reality (AR) art projects concerning social and cultural issues related to China.<\/p>\n\n\n\n<p class=\"has-text-align-justify\">Some images of our Augmented Reality work are derived from our earlier videos and virtual reality projects. The images, superimposed onto physical reality by mobile phone software, now function as \u2018site-specific-virtual-sculpture\u2019 that become part of a particular environment. Perceived through the mobile phone screen, the relationships between the imagery we create and the physical surroundings generate new implications.<br><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Browse Lily Honglei&#8217;s Augmented Reality (AR) projects Butterfly Lovers Statue of Democracy &amp; Tank Man (in collaboration with John Craig Freeman) Shadow Play: Tales of Urbanization in China Sunken Garden&hellip;<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":408,"menu_order":101,"comment_status":"closed","ping_status":"closed","template":"","meta":{"nf_dc_page":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"class_list":["post-95","page","type-page","status-publish","hentry"],"jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/lilyhonglei.net\/index.php?rest_route=\/wp\/v2\/pages\/95","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/lilyhonglei.net\/index.php?rest_route=\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/lilyhonglei.net\/index.php?rest_route=\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/lilyhonglei.net\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/lilyhonglei.net\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=95"}],"version-history":[{"count":5,"href":"https:\/\/lilyhonglei.net\/index.php?rest_route=\/wp\/v2\/pages\/95\/revisions"}],"predecessor-version":[{"id":1207,"href":"https:\/\/lilyhonglei.net\/index.php?rest_route=\/wp\/v2\/pages\/95\/revisions\/1207"}],"up":[{"embeddable":true,"href":"https:\/\/lilyhonglei.net\/index.php?rest_route=\/wp\/v2\/pages\/408"}],"wp:attachment":[{"href":"https:\/\/lilyhonglei.net\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=95"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}