Meta Journal Issue 2

Volume 2, Issue 2:

August 2025

Meta

JOURNAL UWTSD

Wales Institute of Science & Art Presented by:

Residuum Conference

META JOURNAL. VOLUME 2, ISSUE 2: AUGUST 2025

Volume 2, Issue 2: August 2025

About Us Welcome to Meta Journal: A collection of articles written and curated by the doctoral and master's students on the Professional Doctorate in Art and Design and MA Art & Design courses at the University of Wales Trinity Saint David (UWTSD). Meta Journal is an integral part of our larger Residuum Conference, providing a scholarly platform where emerging voices in the field of art and design showcase their innovative research and creative explorations. Through thought-provoking articles, and visual essays, both our Journal and Conference seeks to foster critical dialogue and advance the discourse surrounding contemporary art and design topics.

The name Meta reflects our commitment to exploring beyond the conventional boundaries of art and design. It symbolises the meta-level reflections and meta-analyses that underpin our scholarly endeavours, aiming to transcend traditional perspectives and push the frontiers of creative inquiry. Residuum, on the other hand, signifies the residual elements or remnants that persist after an artistic or intellectual process—a nod to the lasting impact and ongoing evolution of ideas explored within our contributors works. Together, Meta and Residuum embody our dedication to continuous exploration, transformation, and the enduring significance of artistic discourse in shaping our cultural landscape, and future world.

Professional Doctorate in Art and Design MA Art & Design www.uwtsd.ac.uk

Volume 2, Issue 2: August 2025

Join our Residuum Confrence

Nostalgia: Lost Past or Lost Future Jiachen Lu From Bourdieu to Goffman: The aesthetic performance of the Chinese community in Britain under Capitalist Oppression——A comparative study with The Merchant of Venice as a cultural mirror-------------------2 Ruojin Yan Intergenerational Interactive Public Space Product Design in the Context of Dong Culture: An Interdisciplinary Study Based on Cultural Availability and Gamification Theory-----------------------------------------25 Xiang Meng Reconstructing Image Ontology: From Photographic Evidence to AIGenerated Visual Cognition-----------------------------------------------------46

Ddfining Your Practice as Leading Change Chenxi Song Green or green washing? Examining sustainable strategies in fast fashion.-----------------------------------------------------------------------------55 Weicheng Lai A Proposed Study on How Metal Music Influences Inspiration Generation, Imagination Expansion and Self Expression of Painting Artists ------------------------------------------------------------------77

Immersive Imaginations Dingkun Liu Virtual Existentialism: A Study on Cognitive Reconstruction of Death Perception through Gothic VR Game Design--------------------------------93 Han Shang A Study of Virtual Reality Technology's Reconstruction of Comic-Con Experience from the Perspective of Affordance Theory---108 Qiubing Liu The rebellious spirit of male softness is shown through vintage style and naturalness-------------------------------------------------------------------126 Tong Zhou Embodied Inspiration: Exploring How Musicians Create in Immersive VR Music Spaces--------------------------------------------------150 Yuyang Wang The elements of non-medical healing spaces on Emotional Health and Stress Alleviation----------------------------------------------------------------168

AI revolution and future perspectives Qinyuan Du Enhancing User Acceptance of VR Museum Guide Systems: A Hypothetical Study Using the Technology Acceptance Model for Experience Design and Optimization-----------------------------------------189 Xiuyuan Chen EXPLORING USER ENGAGEMENT OF INTERACTIVE ART INSTALLATIONS IN PUBLIC SPACES-----------------------------------212 Yi Huang Exploring Human–AI Collaboration in News Broadcasting: Emotional Resonance, Audience Trust, and Hybrid Anchor Models----229

Contents

META JOURNAL. VOLUME 2, ISSUE 1: AUGUST 2025

META JOURNAL. VOLUME 2, ISSUE 2: AUGUST 2025

Nostalgia: Lost Past or Lost Future

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From Bourdieu to Goffman: The aesthetic performance of the Chinese community in Britain under Capitalist Oppression——A comparative study with The Merchant of Venice as a cultural mirror Jiachen Lu

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Abstract: By analysing Shakespeare’s depiction of Venice and comparing it with the contemporary British Chinese community, this study explores how aesthetic performance is employed to obscure class identity as a means of resisting aesthetic oppression. The core theoretical foundation of this research includes Bourdieu’s theory of capital and Goffman’s dramaturgical analysis, linking the symbolic consumption of Renaissance Venice with that of the contemporary British Chinese community. This study positions Venice and China as mirrored economic spectacles, investigating how aesthetic oppression and performed identities manifest as middleclass anxieties in contemporary society. This study argues that aesthetic oppression, which utilises cultural and symbolic capital to reinforce class distinctions, lies at the core of both The Merchant of Venice and modern consumer society. The play reveals class anxieties through aesthetic performances of material display, role-playing, and exclusionary practices, reflecting the lived realities of China’s middle class as they navigate traditional Confucian values, global capital competition, and the emerging artificial intelligence economy. Through a historical perspective, this research seeks to understand the formation of middle-class identity, intergenerational inheritance, and the instability of economic status.

Key words: Capitalist Oppression, Aesthetic Performance, Bourdieu, Goffman, Middle-Class Anxiety, Cross-cultural Identity, Cultural Mirror, Chinese Community in Britain

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Introduction 1.1 Research Problem and Significance Class, identity, and economic mobility have consistently been sites of tension and contestation across historical and contemporary societies. William Shakespeare’s The Merchant of Venice, composed during the rise of mercantile capitalism in Renaissance Europe, provides a powerful framework to investigate aesthetic oppression, capital structures, and class performance. These themes continue to resonate, especially in the experiences of British Chinese community middle-class professionals navigating increasingly stratified, capital-driven social hierarchies (Greenblatt, 2005). This study focuses on two core questions: How does aesthetic oppression work through class differences and aesthetic performances? And how can we imagine new models of class mobility beyond consumer spectacle and symbolic capital?

Aesthetic oppression, understood as the deployment of cultural and symbolic capital to enforce class distinctions (Bourdieu, 1984), underpins both The Merchant of Venice and contemporary consumer societies. Shakespeare's play portrays class anxiety through material displays, performative identities, and exclusionary practices. This mirrors the Chinese middle-class experience, where individuals are caught between traditional Confucian values, neoliberal capitalist competition, and the evolving pressures of AI-driven economies (Chen and Goodman, 2013).

By applying theoretical frameworks from Bourdieu, Goffman, Foucault, Debord, and Baudrillard, this study interrogates how class is constructed, maintained, and contested across different cultural contexts. In an era increasingly defined by human-machine symbiosis, intergenerational inheritance, and symbolic consumption, The Merchant of Venice provides a lens through which contemporary class anxieties can be critically examined. Through interdisciplinary analysis, this study challenges the hegemony of aesthetic oppression and advocates for transformative models of social mobility.

Research Aims and Transformative Questions The overarching aim of this research is to explore aesthetic oppression as a mechanism of class exclusion in both Renaissance Venice and contemporary China. By employing The Merchant of Venice as a case study, the following transformative questions are posed: In what ways does aesthetic oppression reinforce class exclusion across different cultural and historical contexts? How do capital accumulation, aesthetic consumption,

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and performative identity production contribute to middle-class anxiety? Can crosscultural analysis disrupt capital-driven aesthetic hierarchies and envisage alternative models for class mobility? By engaging critically with these questions, this study not only contributes to literary and sociological scholarship but also challenges dominant paradigms that conflate material wealth with genuine social advancement.

1.2 Theoretical Framework and Its Connection to The Merchant of Venice This research adopts an interpretivist, constructivist epistemology, positing that class identity is a socially constructed and historically contingent phenomenon. The core theoretical perspectives include Bourdieu’s Capital Theory and Goffman’s Dramaturgical Analysis. According to Bourdieu (1986), class distinctions emerge through the possession and deployment of economic, cultural, social, and symbolic capital. In The Merchant of Venice, Antonio embodies the symbolic capital of Christian mercantile Venice, while Shylock, despite his financial power, remains socially ostracised due to his Jewish identity. These dynamic parallels the precarious status of China’s nouveau riche entrepreneurs, whose economic wealth does not automatically translate into social acceptance (Zhou, 2010). Goffman (1959) conceptualises social life as a series of performances wherein individuals curate public personas to align with societal expectations. Bassanio's reliance on borrowed wealth to project nobility mirrors how China's burgeoning middle class sustains status through conspicuous consumption and brand signalling. Portia's courtroom disguise further illustrates how strategic manipulation of capital and identity can subvert structural constraints (Neely, 2015).

Historical and Contemporary Contexts: Venice and China In Renaissance Venice, global trade, wealth accumulation, and religious conflict created rigid class stratifications predicated on economic and symbolic capital. Antonio's revered position as a Christian merchant contrasts starkly with Shylock's marginalisation despite his financial influence. Bassanio's performative nobility, constructed through borrowed wealth, exemplifies the performative nature of social status. The contemporary Chinese middle class in Britain also faces the problem of symbolic exclusion. Access to elite education, property ownership, and cultural capital has become essential for maintaining class status (Goodman, 2014). Intergenerational wealth transfer increasingly dictates social mobility, while AI-driven economies destabilise traditional career paths, engendering widespread identity anxiety (Cheng, 2020). The parallels between Venice and modern China underscore the historical persistence of aesthetic oppression. Regulatory frameworks, such as the scrutiny of private entrepreneurs in China, mirror the coercive mechanisms deployed against Shylock. Moreover, the rise of AI technologies introduces new complexities, as identity

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construction increasingly occurs within digital ecosystems mediated by algorithmic surveillance and data capitalism (Zuboff, 2019).

1.3 Critical Perspectives and Structure of the Study Critically examining the implications of aesthetic oppression reveals that symbolic capital often operates independently of economic capital. In both Venice and China, those who lack inherited cultural capital or dominant aesthetic norms are systematically excluded from elite circles. This challenges neoliberal assumptions that meritocratic achievement alone guarantees upward mobility. Furthermore, the theatrical metaphors employed by Goffman and the critiques of visual economies articulated by Debord and Baudrillard underscore the performative fragility of middle-class identity. In China, the rapid expansion of consumer culture has not eradicated class divisions but rather rendered them more insidious, cloaked under the guise of personal choice and selfimprovement (Yan, 2012). By juxtaposing Shakespearean dramaturgy with sociological theory, this study reveals that aesthetic oppression is not merely an incidental feature of capitalism but a foundational mechanism for sustaining inequality. Future models of class mobility must therefore interrogate the aesthetic dimensions of status as critically as they address material inequalities.

This thesis is structured as follows: Literature Review, A critical analysis of existing scholarship on capital theory, class anxiety, aesthetic oppression, and cross-cultural identity performance, highlighting gaps and areas for further inquiry. Methodology, A qualitative, interpretive approach employing literary hermeneutics, comparative cultural analysis, and sociological theory to analyse The Merchant of Venice and contemporary Chinese contexts. Discussion and Analysis, A detailed exploration of how The Merchant of Venice illustrates middle-class anxieties through performance, surveillance, and spectacle, with direct parallels drawn to China's middle-class struggles. Conclusion, A reflective synthesis proposing alternative frameworks for resisting aesthetic oppression and redefining class mobility beyond capitalist spectacle and symbolic consumption. In linking Shakespeare’s Renaissance Venice to modern China, this study challenges the static conception of class as an immutable structure.

Instead, it posits class identity as a dynamic, performative construct, continually reshaped by cultural and economic forces across time and geography.

2. Literature Review 2.1 Literature screening and core theories

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The literature mainly comes from the UWTSD offline library and online search system, searching for entries related to aesthetic performance and the Chinese community in the UK. Collect the English and Chinese versions of the paper bibliography and digital version of the film of The Merchant of Venice to read. Find literature related to Chinese class studies and British class studies to enhance the understanding of cross-cultural identity cognition. Daily communication and learning focus on the three major sections of sociology, aesthetics and literature. Adopt a snowball strategy to gradually promote the in-depth comparative study of class anxiety.

Core theory focuses on the definition of class, capital and aesthetic oppression. The concept of class structures and identity performance has been significantly shaped by Bourdieu’s (1986) theory of capital. Bourdieu posits that class is maintained through the accumulation of economic, cultural, and symbolic capital, each influencing an individual's ability to navigate and sustain their social position. In The Merchant of Venice, this framework manifests in Antonio’s possession of symbolic capital as a respected merchant, Shylock’s possession of economic capital without social legitimacy, and Bassanio’s aspiration to acquire cultural capital through marriage to Portia. These dynamic parallels the experiences of the contemporary Chinese middle class, which must balance material wealth with anxieties about symbolic legitimacy in the context of consumer capitalism and digital labour economies (Li, 2020).

Baudrillard’s (1998) theory of the consumer society extends this analysis by asserting that individuals do not merely consume goods for their practical utility but participate in a symbolic economy where objects signify status. In The Merchant of Venice, Portia’s suitors must navigate a casket trial that acts as an aesthetic test of legitimacy, highlighting how appearances and symbolic artefacts serve to reinforce class hierarchies. Similarly, contemporary Chinese middle-class anxieties surrounding education, property ownership, and consumer branding reflect Baudrillard’s observations (Chen, 2018).

Goffman's dramatic theory and class performance are also core theories. Goffman’s (1959) dramaturgical theory conceptualises social life as a series of performances where individuals present idealised versions of themselves to conform to societal expectations. In The Merchant of Venice, Bassanio’s strategic self-fashioning as a wealthy suitor despite his indebtedness mirrors the strategies employed by China’s middle class, who often rely on spectacle and conspicuous consumption to sustain their social status (Zhang, 2021).Portia’s disguise as Balthazar during the courtroom scene exemplifies Goffman’s notion of role-playing, highlighting how gender and class expectations can be subverted through aesthetic and intellectual performances (Henderson, 2014). Similarly, middle-class Chinese students studying in the UK often demonstrate cultural mobility and adaptability through global travel, maintaining their

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ideal elite status through aesthetic performance in a highly competitive economic environment.

2.2 Supporting and extended literature The supporting theory uses Foucault's disciplinary theory and class norms for further argumentation. Foucault’s (1977) theory of disciplinary society suggests that individuals internalise external surveillance, leading to self-regulation of behaviour. In The Merchant of Venice, Shylock is subjected to the symbolic discipline of the Venetian state, where his economic power is nullified through legal and cultural mechanisms. This resonates with the experience of Chinese private entrepreneurs, who, despite Jack Ma’s financial success through Alibaba, have been blocked from listing on the US and Hong Kong stock markets. Political loyalty and cultural assimilation must be demonstrated to achieve real financial capital flows. Moreover, Bassanio’s dependency on Antonio reflects broader anxieties surrounding intergenerational wealth transfer, a critical issue within China’s contemporary middle class where Confucian ethics and capitalist imperatives intersect (Liu, 2020).

The extended literature also includes Debord’s theory of landscape and the selection of its stable illusion features for illustration. In The Society of the Spectacle, Debord (1967) pointed out that society maintains the illusion of stability and success through images rather than material reality. In The Merchant of Venice, characters including Bassanio and Shylock are constructing representations of wealth and influence.

Similarly, the Chinese middle-class lives in a digitally mediated landscape, maintaining a fragile illusion of socioeconomic security through luxury consumption, social media image building, and AI-driven self-presentation (Sun, 2021).

Facing aesthetic oppression requires exploring alternative models of class mobility and resistance, so we draw on Nietzsche’s (1883) concept of the Übermensch advocates for individuals transcending socially imposed limitations. Portia’s manipulation of legal knowledge and gender roles suggests an early form of such selftranscendence. This aligns with the strategies of self-made Chinese entrepreneurs who navigate regulatory frameworks and global market forces to achieve success (Tang, 2022). Dewey’s (1938) pragmatism offers an alternative model based on adaptive intelligence rather than static hierarchies. In contemporary China, the rise of digital nomads and alternative educational models reflects a challenge to traditional structures of aesthetic and symbolic oppression (Liang, 2023).

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2.3 The connection between the core documents and The Merchant of Venice The Application of Bourdieu and Goffman in the Study of Chinese. Mu and Pang (2019) apply Bourdieu’s theories of capital and habitus to analyse the Chinese in Western contexts, arguing that identity formation is influenced by intergenerational transmission of economic, social, and cultural capital. Their research highlights how Chinese resilience involves strategic deployment of these capitals across education and community networks, offering a theoretical bridge to understand the social navigation seen in Shakespearean characters (Mu & Pang, 2019). Similarly, Archer and Francis (2006) demonstrate how British Chinese pupils strategically mobilise family and cultural capital to overcome racialised class barriers. Although not centred on literary analysis, their findings are vital for contextualising the pressures faced by contemporary British Chinese individuals, paralleling the capital struggles depicted in The Merchant of Venice. Goffman’s dramaturgical insights have also been fruitfully applied in studies. Research shows how Chinese immigrants perform “front stage” identities to conform publicly while preserving “backstage” cultural practices in private (Goffman, 1959; Sun, 2021). This performance dynamic mirrors Shakespeare’s characters’ strategies of adaptation and resistance, particularly Shylock’s dual identity as both businessman and marginalized outsider.

Bourdieu and Goffman in Literary Analysis of The Merchant of Venice. Ghose (2018) explicitly applies Bourdieu’s concept of cultural capital to The Merchant of Venice, arguing that distinctions between economic capital (Shylock) and cultural capital (Portia and Belmont society) form the basis of social legitimacy. Similarly, Newman (1987) analyses symbolic capital and gift exchange, illustrating how marriage and wealth circulation sustain aristocratic dominance. When selecting a wedding gift box, the Prince of Morocco uses self-deprecating poetry to display the skin colour of nonwhite people. This aesthetic performance shows the class identity difference of the racial outsiders in the play. Goffman’s theory of Stigma (1963) can be further drawn upon to explain Shylock’s exclusion and forced role performance. These literary analyses validate the integration of Bourdieu’s and Goffman’s frameworks with Shakespearean texts, supporting the comparative study of The Merchant of Venice and Chinese diasporic class anxiety.

2.4 Critical Analysis and Research Gaps Apart from the few documents mentioned above, there are currently few studies linking Shakespeare's plays to the middle-class anxieties of the Chinese community in Britain. And conduct a comprehensive analysis based on the sociological and aesthetic backgrounds, pointing out that the core of identity recognition comes from racial and

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cultural barriers, social class distinctions, family origin and social environment. The aesthetic oppression of individuals in cultural capital.

Most literatures have not integrated economic thinking into the research. The intergenerational inheritance of capital indicates that social origin is the priority. You can try to add Benjamin’s compound interest thought, take value investment as the core, carry out capital globalization layout, and reduce the impact of single market fluctuations on original capital (Graham, 1949). Assisted by Soros's trend investment, pay attention to the dynamics of the global capital market, maintain sensitivity to firsthand high-quality information, and obtain financial returns in market fluctuations (Soros, 1987). Try to alleviate the vulnerability of the middle class economically, use limited economic capital to increase the proportion of cultural capital as much as possible, and then use cultural capital to feedback and enhance social capital. Finally, add the dimension of time, maintain the habit of lifelong learning, so that culture, economy and social capital can promote each other and enhance the core competitiveness of individuals.

Looking to the future, it is necessary to critically analyse the impact of artificial intelligence. AI is a double-edged sword. For a small number of individuals who have excellent social resources, they can use a structured knowledge system to maintain a dialogue with generative artificial intelligence and achieve a kind of human-machine symbiosis. It can improve the efficiency of generation, free up more energy for the cultivation of innovative thinking and critical perspectives and dilute the characteristics of class differentiation. On the other hand, for the disadvantaged groups in society who refuse to accept new things, it will accelerate the process of being eliminated by society, lose the ability to work and think independently, indulge in big data algorithms and the wave of consumerism, directly or indirectly withdraw from social production, and become a digital symbol in statistics.

3. Methodology 3.1 Research Approach and Philosophical Foundation This study is guided by autoethnography and adopts research methods such as text analysis, cross-cultural comparison, case study and in-depth interviews. This study takes the British Chinese community as the research object to obtain first-hand data.

As a qualitative study, this study is based on constructivist ontology, phenomenological interpretivism and epistemological relativism, aiming to examines aesthetic oppression, class performance and middle-class anxiety in The Merchant of Venice and the cultural context of contemporary British Chinese. Given the social

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construction of class and cultural identity, positivist or quantitative research methods cannot capture the complexity of history, symbolism and experience contained therein (Bryman, 2016).

The research is grounded in a constructivist ontology, positing that social structures are products of discourse, interaction, and symbolic processes rather than objective realities (Berger and Luckmann, 1966). In this view, class is a fluid and performative identity, shaped by economic, cultural, and symbolic capital (Bourdieu, 1986).

Shylock's exclusion in The Merchant of Venice, despite his economic capital, exemplifies how symbolic capital mediates social belonging. Similarly, in contemporary China, private entrepreneurs encounter symbolic marginalisation despite financial success (Wu, 2019). Constructivism enables a nuanced analysis of how aesthetic norms, economic structures, and power relations influence identity formation across cultures.

This study follows a phenomenological interpretivist epistemology, focusing on how individuals and societies create meaning through lived experience (Heidegger, 1962).

This is crucial for analysing class performances in both Shakespeare's Venice and modern British Chinese communities. Literary characters like Antonio and Bassanio, and real-world Chinese professionals, navigate capitalist hierarchies through symbolic consumption and aesthetic display (Hanser, 2022). Phenomenological interpretation enables resistance to reductionist readings and foregrounds subjective experience and multiple perspectives (Denzin and Lincoln, 2018).

3.2 Research Design and Methodological Justification A multi-layered research design integrates literary analysis, cross-cultural comparison, and self-ethnographic reflection. Each method is selected to align with the ontological and epistemological foundations. Literary Hermeneutics and Thematic Analysis, Literary hermeneutics, interpreting texts within historical and cultural contexts (Gadamer, 1989), underpins the analysis of The Merchant of Venice. Thematic analysis focuses on three key dimensions, Aesthetic oppression, how clothing, wealth, and cultural performance mediate social mobility (Bourdieu, 1986). Class performance, how characters navigate precarious economic status through symbolic capital (Goffman, 1956). Disciplinary power, how Venetian law reinforces class hierarchies, resonating with Foucault’s concept of discipline and surveillance (Foucault, 1977). Close reading integrates historical audience reception with contemporary adaptations, situating Shakespeare's text within broader discourses of class and cultural identity.

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Cross-cultural analysis compares Renaissance Venice with modern China, identifying historical continuities and cultural differences in class anxiety and aesthetic regulation. This approach deconstructs Eurocentric models of class theory and highlights global variations in symbolic power (Spivak, 1988).

Theme

The Merchant of Venice

Contemporary China

Class Anxiety

Bassanio’s debt-driven nobility

Mortgage-dependent middle class (Huang, 2021)

Aesthetic Oppression

Portia’s symbolic control Elite branding and social status of wealth (Baudrillard, 1998)

Exclusion of Outsiders

Shylock’s forced assimilation

Entrepreneurial surveillance (Wu, 2019)

In 2009, after the economic crisis, the Chinese government launched a 4 trillion-yuan economic stimulus plan. A large amount of funds poured into the property market, and housing prices in first-tier cities nearly doubled. Coupled with the destocking policy in 2016, real estate accounted for too high a proportion of the total assets of Chinese middle-class families. After the epidemic, housing prices began to plummet again.

Many people had huge mortgage loans before the epidemic, which exceeded the current market price. Faced with the current situation of a significant reduction in assets, they are struggling to maintain their middle-class status. Due to the slowdown in economic growth, the channel for the transfer of benefits from the inheritance of the father's business has narrowed. Some middle-class second-generation officials are facing the reality of class decline. Without sufficient economic support, they rely on packaging and pomp to maintain their superficial social status.

Justification of Research Methodology. By integrating literary hermeneutics, crosscultural analysis, and self-ethnography within a constructivist and interpretivist paradigm, this study robustly investigates aesthetic oppression and class performance.

The interdisciplinary approach, drawing on Bourdieu (1986), Goffman (1956), Foucault (1977), Baudrillard (1998), and Debord (1994), allows a comprehensive reexamination of middle-class anxieties across historical and cultural landscapes. This research contributes not only to Shakespearean scholarship but also to contemporary

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sociological and cultural studies of class, identity, and resistance in a globalised context.

3.3 Research Framework Layered Analysis The self-ethnography records the researcher's position as a Chinese scholar and artist in the aesthetic and class structure in the UK. The reflective journal will record the following: daily aesthetic performance experiences in clothing, food and travel; aesthetic hegemony encountered in academic research and artistic creation; emotional and cognitive reactions in the identity negotiation process such as communication with British locals. By keeping a record of life experience, the authenticity of the research is enhanced, and the researcher himself is included in the analytical framework. (Ellis, Adams and Bochner, 2011).

Three major framework characteristics of autoethnography. In terms of positioning, the researcher's own identity as a member of the British Chinese middle class and the art world is analysed, and the dynamic relationship between "individual" and "group" is discussed, as well as the individual's economic, cultural and social positioning, and the various current situations faced by the British Chinese group in life. In terms of reflection, the process of participating in the aesthetic performance of British Chinese is recorded and critically analysed, which is necessary, and which is unnecessary, the decision-making process is analysed, and the essence behind the aesthetic performance is explored. In terms of narrative, the first-person narrative is maintained, and events such as visiting art exhibitions, watching drama performances, taking international trips, visiting Chinese churches, and volunteering at Confucius Institutes are described.

Actual data collection strategies for autoethnography. When conducting log analysis, record the perceptions and experiences in art activities. After the activity, pay attention to behavioural reflection and the differences in self-cognition in art exhibitions and social performances. Then use voice or text records to analyse the use of the concepts of "middle class" and "British Chinese group" in self-description.

When conducting relevant field observations, focus on observing who is defining "Chineseness" and "high aesthetics." Finally, a concluding reflective narrative is given questioning whether we have unconsciously internalized Western aesthetic tools for self-alienation.

Comparative Analysis Structure

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British Chinese Aesthetic Performance

Analytical Dimension

The Merchant of Venice

Otherness Representation

Shylock's language, Artists' fashion, speech tactics clothing, legal aesthetics

Manifestations of Aesthetic Oppression

Demand for Market/system/cultural pressures 'beautifying' conformity for 'de-Sinicization'

Middle-Class Identity Tension

Merchant vs. Noble aesthetic power struggles

Being 'aesthetically judged' in English art scenes

Performance Strategies

Appeal to contracts, logic, irony

Adoption of Chinese tradition

Aesthetic Resistance Outcomes

Shylock’s failure and assimilation

Partial success in building new aesthetic languages

In The Merchant of Venice, Shylock is another, an alien in aesthetics and culture, who is rich but excluded. In court, Shylock actively resists through money, contracts, and laws, and forms a strong conflict with the audience's collective consciousness of emotions, virtues, and forgiveness. Show the symbolic mechanism behind the drama and the reason why Shylock's aesthetic performance is excluded by the social and moral order of Venice. Then compare it with the aesthetic performances of the Chinese community in the UK. They often draw on performance forms such as installation art, performing arts, fashion, drama, and social media to dilute class identity to challenge the stereotypes of traditional British aesthetics on the Chinese community. Try to break through the label of "Chinese middle class" and reshape identity through aesthetic performance. Also adopt an active resistance mechanism, turning from catering to British aesthetic standards to advocating unique aesthetic expression.

Integrated Methodological Structure [ Self-Ethnography]

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| ┌─────────────────┬──────────────────┐ ↓

↓

[ Diary Record]

[ Comparative Case Analysis]

↓

↓

[ Key Event Extraction]

[ Venice vs British Chinese Aesthetic Struggles]

↓

↓

[ Reflexive Writing]

[ Phenomenological Interpretation + Cultural Critique] ↓

[ Re-Narration of Hybrid Identities] Log analysis and comparative case analysis can better balance the subjectivity of the research. By extracting key events to verify the phenomena that occurred in history and reality, how the Chinese community in the UK fights against the oppression of social and cultural capital through aesthetic performance and using reflective writing to improve the criticality of individuals. Abstracting universal explanations from phenomena, cultural criticism of the contemporary consumerist wave and the mirror image of the landscape society, this hybrid identity re-narrative structure can avoid the limitations of a single research method and improve the independence, objectivity and applicability of the research.

3.4 Ethical Considerations First, we must avoid cultural hegemony. Following Said's (1978) criticism of Orientalism, this study rejects universal class narratives, actively introduces Chinese academic resources, maintains cultural specificity, and resists pure Western-centric interpretations. Then we attach importance to academic integrity and use the Harvard citation system throughout the article to ensure academic rigor. Then, through reflective writing, we face subjective bias honestly and avoid misreading historical or cultural phenomena.

In the face of the limitations of research methods, we must consider individual bias in interpretation. Literary and ethnographic analysis is subjective, and historical and contemporary comparisons must be handled with caution to avoid anachronism.

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Ethnographic interviews are used as an alternative method, and in-depth interviews will be conducted with British Chinese professionals to strengthen the empirical basis.

Finally, literature on Chinese history and economy is searched to provide a richer social background for comparative studies.

4. Discussion and Analysis 4.1 Class Performance and Anxiety: Renaissance Venice vs contemporary China The intersection of aesthetic oppression, economic capital, and class performance is a defining feature of both Renaissance Venice and contemporary China. Shakespeare's The Merchant of Venice vividly portrays how individuals navigate rigid class hierarchies, symbolic power, and economic dependencies (Bourdieu, 1986). Among the Chinese community in the UK, the middle-class identity is becoming increasingly fragile and needs to be constructed through consumerism and debt. Below, I will select Bassanio, Antonio and Shylock as key characters for comparison, and combine my experience in the UK for half a year to compare the situations faced by the contemporary Chinese community in the UK and explore the core ideas behind aesthetic performance.

Bassanio and the Illusion of Aristocracy. Bassanio's economic precarity, masked by his projection of nobility, parallels the struggles of China's mortgage-reliant middle class.

In Shakespeare's narrative, Bassanio must borrow money to sustain his image of aristocratic standing, illustrating how symbolic capital often outweighs actual financial security. In contemporary China, the middle class sustains status through mortgages, property investments, and conspicuous consumption of luxury goods, such as designer brands and international education (Baudrillard, 1998; Hanser, 2022). The Chinese community in the UK is often keen on traveling. The Chinese community in the UK often shows a strong enthusiasm for travel. For example, students enrolled in one-year master's programs typically aim to visit as many cities as possible within a limited timeframe, relying on the financial support provided by their families. This pursuit of cultural capital through travel helps them better integrate into the social context of the Chinese community. Bourdieu (1986) argues that cultural and symbolic capital govern social mobility more decisively than financial wealth alone, a dynamic evident in both Renaissance Venice and modern Chinese society.

Theme

Debt

The Merchant of Venice Contemporary China

and

Class Bassanio must borrow Middle class sustains status through

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Performance

to perform nobility

mortgages and loans (Huang, 2021)

Luxury and Portia’s wealth grants Luxury goods, education, travel as class Symbolic Capital entry to status markers

Antonio and the Risks of Speculative Capitalism. Antonio's social prestige does not protect him from the vulnerabilities of merchant capitalism, which is dependent on risky overseas ventures. This mirrors contemporary China's middle class, exposed to global market fluctuations, automation, and AI-induced labour disruptions (Zuboff, 2019).

Wealth, both in Renaissance Venice and modern China, remains fragile and subject to external forces, while symbolic performances of prosperity obscure underlying insecurities. Baudrillard's (1998) concept of "hyperreality" aptly describes this phenomenon where status is sustained performatively, detached from material stability.

Shylock and the Exclusion of Economic Outsiders. Despite his financial acumen, Shylock is excluded from Venetian society due to a lack of cultural legitimacy. This exclusion finds a parallel in China’s treatment of private entrepreneurs, who, despite amassing considerable wealth, often face political vulnerability and social marginalisation (Wu, 2019). Foucault's (1977) notion of disciplinary power is observable here, where legal and social instruments are deployed by ruling elites to suppress emerging economic threats.

Theme

The Merchant of Venice Contemporary China

Entrepreneurs face state Exclusion despite Shylock is alienated surveillance and control (Wu, Financial Success despite wealth 2019)

Shylock is forced to Entrepreneurs face unpredictable Legal Disempowerment convert and stripped of regulatory crackdowns (Huang, capital 2021)

4.2 Application of Bourdieu's Capital and Goffman's Performance Theory in Identity Research

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Bourdieu’s Capital and Habitus in Understanding Identity. The sociological theories of Bourdieu provide a crucial analytical framework. Mu and Pang (2019) and Archer and Francis (2006) applied economic capital, social capital, cultural capital and habitus theory to the study of the Chinese community in the UK, pointing out that immigrant families strategically mobilized cultural resources, and the Chinese community in the UK paid more attention to the education of their children. They also enrolled in Confucius Institutes to learn Chinese on weekends and participated in youth football matches and other activities to achieve class mobility, although they still faced racial barriers. Correspondingly, Ghose (2018) pointed out that in The Merchant of Venice, the success of the characters depends not only on wealth, but also on the mastery of cultural capital. For example, urban students who have learned Latin and drama theory since childhood often have higher university grades, and simple family economic capital cannot ensure future social acceptance.

Goffman’s Performance Theory and Identity Negotiation in Understanding Identity.

Goffman’s theories of stigma, frontstage, back-stage behaviour, and identity performance are instrumental in analysing both Shakespeare’s characters and British Chinese experiences. The Merchant of Venice presents identity as a social performance shaped by exclusion and prejudice, and the Chinese community in the UK has similar experiences. For example, some Chinese groups cannot accept non-native food, live near Chinese restaurants, retain traditional eating habits, and use food to find identity in a foreign country. They are even unwilling to understand the local culture of the UK, contact local residents, and make fun of the unpalatable British food and the lack of collective activities to elevate their own cultural identity. This is consistent with contemporary research, which shows that Chinese people in the UK often perform "Britishness" in the public sphere, while retaining cultural traditions in private, to manage stigma and negotiate cultural belonging (Mu and Pang, 2019).

4.3 Resisting aesthetic oppression with a cross-cultural knowledge system In The Merchant of Venice and modern China, the visual economy of class performance is highly consistent with Debord’s (1967) theory of “spectacle society”.

Both use urban landscape, social surveillance and self-discipline to determine the corresponding social status through appearance and aesthetic signs. For example, in Venice, Jews were confined to designated areas and had to wear a red hat to indicate their identity when going out during the day. In contemporary China, people are divided by public hospitals and government hospitals. Aesthetic oppression and social mobility, Portia’s box trial as an aesthetic screening mechanism, determines the opportunity to inherit wealth through symbolic selection rather than ability.

Contemporary China divides people through employment channels, setting up carrot pits, tailor-made written tests and interviews for someone, and only making limited

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information public, so that high-quality jobs are passed down in the family invisibly.

Baudrillard (1998) pointed out that the consumer landscape makes the middle-class identity more based on strategic consumption rather than real economic autonomy.

Surveillance and middle-class anxiety, in The Merchant of Venice, Shylock’s trial becomes a public disciplinary landscape (Foucault, 1977). The Chinese government's strict supervision of private wealth makes it difficult for economic capital to be easily converted into political influence (Wu, 2019). The surveillance system, rooted in the civil law tradition and an economy dominated by public ownership, has intensified the identity anxiety of the middle class. As a result, individuals are compelled to engage in social performance to demonstrate their loyalty to the official system in exchange for potential benefits and rewards, turning the process into one of voluntarily accepting external scrutiny.

This suggests that The Merchant of Venice serves as a reflection of class identity anxiety. The play provides a powerful literary framework for understanding such anxiety within the British Chinese community. Shakespeare’s imagery, particularly the metaphor of “a pound of flesh”, has been used in contemporary contexts to symbolize British fears toward the Chinese population, as seen during the COVID-19 outbreak, when blame was often placed on Chinese people and discrimination against mask-wearing Chinese individuals occurred both openly and covertly. This highlights the resonance between Shakespeare’s exploration of money and justice and the realworld experiences of exclusion faced by British Chinese individuals.

Similarly, the portrayal of Jessica’s conflict between cultural loyalty and social assimilation mirrors the dilemmas modern British Chinese face as they navigate between cultural heritage and integration. On one hand, they struggle to integrate into mainstream British society; on the other, they often feel disconnected from the Chinese community. As a result, many are unable to find a new reference point for self-identification in the UK, seeking comfort and potential opportunities instead through watching Chinese variety shows or joining religious groups. Others attempt to construct personal philosophical systems to cope with class identity anxiety, drawing on Nietzsche’s philosophy of the Übermensch as a source of support.

Although aesthetic oppression remains widespread, philosophical frameworks such as Nietzsche’s concept of the Übermensch and Dewey’s pragmatism offer alternative strategies for coping with class anxiety. In Self-Overcoming and Class Reconstruction (1886), Nietzsche argues that individuals must transcend externally imposed identities. Portia’s disguise as Balthazar serves as an example of how intellectuals can overcome aesthetic barriers. Similarly, the British Chinese community can actively participate in both online and offline events—such as literary salons or art exhibition openings—to expand their social circles and meet new people. Of course, not every

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individual needs to actively broaden their network. While Dewey’s Pragmatism and Adaptive Mobility (1938) advocates adaptive learning and practical engagement with knowledge rather than rigid adherence to symbolic norms, individuals must find the strategies that best suit their circumstances. Choosing to "lie flat" (i.e., accept reality without resistance) and seeking a balance between life and work can also be a valid way for marginalized groups to ease class anxiety through self-reconciliation.

5. Conclusion Shakespeare’s portrayal of marginalized figures such as Shylock mirrors the lived experiences of British Chinese individuals, where cultural legitimacy is closely tied to economic performance. By integrating literary analysis with theories of capital, stigmatization, and performative identity, this research contributes to both Shakespearean scholarship and the study of British Chinese communities.

Compared to the mercantilism of the Renaissance era, modern capitalism has transformed economic structures. Antonio’s reliance on maritime trade and Shylock’s credit-based financing represents early forms of wealth logic, now replicated through predictive analytics in data capitalism. Bassanio’s pursuit of wealth through borrowed capital reflects the contemporary reality of British Chinese individuals working gig jobs, often constructing fictional online identities to mask financial vulnerability.

These parallels highlight the evolution from tangible trade to algorithmic governance, where symbolic capital plays an increasingly dominant role.

This study shows that in contemporary Chinese society, especially the British Chinese middle class, their class identity is not only economically unstable, but also aesthetically oppressive. This study argues that identity is shaped by aesthetic performances under neoliberal and digital scrutiny. Middle-class anxiety is constructed by the instability of intergenerational capital transmission and the unpredictability of life trajectories, and this uncertainty produces a lasting sense of vulnerability. Among the Chinese community in the UK, the aesthetic performance of middle-class identity has become a survival strategy, covering up systemic vulnerability under carefully planned aesthetic performances.

Looking to the future, AI capitalism will change the way symbolic value is distributed and subvert traditional class narratives. Class identity is no longer maintained through traditional symbols such as education or consumption, but through algorithmic assessment of value. Future research will further explore how AI reshapes symbolic capital and how aesthetic activities redefine class struggle. In short, aesthetic oppression and class anxiety have persisted in history and are dynamically shaped by

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cultural and economic forces. As AI becomes increasingly involved in life, society needs to redefine identity and community in the future. Using AI to strengthen aesthetic experience and dilute the middle-class anxiety of the Chinese community in the UK will become the focus of the next stage of research.

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Intergenerational Interactive Public Space Product Design in the Context of Dong Culture: An Interdisciplinary Study Based on Cultural Availability and Gamification Theory Ruojin Yan

Abstract Amidst globalisation and modernisation pressures, Dong ethnic communities in China are confronting dual challenges of youth outmigration and accelerated population ageing – regional statistics indicate that the proportion of residents aged over 60 has risen to 23% in the past five years, while over 40% of working-age adults engage in migrant labour, precipitating risks of cultural transmission discontinuity.

This study focuses on Dong communities in Guangxi, China, investigating how physical facilities or systemic interventions can foster intergenerational interactions between elders and youth. It aims to revitalise the latent potential of public spaces as

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platforms for culturally grounded intergenerational engagement, reconcile generational demand conflicts, and achieve dual objectives of cultural heritage preservation and enhanced social cohesion.

Grounded in a pragmatist ontological framework, this research synthesises ethnographic methodology, affordance theory, and gamification principles to formulate design strategies. Methodologically, a mixed-methods approach is adopted: behavioural mapping and participatory observation in key communal spaces (e.g., drum towers, marketplaces); semi-structured interviews with key informants to decode implicit cultural logics governing intergenerational dynamics; and cross-generational surveys quantifying interaction frequencies and spatial satisfaction metrics. Theoretically, it extends Gibson’s affordance theory into a culturally-situated ‘affordance-in-context’ framework, bridging ecological psychology with ethnographic perspectives. Practical outcomes deliver a replicable design framework applicable to minority communities facing analogous challenges. This work addresses critical gaps in culturally informed design research while proposing actionable solutions for safeguarding intangible cultural heritage and strengthening community resilience.

1

Introduction

1.1 Research Context and Problem Statement Under the dual pressures of globalisation and modernisation, ethnic minority communities in China face acute crises of cultural transmission and sociostructural transformation. The Dong ethnic community exemplifies this predicament: youth outmigration exacerbates population ageing, severing intergenerational bonds and endangering intangible cultural heritage (ICH) practices such as the Dong Grand Song (Dà Gē) and traditional timber-framed architectural techniques. Public spaces—core loci of cultural transmission, including drum towers (Gǔ Lóu), wind-and-rain bridges (Fēngyǔ Qiáo), and marketplaces—are witnessing a decline in traditional functionalities. Intergenerational interactions have shifted from collaborative rituals (e.g., collective antiphonal singing, communal timber construction) to superficial daily encounters, often marred by generational conflicts over spatial usage (e.g., elders’ preference for traditional activities versus youths’ inclination toward digital entertainment).

The World Health Organization (2023) highlights that the erosion of intergenerational interaction not only intensifies social isolation among older adults but also weakens younger generations’ cultural identity, perpetuating a vicious cycle of "cultural-social" dual fracture. Intergenerational programmes have emerged as a potential solution, fostering connections across age groups and creating opportunities for mutual understanding and experience-sharing between elders and youth. Such initiatives help combat ageism and alleviate loneliness experienced by both demographics.

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Existing research on intergenerational interaction design predominantly focuses on urban or modernised cultural contexts, emphasising technology-driven solutions such as smart elderly-care devices (Tseng & Hsu, 2019) and cross-generational digital platforms (Abrantes et al., 2017). However, these approaches often neglect the unique sociocultural dynamics of minority communities. For instance, Labit et al.’s (2016) intergenerational housing models—though effective in fostering shared living and dining spaces in France and Germany—rely on modern infrastructure and individualistic values, rendering them incompatible with the collectivist cultural logic of Dong communities. Similarly, Pérez Rodríguez’s (2022) "gamified platforms," while promoting interaction through point-based systems, lack meaningful integration of cultural symbols and ritualistic behaviours.

Theoretical integration remains underdeveloped. While affordance theory (Gibson, 1979) and gamification theory (Deterding et al., 2011) hold potential for cultural transmission studies, their combined application remains unsystematic.

Current research often reduces affordances to physical environmental analyses (e.g., furniture layouts influencing social dynamics; Takeuchi & You, 2014), overlooking how cultural contexts shape behavioural possibilities. Concurrently, gamification design risks falling into a "techno-centric trap," where overreliance on extrinsic rewards (e.g., badges, points) undermines intrinsic motivation and complicates the development of participation mechanisms rooted in local values (Dah et al., 2024) .

1.2 Theoretical Framework and Research Significance This study proposes a dual theoretical framework of cultural affordance and culturally-sensitive gamification to address the theoretical gap in intergenerational interaction design for ethnic minority communities.

Cultural Affordance: Building on Gibson’s ecological psychology perspective, this research expands the conceptual scope of affordance theory by positing that spatial functionality in cultural contexts is shaped not merely by physical properties but also by cultural symbols (e.g., Dong totemic patterns), ritual norms (e.g., traditional customs), and collective memory (e.g., the Dong Grand Song). For instance, the circular seating arrangement of drum towers (Gǔ Lóu), as a material affordance, synergises with the symbolic significance of the communal hearth (huǒ táng), a semiotic affordance, to implicitly guide intergenerational storytelling practices (Zhang, 2018; Fan, 2022) . This theoretical advancement moves beyond traditional affordance theory’s narrow focus on physical functionality, offering a novel paradigm for spatial design research in minority cultural contexts.

Culturally-Sensitive Gamification: Integrating Deterding’s gamification principles with Chou’s (2016) Octalysis framework, this study redefines the theoretical boundaries of gamification design by foregrounding cultural ethos (e.g., the Dong collective honour system) as the driver of intergenerational engagement

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mechanisms. For example, it replaces individualistic point-based competition with cultural sense of mission, e.g., responsibility to transmit the Dong Grand Song) and narrative immersion, e.g., collaboratively unlocking ancestral legends), thereby mitigating the erosion of cultural authenticity by technological instrumentalism (Poddar, 2024).

Theoretical Contributions: 1. Cultural Affordance: By formalising this concept, the study addresses the oversight of cultural behavioural guidance in classical affordance theory and redefines the application boundaries of gamification theory, providing novel perspectives for cross-cultural design research.

2. Cultural-Space-Behaviour Triadic Analytical Model: Through systematically synthesising interdisciplinary literature from anthropology, design studies, and social gerontology, this study constructs a triadic framework that responds to Dourish’s (2010) 's call for "localized HCI design", with reference to Sun, H. (2012) . In response to Dourish's (2010) call for "localised HCI design." Referencing Sun’s (2012) Culture-Localised User Experience (CLUE) framework, it bridges the "action-meaning" gap in cross-cultural design by embedding local cultural practices into the design process, ensuring technological interventions resonate with users’ social practices.

1.3 Research Objectives and Transformative Questions This study aims to develop a theoretical framework and research protocol applicable to the design of intergenerational interaction-oriented public spaces in Dong ethnic communities. By systematically integrating affordance theory, gamification principles, and ethnographic research methods, it seeks to establish an operational definition of cultural affordance and its analytical dimensions (e.g., material, symbolic, and normative affordances). The research will expose the limitations of existing intergenerational design studies in minority cultural contexts and propose theoretical refinements. Through literature analysis, a culturally-sensitive intergenerational interaction design theoretical model will be constructed to provide a methodological foundation for subsequent empirical studies.

The study focuses on addressing the following theoretical challenges: 1. Theorising the Multidimensionality of Cultural Affordance: How to conceptualise the plural dimensions of cultural affordance?

2. Balancing Gamification Incentives and Cultural Authenticity: How to reconcile gamified motivation mechanisms with cultural integrity?

3. Ensuring Theoretical Transferability: How to enhance the framework’s

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applicability across diverse cultural contexts?

Addressing Multidimensional Cultural Affordance: While existing studies often reduce affordances to functional attributes of physical environments (Norman, 2013) , this research proposes behavioural guidance mechanisms rooted in cultural symbols and ritual norms, as evidenced in Dong case studies. A cross-disciplinary theoretical framework will be constructed by integrating anthropological thick description (Geertz, 1973) and spatial analysis tools from design studies.

Balancing Gamification and Authenticity: Current gamification designs exhibit a techno-dependent bias (Chernbumroong et al., 2024) . This study advocates a "low-tech, high-culture" principle—for instance, replacing digital point systems with Dong collective honour mechanisms—and theoretically substantiates its feasibility.

Ensuring Transferability: By distilling cultural meta-rules (e.g., senior-junior collaborative paradigms) and spatial interaction modules (e.g., narrative-driven task chains), a modular theoretical toolkit will be developed. This toolkit offers a universal analytical pathway for intergenerational design research in other minority communities (e.g., Miao, Yi).

Through critically synthesising multidisciplinary theories, this study seeks to establish an academic foundation for Dong intergenerational interaction design research while contributing theoretical resources to global cultural diversity preservation and ageing-inclusive social governance.

2

Literature Review

2.1 Intergenerational Interaction and Public Space Design Intergenerational Interaction, as a critical component of socially sustainable development, has garnered significant attention in urban public space design in recent years. Public spaces hold potential for fostering communication and collaboration across age groups; however, mere physical co-presence within these spaces is insufficient to achieve genuine intergenerational integration. This underscores the importance of creating environments conducive to meaningful interactions between diverse age demographics. A substantial body of academic research highlights the necessity for urban public spaces to address the needs of both younger and older populations, with a focus on design and policy interventions that promote intergenerational engagement.

Nelischer and Loukaitou-Sideris (2023) synthesise findings from urban planning and related disciplines, noting that while many cities have designed public spaces intended to attract multiple age groups, these spaces often lack mechanisms to facilitate substantive interaction. This results in generational groups existing in

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"parallel coexistence" rather than authentic engagement. The authors argue that designers must transcend conventional physical design paradigms by integrating social and psychological factors to create environments that actively stimulate intergenerational interaction.

Furthermore, Layne’s (2009) research emphasises the role of public space affordances in supporting intergenerational dynamics. He posits that design must account for the psychological and developmental needs of different age groups, crafting environments that balance safety and challenge to foster positive intergenerational exchanges.

However, current research on intergenerational interaction and public space design remains contentious. On one hand, scholars such as Norouzi (2023) advocate for promoting intergenerational interaction through physical spatial design, proposing architectural strategies guided by human development theory to create environments that foster connection and respect for autonomy. On the other hand, studies emphasise the critical role of sociocultural factors in intergenerational dynamics. For instance, Chou et al. (2022) employed virtual reality (VR) technology to facilitate intergenerational collaboration, finding that technological tools can partially bridge generational divides but require integration with cultural and emotional elements to achieve deeper engagement.

For this study, designing public space products for Dong communities necessitates a holistic integration of physical, social, and cultural factors to create environments that authentically foster intergenerational interaction. Participatory design approaches—engaging community members across age groups in the design process—can mitigate stereotypes and cultivate positive intergenerational relationships . Nevertheless, systematic research on intergenerational public space design within minority cultural contexts remains scarce, particularly empirical studies grounded in Dong cultural frameworks. Consequently, the interactive functionalities of Dong public spaces (e.g., drum towers, wind-and-rain bridges) must transcend physical functionalism by excavating endogenous interaction logics from cultural rituals (e.g., Dong Grand Song antiphonal performances) and symbolic systems (e.g., totemic patterns). For example, the centripetal layout of the drum tower’s communal hearth (huotang) operates not merely as a physical affordance but also as a symbolic behavioural framework for "familial cohesion".

2.2 Cultural Affordance and Behavioural Design The concept of affordance was originally developed to describe the behavioural possibilities an environment offers to individuals. Norman expanded this concept by emphasising the importance of users’ perception of affordances in design. However, such studies predominantly focus on the relationship between physical environments and users, with limited exploration of cultural factors’ influence on affordances.

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In recent years, scholars have begun examining cultural affordance, investigating how cultural contexts shape individuals’ environmental perception and behaviour.

This concept plays a pivotal role in understanding behavioural design, particularly in how technologies interact with users and their cultural backgrounds. Sun (2023) introduced a framework termed cultural affordance, which analyses the dynamic interplay among technology, users, and culture. This framework comprises three dimensions: 1. Technological Cultural Affordances: The potential behaviours or cultural transformations enabled by technology.

2. User Cultural Affordances: The contributions users make to technology and culture.

3. Cultural Affordances of Culture Itself: How cultural contexts influence technological design and usage.

Nevertheless, research on cultural affordance remains nascent, lacking systematic theoretical frameworks and empirical validation. Within Dong cultural contexts, public space design must holistically incorporate local cultural elements and social structures. Traditional architectures such as drum towers (Gǔ Lóu) and wind-and-rain bridges (Fēngyǔ Qiáo) not only serve physical functions but also embody profound cultural significances. Design should fully exploit these cultural elements’ affordances—through symbols, rituals, and narratives—to guide intergenerational behaviours and interactions. Yet, studies on effectively integrating cultural affordance into design, particularly in minority cultural settings, remain scarce. Additionally, designs must address the needs of diverse age groups, creating spaces that harmonise tradition with modern functionality to foster intergenerational interaction and cultural transmission.

For Dong public spaces, cultural affordance can be deconstructed into three dimensions: ▪

Material (e.g., collaborative layouts of Dong loom setups),

▪

Symbolic (e.g., fishbone patterns symbolising familial continuity),

▪

Normative (e.g., seniority hierarchies in antiphonal singing rituals).

This framework addresses the neglect of cultural behavioural guidance mechanisms in existing theories and provides culturally attuned behavioural rules for design interventions.

2.3 Gamification Mechanisms and Intergenerational Participation

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Gamification, as a strategy to promote user engagement and behavior change, has been widely used in the fields of education, health, and community development in recent years. Deterding et al. (2011) define gamification as "the use of game design elements in non-game environments," emphasizing its potential for motivating users and enhancing experiences. Chou's Octalysis framework further refines the core drivers of gamification, emphasizing the importance of intrinsic motivation in gamified design. The role of gamification in participatory healthcare delivery also exemplifies how game mechanics can enhance user engagement, both young and old .

However, traditional gamification designs tend to focus on extrinsic rewards, such as points and badges, and may overlook the role of cultural and emotional factors in user engagement. A systematic review found that personalized gamification (customizing experiences based on user attributes) can optimize student engagement but may not consistently enhance emotional and cognitive engagement, and that a one-size-fits-all approach may not adequately address the diverse needs of users.

Moreover, Nicholson (2015) also criticized "shallow gamification", and advocated "meaning-driven gamification", emphasizing that the design should pay attention to the user's intrinsic motivation and cultural background. In the context of cultural inheritance and intergenerational interaction, gamification design should take cultural factors into account and create mechanisms that can stimulate the participation of different generational groups. However, there is still a lack of systematic research on how to design effective gamification mechanisms in the context of minority cultures.

For this study, the gamification mechanism should incorporate elements of Dong culture and design activities, such as traditional songs, dances, and handicrafts, that can stimulate the participation of different generational groups, in order to promote cultural inheritance and intergenerational interaction. Dong gamification design should adopt a "low-tech, high-culture" strategy, which emphasizes the use of simple, easy-to-use and sustainable technologies to empower individuals and communities.

This approach is in line with the principles of practicality and reparability, which are essential for addressing contemporary social, cultural, ecological and economic challenges, and promotes inclusivity by increasing participation through simpler, hands-on activities (Almrot et al., 2025) , e.g., transforming wood construction techniques into physical puzzle tasks that require youth to collaborate with elders to unlock ancestral stories, rather than relying on smart devices. This mechanism maintains cultural authority while addressing youth's need for narrative experiences.

However, there is a lack of research on how to design gamification mechanisms in the context of Dong culture, especially in terms of product design for public spaces.

2.4 Research Positioning and Innovations Current research on intergenerational interaction, cultural availability and

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gamification mechanisms provides an important theoretical foundation for this study.

However, the existing research mainly focuses on urban environments and mainstream cultural contexts, and lacks systematic research on product design for intergenerationally interactive public spaces in the context of minority cultures.

Second, the combination of availability theory and gamification theory has not been systematized, especially lacking an interdisciplinary framework for cultural behavior guidance. Moreover, most of the studies rely on quantitative experiments or technical prototype tests, and lack ethnographic in-depth descriptions and cultural semiotic analyses, resulting in insufficient cultural appropriateness of design proposals.

This study aims to fill this research gap by exploring how to design public space products that promote intergenerational interaction through cultural availability and gamification mechanisms in the context of Dong culture. At the theoretical level, we propose an operationalized definition of "cultural availability", integrate the material, symbolic and normative dimensions, and construct a "culture-space-behavior" ternary model, which is combined with the theory of meaning-driven gamification to design activities that can stimulate the joint participation of different generational groups and promote cultural transmission and intergenerational interaction. Combined with the theory of meaning-driven gamification, we design activities that can stimulate the participation of different intergenerational groups and promote cultural transmission and intergenerational interaction. At the methodological level, we adopt a mixed methodology to break through the limitations of instrumentalism in traditional design research, and build a framework for designing public space products adapted to the needs of the Dong ethnic community. At the practical level, the "cultural meta-rules" module is refined to form a design toolkit that can be transferred to other ethnic minority communities.

Future research needs to further explore the dynamic interaction mechanisms between cultural availability and gamification theory, such as how ritual rules affect gamification task acceptance, and the paths of intergenerational power relations to reconfigure in collaborative design. In addition, the generalizability of the theoretical framework in multicultural scenarios needs to be verified, such as in Miao hammock or Yi fire pit communities.

3

Research methodology

3.1 Mixed Method Design This study adopts a Mixed Methods Research Design (MMRD) that combines qualitatively-led ethnographic research with quantitatively-assisted questionnaire surveys in order to comprehensively explore effective strategies for the design of intergenerationally interactive public space products in the context of Dong culture.

Mixed methods design is capable of integrating different types of data to provide a more comprehensive understanding, and is particularly applicable to the study of

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complex socio-cultural phenomena. In the field of public space design, mixed methods have been widely used to study the influence of cultural context on space use preferences. For example, Lesan and Gjerde (2020) employed a mixed methods approach in their study of streetscape preferences in a multicultural environment to obtain more comprehensive user feedback. Mixed methods have also been used in intergenerational interaction studies to assess the behaviors and attitudes of different age groups during the co-design process (Vrkljan et al., 2022) .

Therefore, the mixed-methods design is highly compatible with this study, and it can effectively capture the complexity of the use and interaction between different generations in the Dong community. The in-depth interpretation of cultural availability requires ethnography, while the verification of the frequency of intergenerational interactions and the acceptance of the design requires the support of quantitative data. The analysis of cultural availability relies on qualitative data (e.g., ritual rules, symbolic meanings), and ethnography is needed to capture the implicit cultural logic; the design of gamification mechanisms requires quantitative verification of intergenerational participation (e.g., task completion rate, satisfaction) to ensure the cultural appropriateness of the program. The mixed-methods approach enhances the credibility of the findings through "triangulation" (Ashatu, 2015) , e.g., cross-analysis of observed intergenerational collaborative behaviors with satisfaction scores from questionnaires to identify points of conflict between cultural norms and technological enablement.

3.2 Data Collection Strategies Data collection will utilize multiple strategies to ensure access to rich and diverse data.

For the collection of qualitative data, participatory observation, Semi-Structured Interviews (SSIs) and cultural symbols collection were used. Participatory observation was used to record the types of intergenerational interactions (collaboration, conflict, and ritual participation), duration, and spatial physical characteristics (e.g., seating layout, totem distribution) in public spaces such as Dong drum towers and wind and rain bridges, and "spatial behavioral mapping" (Whyte, 1980)was used to visualize the behavioral patterns. Boschmann (2014) also points out that behavioral mapping is an effective tool for analyzing space use behavior. By observing and recording participants' behavioral patterns in public spaces, the way different generational groups interact is analyzed. Through Semi-Structured Interviews (Semi-Structured Interviews) in-depth interviews were conducted with the participants to understand their perceptions of public space usage habits, cultural identity and intergenerational interactions. Semi-structured interviews were conducted with the elderly (over 60 years old), local youth (18-30 years old) and community managers (e.g., non-genetic inheritors) to focus on the cultural perceptions of intergenerational interactions, pain

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points, and suggestions for improvement of existing spaces. Through the collection of cultural symbols, photographs and drawings were made to record the symbol systems in Dong architectural patterns, ritual tools and traditional costumes, which will be used for the subsequent transformation of the design language.

For quantitative data collection a questionnaire (Questionnaires) was used to design a structured questionnaire to collect feedback and satisfaction ratings from participants on the design program. This approach helped to quantitatively analyze participants' preferences and needs. A five-point Likert scale was used to measure the frequency of intergenerational interactions (e.g., "the number of times per week that I participate in group duets"), spatial satisfaction (e.g., "whether the seating layout of the drum tower is suitable for exchanges"), and acceptance of gamification mechanisms (e.g., "whether I am willingness to participate in collaborative brocade weaving tasks").

Stratified Sampling, Snowball Sampling and Site-Based Sampling were used to ensure that the sample was as complete as possible. Stratified Sampling (Sampling by Age and Role) is designed to focus on local elderly people (with preference given to active members of the Dong ethnic group who are involved in the Dong ethnic song and the wooden structure technique), local youth (including local left-behind youth and short-term returnees), and community managers (including village chiefs, NGT inheritors, and Drum Tower Managers). Snowball Sampling is used to break through the constraints of "outsider" status by recommending marginalized groups (e.g., elderly people living alone) through initial respondents (e.g., community leaders).

Site-Based Sampling (SBS) randomly selects respondents in public spaces, such as drum towers and marketplaces, and covers different time periods (morning labor, evening socializing, and festive ceremonies) to capture the diversity of behaviors.

These data collection strategies complement each other to obtain rich data on intergenerational interactions and cultural availability from multiple perspectives.

3.3 Data Analysis and Ethical Considerations A variety of data analysis methods will be used to analyze the research data.

Thematic Analysis: open coding of interview and observation texts to extract core themes (e.g., "technophobia," "ritual authority") and construct a cultural logic model (Braun & Clarke, 2006) . Clarke, 2006) . For example, if most of the older adults mentioned that "mobile games destroy the tradition of singing songs", the conflict theme of "digital technology vs. cultural authority" was generated, which directly guided the design of avoidance strategies. Through spatial behavioral mapping, the observation data are labeled on the public space plan, identifying interaction hotspots (e.g., around the Gulou Fire Pit) and "coldspots", and analyzing the synergistic effect of physical layout and cultural symbols in conjunction with the theory of availability to identify the interaction patterns and behavioral characteristics

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of different generational groups in the public space. Then, through descriptive statistics and correlation analysis, the questionnaire data are analyzed by descriptive statistics and inferential statistics, and the mean value, frequency distribution and generational differences of the questionnaire data are calculated (e.g., T-test of the acceptance of AR technology between the youths and the elderly) to identify the priority needs.

In the course of the research, ethical norms will be strictly adhered to, ensuring informed consent, privacy protection and data confidentiality of participants.

Particularly when it comes to vulnerable groups such as the elderly and children, additional protection measures will be taken, such as simplified informed consent procedures and appropriate communication methods. To address the problem that some Dong elderly people are illiterate or not fluent in Mandarin, a bilingual (Dong and Chinese) verbal explanation of the purpose of the study will be used, and a graphic version of the consent form will be provided. Participants were allowed to withdraw or withdraw data at any time. Individuals in small-scale communities are easily identifiable, especially for community leaders or special roles: use code names (e.g., "Elder A", "Youth B") instead of real names; blur the specific name of the village in the thesis, and replace it with the phrase "a Dong community in Guangxi"; and use the phrase "a Dong community in Guangxi". Dong community in Guangxi"; record sensitive ritual scenes (e.g., ceremonies) only in the publicly permitted parts; avoid photographing sacred symbols or intervening in taboo rituals. Consult with community elders prior to the study to clarify what can be recorded and in what form.

Audio recordings and photographs will be stored in encrypted format, and paper materials will be locked in filing cabinets; the original recordings will be deleted at the end of the study, and only the anonymized text will be retained. In addition, it will be ensured that the research process is free from any form of discrimination or bias and respects the cultural background and personal values of the participants.

3.4 Alternative Approaches and Limitations While this study employs a mixed-methods design, alternative methodologies have been critically considered. For instance, experimental design (Godefroit-Winkel et al., 2019) could validate the efficacy of specific design interventions (e.g., assessing how novel loom configurations enhance intergenerational collaboration rates) through controlled group comparisons. However, its limitations lie in disengagement from authentic cultural contexts, failing to simulate the intricate power dynamics inherent in drum tower rituals. Similarly, virtual reality (VR) simulations (Ng et al., 2025) offer immersive experiences to evaluate the impact of public space design variants on intergenerational interaction. Yet, such approaches demand substantial technical resources and high participant technological literacy.

The mixed-methods design’s strength lies in integrating qualitative and

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quantitative data to yield comprehensive insights. Nevertheless, challenges persist: 1. Ethnographic Thick Description necessitates prolonged fieldwork, often exceeding standard research timelines.

2. Data Synthesis Complexity: Concurrent analysis of qualitative texts and quantitative datasets requires interdisciplinary competencies (e.g., anthropological coding + statistical tools).

3. Cultural Specificity Constraints: The uniqueness of Dong cultural practices may limit the framework’s generalisability to other minority communities (e.g., Miao ethnic community, Yi ethnic community).

To enhance transferability, a modular theoretical toolkit is proposed, distilling portable cultural meta-rules (e.g., collective honour systems) that allow substitution of context-specific symbols and rituals. This approach will be validated through cross-regional initiatives like the New Channel Design Project (Hunan University, 2015) , testing the framework’s scalability.

4

Discussion and Analysis

4.1 Design Implications of Cultural Affordance Cultural Affordance, as the core theoretical framework of this study, reveals the implicit behavioural guidance mechanisms of Dong public spaces for intergenerational interaction through three dimensions: material, symbolic, and normative. Building on Gibson’s ecological psychology perspective, this research extends classical affordance theory from physical functional analysis to cultural behavioural studies, emphasising that Dong public spaces are not merely collections of physical environments but also carriers of cultural symbols and ritual norms. In design studies, William Gaver (1991) categorised affordances into perceivable, hidden, and false types, underscoring the interactive relationship between users and environments. Within Dong cultural contexts, public space design must rigorously incorporate local cultural practices, social structures, and behavioural patterns to ensure alignment between designed affordances and user expectations/behaviours.

Material Affordance is exemplified through adaptive reinterpretations of Dong traditional architectural elements. For instance, the tiered structure of Dong bàzi terraced fields—visually ordered around mountain contours—can be abstracted into stepped interactive installations in public spaces. These installations would require intergenerational collaboration for assembly, echoing the collective labour traditions of agrarian culture while activating spatial functional diversity.

Symbolic Affordance necessitates excavating metaphorical systems within Dong culture. The fishbone pattern (yúgǔ wén) in woven textiles, symbolising familial

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continuity, could be transformed into visual cues within interactive interfaces to trigger shared cultural memories across generations. This process demands semiotic analysis to avoid superficial appropriation of symbols (e.g., reducing totems to decorative motifs), instead embedding behavioural guidance through narrative tasks (e.g., unlocking ancestral stories).

Normative Affordance faces the challenge of balancing traditional authority with modern demands. The seniority hierarchy in Dong antiphonal singing rituals (e.g., youths learning melodies from elders) provides a behavioural framework for design but may conflict with contemporary youths’ egalitarian aspirations. Berry’s (1997) acculturation theory proposes an integration strategy—achieving compatibility between traditional norms and modern values through design interventions. For example, in digital applications, youths could unlock augmented reality (AR)-enhanced village historical narratives by learning traditional melodies from elders, thereby preserving elders’ cultural authority while satisfying youths’ technological curiosity.

4.2 Localized Adaptation of Gamification Mechanisms Gamification, as an effective tool for enhancing user engagement and motivation, requires localised adaptation across diverse cultural contexts. Applying gamification theory within Dong cultural settings necessitates moving beyond the prevailing techno-dependent paradigm towards a meaning-driven, culturally-sensitive design.

While Deterding et al. define gamification as "the use of game elements in non-game contexts," current practices predominantly rely on digital point systems and competitive mechanisms, reducing cultural symbols to mere task rewards. This study proposes a low-tech, high-culture strategy—for instance, transforming Dong mortise-and-tenon timber-framing techniques into physical puzzles that require intergenerational collaboration to assemble, thereby unlocking ancestral construction narratives, rather than relying on smartphone applications.

Restructuring Core Motivational Drivers is pivotal to localisation. The Octalysis Framework highlights that existing gamification designs prioritise individualistic drivers such as Achievement and Ownership, whereas Dong collectivist culture thrives on Belonging (e.g., familial honour) and Mission (e.g., stewardship of intangible cultural heritage). For example, Dong Grand Song (Dà Gē) antiphonal competitions could be redesigned as intergenerational melodic puzzles, where youths and elders collaboratively decode traditional tunes to earn community-bestowed honourific titles like "Master Singer Medallion," replacing digital scoring systems.

This mechanism avoids technological erosion of cultural authenticity while reinforcing intergenerational reciprocity.

Mitigating Cultural Alienation Risks requires grounding in ethnographic thick description and community participation. Implementing gamification strategies in

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Dong communities thus demands deep engagement with local cultural values and social structures. Team-based collaboration and community-wide challenges can be introduced to incentivise cross-generational participation. Reward systems should prioritise non-material recognition aligned with cultural preferences, such as communal honour or traditional symbolic artefacts, over purely material incentives.

For instance, the collaborative logic of Dong wind-and-rain bridge (Fēngyǔ Qiáo) construction rituals (e.g., elders directing, youths executing) could be transposed into virtual construction challenges, ensuring augmented reality (AR) serves solely as a narrative medium rather than supplanting traditional craft transmission. Through culturally-attuned gamification, user engagement and belonging are enhanced, fostering intergenerational dialogue and cooperation.

4.3 Challenges of Interdisciplinary Integration Interdisciplinary integration is indispensable in designing public space products for intergenerational interaction within Dong cultural contexts. While this study’s interdisciplinary framework—spanning design studies, anthropology, and ecological psychology—provides multidimensional analytical tools, it faces challenges in methodological and theoretical synthesis, including terminological discrepancies across disciplines, methodological inconsistencies, and coordination of collaborative models.

Tensions Between Ethnography and Design Research: Geertz’s (1973) thick description methodology demands prolonged immersion to capture implicit cultural rules, yet design research is often constrained by project timelines and resources. For instance, power dynamics in Dong drum tower rituals (e.g., elders’ decision-making authority over spatial usage) risk being reductively interpreted as “authoritative symbols” through short-term observation, neglecting their dynamic negotiation processes. To address this, iterative ethnography can be employed, involving repeated returns to the field during design and validation phases to refine theoretical models.

Coupling Affordance and Gamification Theories: Cultural affordance emphasises environmental guidance of behaviours, whereas gamification relies on proactive motivational mechanisms. Integrating these requires avoiding over-design. For example, the collaborative layout of Dong loom setups (material affordance) naturally facilitates intergenerational interaction, but superimposing competitive tasks (e.g., speed-based challenges) may disrupt inherent cooperative cultural logics. The solution lies in distinguishing between: ▪ Augmentative Interventions: Subtly adjusting existing spatial attributes (e.g., optimising drum tower seating angles) to strengthen cultural affordance.

▪ Reconstructive Interventions: Cautiously introducing external mechanisms (e.g., gamified tasks) while ensuring alignment with indigenous values.

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Limitations of Theoretical Transferability: The uniqueness of Dong cultural practices (e.g., bàzi agrarian collectivism) may restrict the framework’s applicability to other minority communities. For instance, intergenerational interactions in Miao stilted dwellings (Diào Jiǎo Lóu) rely more on intimate hearth-centred narratives than public drum tower rituals. To enhance transferability, cultural meta-rules (e.g., collective honour systems, senior-junior collaborative paradigms) can be distilled as universal modules, allowing different communities to adapt specific symbols and spatial carriers.

4.4 Critical Reflections on Research Design The proposed design framework aims to mitigate cultural transmission discontinuity and social alienation while providing exemplars for ethnic minority communities, yet it is not without limitations.

Methodological Limitations: Although the mixed-methods approach enhances the credibility of findings, it struggles to reconcile the ethnographic depth required for cultural nuance with the breadth of quantitative data necessary for generalisability.

For instance, a limited questionnaire sample size may fail to capture dialectal variations within Dong linguistic regions (e.g., cultural perception disparities between Northern and Southern Dong dialects). Future studies should expand sampling scopes and refine cultural behaviour models using linguistic anthropology tools, such as dialect lexicon analysis.

Ethical Risks in Technological Empowerment: The integration of technologies like augmented reality (AR) risks exacerbating intergenerational digital divides. For example, older adults’ lower receptivity to virtual narratives necessitates dual-channel interaction systems (e.g., combining physical installations with digital supplements) and prioritising low-tech mediums (e.g., collaborative board games) to ensure inclusivity.

Practical Feasibility of Policy Implementation: Cultural design projects often falter due to insufficient community engagement. To address this, a co-governance design process must be institutionalised—for instance, involving community stakeholders (e.g., intangible cultural heritage [Intangible Cultural Heritage ] inheritors) as co-researchers—to ensure the cultural legitimacy and long-term sustainability of interventions.

5

Conclusion

This study explores how the interdisciplinary integration of cultural affordance and gamification theories can inform the design of public space products that promote

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intergenerational interaction within Dong cultural contexts. By synthesising theoretical and methodological insights from anthropology, design studies, sociology, and game research, the research not only deepens understanding of the Dong community’s cultural characteristics and intergenerational interaction patterns but also proposes actionable design strategies.

Cultural affordance theory provides a robust framework for interpreting and designing Dong public spaces. While affordance theory emphasises environmental support for individual behaviours, traditional Dong architectures such as drum towers (Gǔ Lóu) and wind-and-rain bridges (Fēngyǔ Qiáo) transcend mere physical functionality by embodying rich cultural meanings and socio-communicative roles.

Analysing these cultural elements enables the creation of spaces that balance tradition with contemporary functionality, thereby enhancing their cultural affordance.

Gamification mechanisms demonstrate significant potential in fostering intergenerational interaction. Gamification not only increases user engagement and motivation but also stimulates cross-generational interest through well-designed game elements such as points, challenges, and reward systems. However, gamification strategies must account for cultural differences and user acceptability, avoiding universalist design approaches.

In practice, interdisciplinary collaboration faces challenges including terminological disparities, methodological inconsistencies, and coordination of cooperative models. Establishing effective communication mechanisms, fostering mutual understanding across disciplines, and adopting shared frameworks (e.g., participatory design, co-design) are critical to enhancing team efficiency and research coherence.

This study enriches the application of cultural affordance and gamification theories in public space design while offering novel perspectives for designing public spaces in Dong and other minority regions. Future research should further investigate the application of these theories and methods across broader cultural contexts to achieve more inclusive and sustainable public space design.

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Reconstructing

Image

Ontology:

From

Photographic

Evidence to AI-Generated Visual Cognition Xiang Meng

Within the genealogy of photographic history, Stephen Shore's The Nature of Photographs (1998) constitutes a pivotal theoretical milestone. Building on John Szarkowski's framework of "exploring possibilities unique to photography," Shore deconstructs photographic images into three dimensions—material, depictive, and psychological—revealing photography's dual capacity to document reality and evoke abstraction. The physical sedimentation of silver halide crystals forms the material

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foundation of images, the rearrangement of visual elements within the frame constructs depictive translation, and the interplay of these layers ultimately generates intentionality and signification in the viewer's mind.

Photography's empirical authority derives from its microscopic replication of the material world. The photochemical reaction of silver halide crystals in emulsion enables the deposition of over 200 million metallic silver particles per square centimeter of photographic paper. This atomic-level material interaction establishes photography's unparalleled claim to realism, where the photograph serves as both the physical basis of the medium and the metaphysical embodiment of its philosophical essence.

Susan Sontag, in On Photography, emphasizes the photograph's power as a "slice of reality," rooted in this microscopic materiality's precise mapping of macroscopic truth.

By forging a seemingly non-interventionist link between image and objective reality, photography became modernity's ultimate tool for spatiotemporal preservation—a technological prosthesis that crystallized moments in time with minimal human mediation. This mechanistic fidelity directly catalyzed the formation of modern empiricist epistemology.

Twenty-four years later, the advent of generative artificial intelligence has shattered this two-century-old cognitive paradigm. When models like Stable Diffusion and Midjourney generate pixel matrices through latent diffusion processes, they sever the fragile causal threads connecting images to physical reality: no light passes through lenses, no shutters slice time, no developers fix silver grains. The ontological bond between image and world dissolves.

At its core, AI-generated imagery represents probabilistic sampling of highdimensional vectors within electronic data streams. Disregarding historical, technical, and material origins, these systems conjure images from the void—an act of digital necromancy that uproots photography's foundational indexicality (as defined by Charles Sanders Peirce). Images no longer function as "trace fossils" of reality but devolve into pure chromatic and formal assemblages. This transformation actualizes Jean Baudrillard's 1981 prophecy in Simulacra and Simulation, which delineates the evolution of signs through three stages: from "reflecting reality" to "masking reality's absence," culminating in self-referential hyperreality. Here, the referential bond between signifier and signifier collapses entirely, leaving images as autonomous hallucinations—vivid projections in a collective technological dreamscape.

This AI-driven cognitive revolution has catastrophically dismantled humanity's historical spacetime coordinates. Traditional photography, akin to tree rings, required material grounding in reality—the physical instant of shutter release marking temporal coordinates, viewfinder-cropped spatial fragments defining spatial coordinates, and photochemical/electronic signals forming physical coordinates. In contrast, AIgenerated images resemble stratocumulus clouds—formations unanchored from geographical specificity, freely aggregating cultural fragments within CLIP-modeled

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semantic-visual crossmodal spaces. This deterritorialized production mode transforms image narratives from linear causality into Gilles Deleuze's rhizomatic structures. A viral Reddit image series epitomizes this paradigm: Pope Francis clad in Balenciaga's white puffer jacket, wearing aviator sunglasses while motorcycle-riding through urban streets, or donning tactical vests to pilot fighter jets—physically irreconcilable elements that acquire semantic coherence through algorithmic mediation, propagating as viral spectacles within social networks.

Media philosopher Friedrich Kittler's assertion that "media determine our situation" finds violent verification in AI image generators. Midjourney users manipulating prompts to steer latent pixels no longer practice Henri Cartier-Bresson's "decisive moment" capture, but rather embody digital alchemists—distilling collective visual memories from five billion images into restructured syntax to convey "cybersignificance" unmoored from reality. This cognitive transmission fundamentally reshapes emerging generations: by erasing boundaries between real and virtual, generative imagery compels simultaneous existence within parallel perceptual universes.

The adage "To a man with a hammer, everything looks like a nail" perfectly encapsulates tool-mediated cognitive transformation. Modern technological revolutions construct new epistemic systems through emergent media, thereby expanding perceptual frontiers. This radical production shift necessitates redefining image hermeneutics through media archaeology frameworks. As photography's ontological promise of "Ça a été" (Barthes' "this-has-been") becomes nullified, we urgently require new epistemic contracts to comprehend the restructured topology of the Real, Symbolic, and Imaginary within algorithmically-generated visual cosmoses.

The analysis will proceed through four critical dimensions: Material Metamorphosis: The ontological shift from silver halide's atomic testimony to AI's probabilistic vectors Interface Epistemology: Screen ecologies as neural prostheses reshaping visual cognition Chronotopic Unbinding: The collapse of photography's spacetime authentication matrix Generative Pictorialism: The resurgence of conceptual creation over mechanical reproduction This framework aims to map the tectonic shifts in visual epistemology, tracing how algorithmic image production reconstructs the very foundations of human perception and meaning-making.

1. Detail: Paradigm Shift from "Material Evidence" to "Algorithmic Rhetoric"

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At photography’s inception, the physical interplay between silver halide grains and light established material coordinates for human cognition. In Daguerre’s 1839 Parisian street scene, the vanished carriages and pedestrians—erased by prolonged exposure— stood in stark contrast to the eternally preserved architectural textures. This primal cognitive paradox revealed photography’s dual nature: the brickwork crevices served as forensic evidence of physical reality, while the absent dynamics hinted at representational limitations. Such duality foreshadowed two centuries of debates about image authenticity—when photographic details simultaneously function as imprints of material reality and carriers of visual rhetoric, where do we demarcate the boundaries of truth?

John Szarkowski observed that "the photograph’s magic lies in its dual identity as fact and metaphor," emphasizing how photographers discovered a world more intricate than their imaginations through detail-driven observation. Rich details provide foundational data for interpretive multiplicity, elevating reality-based images into polyphonic semantic spaces.

Generative AI has radically reconfigured this 180-year-old cognitive framework. When StyleGAN2 synthesizes facial pores with detail density surpassing traditional imaging, these textures no longer originate from biological laws but emerge as probability distributions of feature vectors in latent space. In NVIDIA’s GauGAN-generated virtual forests, the serrated edges of leaves reflect equilibrium states in the adversarial interplay between generators and discriminators, divorced from botanical morphogenesis. The diffusion model revolution intensifies this: Stable Diffusion’s iteratively denoised metallic textures are statistical reconstructions of material properties in highdimensional space. These algorithmically-generated details, ungrounded in municipal reality or referential fidelity, are visual appropriations distilled from billion-scale image datasets.

The MIT Media Lab’s AI-generated portraits exemplify this epistemic rupture: hyperdetailed renderings of Stephen Hawking’s atrophied facial tremors, captured at frequencies beyond photographic thresholds, paradoxically negate detail’s evidentiary function. Midjourney V6’s geometrically perfected irises replace biological chaos with datafied consumerist ideals. Within algorithmic rhetoric systems, skin texture authenticity no longer references epidermal cell patterns but aligns with digitized "perfect skin" archetypes. This self-referential detail production shifts authenticity criteria from "reality compliance" to "cognitive conformity."

The alienation of detail’s function mirrors the broader restructuring of visual cognition.

In analog photography, silver halide grains served dual roles as material carriers and information media, each crystal encoding spatiotemporal photonic imprints. In AI imagery, pixels degrade into pure informational vessels valued for persuasive efficacy.

Google’s Deepfake Detection team discovered that state-of-the-art models deliberately inject pseudo-film grain artifacts—a rhetorical mimicry of photographic materiality.

While Nikon engineers combat optical aberrations through complex lens designs,

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algorithms generate "perfect lens flares" via latent space parameter adjustments. This transition from optical constraints to data manipulation marks detail’s metamorphosis from "mirror of reality" to "window of cognition."

In this silent revolution, humanity witnesses the dissolution of what Walter Benjamin might have termed the "digital aura." AI’s hyperreal details are neither copies of reality nor pure fantasies, but cognitive interfaces pulsating within probability clouds. Like the planks of Theseus’ ship, they incrementally replace the empirical components of our visual cognition. As photographers debate synthetic image labeling protocols, a deeper epistemic crisis emerges: within algorithmically-constructed visual labyrinths, humans are losing the capacity to trace reality through details. Paul Virilio’s observation resonates profoundly: when the velocity of image production surpasses the rhythm of perceptual evolution, we enter a state of epistemological weightlessness in the "acceleration of reality."

2. Screen Ecology: Perceptual Reconstruction of Virtual Presence The materiality of traditional photography was grounded in the irreversibility of photochemical reactions. The sedimentation of silver halide crystals in gelatin emulsions, akin to geological stratification, eternally fixed luminous information. Ansel Adams’ Zone System achieved canonical status by precisely controlling silver crystal density distributions, transmuting Yosemite’s basalt textures into tactile visual topography. This material transduction mechanism endowed photographs with unique "haptic credibility": even when digitally replicated, the three-dimensional relief of silver grains under raking light on original prints remains an unreproducible physical testament. Japanese washi artisans still handcraft cyanotype paper, as mechanical production cannot replicate the unique diffuse effects of plant fibers during Prussian blue development—material memories preserving the residual "aura" defended by photographic purists.

Liquid crystal displays shattered this material dialectic. When Sony’s 1970s Trinitron tubes illuminated phosphors with electron beams, images began shedding physical anchors. With OLED’s self-emissive pixels—each an independently controllable photon emitter—images achieved complete dematerialization. This process reached critical mass with Retina displays: 326 ppi pixel densities surpassing human optical resolution thresholds granted virtual images finer textures than silver grains. Artist Wolfgang Tillmans observed that when his works shift from gallery walls to iPhone screens, younger audiences instinctively use pinch-zoom gestures to verify "authentic" details—an interactionist authentication mechanism reconfiguring visual epistemology.

Benjamin’s "decline of aura" mutates into complex variations within screen ecologies.

TikTok’s dynamic filters no longer replicate reality but remix it in real-time via facial recognition algorithms: blinks trigger celestial overlays, smiles activate particle storms.

Snapchat’s AR lenses advance this further, anchoring virtual objects to physical point

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clouds through shared perspectival rules. When Gen Z users physically dodge mixedreality projections, the Cartesian subject-object dichotomy collapses. Apple Vision Pro’s immersive interfaces elevate this perceptual revolution: retinal projection technology endows digital objects with binocular parallax and motion blur, granting virtual entities physiological equivalence.

Screen ecology’s deconstruction of temporality proves equally profound. Magnum photographers’ "decisive moments" fracture into 15-second Instagram Stories. More radically, generative AI tools like Adobe Firefly enable real-time manipulation of temporal aesthetics through sliders, transforming time into a malleable visual parameter.

This "temporal plasticity" obliterates photography’s essence as time capsules. As Nan Goldin lamented, "When every photo can be infinitely resurrected in the cloud, the punctum of the shutter-click moment dissolves into data vortices." This cyborg visual system reimagines Plato’s cave allegory: prisoners become projectionists, actively coding light-generation rules.

From darkroom trays to VR headsets, image medium revolutions reconfigure cognitive frameworks. As human retinas adapt to perpetual screen luminescence and haptic gloves simulate paper textures, ancient ontological binaries between real and virtual are rewritten. Marshall McLuhan’s prophecy materializes: media evolution’s terminal phase becomes nervous system integration, with screen ecology as its prototypical stage.

When TikTok influencers broadcast through AI avatars and architects manipulate holographic city models in AR sandboxes, we witness Heidegger’s "age of the world picture" transitioning into what might be termed the "pictorial world epoch"—a historical pivot where images no longer represent reality but constitute it.

3. Spatiotemporal Decoupling: The Paradigmatic Collapse of Photographic Ontology The rupture of spacetime relations manifests as dual decoupling in techno-philosophical terms. Temporally, AI images strip Benjaminian "aura" from its "here-and-now" uniqueness, converting it into an extractable temporal sign bank. When Midjourney users input "1980s East Berlin," the algorithm mines ahistorical datasets for weathered concrete textures and Trabant car silhouettes, assembling historical simulacra that never existed. Spatially, Google’s Imagen generates "Mars colonies" with rock textures governed not by astrophysics but by Reddit space enthusiasts’ visual conventions. This discrete recombination of spatiotemporal parameters reduces Peircean indexicality to data phantoms.

A deeper cognitive crisis erupts in historical memory domains. When Ukrainian digital resistance employs ControlNet-generated "Russian military atrocity" images, traditional war photography ethics implode—these coordinate-less "visual testimonies" resist provenance verification and silver grain analysis. Harvard Archives discovered that DALL·E 3 "restorations" unconsciously colonize historical photos with

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contemporary aesthetics, algorithmically rewriting collective memory’s DNA. Even Magnum Photos’ digitization project confronts paradox: 4K-scanned silver crystal structures ultimately become disembodied binary codes.

This ontological emergency compels hermeneutic reorientation. Traditional photographic criticism’s focus on "how" (aperture/shutter selections) yields to AI’s "why" (training dataset compositions). The production of meaning shifts from authorial intent to algorithmic motivation. Following Foucault’s archaeological method, we must interrogate: What power structures refract through Stable Diffusion’s neoclassical portraits? What societal unconscious biases lurk in latent space’s filtered "invisibles"?

Trevor Paglen’s Berlin exhibition juxtaposing AI-generated "surveillance photos" with satellite imagery reveals truth politics’ evolution from reality documentation to "credibility manufacturing."

As photo-historians debate AI’s art-historical classification, foundational cognitive revolutions unfold: humanity confronts visual objects entirely disembedded from physical spacetime—data-alchemical specters floating as cognitive catalysts in cyberspace. Neither reality’s mirrors nor fantasy’s projections, these entities actualize Vilém Flusser’s prophecy of a "post-photographic era," where images become interrogations rather than evidence. In this ontological fog, each pixel poses questions, and every photograph dissolves into epistemic uncertainty.

4. Pictorialist Resurgence The viewfinder of the camera obscura era confined photography to the "art of selection." As Susan Sontag observed: "Photographers fish fragments from reality’s torrent, while painters conjure cosmos from void." This fundamental schism in creative paradigms undergoes dramatic inversion in the generative AI era. When Midjourney users input prompts like "cyberpunk Shan Shui landscape with Wu Guanzhong’s brushstrokes and nanomechanical rain mist," their creative logic transcends the recombination of reality shards, reviving the Renaissance disegno tradition of mental image construction. The AI image generation process parallels painting on blank canvas, albeit with a critical shift—object representation techniques now manifest as prompt engineering.

After these transformative upheavals, visual appreciation completes an ontological loop: the pursuit of realism and virtuality achieves paradoxical unity. Reality becomes virtuality, and virtuality materializes as unfolding reality.

In this silent media revolution, "conception" reclaims sovereignty over image production. Just as the Florentine School revolutionized visual cognition through perspective in the 15th century, AI image creators now reshape reality’s laws via prompt-weight calibration. The pictorial essence declared dead at photography’s birth achieves digital immortality—brushes transmute into code, canvases dissolve into probability clouds, and artistic ideation blossoms at the chaotic frontier of human-

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machine collaboration, radiating unprecedented creative spectra.

Conclusion This analysis reveals AI imagery’s systemic subversion of traditional visual hermeneutics: details morph into algorithmic rhetoric, screens evolve into perceptual interfaces, spacetime causality fractures into quantum fragments, and conception regresses to vector computations. We confront not merely technological iteration but the prelude to cognitive revolution. Photography, once "nature’s pencil" (Talbot) documenting reality, now manifests as the "developer of collective unconsciousness"— a topological reorganization of visual power in digital capitalism’s age. Images cease to be observed objects, becoming active agents weaving cognitive labyrinths.

This paradigm shift compels new epistemic contracts: reconstructing image ethics where Benjamin’s aura faded, carving critical pathways through Baudrillard’s simulacral order. Future visual hermeneutics must transcend "Is this real?" to interrogate "Why is this reality manufactured?" As technology grants humans demiurgic power to transcend reality, vigilance becomes imperative: in the algorithmic collective unconscious, critical seeing remains our last cognitive rampart—the final bastion of ideological resistance.

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Defining Your Practice as Leading Change

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Green or green washing? Examining sustainable strategies in fast fashion.

Chenxi Song

Abstract As sustainability continues to dominate the global fashion landscape, fast fashion companies are increasingly implementing green strategies in response to rising customer and societal demands. However, the legitimacy of these programs remains debatable, with 'greenwashing' concerns generating doubts about the true motives behind them. In the environment of social media, where brand messages are quickly distributed and scrutinized, Generation Z, defined by digital literacy and value-driven consumption, is emerging as an important group to research in depth.

This study uses a phenomenological method, combining semi-structured interviews with thematic analysis, to investigate how Gen Z consumers perceive and understand

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the sustainability narratives offered by fast fashion firms. The study focuses on Gen Z customers' capacity to recognize "greenwashing" practices, the emotional responses elicited by these ads, and how these perceptions influence their purchasing decisions.

The study's findings demonstrate that, even in the face of growing consciousness of sustainability concerns, Gen Z's purchase choices are frequently impacted by affordability, aesthetic appeal, and popular social trends. Elements including perceived trustworthiness, brand transparency, and emotional fit greatly influence consumer trust and engagement. It is important to note that several participants showed considerable skepticism toward green marketing initiatives, underscoring the ongoing discrepancy between consumers' perceptions of sustainability and their real spending patterns.

In addition to offering practical advice for companies looking to foster authenticity and trust through environmental communication tactics, this study expands our knowledge of how young customers interact with sustainable businesses in the fast fashion industry.

Keywords: Generation Z, fast fashion, sustainability, Greenwashing, brand trust, phenomenology

Introduction In the face of escalating climate change, resource depletion, and environmental deterioration, the sustainable transformation of the fashion industry has become a global priority. In this environment, fast fashion, defined by short production cycles, low-cost manufacturing, and mass-market appeal, has sparked interest not just for its financial supremacy but also for its far-reaching ecological and social consequences. According to Niinimäki et al. (2020, p. 189), the textile and clothing sector is the world's second greatest industrial contributor to water pollution, accounting for almost 20% of total wastewater emissions. Furthermore, the sector creates around 92 million tons of textile waste each year, with just 15% recycled (Niinimäki et al., 2020, p. 189).

RetailX (2023, p. 9) highlights that the environmental footprint of fashion is magnified by the industry's globalized supply chains and excessive consumption patterns, which significantly contribute to greenhouse gas emissions. Furthermore, McKinsey & Company's Fashion and Climate study and the Global Fashion Agenda (2020, p. 5) predict that the sector released around 2.1 billion tonnes of greenhouse emissions in 2018, with this figure anticipated to climb to 2.7 billion tonnes by 2030 if no meaningful

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intervention is taken.

Fast fashion not only harms the environment but also exacerbates deeper socioeconomic inequities. It encourages exploitative employment practices, widens the gender gap, and contributes to the global North-South divide. The need for cheap labor in developing nations, where workers—mostly women—face poor salaries, dangerous working conditions, and insufficient labor security, has been made worse by the growth of ultra-fast fashion (Niinimäki et al., 2020, p. 187). The definition, communication, and operation of sustainability within the fast fashion value chain need to be severely reexamined in light of these systemic problems.

Many fast fashion firms have implemented so-called green strategies in response to societal pressure and rising customer awareness. Using certified organic or recycled fabrics, promoting sustainability certifications, and launching eco-friendly sub-brands (like Zara's Join Life and H&M's Conscious Collection) and clothing recycling initiatives are some of these tactics. However, a growing amount of scholarly research has questioned the depth and sincerity of such programs, claiming that they are primarily cosmetic and intended to improve brand image rather than promote structural change.

This strategy, known as greenwashing, involves the deliberate deployment of ambiguous, selective, or deceptive environmental statements to appeal to ethical customers while concealing continued detrimental behaviors (Lyon & Montgomery, 2015, p. 224).

The rise of "greenwashing" has resulted in a growing credibility gap between corporate sustainability narratives and real performance, leaving customers unclear of which businesses to trust. In this skeptical milieu, Generation Z (born between 1995 and 2010) is an especially influential consumer cohort. Gen Zers are knowledgeable, socially conscious, and culturally prominent since they grew up in the internet age. Their strong interest in social justice, climate challenges, and ethical consumption is highlighted in reports by the OECD (2022, p. 13) and Deloitte (2023, p. 7). However, because of its affordability, ease of following trends, and opportunity for self-expression, this group also purchases much quick fashion.

The disparity in the attitudes and behaviors of Generation Z customers is a recurrent issue in the literature. Their real purchase behavior tends to prioritize price, convenience, and aesthetics despite the fact that they frequently profess high sustainability ideals (Hyoung & Jung, 2022, p. 4). This intrinsic inconsistency begs the crucial question of how this demographic perceives, understands, and responds to fast fashion's sustainability promises.

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Sites like Xiaohongshu have grown in importance as forums for consumer-led conversations and brand-led green messages. While Gen Z consumers actively participate in creating meaning through peer-to-peer relationships, Netflix culture, and user-generated content, fast fashion businesses are increasingly using these platforms to promote sustainability narratives. Emotional resonance, relatability, and perceived authenticity are highly valued by Gen Z customers, according to research; they react more favorably to communication that is transparent and narratively rich than to abstract environmental slogans (Deloitte, 2023, p. 8; McKinsey & Company, 2020, p. 15).

In light of these factors, this study investigates how Generation Z consumers view and react to sustainability promises made by fast fashion businesses, specifically with regard to greenwashing, the development of trust, emotional ambivalence, and changing expectations of brand responsibility.

Main study questions: • How do Gen Z customers react to fast fashion firms' sustainability claims?

Sub-issue 1. In real-world consumption situations, how can Gen Z consumers recognize and distinguish between green marketing and greenwashing?

2. How does social media influence their level of trust, skepticism, or criticism of sustainable brands?

3. Can other avenues, like recycling programs or second-hand clothing, raise awareness of genuine sustainability?

4. Can companies and Gen Z customers develop deeper, more enduring relationships through collaborative design techniques like meta-design?

This study used a phenomenological method to understand better how people make ethical decisions, generate meaning, and feel emotions in real-life consuming scenarios.

It gathers rich first-person narratives from Generation Z participants using semi-structured in-depth interviews, which are subsequently subjected to thematic analysis to find recurrent themes of interpretation and meaning. This qualitative method seeks to reconstruct subjective experiences and show how trust, skepticism, and ethical thought are molded in response to sustainability messages. In contrast to extensive quantitative research, it emphasizes depth rather than breadth.

The fast fashion sector is experiencing a severe crisis of trust as it moves toward

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sustainability, particularly with Gen Z consumers who mix social influence, digital proficiency, and environmental consciousness. Brands must delve deeply into the cultural, emotional, and ethical demands of their consumers in order to establish trust and create enduring relationships. With an emphasis on their behavioral, emotional, and cognitive reactions to "going green" and fostering trust, this study investigates how Gen Z consumers interpret and react to sustainability narratives. It also investigates if meta-design and second-hand clothing might offer substitute routes to more genuine and cooperative brand-consumer interactions. This study aims to illuminate the frequently disregarded dynamics of meaning creation and conflict in the current discourse on sustainable fashion using a phenomenological perspective.

Literature review 1. Environmental impact of fast fashion The fast fashion industry's explosive rise has brought up significant social and environmental concerns. Approximately 20% of all industrial wastewater discharges come from the textile and clothing sector, making it the second greatest source of industrial water pollution worldwide (Mitchell, 2023, p. 74). Furthermore, only 15% of the 92 million tons of textile waste produced by the industry each year gets recycled. The majority of unwanted clothing is either landfilled or burned, which greatly adds to the environmental burden on a worldwide scale (Mitchell, 2023, p. 76).

As Mitchell (2023, p. 74) notes, "The fashion industry is the second most polluting sector in terms of water pollution, largely due to untreated wastewater from dyeing and finishing processes. “Fast fashion's post-consumer phase has had disastrous effects in addition to the production chain. For instance, over 15 million used clothes are sent every week from the northern hemisphere to Ghana's Cantamanto market. The surrounding ecology is seriously contaminated, and the public's health is at risk since around half of these are sold, and the remainder are thrown away or burned (Mitchell, 2023, p. 78).

Furthermore, one of the main causes of freshwater contamination is the dyeing and finishing techniques used in textiles. According to Mitchell (2023, p. 80), between 17 and 20 percent of industrial water contamination worldwide is caused by these activities.

According to Willett et al. (2022, p. 5 42), including customers in workshops for clothing repair, upcycling, and creating can raise their understanding of sustainability issues

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and lessen their dependency on buying new clothes.

Investigative media and an increasing number of scholarly studies have raised awareness of these environmental risks, leading several companies and brands to look into more sustainable options. However, both industry and consumers must make a concerted effort to bring about significant change (Willett et al., 2022, p. 544).

2. Brand strategy and greenwashing 2.1 Common forms of sustainability strategies for fashion brands In recent years, fast fashion brands have adopted a variety of sustainability-oriented strategies to appeal to eco-conscious consumers, especially Gen Z consumers. Key initiatives include:

• Green brand extensions: Companies like H&M and ZARA have introduced lines like "Conscious Collection" and "Join Life," which assert that they employ recycled polyester, organic cotton, and other environmentally friendly materials. While still being affordable for the brand, these collections are promoted as eco-friendly substitutes (Vogue, 2021).

• Clothing collecting and recycling initiatives: To extend the life of clothing and further the idea of circular fashion, retailers like H&M, Uniqlo, and Primark have started instore recycling initiatives to entice customers to return their used clothing (Zara Join Life Collection Analysis, 2022).

• Eco-labelling and certification: To bolster the legitimacy of their environmental claims, several businesses incorporate sustainability-related information on product labels and highlight certifications like OEKO-TEX or GOTS (Zara Join Life Collection Analysis, 2022).

While these strategies contribute to a positive brand image, they also carry a high risk of 'greenwashing' - brands exaggerating or falsifying environmental claims to appear more sustainable than they actually are (Delmas and Burbano, 2011, p. 65). Delmas and Bourban, 2011, p. 65).

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2.2 Recognize and condemn instances of greenwashing The practice of deceiving customers by inflating a company's environmental activities or hiding unsustainable practices is known as "greenwashing" (Delmas and Burbano, 2011, p. 68). These kinds of actions are typical in the fast fashion industry. According to Liu et al. (2022, p. 213), there has not been any significant systemic change, as seen by the fact that core company operations still rely on mass manufacturing and inexpensive labor, while green sub-collections usually make up a minor portion of overall sales.

Schmuck et al. (2022, p. 364) discovered that many eco-statements lacked independent verification and utilized ambiguous phrases like "more sustainable," which confused or misled customers in their analysis of the German fashion market. While these strategies could boost brand loyalty in the short term, they have the potential to undermine trust over time, particularly with Gen Z customers who have demonstrated a high sensitivity to inconsistency and a lack of transparency.

Increased consumer environmental consciousness, social media censorship, and lax regulatory frameworks are some of the factors that Testa et al. (2020, p. 497) cite as contributing to the 'greenwashing' phenomena in the fashion business. Instead of making significant adjustments, many firms are reacting to these demands with symbolic measures like ephemeral collections or green marketing initiatives.

2.3 Greenwashing's Effect on Customer Behavior Despite their strong concern for sustainability, Kim and Seock (2022, p. 123) discovered that Generation Z consumers are often skeptical of corporate green claims, particularly if they are ambiguous or lack third-party evidence. This phenomenon is known as "greenwashing" and has a significant impact on consumer behavior. Some of the survey's main conclusions are listed below. This segment is more inclined to trust brands that have clear social media accounts and validated certifications.

According to the research, there is still a distinction between performance techniques and true commitment, even with the increasing popularity of sustainability narratives.

As a result, a major goal of this study is to investigate how Generation Z consumers understand and react emotionally to these storylines.

3. Consumer attitudes and behavior of Generation Z

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With strong environmental ideals and an increasing impact on fashion buying habits, Generation Z (born 1995–2010) has become a significant consumer generation (Masserini et al., 2024, p. 389). Aesthetic tastes, social duty, and internet connectedness all affect their views on sustainability.

3.1 Generation Z's values and understanding of sustainability Masserini et al. (2024, p. 391) discovered that while Millennials were more likely to purchase new items created from ecologically friendly materials, Generation Z was more likely to purchase used apparel, indicating that they were more likely than prior generations to embrace sustainable behavior. This demonstrates how Generation Z understands the cyclical fashion tenets.

However such ideals are not always reflected in reality, as Duffy (2022, p. 112) emphasizes the enduring 'attitude-behaviour gap', where in Generation Z customers continue to purchase fast fashion items due to cost and ease of use rather than environmental concerns.

According to Antunes et al. (2024, p. 228), Generation Z's propensity to buy sustainable fashion is significantly predicted by perceived consumer efficacy and environmental responsibility. Therefore, effective branding needs to be more than just messaging; it needs to offer a fun and instructive experience that empowers customers to link principles with action.

3.2 The function of influencer marketing and social media Social media has a significant impact on behavior. Platforms like Xiaohongshu. Instagram, and TikTok are essential to this generation's capacity to identify trends, assess companies, and create identities. Hidayatullah et al. (2025, p. 143) discovered that Gen Z's brand impression and purchase intentions were greatly impacted by Netflix's TikTok marketing.

Ajina and others (2024, p. 317) that Gen Z customers really care if companies show true feelings in their social responsibility ads. When brands try to look good by using emotional messages but don't do real actions - called 'virtue-promoting' - young customers can react very strongly.

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However, Zhou et al. (2023, p. 75) note that price sensitivity and product aesthetics frequently have an impact on Gen Z's support for sustainability. And some customers nevertheless buy products from "greenwashing" firms, citing design and price as determining considerations. The conflict between moral principles and real-world restrictions on consumption is made clear by this cognitive dissonance.

3.3 How people view and react to "greenwashing" The susceptibility of Generation Z to "greenwashing" has been extensively established.

Min et al. (2021, p. 246) state that ambiguous or contradictory sustainability promises frequently inspire mistrust or skepticism. Social media sites have the power to magnify these responses, resulting in public outrage and occasionally even boycotts.

However, not all Generation Z customers are able to assess brand messages critically.

According to Kwon and Ko (2023, p. 119) discovered that many people continue to depend on brand narratives and are unaware of certification systems, emphasizing the importance of clear, informed, and open sustainability communications.

4. Research gaps and the need for a phenomenological approach.

While early studies mostly employed quantitative ways to analyze sustainable practices, more recent academic research has begun to investigate interpretivist and phenomenological approaches. This paradigm seeks to explain how consumers generate meaning and make decisions within a certain socio-cultural environment (Haque and Lang, 2025, p. 102).

First-person, first-hand experiences are the subject of phenomenological research. Examples of these include how customers resolve internal problems throughout the purchasing process, understand environmental language, and react emotionally to brand tone (Van Manen, 1990, p. 185). According to Haque and Lang (2025, p. 109), social settings and emotional resonance have a greater impact on Gen Z's evaluation of sustainability ideas than just logical reasoning.

This study addresses an epistemic vacuum in the existing literature by taking a phenomenological approach. This study intends to provide important insights into more open and trustworthy company practices by revealing how Gen Z consumers see, understand, and emotionally grasp the distinction between actual sustainability and bleached green using semi-structured interviews and theme analysis.

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Methodology Research Strategy: In order to investigate, from an interpretative and exploratory standpoint, how Generation Z consumers create meaning, develop perceptions, and make evaluative judgments when faced with fast fashion firms' sustainability efforts, this study used a qualitative research technique. Out of all the various research techniques, qualitative techniques are especially well-suited for studying subjective experiences and how meaning is constructed contextually in social and cultural contexts. The nature of the study question has a direct bearing on this. Instead of measuring the frequency of behaviors, this study aims to uncover how consumers perceive, embrace, or challenge brand behaviors, as well as how they understand the sometimes hazy boundary between sustainability and becoming green.

Methodological framework and philosophical perspective: Phenomenology serves both the theoretical and methodological basis for this investigation at the philosophical level. According to Van Manen (1990), phenomenology seeks to comprehend how people view and experience social phenomena in their daily "lifeworld" from a first-person viewpoint. Generation Z customers are accustomed to highly visual and networked media settings where consumption is entwined with social, ethical, and emotional values since they are digital natives. As a result, their reactions to brand sustainability messaging are impacted by emotions and values in addition to being logical or cognitive. Reconstructing lived experiences is the main goal of phenomenology, which offers an appropriate lens through which to examine these more profound aspects of experience and to clarify how meaning is created in certain sociocultural situations.

Semi-structured in-depth interviews were used as the data collecting approach: In-depth, semi-structured interviews served as the main technique for gathering empirical data. This strategy allowed participants to freely share their experiences, beliefs, and feelings while guaranteeing that the main study issues were explored. Four main categories served as the basis for the interview questions: (1) knowledge of sustainable

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fashion, (2) confidence in brand sustainability promises, (3) the capacity to spot greenwashing, and (4) the influence of social media on opinions and choices.

According to Deloitte's (2023) and Pew Research Center's classifications, the study's target demographic is Generation Z, which is defined as individuals born between 1995 and 2010. High levels of social media participation, rising fashion-related spending power, and environmental consciousness define this demographic.

Sampling strategy and participant selection: To choose people who fit certain requirements, we employed a purposive sampling technique. People who were studying or working in the UK at the time, had recently bought products from fast fashion businesses, and knew something about sustainable fashion was given preference. Data collection will continue until theoretical saturation is achieved, which is when no new themes or insights are gleaned from further interviews. The anticipated sample size was 8–12 individuals.

Depending on the choices and schedules of the participants, interviews will either take place offline or online. Every interview will be videotaped, fully transcribed, and anonymized. Complete confidentiality will be preserved. This method guarantees interview uniformity while allowing for flexibility in capturing a complex, nuanced, and unique experience.

The study sought to gather qualitative information about the following: • Understanding brand sustainability strategies and eco-labelling.

• Identifying greenwashing criteria and views.

• Evaluating the impact of social media on sustainability attitudes.

• Exploring the conflict between personal beliefs and purchasing behavior.

Data analysis: The data were analyzed using Braun and Clarke's (2006) six-stage thematic analysis framework, which includes the following steps: familiarizing oneself with the data, generating an initial code, searching for themes, examining the themes, defining and naming the themes, and generating a final report. The approach is particularly wellsuited for assessing experiential data, and it is frequently employed in phenomenological investigations to uncover the structure of lived experiences.

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Each text was open coded at the start of the analysis process in order to find beginning codes and recurring trends. The examples and these codes are then contrasted to determine which meanings are similar and which are different. In later phases, we integrate pertinent theoretical frameworks to bolster and enhance the understanding of developing themes.

For instance, the green brand trust model (Chen, 2010) was used to investigate how Generation Z consumers develop or lose faith in sustainability promises. Here, trust is characterized as the outcome of exchanges, including transparency, consistency, emotional resonance, and peer recognition, rather than merely intellectual judgment.

In a similar vein, we use the Theory of Planned Behavior to comprehend the disconnect between actions and values that is typical of sustainable consumption. When it comes to sustainable consumerism, people who have strong environmental beliefs yet make unsustainable purchases because of things like peer pressure, price, and aesthetics. According to this study, the emotional tensions caused by contemporary commercial society are the cause of this contradiction.

As a result, the idea of "green consumption" is framed as a complex behavioral and psychological process. Internal tensions between the desire to preserve environmental principles and the allure of chasing stylish, reasonably priced apparel may be expressed by participants. Through the use of thematic analyses, this study was able to examine these nuanced and occasionally conflicting experiences while connecting them to more general frameworks like ethical identity, values fit, and brand trust.

Ethical consideration: The ethical guidelines for academic research were closely followed in this work. An information and permission document explaining the study's goals, methods, data management guidelines, and confidentiality agreements was given to each participant. The freedom to leave the research at any time without facing any repercussions was explained to the participants. All personally identifiable information was anonymized, and the data was safely kept on devices with access control and encryption. Data were solely utilized for reporting and scholarly study.

Methodological limitations: Notwithstanding the research design's consistency, many limitations must be acknowledged. First of all, the emphasis on Generation Z customers in the UK offers a culturally particular viewpoint. Although the UK has a more developed discourse on sustainability

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than other areas, its socio-cultural and media environments are very different. Future studies might benefit from a cross-cultural comparative design, as the findings have limited transferability to other cultural contexts.

Second, rather than aiming for statistical uniformity, the phenomenological method is fundamentally interpretative. The researcher and the participants jointly build meaning, and the results are situated within a particular cultural framework. Peer debriefing and reflective diary entries are used in the study process to increase credibility. The interpretation of experience, not the discovery of universal, objective truths, is still the aim, nevertheless.

Although they might be able to attain more generalizability, other approaches—like mixed-methods designs or quantitative surveys—would not be able to fully capture the intricacy, emotional nuance, and depth of participants' meaning-construction processes.

By limiting these dynamics to fixed variables, quantitative methods have the potential to oversimplify. On the other hand, this paper's interpretive position—more especially, its phenomenological orientation—is more appropriate for illuminating how consumers perceive and understand sustainability tales in emotionally and ethically complex circumstances.

Making a distinction between phenomenology and the more general interpretive paradigm is also essential. Although they both deny positivism's objectivity, interpretivism takes a broader view of social meaning and symbolic interaction, whereas phenomenology concentrates more on the individual experience. This study uses a phenomenological approach specifically to investigate the depth and diversity of personal perceptions, especially in domains where cultural identity, ethical ideals, and emotional engagement are linked.

Final evidence: In conclusion, a strong and cohesive framework for investigating how Generation Z consumers interpret and react to fast fashion sustainability marketing is offered by the combination of phenomenological research, semi-structured interviews, and theme analysis. The method works well for collecting lived, emotional, and socio-contextual experiences, and it aligns philosophically with the interpretive foundations of this research. It offers scholarly perspectives as well as real-world applications for enhancing sustainability messaging and fostering sincere brand trust among younger customers.

Using a qualitative research strategy based on a phenomenological approach, this study seeks to investigate how Generation Z consumers perceive, evaluate, and respond to

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the sustainability strategies proposed by fast fashion brands, particularly in the increasingly blurred line between green marketing and greenwashing. The use of this technique originates from a more in-depth investigation into the research question: rather than merely identifying whether or not a specific company engages in greenwashing; this study wants to understand how Generation Z consumers perceive and make sense of these occurrences in real-world circumstances. Phenomenology, with its emphasis on lived experience, perception, and meaning production, is thus uniquely suited to this. It enables research to move beyond outcome-oriented analyses and investigate the processes by which people create their judgments of what is 'green' and ' real' in certain social and cultural settings.

This study relied on semi-structured in-depth interviews as the primary data collection method to reconstruct the cognitive processes and behavioral logics of Generation Z consumers from their perspectives. Generation Z is widely regarded as a values-driven, information-sensitive generation that has grown up in the age of social media and against the backdrop of increased environmental consciousness. However, preliminary data indicate a persisting gap between attitudes and behaviors: while many participants favor sustainable fashion in theory, their actual purchase decisions are frequently impacted by considerations such as price, aesthetic appeal, and ease. The fundamental phenomenon that this study seeks to identify and analyze is the intrinsic contradiction between ideals and behaviors.

Several important insights into how Generation Z views fast fashion's sustainability initiatives were obtained through a phenomenological analysis of the interview data.

First, the study shows that there are significant differences in how Gen Z defines and interprets the term sustainability. Other participants lay greater emphasis on ethical problems, such as labor conditions and corporate social responsibility, while others concentrate on material factors, such as the use of organic fibers, recycled fabrics, or the reduction of carbon footprints. This range of views demonstrates how ambiguous the definition of "sustainability" is. Some people are more concerned with timeless design or product endurance than they are with rigorous environmental regulations.

Second, social media communication strategies and brand openness play a major role in determining customer trust. Participants are frequently skeptical or contemptuous of ambiguous sustainability promises (such as "greener options" or "eco-friendly") or proof that is not backed by data or third-party verification. On the other hand, peer review, internet reviews, and user-generated content (UGC) are frequently seen as more reliable than corporate messaging. This change from institutional authority to socially mediated, emotionally charged content implies that Generation Z is evaluating

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sustainability through participatory social dialogue, where authenticity is relational, fluid, and contextually relevant, rather than just corporate statements.

Third, developing brand identity and trust depends heavily on emotional communication. According to interview data, Gen Z customers are more inclined to trust companies that have a "human face"—that is, those that address customer issues, offer behind-thescenes glimpses into sustainability initiatives or tell staff tales. Approachable, truthful, and moral brands are more likely to connect with consumers than those that use dehumanizing corporate lingo. This implies that interactive transparency and emotionally intelligent communication are more successful in building customer loyalty and trust than one-way advertising messaging.

This study uses a variety of theoretical frameworks to explain these findings. A basis for comprehending how transparency, consistency, and perceived authenticity may promote trust is provided by Chen's (2010) green brand trust model. A helpful perspective for analyzing the discrepancy between ideals and actions is the Theory of Planned Behavior (Ajzen, 1991), which emphasizes how pragmatic factors like cost, design preferences, or convenience frequently take precedence over sustainable goals. Furthermore, the symbolic dimension of branding is explained by Consumer Culture Theory (CCT) and Symbolic Interaction Theory, specifically how sustainability narratives can be entwined with identity construction. Brands can serve as social status symbols within peer groups or as symbols of environmental commitment.

Additionally, this study makes use of Lyon and Montgomery's (2015) taxonomy of "greenwashing," which makes a distinction between substantive and symbolic greenwashing. This methodology aids in evaluating the veracity of brand sustainability claims, regardless of whether they are based on operational procedures or are only token gestures. It appears from preliminary research that certain members of Generation Z, especially those with greater environmental literacy, may identify 'greenwashing' strategies. Others, however, acknowledge that they struggle to comprehend intricate and sometimes unclear sustainability messaging. This demonstrates a broader information asymmetry between consumers and marketers, as customers are unable to make educated judgments due to the opacity and complexity of green claims.

Some additional questions arose as the study went on. Do Gen Z customers from various socioeconomic or cultural origins, for instance, have different perspectives on sustainability and greenwashing? Which language, visual clues, or digital formats are more

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likely to increase trust or raise questions? Can brand intents and customer perceptions be reconciled by design-led initiatives (such as meta-design, sustainability imagery, or trust rating systems)? These inquiries offer insightful guidance for further study, especially when examining the interplay of social, emotional, and cognitive processes in the development of sustainable consuming patterns.

Although the study design closely aligns with the research goals, it is important to acknowledge many limitations. First off, the findings may not be as generalizable in other cultural or demographic contexts due to the relatively small sample size, which is restricted to Generation Z customers in the UK. Second, because the results must be interpreted via the researcher's perspective, subjectivity is introduced by the interpretative character of the topic analysis and in-depth interviews.

Techniques like reflective journaling and peer review were employed in this study to facilitate critical self-reflection and methodological triangulation in order to overcome these constraints and improve the validity of the results. Alternative approaches, like mixed methods designs or quantitative surveys, could be more generalizable, but they frequently fall short of capturing the sensory complexity and emotional depth that phenomenological inquiry offers. Consequently, the phenomenological technique is especially well-suited to exposing deep and comprehensive insights about how consumers deal with the intricacies of sustainability marketing and "greenwashing" despite its more limited scope.

To sum up, this study employs a qualitative methodology and phenomenological framework that is very methodologically compatible with its goals. It makes a significant addition to both academic theory and real-world brand strategy by illuminating how Generation Z perceives and directs fast fashion companies' sustainability activities. In addition to expanding our knowledge of consumer behavior in relation to sustainability, these insights offer useful advice for companies dedicated to building genuineness, trust, and meaningful participation in their continuous green transformation.

Conclusion This study looks at how Generation Z consumers perceive and respond to fast fashion firms' sustainability policies, with a special emphasis on the issues faced by 'greenwashing'. The study uses a phenomenological method and semi-structured interviews to investigate Gen Z consumers' lived experiences, emotional responses, and trust-building processes in the face of increasingly complicated sustainability narratives.

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The findings highlight the breadth of Gen Z's view of sustainability, which is shaped not only by physical and environmental considerations but also by ethical ideals, brand transparency, and emotional resonance. Respondents have more faith in businesses that communicate truthfully, address public problems, and provide a human-centered story, whereas imprecise or unfounded sustainability promises are questioned.

Although many Gen Z consumers embrace sustainable fashion in theory, the survey also found that cost, style, and convenience continue to have a significant impact on their purchase decisions. A degree of information asymmetry was also discovered in the study, with some participants finding it difficult to discern between real sustainability initiatives and "greenwashing" strategies.

Through the use of theoretical frameworks like the Theory of Planned Behavior and the Green Brand Trust Model, the study expands on our knowledge of how social influence, identity, and trust affect how consumers react to sustainability messaging. Additionally, the study offers useful advice for fast fashion companies looking to gain the confidence and affection of Gen Z customers.

In order to help close the gap between brand communication and consumer perception in the rapidly changing sustainable fashion landscape, future research could build on these findings by investigating cross-cultural differences and evaluating design-led interventions (such as meta-design or interactive trust rating systems).

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A Proposed Study on How Metal Music Influences Inspiration Generation, Imagination Expansion and SelfExpression of Painting Artists Weicheng Lai

ABSTRACTS This research proposal explores whether metal music, as an auditory stimulus, may have an intervening influence on the generation of inspiration, the expansion of imaginative boundaries, and the breakthrough of expressive limitations of painting artists. The study focuses on young artists in the context of China's art education system, who often feel limited in their creative expression due to the limitations of their training model, the contradiction between the demands of the social environment and their selfexpression, the pressure of cultural aesthetics, and the lack of resources and platforms.

This proposal seeks to explore whether they experience a change in their creative state after listening to metal music. The study will focus on three core ideas: firstly, metal music as a cross-sensory stimulus may actively inspire artists with its intense auditory properties; secondly, the extreme sonic experience and emotional intensity may push artists to reorganize their original aesthetic and imaginative structures, thus expanding the boundaries of their creativity and expression; and thirdly, metal music may act as a symbolic ‘expression release mechanism’, helping artists to challenge the boundaries of their creative expression. Thirdly, metal music may serve as a symbolic ‘release

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mechanism of expression,’ helping artists to challenge and break through the longstanding limitations of self-expression. In this study, we intend to adopt Interpretivist Phenomenological Analysis (IPA), a qualitative research method, to capture the artists' subjective experience and creative transformation process under the intervention of metal music through diary research and in-depth interviews, to stimulate further research and discussion on the relationship between metal music and visual creation.

INTRODUCTION The Research Problem and Its Importance In the context of contemporary Chinese visual art creation, the pressure of expression that many young artists face in the creative process after graduation. On the one hand, they are deeply influenced by the systematic training of art academy exams, and are judged by their techniques, compositions, styles and so on; on the other hand, they are often unable to freely express their true feelings and experiences due to the social environment, identity anxiety or the pressure of the creative evaluation system.

On the other hand, they are often unable to freely express their true feelings and experiences due to social environment, identity anxiety or the pressure of the creative evaluation system. Especially for young artists who have not yet established a mature personal language, their creations tend to fall into the convergence of expression strategies ‘for the sake of being understood’, thus inhibiting the individuality and breakthrough of their works.

Metal music, as an edge-of-the-seat sound medium with great sensory impact, is characterized by its distorted walls of sound, rhythmic dissonance, and strong emotional tension. Its ‘extremity’ is not only reflected in its musicality, but also in its thematic content and historical and cultural development. (Skeech, M. 2022) There is a wealth of psychological and neuroscientific research on the effects of music on perception.

However, few studies have explored whether metal music is able to influence the perceptual patterns, imaginative systems, and creative behaviors of artists from nonmetallic cultural backgrounds, and serve as a mechanism to unlock the expressive potential of the visual arts. Especially in the Chinese context, there is no qualitative research on the effects of listening to metal music on the experience of artistic creation.

Against this background, this study aims to fill this gap and asks the following central question: for young Chinese painting artists who have never attempted to incorporate metal music into their creative work and feel limited in their expression, how does listening to metal music inspire creativity, expand the boundaries of the imagination, and lead to a breakthrough in the limitations of self-expression.

Key Theoretical Perspectives and Framework In order to clearly explain how sound stimulation affects the mechanism of visual art creation, this research proposal is based on several key theoretical perspectives, and constructs a logical path of ‘perception stimulation-inspiration generation-imagination expansion-expression release’. This research proposal is based on several key theoretical perspectives. Firstly, at the level of ‘perceptual stimulation’, the interaction between different senses can trigger an associative experience. Associative perception is often used to describe various phenomena, the most common of which is that the stimulation of one sensory modality triggers the experience of another sensory modality at the same time. (Robertson, L. C and Sagiv, N.). However, this study is not limited to

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a theoretical explanation of how listening translates into a symbolic language in visual creation, but rather considers metal music as an external stimulus with a similar cultural background and tries to understand the mechanism of how it helps artists break through the norms and limitations of expression on a psychological and cultural level. How the unique auditory characteristics of metal music stimulate artists' creativity will be one of the important focuses of this study. In his Critique of Judgement, Kant suggests that the perception of beauty is a ‘free game’, a harmonious interaction between sensibility and rationality, emphasizing the tension between subjectivity and universality in aesthetic judgement (Kant, 1790). This study also seeks to understand the role of sound stimuli in the construction of individual aesthetic experiences. In terms of ‘inspiration generation’, Gao, Y. (2019), based on French philosopher Gaston Bachelard's theory of Material Imagination, states that concrete sensory experiences can be materialized into symbolic experiences. experience can be materialized into symbolic images and aesthetic expressions. On the other hand, at the level of ‘imaginative expansion’, Ludwig Wittgenstein's (1921) view on the boundaries of language provides an important inspiration. Language is not only words, but the artist's ability to express himself is closely related to his ability of ‘artistic language’, which also includes his system of understanding of the outside world and his cultural background. Therefore, the intervention of music with the same cultural background may expand the artist's understanding and expression of the world, thus expanding the boundaries of his or her imagination and self-knowledge. In addition, Deleuze and Guattari's Lines of Flight theory (Deleuze, G. and Guattari, F, 1972) also provides an important reference for this study. The essence of art lies in the breakthrough and transcendence of the established order, and the perturbing qualities of metal music may be the catalyst for artists to redefine the boundaries of their imagination and strategies of expression, thus expanding their creative space. Together, the above theoretical frameworks form the basis of this study's understanding of the mechanism of sound stimulation in painting, providing the necessary theoretical support for in-depth analyses of the potential connection between metal music and visual creation.

Through this research, the proposal aims to contribute to a renewed understanding of the stimulating role of music in the artistic creation of paintings, to enrich the dimensions of research on cross-sensory mechanisms, and to provide new and inspiring ideas for contemporary art education and creative methods. Specifically, the research aims to explore how the experience of listening to metal music as a creative stimulus influences the artist's imaginative paths and expressive tendencies; to further explore whether metal music may break with the original environmentally constrained creative methods, and how it may trigger a shift in the structure of visual creativity and imagery; and finally, to analyze whether metal music, as a kind of acoustic stimulus, may lead to a change in the artist's self-expression in situations of restricted self-expression. Finally, it analyses whether metal music, as a sound stimulus, may contribute to the breakthrough and release mechanism of artists in the situation of restricted selfexpression. On this basis, the study also tries to respond to a more fundamental question: how art can return to the scene of body and perception under the creative environment of high-tech development.

LITERATURE REVIEW This study is centered on three core questions and is guided by a systematic screening of the literature through academic databases (ProQuest, Google Scholar,

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JSTOR, Sage Journals) using the following keywords: metal music, creative inspiration, imaginative boundaries, creativity, self-expression, and Interpretative Phenomenological Analysis (IPA). （ metal music, creative inspiration, imaginative boundaries, creativity, self-expression, and Interpretative Phenomenological Analysis (IPA). Selection criteria included a focus on scholarly journals, with preference given to literature published within the last 20 years, and a focus on studies with a high frequency of cross-citations.

Despite the substantial number of studies on music perception or the effects of music on mood, most have focused on the fields of neuroscience and psychology, using quantitative studies or mixed methods. For example, Daly, et al. (2020) used neurophysiological data to examine the congruence between changes in participants' emotional states and recordings of physiological and neural activity while listening to emotionally colored music, while Vuyst, et al. (2022) explored the effects of music on the brain based on a predictive coding theory model that explains how humans perceive, understand, appreciate and learn music. Further, Beier, et al. (2022) explored strong music-induced emotional responses using a cross-cultural experimental approach, emphasizing the universality of musical empathic experiences across cultures. Similarly, Putkinen's (2024) cross-cultural bodily maps study revealed commonalities and differences in subjective bodily responses to music-induced emotional experiences, providing new empirical support for understanding how music crosses cultural boundaries. These scientific findings, based on physiological and perceptual data, provide a relevant basis for understanding the role of music in emotion regulation and stimulating creative thinking. However, while most of these studies have been conducted from a scientific empirical perspective, less attention has been paid to the impact of the music listening experience on the process of artistic creation, and in particular, there has been insufficient in-depth exploration of the creative experience and its evolutionary pathways for visual artists.

In exploring the relationship between music and visual art creation, Wayne Bowman (2004) proposed the concept of intermodal transfer, whereby musical experience can migrate and influence expression in other sensory domains. Based on this theory, Humble (2015) applies and extends the idea of intermodal transfer to explore the role of musical intuition in image-making practice, and Skeech (2022) uses evolutionary theory as a framework to explore the extremity of heavy metal music and the evolution of its visual imagery through a combination of musicological analyses, image analyses, and questionnaires. Although this study is more limited in its exploration of artists' creative processes, it provides a relevant reference for understanding how metal music influences the visual. In painting, Gayen et al. (2021) explored the influence of the emotional content evoked by indeterminate music (indeterminate music) on the creative process of visual artists. The study used a mixed methods approach, combining phenomenological and semiotic approaches to analyze artists' feelings towards music and their creative process, and introduced the technique of detrended fluctuation analysis (DFA) to quantify self-similarity in music and painting.

Whilst the study provides valuable insights into understanding the potential influence of music on artistic creation, the small sample size of only four composers' musical works and one artist's paintings is a limitation to the representativeness of the group of artists studied in this paper.

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In terms of music's influence on creativity, Kreutz (2007) noted that music preference significantly affects the specificity and intensity of emotional responses, indirectly influencing an individual's emotional experience and creative state. Further, Ercegovac, et al. (2015) found a correlation between music and visual art preferences, with those who preferred metal music being more likely to express motivations in their visual art creations that echoed the emotional qualities of metal music. More recently, experiments by Xiao, et al. (2023) have shown that musical contexts with negative emotional properties can enhance creative performance to a certain extent, especially in situations where the task requires divergent thinking. Angeler, et al. (2016) have also noted that extreme metal music such as deathcore can stimulate creative thinking and promote inductive and creative connections in scientific thinking, indirectly suggesting that this type of music may also stimulate cross-disciplinary imagination in the visual arts. Meanwhile, Slettevold (2016) states that metal music can be used as a tool for emotional regulation, helping individuals to face inner conflicts and transforming them into creative energy. Currently, there is a lot of literature on music expanding the inspiration or creativity of artists. However, qualitative studies addressing metal music as an auditory intervention and focusing on a specific group of visual artists who have never been exposed to the genre have not yet been reported. Also, there is limited exploration of artists' experiences and changes in their selection and decision-making processes.

In terms of music and self-expression, Cardwell (2017) reveals the importance of the battle jacket as an expression of subcultural identity by illustrating the work of metal fans, and Gorichanaz (2020) suggests that self-disclosure in artistic creation is not limited to the visual artwork itself, but also to the experiential and informational behavior of the artist during the creative process. Gorichanaz (2020) suggests that selfdisclosure in art making is not only limited to the visual artwork itself but also includes the artist's experiential and informational behaviors during the creative process. This study suggests that artists use various forms of information, including memories, life circumstances, and insightful experiences to construct an understanding of self and the artistic process when creating a self-portrait. Self-awareness is defined as the artist's comparison of past and present, reconciliation of inner conflicts, and awareness of selfimage (Gorichanaz, T, 2020). Using an ethnographic approach, Marie (2022) provides an in-depth socio-cultural perspective on how ethnic minority groups use extreme metal music to counter dominant narratives and construct new identities. Although its research object is different from this paper, focusing on the Black community, its study provides an important lesson for this paper - metal music can stimulate individuals' deep-seated need for self-expression within cultural boundaries.

Based on reviewing the existing literature, it can be found that the academic community has reached some preliminary consensus on the relationship between music and artistic creation. Firstly, a large number of studies have shown that emotionally intense music genres have a significant impact on emotional experience and can stimulate individuals' creative thinking to a certain extent. This emotional stimulation is not limited to immediate reactions but may also indirectly contribute to artistic inspiration by triggering complex sensory experiences and associations. Secondly, musical experiences can migrate to the visual domain and influence the motivation and content of visual art creation. In addition, due to the unique musical cultural context, music shows enormous potential in stimulating self-expression (Angeler et al., 2016; Slettevold, 2016). However, there are some limitations of existing research. Firstly, the

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samples of the studies mostly focus on general listeners or existing conventional music style genres, and there is a lack of specialized examination for the group of young painting artists in the context of the Chinese art education system. In addition, in terms of methodology, most of the existing studies adopt a quantitative or documentary narrative approach, with less application of the IPA framework to dig deeper into the artists' subjective experience and the process of meaning construction. These limitations suggest that metal music has development potential for further research in influencing the creative mechanisms of individual artists.

In summary, the existing literature has explored music from a number of perspectives. In particular, the potential role of music in emotion regulation, inspiration or creativity stimulation, sensory transfer, and self-expression construction. These articles provide important theoretical foundations and empirical references for understanding the influence of music on visual art creation. However, these studies have focused on the effects of broad or common types of musical styles on the responses of non-artist groups and have lacked examinations that address the specific processes of art creation. Although mixed methods have been used to examine the influence of music on painting, sample limitations affect their generalizability. The role of metal music in identity construction and emotional expression lacks an interpretive understanding of the group of visual artists in this study. Therefore, this paper will explore how artists construct understanding and expression through information from a constructivist perspective. The above literature review clarifies the entry point for this study.

METHODOLOGY Methodological Position, Research Method Based on the ontological stance of interpretivism, this study plans to adopt a qualitative research approach, with a specific methodological approach of Interpretative Phenomenological Analysis (IPA). IPA is centered on the understanding of how individuals perceive, interpret, and construct their experiential worlds, with an emphasis on the process of experiencing and the construction of meaning, and an emphasizes subjectivity, context and detail, and is particularly suited to exploring experiences with deep psychological structure and perceptual reorganization (Smith et al., 2009) Alise, A. (2017). This characteristic is highly compatible with the objectives of this study.

Considering that the research subjects are young artists whose creations are constrained by multiple factors and pressures within the context of China's art education system, a research methodology that can examine individual subjective changes is needed.

Through IPA, this study can understand the participants' feelings and behaviors, as well as how they reorganize their creative thoughts and express their motivations through musical experiences. Traditional quantitative research methods are difficult to measure such dynamic psychological and creative changes in participants.

Therefore, this method is relevant to the goals and needs of this study.

Sampling Strategy and Study Population This study will adopt Purposive Sampling strategy and combine it with the principle of homogeneity to ensure that the samples have small differences among them while maintaining a diverse composition. The subjects of this study are young painting artists graduated from different regions in mainland China, with the following criteria:

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graduated from formal institutions in mainland China majoring in visual arts; graduated within 10 years; received systematic art education from high school to university; have some experience in painting practice in their creative work; and subjectively report ‘confusion’, ‘lack of knowledge’, and ‘lack of knowledge’ in their creative work. ’, ‘lack of ideas’, or ‘sense of limitation’ in creative endeavors; have never consciously listened to or used metal music in creative endeavors before, and do not belong to a metal audience; are willing to accept musical interventions in creative endeavors for the duration of the study and participate in interviews and reflective creative diary entries.

The sample size is expected to be between 10 and 15 participants, which is in line with the IPA requirement of ‘small sample size, deep and detailed’. In addition, while ensuring the above basic criteria, consideration will be given to the gender balance of the sample, as well as to the diversity of painting styles and areas of specialization.

Research Methodology and Data Collection Design Two types of qualitative data will be collected to gain insight into the impact of the metal music listening experience on the creative process of the painting artist. Firstly, through a diaries study, participants will record their perceptions, images, emotions, and creative states each time they listen to metal music and paint during the two-week listening intervention. This immediate and unstructured recording will help to preserve the original trajectory of inspiration and emotional transformation and capture the subtle perceptions and changes in the creative process. The content of the diary should be as detailed as possible, covering the psychological state before listening, the physical sensations and emotional changes during the listening process, as well as the thoughts and behavioral responses after listening, such as the urge to draw and the desire to express. In addition, to encourage free expression, participants can choose to record in a variety of forms, such as words, sketches, drawings, symbols, and photographs, to maximize the richness of individual experience. Secondly, at the end of the diary recording phase, Semi-structured Interviews will be conducted. Each participant will engage in one-on-one interviews to explore their creative state during metal music listening. Although there may be a degree of similarity of feeling between the samples, this study will not use a focused interview approach to guarantee that participants are free to share the uniqueness of their artistic creations. Interviews will be structured around open-ended themes, such as describing the emotional experience during listening, whether new images or inspirations were generated, perceived internal changes, and the role metal music may play in facilitating self-release.

The choice of diaries and interviews as the main sources of data for this study is based on the following considerations: firstly, diary research can reflect the artist's own feelings, effectively avoiding the lack of information caused by recall bias in interviews, and is especially suitable for showing the evolution of the artist's perception over time.

Secondly, in-depth interviews help to trace the process of ‘how understanding is formed’ and ‘how meaning is interpreted’, providing an interpretative context for the study.

These two approaches complement each other, which not only strengthens the temporal dimension of the data but also provides a clearer picture of the stages of change, which is in line with the need for multi-layered empirical constructions in Interpretative IPA. Therefore, two types of data will be collected in this study: diary texts for longitudinal

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recording of the data, and audio recordings of the interviews and their verbatim transcripts for in-depth understanding of the data. This combined approach ensures richness and precision in depicting individual experiences and the process of meaning construction.

Methods of Data Analysis IPA will be used in this study in conjunction with narrative analysis methods and discourse analysis methods. Thematic analysis will be used as a complementary method for collating and integrating narrative and discourse content to ensure that potential commonalities across cases are systematically explored while respecting the uniqueness of individual experiences. Narrative analysis focuses on the coherence and ambivalence of an individual's story, emphasizing the constructed and cultural context of the narrative, and is particularly suited to analyzing an individual's feelings and experiences during social events and interpersonal interactions (Braun and Clarke, 2006; Denscombe, M, 2014). Narrative analysis helps to deeply explore the richness and complexity of artists' creative journeys, and to analyze their reflections and experiences when they break through creative bottlenecks. Meanwhile, discourse analysis focuses on the language used in narratives and the socio-cultural meanings they imply.

Discourse analysis is used in a wide range of social research fields as a method to qualitatively analyze qualitative data. It advocates that data should not simply be ‘taken at face value’ but ‘deconstructed’ to reveal hidden messages (Denscombe, M, 2014). In the specific process, the research will adopt narrative analysis to sort out the experience path of ‘music-feeling-creation’, and understand how the artist narrates the key events and psychological nodes in the process of his/her creative transformation. Subsequently, discourse analysis will be used to identify the language they use when talking about metal music and the implied meanings, such as metaphors or symbols, cultural or identity descriptions, and to explore how the artists construct their identities, styles, and creative logics when describing the relationship between metal music and their creations.

Through the combination of these two approaches, the researcher was able to gain a deeper understanding of the mechanisms of meaning construction of metal music in the artists' creative practices from the perspective of narrative and discourse.

However, narrative and discourse analyses may face some problems of subjectivity and data complexity in practice. Narrative analyses are susceptible to the subjective descriptions of the participants and the interpretations of the researcher. Discourse data is usually more complex and the process of analyzing it requires a great deal of time and effort, and the process of interpretation can be very subjective. Therefore, in the exploration of potential alternatives, this study will consider the use of thematic analysis as a complementary approach. Thematic analysis, as a widely used method in qualitative research, is highly flexible and can accommodate different epistemological positions including constructivism (Braun and Clarke, 2006; Humble and Mozelius, 2022). In terms of the specific process, the data processing will follow the steps of thematic analysis proposed by Braun and Clarke (2006), where the researcher first collects diary texts and verbatim transcripts of interviews from all the participants to record important underlying thematic cues such as affective vocabulary and sensory descriptions, which are subsequently subjected to line-by-line coding, open-ended extraction and inspiration generation, imaginative boundary perturbation and self-expressive release related to the research theme. After the initial coding is generated, Emergent Themes are summarized

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to construct a thematic structure within each case, and then Superordinate Themes are summarized by comparing similarities and differences between participants. Thematic analysis as a complementary method can be used to distill recurring threads of meaning from multiple cases to deepen understanding of the data. Therefore, adding thematic analysis to the interpretation of narratives and discourses will allow this study to provide a structured framework for analysis while preserving the details of individual experiences and further distilling the commonalities in these narratives and discourses.

It will also help to link the data more closely to the theoretical framework of this paper.

Ethical Considerations and Coping Strategies With regard to the ethical issues that this study may face, the main areas covered are as follows: firstly, health risks: the strong musical character of metal music may pose a threat to the health of the participants, e.g. by causing hearing damage or triggering other psychological problems. Secondly, privacy risks: as the research requires data collection, it may involve issues of copyright of individual works and the privacy of creative practices. Further, the risk of researcher influence: guiding words or interpretive positions in the interviews may interfere with the authenticity of the data or inadvertently explain creative changes in effect-oriented language that ignores the artist's own motivations and intentions. Finally, the risk of viewpoint and cultural respect: metal music is often labelled as ‘anti-mainstream’ and ‘destructive’, which may lead to stereotyping of the participants or the music itself if there are preconceived aesthetic biases.

To address these potential risks, the following comprehensive strategy was developed: first, prior to the initiation of the study, we ensured that written informed consent was obtained from all participants, detailing the purpose of the study, the specific process, possible risks, and the right to withdraw at any time. Second, the study allows participants to freely choose to pause or withdraw completely at any stage. In addition, throughout the study, the researcher will regularly assess the physical and psychological status of the participants and will stop the relevant interventions as soon as any uncomfortable symptoms are detected and provide professional health support resources.

In terms of data use, all content displayed, including personal creative practices and images of the work, is subject to explicit authorization from the participant and is explicitly limited to research use only and not to be used for any commercial purpose.

For the handling of identifying information, the study will use code names instead of real identities if participants have privacy needs. At the same time, the researcher will always respect the artist's freedom of expression and creation throughout the process.

When exploring metal music and its cultural context, any form of negative labelling of such music and cultural groups will be avoided. In addition, the researcher will continually record and observe participant journals and proactively review any researcher bias to ensure transparency in the analysis process. During the process, as many of the participants' original words as possible will be quoted to minimize the risk of recording associated with interpretive language.

DISCUSSION AND ANALYSIS

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Suitability of the research methodology to the research question IPA as the main methodological approach, this study aims to explore whether metal music, as a sensory intervention, may have a significant perturbing influence on the creative state of young Chinese painting artists. The IPA methodology emphasizes how individuals subjectively experience and interpret transformative events (Smith et al., 2009; Alase, 2017) and is particularly suited to in-depth tracing of non-inertial experiences. The type of data used in this study - creative diaries and semi-structured interviews - not only captures immediate perceptual trajectories during the creative process but also preserves systematic narratives of the experience after the fact, providing rich and high-quality material to support the IPA methodology. In terms of the application of methodology to two different fields, music (especially metal music) and the art of painting, this study is fully characterized by the integration and application of interdisciplinary knowledge.

Compared to traditional quantitative methods, in the field of art research, scholars usually explore the relationship between artists and visual images from the perspectives of iconography, semiotics, and psychoanalysis. However, these methods often rely on a great deal of subjective interpretation by the researcher in the process of interpreting artistic creations and may even deviate from the true intentions of the artists themselves.

Although some scholars combine certain data with quantitative textual analysis, this does not fit the epistemological perspective of this study. IPA does not rely on preset variables, but rather gradually refines meaning in the process of focusing on participants' experiences. This feature enables an effective response to research questions. It allows for an in-depth dissection of the artists' creative journeys through narrative analysis, while applying discourse analysis to interpret their expressions.

While emphasizing individual differences and subjective meanings, IPA is also able to identify structural themes in experience using thematic analysis. Thematic analysis focuses more on patterns and themes in the data than other qualitative analysis methods and can provide a rich description of the dataset or a detailed analysis of specific themes (Vaismoradi, M. and Snelgrove, S, 2019). This process emphasizes the commonalities in the experience while retaining the unique differences of everyone.

Generation of core findings and theoretical connections In the proposed research, the core themes may cover the fact that metal music, with its high density, non-harmonicity, rhythmic instability, and non-traditional sonic properties, strongly interferes with the perceptual system in order to inspire, deconstruct the order of visual compositions, and push the boundaries of expression. This interference is likely to have a profound effect on the perceptual system of the painting artist.

Bachelard's theory of ‘material imagination’ provides theoretical support for this process. He argues that imagination is not entirely subjective or logical, but is activated by interaction with matter, senses, and perceptual states(Gao, Y, 2019). Metal, as a nonfigurative but physically powerful form of sound, can be regarded as an ‘auditory substance’. It disrupts the established creative order and becomes a new source of image stimulation. In addition, after experiencing the stimulation of metal music, participants may try to innovate in terms of composition, color, and form. They may enter a rhythmdriven, mood-led, or even chaos-led creative state. This trend can be explained by Deleuze and Guattari's theory of the ‘line of flight’: when artists break away from the

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aesthetic run les constructed by established knowledge and cultural evaluation systems, sound becomes an ‘escape line’ to an unknown creative dimension, leading them to break away from the original The sound becomes an ‘escape route’ to an unknown dimension of creation, leading them to free themselves from their original disciplines.

In terms of expression, the marginal and anti-mainstream characteristics of metal music may also have a deconstructive effect on the self-censorship mechanism of the participants. Some artists may feel a certain ‘legitimacy of expression’ surrounded by sound - they may be allowed, or even encouraged, to explore new themes. This psychological relaxation leads to a rethinking of ‘what can be painted’. This echoes Wittgenstein's suggestion that ‘the boundaries of language are the boundaries of the world’: When artists have been trained in the language of the academy for a long time, their expression is also limited by this institutionalized language. The sound of metal music which does not belong to this linguistic system - may therefore constitute a ‘linguistic transgression’, bringing with it the possibility of expanding the world of expression. Kant's ‘aesthetic judgement’ emphasizes pleasure and harmony, but here we should perhaps be more concerned with the ‘beauty of dissonance’ - a free perception evoked by shock and intensity of feeling. free perception. Together, these theories allow this study to construct a complete path of understanding: metal music inspires through sensory interference, creating a ‘creative escape route’ across the senses.

Further research questions that may be stimulated This study, as a proposed exploration, is expected to stimulate the following subsequent research questions. For example, does this sensory intervention have a sustained effect? Is it likely to translate into long-term creative approaches or stylistic variations? The sustainability of metallics as an intervention mechanism and whether it can trigger a stable stylistic evolution are directions worthy of further research. At the same time, the question of whether cultural context affects artists' receptivity and response patterns, especially in the Chinese context, and whether there are significant differences compared to other cultural contexts, also raises important questions. Is metal music uniquely triggering in terms of marginal cultural mechanisms? Do other marginal sound forms, such as noise art and industrial music, fulfil similar functions?

Furthermore, can such sound interventions be systematically applied in arts education to stimulate students' perceptual and expressive potential? These questions not only expand the research horizon of ‘sensory-expressive mechanisms but also bring new possibilities for artistic creation methods and educational practices.

Critical reflection on the research design Although the methodological design of this study fits the research questions well, its potential limitations need to be confronted. Firstly, as a qualitative method that emphasizes subjective experience, IPA inevitably runs the risk of researcher interpretation bias. The researcher's theoretical stance may influence the interpretation of participants' language, thus introducing unwanted interpretations of meaning.

Although diary and interview data can capture experiential processes and meaning construction, their loosely structured content and varied styles of expression may affect the systematicity and consistency of the analysis. In addition, artists' creative dilemmas often stem from multiple factors, and the reasons for limited expression may come not only from the fine arts and social systems, but also from individual personalities and upbringing.

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In order to overcome these limitations, this study will take the following measures during the interview process: by suspending personal knowledge and theories, listening to the interviewees' descriptions with an open mind, and avoiding preconceived biases, thus ensuring the objectivity and authenticity of the study (Bevan, M.T, 2014). In terms of data processing, this study will be based on interview texts and incorporate thematic analysis methods to code the empirical materials to enhance the theoretical connections and depth of interpretation. At the same time, every effort will be made to maintain the transparency of the analysis. Overall, this study will carefully address the relationship between the analyst's position and interpretation while preserving empirical complexity.

Through theoretical predictions and methodological reflections, we propose three experiential transformation paths that metal music as an auditory intervention may facilitate, and we hope to demonstrate the complex relationship between ‘soundexperience-image’ and contribute to the re-conceptualization of the ontological structure of perception, creation and expression. structure of perception, creation, and expression. Combining IPA methodology and critical framework analysis, the study provides theoretical approaches and practical inspiration for the reality of art creation.

Due to the cultural specificity of the sample: the research subjects are young Chinese artists, and the creative environment is different from the Western literature. This study may have the unique significance of discovering how ‘sound intervention releases the imagination under the constraints of creative experience’. It may also provide a practical path for art education, creative activation mechanisms and psychiatric interventions.

CONCLUSION This research proposal aims to explore how metal music, as an auditory stimulus, inspires, expands imagination, and releases expression for young painting artists under the Chinese art academy system. Focusing on artists who feel limited in their creative endeavors due to the educational system, cultural norms and personal psychological constraints, the research seeks to stimulate a shift in creative states and new paths of visual language generation through the high sensory perturbation of metal music. The study is expected to make findings in three core dimensions: firstly, as an extreme sensory stimulus, metal music has the potential to break the rhythm of the original mood and composition, and stimulate the emergence of intuitive images and inspirations; secondly, the irrational structural characteristics of metal music may prompt artists to loosen the visual norms under the academy's training, and to expand the boundaries of their imaginations and expressions; and lastly, the liminal sound experience brought by metal music can provide psychological recognition and release the artist's imagination and expression; and lastly, metal music brings marginal sound experiences, which can provide psychological recognition and release the artist's imagination and expression.

Finally, the marginal sound experience of metal music provides the artist with a psychological identity, releasing more genuine emotions and themes.

This study will provide new empirical evidence and theoretical constructions for the mechanisms of cross-sensory art creation, the potential of sound interventions in visual art creation, and the release of artists' subjectivity. Especially in the context of the increasing technologization and standardization of art education around the world, this proposal is expected to open an important research direction for understanding how

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sound can inspire artists, and provide innovative inspiration for art education reform, art psychology and individualized art practice.

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Vuust, P. et al. (2022). ‘Music in the brain,’ Nature Reviews Neuroscience, 23(5), pp.

287–305. Available at: https://doi.org/10.1038/s41583-022-00578-5.

Wittgenstein, L. and Bazzocchi, L. (2021). Tractatus Logico-Philosophicus. London: Anthem Press, p.

155.

Available at: https://en.zlibrary.sk/book/18623250/2c912f/tractatus-logicophilosophicus.html.

Xiao, X. (2023). ‘The dual effect of background music on creativity: perspectives of music preference and cognitive interference’, Frontiers in Psychology, 14. Available at: https://doi.org/10.3389/fpsyg.2023.1247133.

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Immersive Imaginations

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Virtual Existentialism: A Study on Cognitive Reconstruction of Death Perception through Gothic VR Game Design Dingkun Liu

1. Abstract Death is the oldest and unavoidable ultimate proposition of life. In real life, death is often an uncomfortable topic that people prefer to avoid discussing. From a biological perspective, death signifies the complete collapse of a life system, where cellular energy metabolism ceases, and modern medicine defines death as the irreversible loss of brain function. Different cultures and religions have varying interpretations of death. In Christianity, original sin serves as a framework for redemption, where death is a threshold to eternal life. Buddhism teaches that death is a node in the cycle of life and death, where karma dictates the transformation, and our ultimate meaning lies in breaking free from reincarnation (nirvana). Throughout human cognition, death remains shrouded in mystery. Thus, how should we view death? The existential philosopher Heidegger proposed the idea of "being-toward-death," revealing the possibility of humans gaining the authenticity of life when facing the anxiety of death(Heidegger, M. (2010). In studies on Near-Death Experiences (NDEs) and the experiences of death (YDEs), we conclude that experiencing death can alleviate people's anxiety about it（Glowacki, D. R. (2024). Terror Management Theory (TMT) informs us that awareness of the inevitability of death triggers existential anxiety, but through "controllable death" in virtual contexts, we can stimulate human

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psychological defense mechanisms to guard against death anxiety（urke, B. L., Martens, A., & Faucher, E. H. 2010)）. This paper aims to employ phenomenological hermeneutical deep mapping and immersive Gothic Virtual Reality (VR) to explore death and near-death experiences, creating a "virtual testing ground" for existentialism in the digital age. By extending the evolution of posthuman Gothic in the digital era, we seek to confront the pain and loss that death brings in the real world, reduce death-related anxiety.

2. Introduction

Death is an obvious yet disturbing part of the human condition and the oldest ultimate proposition of life. However, the word "death" is the topic that is least wanted to be mentioned and often avoided in reality. Since the birth of humanity, death has accompanied humanity. In the long course of human history, war and epidemics have been the greatest media that trigger death. From the 300 warriors of the ancient Greek Hot Spring Pass to the tombs of the nameless heroes in modern times, from the famous Black Death (1347-1353) in Europe to the current COVID-19 pandemic, life is like an ant in the brilliant starry river that can be easily broken by a blow. Even if one lives an ordinary life, they only have a lifespan of about a hundred years. The significance of death in the long river of history seems as insignificant as a feather.

However, the 300 Spartan warriors, led by Leonidas, held the Thermopylae Pass to the death. The core of their defense was not merely military defense, but rather the practice of the Greek "aretē" (excellence) ethics through selective death. The collective death of the warriors was actually the exchange of individual life values for the continuation of the city-state's vitality. Establish a trinity value system of life, honor and death in Western civilization; The Black Death claimed over 20 million lives in three years, and the tombstones were forced to be simplified to the collective inscription "1348". This depersonalization of death directly impacted the Christian interpretation system of "immortality of the soul" in the Middle Ages. Boccaccio's depiction of the doomsday scene of Florence in "The Decameron" also explained the fragility of the narrative of the religious system. Subsequently, the sharp decline in population led to a sharp increase in labor costs in Britain. This transformation recognized the economic value of the lower-class workers. It laid the groundwork for the Renaissance, which was later proposed by Petrarch that man is the measure of all things. At the same time, the "Nameless Medical Monument" established by various countries during the COVID-19 pandemic marked the shift of heroic narratives from war gods to angels in white. Essentially, it abstracted death as an object of "symbol exchange". These changes in the meaning of death are essentially civilization's questioning: What is a life worth living? What on earth can death bring? How should we seek the meaning of existence in such a short period of time?

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Death is not the end but the ultimate possibility of existence. Realizing the "authenticity" of death can enable people to break away from the mundane and confront the finiteness of life(Heidegger, M. (2010). This is the viewpoint of "living towards death" proposed by the existentialist phenomenologist Heidegger. This theory does not merely explore death itself, but rather reveals the fundamental characteristics of human existence through death, attempting to answer: How people face the finiteness of life and thus live a real and meaningful life coincides with my research direction. Most people in society live in an ordinary state and usually use cumbersome affairs to cover up their anxiety about death, such as study, work, socializing, etc., forming a collective escape. The most typical example is the mentality of onlookers when the media reports catastrophic news: Death is someone else's business. What does it have to do with me? But when people suddenly realize the inevitability of death, they will feel a kind of "fear" without a specific object.

It is also a kind of "fear", which can break the numbness of our daily life and thus trigger inquiries about the origin of life: "Why do I live?" and "What is a life worth living?" Once we awaken to a certain cognition, we will no longer go with the flow.

Instead, we will proactively plan for ourselves, choose to be true to ourselves rather than the expectations of society or others, and take responsibility for our limited lives.

Especially in the modern popular culture of "lying flat" and "involution", we should clearly recognize that true freedom is not about avoiding death, but about living clearly in the understanding of finiteness. Just as Nietzsche said, "Live a little more dangerously!" Only when we stop evading the shadow of death can we truly stand under the sunlight. 三．Literature review

Death is a topic that is often discussed in games. Players can experience this process through virtual characters. A typical example is Dark Souls 3 and Bloodborn. In such games, the setting of undead is widespread. The character controlled by the player receives a curse and cannot truly die, similar to the setting of vampires in Goths.

“They become immortal and thus cannot be redeemed by death. At the same time, it corresponds to Heidegger's state of being "toward death" - only by accepting immortality and constantly fighting can the curse cycle be broken（Kirkland, E. (2012).

The influence of these events will affect players' thoughts for a long time, thereby guiding players to conduct "post-death tributes" in the game and to a certain extent, resonating with the pain and loss brought by death in the real world. Moreover, the extensive use of Gothic visual styles in Dark Souls (such as decaying churches, empty staircases, and the setting of undead monsters) also enhances the immersion and atmosphere of the virtual space. So my idea is to build a Gotty-flavored game world through VR virtual reality technology. Players will have an immersive experience

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through narrative stories. During this process, they will encounter various characters and events, and the "irreversible time mechanism" (such as the butterfly effect in Life Is Strange) will be added, thereby allowing players to experience the different consequences brought about by different choices. Once dead, one will start from zero, set out from the virtual and return to reality, and ponder the essence of existence. I want to reconstruct the theory of death cognition through Gothic game aesthetics, transforming Heidegger's philosophical propositions into actionable experiences. The continuous death and repetition in the game are essentially practicing the existence mode of "living towards death" in the digital domain. This proves that video games are not only entertainment media, but also the testing ground for modern people to explore the meaning of life（Song, Xuhong. 2023） - here, Death is not a hint of the end of the game, but an invitation to re-understand existence

Literature, in layman's terms, is a way and means of expressing the objective world and subjective understanding through words or spoken language as a medium .When literature is endowed with thoughts and emotions, it acquires the beauty of art. The greatest core of literature lies in the ability to express the author's core ideas through the form of words. The artistry of language is the core of literature. Literary works often reflect reality through fictional techniques. It is both an imitation of the objective world and a creation of the subjective world, such as "Frankenstein" or, "The Modern Prometheus" is a Gothic novel created by Mary Shelley in 1818.

Through the interweaving of virtuality and reality, it profoundly discusses eternal propositions such as science, ethics, and the essence of human nature. The work itself reflects the author's own attitude, and it reminds us: The true terror is not an alien monster, but the unrestrained arrogance and indifference in human nature.

Youdaoplaceholder0 (Fred botting) provides a clear account of the origin and evolution of Gothic history, from Horus Vopole 's Fort Otrantoburg to Ann Rad Clifford' s analysis of the characteristics of early Gothic literature, with "fear" as the core and the beauty of fear as the core. “The past with which gothic writing engages and which it constructs is shaped by the changing times in which it is com posed: the defifinition of Enlightenment and reason, it seems,requires carefully constructed antitheses, the obscurity of fifigures of feudal darkness and barbarism providing the negative against which it can assume positive ( (Fred botting,2008) An important point in this passage is that the definition of goth has changed over time. In the past, Goth was often perceived as a visual symbol of fear, but over time, it has gradually shown positive values. This also played a guiding role in my subsequent research, and the content related to cyber Gothic was discussed in Chapter Five. This has triggered a reflection on me, proposing cutting-edge research on the interweaving phenomenon of traditional Gothic literature and contemporary digital technology. For instance, using vr technology to create a Gothic cyber space (in the cloud, on social platforms, or in the metaverse) with traditional Gothic styles (such as castles or ruins) to enhance people's immersive experience, allowing them to experience Heideborg's "living towards death", and using digital media to stimulate human inner emotions, I think it

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is a very interesting thing. Heidegger's "Being and Time" also mentions the meaning of "being" (Sein), and through the analysis of "Daussein" (that is, human being), he tells us about the essence of human time. Among them, two very important words are "Verfallen" and "Angst".(Heidegger, M. (2010)) In most daily lives, falling into the state of an ordinary person means being regulated by society and defined by others.

The simplest example is to work step by step and avoid thinking about death. Only when people confront "nothingness" (emptiness) directly and break away from the abyss can they realize the weight of their own freedom. This is also a kind of "fear", which is essentially anxiety about death. From my point of view, the reason why people feel anxious about death is that death itself is also an illusory concept. Just like a newborn baby's fear of the entire real world, people know nothing about the world and state after death. Death is like the last major question on the test paper and also the ultimate proposition in human life. Only by resolving doubts can we better escape from the six realms of rebirth （Harvey, P. 2012). Only by truly experiencing it can we feel the weight brought by nothingness.

Regarding phenomena related to death, near-death experiences (NDEs) and hallucinogenic drug experiences (YDEs) can expose people to extraordinary sensations, perceptions and insights beyond daily phenomenology. In recent related studies, a large number of research results have shown that NDEs and YDEs demonstrate significant abilities to reduce people's anxiety about death（.Glowacki, D. R.(2024)）. However, in related studies such as OBE and NDE, they can only be conducted after the fact because we cannot obtain relevant data by designing an experimental group, that is, the relevant experience of rebirth after death. Therefore, a potential method is proposed here to use immersive virtual reality (VR) to study death and near-death experiences. Among them, the design of personal virtual reality experiences (VREs) in the "digital beauty" aesthetics can produce psychological measurement results comparable to those of YDEs. For instance, it is mentioned in the literature that vr virtual reality technology is used as an exposure therapy to treat phobias and PTSD, which enables people to re-examine the scenes they have suffered from fear and trauma and confront their inner fears directly. In addition to the reports of near-death experiences, a large number of studies have shown that human death awareness can affect human attitudes and behaviors. The core theoretical construct is the Terror Management Theory. The essence of this theory is to explore the deep anxiety brought about by the inevitability of human death. In order to alleviate the anxiety caused by death, Human beings have developed a dual psychological defense mechanism. One is to construct a meaning system through various religious beliefs, values and ideologies, etc., in order to endow life with meaning beyond death. The second is self-esteem. One gains a sense of value through physical achievements and other means, forming symbolic immortality. In TMT（.Greenberg, J., Solomon, S., & Pyszczynski, T. 1997）, it is mentioned that through an experimental paradigm, for example, by writing short sentences about death in the text and briefly activating the awareness of death with a photo of a cemetery, the consequence of the behavior is that

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after the death reminder, the individual will defend their own cultural values and self-esteem more strongly (such as purchasing many luxury goods). For this reason, we can draw a fundamental view that once humans have experienced death (i.e., deep anxiety), they may strengthen their own psychological defense mechanisms, thereby being able to better understand the meaning of their own existence and better find the value of their own existence in the real world. This is also in line with my research viewpoint. Meanwhile, the development of VR technology also provides us with such possibilities. Designing a Virtual Death VR Experience, the innovative virtual reality art installation "Through the Electric Storm" designed by Sean Gladwell, aims to evoke the human experience of death. “Recognizing the inevitability of death can sometimes lead to a greater appreciation for life, potentially fostering introspection, resilience, and motivation to make the most of our limited time"（Galvao, V. F. (2020) is the core conclusion of the experiment. This device combines VR, sensor technology and haptic feedback to create a visually stunning and emotionally immersive experience. Participants have truly experienced the speed of life and death from simulated cardiac arrest to brain death. The most important point is that people can safely come into contact with scenes related to death in virtual reality, which can simultaneously cultivate empathy and self-reflection. And by simulating the scene of the end of life to discuss the meaning of existence, one point that we are very interested in is that when people can truly experience death and survive in another way or state, this will open up an exciting and completely different research method.

Gothic aesthetics, as an artistic style, can visually reflect people's portrait of death very well. Therefore, I mainly set the overall tone of the virtual space in the Gothic style, which can better mobilize people's deeper feelings in their hearts, namely death.

Especially the Silent Hill game series, its aesthetic style is gloomy and full of a terrifying atmosphere. Many aspects related to the grotesque run through these games.

"Animism, which holds that inanimate objects are endowed with characteristics similar to life, is one aspect of many Silent Hill monsters and the core of the Silent Hill game." How inanimate objects view our living objects, I think, is a very interesting point. If they are endowed with characteristics similar to life, can they have the same anxiety about death as us humans? Can the meaning of existence be found? Apart from experiencing death, we also want to view from multiple dimensions and perspectives how humans define the concept of "existence". Does life equal existence? If we bring in inanimate beings, can we get rid of the anxiety of death? Whether we can understand the fundamental characteristics of human existence from the opposite perspective is worth our thinking and exploration.

四．Methodology In the choice of methodology and research methods, I chose qualitative research. That is, phenomenological hermeneutic deep mapping. I believe this methodology is the most suitable for my research direction because my research focuses on the subjective meaning generation process of "death cognition reconstruction" in the core issue（Van

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Manen, M. 2016)）. From this perspective, that is, we need to deeply understand the essence of the player's experience in Gothic VR (phenomenology), by recording the complete process of the player's experience, To deeply explore the essence of phenomena and the cultural and technological interactions behind them (hermeneutics), through qualitative research methods, more complex and dynamic meaning networks can be captured. From the perspective of the theoretical framework, because virtualism has a certain degree of intersection with philosophy, media, and even criticism, the qualitative research approach allows for the generation of theories and iterative dialogue of empirical data rather than the verification of presupposition hypotheses. Compared with other research methods, such as purely quantitative research (such as the experimental method), Although the conclusions of the research can be directly reflected in the data, it is difficult to reveal the individualized and cultural paths of "cognitive reconstruction". Therefore, there may be deviations in the research conclusions. Thus, qualitative research is superior to quantitative research in terms of adaptability. I will collect and adopt data from two aspects. Data type 1 is focus interviews. In terms of content, we will focus on players' descriptions of Gothic vr game experiences and some more subtle expressions (such as a dream that won't wake up). The phenomenological methodology tells us to directly present life experiences in the real world. According to this statement, We believe that interviews are the most direct and effective method and means. As a seasoned gamer, I think there is another important data type that can be started from game logs and behavior logs. In terms of content selection, such as the number of deaths, resurrection choices, and exploration paths, such as whether there is an autonomous trigger death mechanism, etc. The basis is to compare the game log data of the player with the player's oral account. Let's verify its authenticity. For example, whether the player who claims "not afraid of death" frequently saves the game. Of course, apart from the game experience and player feedback, we can also conduct data research on physiological factors. For instance, in terms of players' heart rate and skin conductivity, we can observe and test the horror level of players. This can provide multimodal evidence from a physiological perspective, but this is only an optional item. First, the reasons for the increase in heart rate are diverse. It might be due to the novelty of electronic devices (VR) or the tension it brings, or it would increase the difficulty of the test, especially for some players who may have adverse reactions to heart rate devices. However, this proposal is still a very worthy method to adopt, so it is placed as an option. In terms of sampling methods, our idea is purposeful sampling and maximum difference sampling. Firstly, in purposeful sampling, a player who has completed at least one Gothic VR game (such as "Layers of Fear VR") needs to be selected. The purpose is that the player needs to have a deep experience of the death mechanism in order to obtain accurate data and the maximum difference target. The age range of the population is 18-45 years old, stratified by gender and cultural background (Chinese and Western), and the reconstruction of death cognition is captured from diversity and multiple aspects. The sample size follows the saturation principle of qualitative research, ranging from 15 to 20 people, until no new topics emerge. This ensures both the density of the data and the scalability of the test，Small

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samples limit external validity and need to claim theoretical generation positioning (Flyvbjerg, 2006).

Death is a heavy topic. In research, some ethical issues are often involved. From a visual perspective, Gothic aesthetics often carry a terrifying and dark atmosphere, which can cause psychological discomfort to the participants. Especially for those with some stress responses and mental illnesses, during the discussion of death, it may trigger anxiety or traumatic memories among the participants. This brings about physical and mental discomfort. To address such issues, we need to implement some targeted coping strategies. During the pre-research stage, individuals with a history of severe mental illness should be excluded. After the experience, interviews should be allowed to pause at any time, and a list of psychological counseling should be provided. These are coping measures for the psychological aspect. In the game, the behavioral data of the game often exposes the identity information of the participants and some sensitive data. Therefore, to address this issue, all participating users are first anonymized, such as using code names instead of real names. In terms of data storage, the data hard disk is encrypted, and partial destruction is carried out after research, especially when it comes to some sensitive information. At the same time, we will also safeguard the rights and interests of the participants. Before participating in the experience, participants will sign an informed consent form to ensure that they understand the research purpose and data usage. They will also sign a bilingual consent form, clearly stating that they can withdraw at any time without affecting their rights and interests. In terms of data analysis methods, in-depth analysis of phenomenology and hermeneutics is adopted. In terms of tool selection, NVivo 12 is used. Form an open code, cluster into themes such as the threshold value of participants' perception of terror, the embodiment of technology as a medium, etc., and ultimately extract the essence. Through the extracted phenomena, place them in Gothic aesthetics from the perspective of hermeneutics, and repeatedly deliberate and interpret them in VR virtual reality technology and existentialist theory to construct a complete network of meaning. As a student of design studies, my idea is to depict the scene through hand-drawn views and make it visually related, which can more vividly and directly reflect its essence. In addition to some of the methodologies I mentioned above, there are still many alternative methodologies at present, such as narrative research, which reveals human experience through the content, content and meaning of stories, especially playing a very important role in the cognitive reshaping of individuals. My research reconstructs the cognition of death through virtual death experiences. Essentially, it is also a process of meaning generation and self-identity transformation. Taking the player narrative of "Layers of Fear VR" as an example, "At first, every death suffocated me (a crisis)..." Later, I discovered that only by "dying" can one see the full picture (progress) of a painting... Now, I even take the initiative to die, as if completing an artistic ritual (solving). Through the player's active death in the narrative, it implies that death is the last piece of the puzzle in the painting. This behavior is used to practice Heidegger's "living towards death" from a digital

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perspective. The shortcoming lies in that to a certain extent, it relies on the narrative ability of the participants, and under the influence of Gothic cultural scripts, it will to a certain extent affect the judgment of the participants. Excessive subjective judgment will to a certain extent weaken the impact brought by technical means (vr).

Ethnography also has adaptability in the construction of death culture, such as how to reconstruct the perception of death through cultural practices (such as some death rituals, symbols, etc.) in VR games. However, its drawbacks are also obvious. The research direction of ethnography is the study of group culture, and many details are often overlooked in individual experiences and feelings. Therefore, phenomenological hermeneutics is a method that can meet both the emphasis on individual experience and the critique of technological culture. Through this qualitative research, it perfectly fits the research question of "cognitive reconstruction of death".

Death is a heavy topic. In research, some ethical issues are often involved. From a visual perspective, Gothic aesthetics often carry a terrifying and dark atmosphere, which can cause psychological discomfort to the participants. Especially for those with some stress responses and mental illnesses, during the discussion of death, it may trigger anxiety or traumatic memories among the participants. This brings about physical and mental discomfort. To address such issues, we need to implement some targeted coping strategies. During the pre-research stage, individuals with a history of severe mental illness should be excluded. After the experience, interviews should be allowed to pause at any time, and a list of psychological counseling should be provided. These are coping measures for the psychological aspect. In the game, the behavioral data of the game often exposes the identity information of the participants and some sensitive data. Therefore, to address this issue, all participating users are first anonymized, such as using code names instead of real names. In terms of data storage, the data hard disk is encrypted, and partial destruction is carried out after research, especially when it comes to some sensitive information. At the same time, we will also safeguard the rights and interests of the participants. Before participating in the experience, participants will sign an informed consent form to ensure that they understand the research purpose and data usage. They will also sign a bilingual consent form, clearly stating that they can withdraw at any time without affecting their rights and interests. In terms of data analysis methods, in-depth analysis of phenomenology and hermeneutics is adopted. In terms of tool selection, NVivo 12 is used. Form an open code, cluster into themes such as the threshold value of participants' perception of terror, the embodiment of technology as a medium, etc., and ultimately extract the essence. Through the extracted phenomena, place them in Gothic aesthetics from the perspective of hermeneutics, and repeatedly deliberate and interpret them in VR virtual reality technology and existentialist theory to construct a complete network of meaning. As a student of design studies, my idea is to depict the scene through hand-drawn views and make it visually related, which can more vividly and directly reflect its essence. In addition to some of the methodologies I mentioned above, there are still many alternative methodologies at present, such as narrative

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research, which reveals human experience through the content, content and meaning of stories, especially playing a very important role in the cognitive reshaping of individuals. My research reconstructs the cognition of death through virtual death experiences. Essentially, it is also a process of meaning generation and self-identity transformation. Taking the player narrative of "Layers of Fear VR" as an example, "At first, every death suffocated me (a crisis)..." Later, I discovered that only by "dying" can one see the full picture (progress) of a painting... Now, I even take the initiative to die, as if completing an artistic ritual (solving). Through the player's active death in the narrative, it implies that death is the last piece of the puzzle in the painting. This behavior is used to practice Heidegger's "living towards death" from a digital perspective. The shortcoming lies in that to a certain extent, it relies on the narrative ability of the participants, and under the influence of Gothic cultural scripts, it will to a certain extent affect the judgment of the participants. Excessive subjective judgment will to a certain extent weaken the impact brought by technical means (vr).

Ethnography also has adaptability in the construction of death culture, such as how to reconstruct the perception of death through cultural practices (such as some death rituals, symbols, etc.) in VR games. However, its drawbacks are also obvious. The research direction of ethnography is the study of group culture, and many details are often overlooked in individual experiences and feelings. Therefore, phenomenological hermeneutics is a method that can meet both the emphasis on individual experience and the critique of technological culture. Through this qualitative research, it perfectly fits the research question of "cognitive reconstruction of death".

五．Discussion and analysis

My research has always revolved around "death experience and cognitive reconstruction". Within the framework of this core issue, other subset problems will also extend, such as what is the essence of the embodied experience of players in virtual death and what impact this attitude has on the attitude towards death in reality.

Through deep mapping in phenomenological hermeneutics, Focus interviews and game behavior logs, etc. can answer such questions very well. Meanwhile, （Van Manen ， 2016) pointed out in "Phenomenology of Practice" : The task of phenomenology is to reveal the essential structure of human existence through reflective descriptions of experiences in the lifeworld, which are often obscured by the daily practices mediated by technology. Therefore, technological means such as VR virtual reality technology are not neutral tools, but rather a kind of "existence" contained in daily life, a "ontological" force that reshaps the real world, which precisely corresponds to the viewpoint of "reshaping death cognition", and at the same time shares similarities with Heidegger's "fear" (Angst). Through VR technology, in terms of spatiality, Temporality and concreteness simulate the moment of "facing nothingness", exploring the "authenticity" of humanity. Regarding the issue

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of how Gothic aesthetics and technological means (VR) shape death, Fred Botting mentioned his views on post-human Gothic in "Gothic Romanced" : "Post-human Gothic is the evolution of traditional Gothic themes (terror, otherness, body alienation) in the technological era." Through the monsters, data ghosts and cyber space mediated by technology, reveal the collapse of the boundary between humans and non-humans and the ontological anxiety it triggers. The immersive experience of VR can greatly enhance this Gothic feature (such as terrifying castles, inanimate monsters, and immortal vampires), thereby triggering a kind of "fear" of death in people's hearts.

The player's death experience, as a Gothic ritual in the digital age, through the collision of technology and existential anxiety, Human beings can constantly redraw the boundaries of their own meaning. Through this study, we expect to find that players may practice Heidegger's "living towards death" through repeated VR deaths to achieve "controlled practice", thereby reducing anxiety about death and verifying the anxiety relief hypothesis of TMT. In fact, in similar studies, we can also learn that "conforme a consciencia da inevitabilidade da morte, tanto no mundo real quanto virtual, e gradativamente evidente causa intenso terror psicologico nos jogadores. No entanto esta consciencia de sua propria mortalidade permite superacao do sentimento de perda associado a morte [43 (Galvao) V. F. (2020)) "NDE does have a therapeutic effect in dealing with issues such as death anxiety, which is a positive approach.

Meanwhile, during the research process, we also discovered the problems it contains, namely the negative path. The feelings in virtual reality may affect the attitude towards life in reality, leading to the gamification of death cognition (that is, the constantly resurrected life). It is also a new technological translation of Gothic aesthetics, transforming traditional Gothic cultural symbols (castles, ruins, monsters, etc.) into interactive experiences in VR, expanding the meaning boundaries of Gothic culture and linking it with "death education". It is also a redefinition of the meaning of death: that is, death is not the opposite of life, but exists as a part of life forever. The greatest innovation point in the research lies in the continuous repetition and regeneration of players, constantly challenging Heidegger's linear view of time of "living towards death" in "death-rebirth", and it is also a new attempt to integrate existentialist philosophy with the criticism of post-human technology. The Terror Management Theory, the core proposition of TMT(Greenberg, J., Solomon, S., & Pyszczynski, T. (1997), was also integrated into the research. "Human awareness of the inevitability of death (mortality salience) triggers existential anxiety and thereby triggers psychological defense mechanisms."(Greenberg, J., Solomon, S., & Pyszczynski, T. (1997) On the positive side, People reduce existential anxiety through "controllable" death in VR, which is essentially an enhancement of a psychological defense mechanism. From this perspective, the TMT theory and existentialist theory have a certain degree of complementarity. The reminder of death awareness in TMT can be regarded as an empirical extension of "true existence". Constantly repeating life and death in VR may lead to the awakening of existentialism. At the same time, there is a new point of conflict between the theories of the two. On the one hand, existentialism warns us to face death directly and pursue authenticity. However, in TMT theory（Burke, B. L., Martens, A., & Faucher, E. H. (2010)）, a psychological

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defense mechanism is needed to resist the anxiety brought by death. So, will virtual death enhance defense or promote acceptance (facing death directly)? This is also a proposition worth discussing. However, virtual death can also bring about some ethical issues in reality to a certain extent. The new problems that may arise are mainly some ethical disputes. For example, whether death in virtual reality will bring about a kind of "desensitization" to death in reality, thereby triggering some social problems. So how to balance the reconstruction of death cognition and the issue of real Ethics is also a problem that we need to think about. In "Ethics of Violent Video Games: In the article "A Schopenhauerian Perspective", Zucker, based on Schopenhauer's philosophy, proposed that the "consequentality" generated by players through technological intermediaries would dissolve the ethical weight brought by violence in real life, thereby leading to the passivation of players' real morality, causing desensitization of social morality and triggering social problems（Zucker, H. M. 020). On a cultural level, the essence of Gothic culture is an essential manifestation of Western culture. The Gothic visual symbols and death narratives may not resonate with non-Western culture players, leading to cognitive conflicts.

Moreover, Buddhism has also provided detailed interpretations of the issue of life and death. From the perspective of Buddhism, death is a part of the cycle of rebirth, driven by "karma". Death is not the end but the continuation of the causal chain, emphasizing the moral weight of actions. However, in games, the constraints brought by real ethics are often weakened. The "evil deeds" in games form an opposing relationship with "karma", creating an ethical paradox. Buddhism's（Harvey, P. 2012)） advocacy of "non-self" is also in conflict with existentialist "self (facing death)". Therefore, in the design of the game, the compatibility issue of different cultures also needs to be considered, especially in terms of symbolic elements. It is necessary to be vigilant against the misuse of symbols (such as using the Buddha's head as a terrifying element), and ensure the respect and educational nature of the use of symbols. From the perspective of technical means, VR, as a product with the characteristics of The Times, can play a fundamental role in reconstructing people's cognition. It provides a feasible "virtual test field" for the existentialist view of "living towards death"(Heidegger, M. (2010), which also indicates that the progress of technological intermediaries will to some extent change people's cognition. Therefore, a new question is raised here: Will the next generation of technological iterations, such as brain-computer interfaces (BCI) and other next-generation technologies, completely reconstruct the philosophical basis of death cognition? We have no idea.

六．Conclusion

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This study aims to explore how Gothic virtual reality (VR) games reconstruct players' cognition of death through technology-mediated death experiences, and reveal the complex interaction among technology, culture and individual existence in this process. Through deep mapping of phenomenological hermeneutics and interdisciplinary theoretical dialogues, the core includes decoding the impact of the phenomenological nature of virtual death on attitudes towards real death. By creating an "existentialist laboratory" in the digital age through Gothic VR games, the "authenticity" of human existence is sought, and at the same time, the meaning boundary of post-human gothic in the digital age is broadened, extending Botting's theory(Botting, F. (2008)) to interactive media. Proposing the concept of "Digital Dasein" links Heidegger's philosophy with the critique of post-human technology, providing a new experimental paradigm for digital media. This paper explores the differentiated paths before TMT theory (Greenberg, J., Solomon, S., & Pyszczynski, T.1997)and existentialism, which is an empirical extension of TMT theory. At the same time, it also reflects on the ethical issues in real existence and virtual death (moral desensitization in reality). The research integrates viewpoints from the fields of philosophy, psychology and culture, and is a new interdisciplinary attempt. It is existentialism. The TMT theory and the innovative attempt of post-human Goth in the digital age field are not only a breakthrough research in the academic field of games, but also a philosophical inquiry into the essence of human survival in the digital age.

Death is the ultimate proposition of humanity: When death becomes an editable code, in the process of conquering fear, do we lose the reverence for the weight bestowed by life? The answer may lie in each reflection of the player on "living- towardsdeath" - and this is precisely the ultimate revelation of virtual existentialism.

Reference 1.Song, Xuhong. 2023. "Virtual Reality and Metaversal Literature." Theoretical Studies in Literature and Art 43, (1): pp.1-11. https://tsla.researchcommons.org/journal/vol43/iss1/2

2.Fraser, M. (2020). Death mechanics in open-world games. In J. Smith (Ed.), Digital thanatology (pp. 45-67). MIT Press.

3.Greenberg, J., Solomon, S., & Pyszczynski, T. (1997). Terror management theory of self-esteem and cultural worldviews: Empirical assessments and conceptual refinements. *Advances in Experimental Social Psychology, 29*, 61-139.

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4.Van Manen, M. (2016). *Phenomenology of practice: Meaning-giving methods in phenomenological research and writing*. Routledge.

5.Botting, F. (2008). *Gothic Romanced: Consumption, Gender and Technology in Contemporary Fictions*. Routledge.

6.Glowacki, D. R. (2024). VR models of death and psychedelics: an aesthetic paradigm for design beyond day-to-day phenomenology. Frontiers in Virtual Reality, 4.

7.Galvao, V. F. (2020). Game Over: death representations in Virtual Reality Environments. 296–305.

8.Barberia, I. (2018). Virtual mortality and near-death experience after a prolonged exposure in a shared virtual reality may lead to positive life-attitude changes. PloS One., 13(11).

8.Kirkland, E. (2012). Gothic Videogames, Survival Horror, and the Silent Hill Series. Gothic Studies., 14(2).

10.Greuter, S. (2024). Designing a Virtual Death VR Experience. 328–332.

11.Greenberg, J., Solomon, S., & Pyszczynski, T. (1997). Terror management theory of self-esteem and cultural worldviews: Empirical assessments and conceptual refinements. *Advances in Experimental Social Psychology, 29*, 61-139. https://doi.org/10.1016/S0065-2601(08)60016-7

12.Zucker, H. M. (2020). Ethics of violent video games: A Schopenhauerian perspective. *Ethics and Information Technology, 22*(4), 303–312. https://doi.org/10.1007/s10676-020-09538-y

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13.Harvey, P. (2012). *An introduction to Buddhism: Teachings, history and practices* (2nd ed.). Cambridge University Press.

14.Van Manen, M. (2016). Phenomenology of Practice: Meaning-Giving Methods in Phenomenological Research and Writing. Routledge.

15.Flyvbjerg, B. (2006).

Five misunderstandings about case-study research.

Qualitative Inquiry, 12(2), 219–245.

16.Burke, B. L., Martens, A., & Faucher, E. H. (2010). Two decades of terror management theory: A meta-analysis of mortality salience research. *Personality and Social Psychology Review, 14*(2), 155–195. https://doi.org/10.1177/1088868309352321

17.Heidegger, M. (2010). *Being and time* (J. Stambaugh, Trans.). State University of New York Press. (Original work published 1927)

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A Study of Virtual Reality Technology's Reconstruction of Comic-Con Experience from the Perspective of Affordance Theory

Han Shang

Abstract: This study focuses on affordance theory. And based on this theory, it explores the reconstruction of Comic-Con experience by virtual reality technology. Nowadays, with the rapid development of science and technology, virtual reality technology is gradually applied to various fields, and Comic-Con, as an important platform for displaying and exchanging Animation, Comic, Game and Novel (ACGN) culture, is also beginning to be influenced by it. The central idea of this study is to explore how virtual reality technology can reconfigure the Comic-Con experience based on the

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affordance theory. Affordance theory emphasizes the possibilities of action that the environment offers to the user. By creating a highly immersive virtual Comic-Con space, virtual reality technology changes the way participants interact with exhibits and other participants in traditional Comic-Con. It gives participants brand new possibilities for action. On the one hand, virtual comic shows break the limits of time and space. It allows comic fans from all over the world to participate anytime and anywhere. On the other hand, it provides a richer interactive experience. This study has great significance.

From the theoretical level, it enriches the application of availability theory in the field of virtual reality and comics. It provides new perspectives and ideas for subsequent related research. From the practical level, it helps to enhance the attractiveness and influence of comic exhibitions and bring a better experience for comic fans. Promote the dissemination and development of ACGN culture. In terms of research methods, this paper mainly adopts qualitative research. And the literature research method is used to sort out the relevant research results of the theory of availability, virtual reality technology and Comic-Con experience. The case study method is used to select representative virtual comic exhibition cases for in-depth analysis.

1.0 Introduction Nowadays, virtual reality technology is reshaping people's entertainment and social experience. “VR technology encompasses sophisticated head-mounted displays (HMDs), precise motion tracking, and immersive experiences across diverse sectors, including gaming, education, healthcare, industry, and beyond. Its journey from experimental origins to mainstream prominence underscores its potential to redefine how we interact with digital environments and the physical world.” (Raj, 2024) ComicCon is an important form of activity for ACGN culture enthusiasts to gather and communicate. It is also undergoing changes under the impact of virtual reality technology. This study focuses on the reconstruction of Comic-Con experience by virtual reality technology under the perspective of affordance theory. It aims to investigate how virtual reality technology changes the experience mode, interaction mode, and perceived value of Comic-Con participants. Specifically, the research questions revolve around the following aspects. What new affordances do virtual reality technology provide for Comic-Con? How do these affordances affect the user's experience of Comic-Con? Compared to traditional offline comic exhibitions. What are the advantages and disadvantages of virtual reality Comic-Con in terms of spatial perception, social interaction, and content presentation? How can the affordance theory be used to guide the design of virtual reality Comic-Con to enhance the user experience?

The main purpose of this study is to comprehensively and thoroughly analyze the process and effects of virtual reality technology in reconfiguring the Comic-Con

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experience based on the theory of availability. Specifically, it includes the following aspects. Firstly, to sort out the new possibilities of action that virtual reality technology brings to the participants of Comic-Con, and to identify the specific manifestations and characteristics of these availability. Secondly, explore how the new availability affects participants' behaviors at Comic-Con. Thirdly, evaluate the impact of the reconfigured Comic-Con experience with virtual reality technology on the dissemination of secondary culture. Lastly, based on the findings, provide targeted suggestions and strategies for comic show organizers, virtual reality technology developers, etc., to promote the rational application and development of virtual reality technology in the field of comic shows.

This study is also very meaningful. On a theoretical level, this study enriches the application of affordance theory in the field of virtual reality and comic book exhibitions. Affordance theory was originally used mainly in the fields of environmental psychology and human-computer interaction. It is used to explain the relationship between the environment and individual behaviors. Introducing it into the study of virtual reality technology on the experience of Comic-Con. It can expand the application boundary of the theory. Provide a new perspective for understanding the interaction between human and virtual space in digital environment. At the same time, it also helps to deepen the understanding of the mechanism of virtual reality technology.

Fill the theoretical gaps in existing research on the digital experience of Comic-Con. In terms of practice, this study has important guiding significance for Comic-Con organizers, virtual reality technology developers and practitioners in the ACGN culture industry. For Comic-Con organizers, understanding the experience of comic shows is reconfigured by virtual reality technology. This will help them optimize the planning and organization of Comic-Con. Enhance the attractiveness and competitiveness of Comic-Con. For virtual reality developers. The results of the study can provide a reference for them to develop more targeted and practical VR applications related to Comic-Con. Improve user experience. For practitioners in the ACGN culture industry.

This study helps them grasp the development trend of the industry. Promote the innovative dissemination of ACGN culture in the digital era.

In addition, this study cannot be separated from theory. For example, affordance theory, which was developed by the ecopsychologist Gibson（1979）. He argued that the environment provides individuals with a variety of possibilities for action. These possibilities are the result of the interaction between the properties of the environment itself and the abilities of the individual. In the study of virtual reality technology and the Comic-Con experience. The theory of availability provides a central framework for understanding how virtual Comic-Con environments influence participants' behaviour.

The virtual comic exhibition environment is constructed through virtual reality

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technology. It has a unique spatial layout, interactive elements, and visual presentation.

These environmental features provide participants with action possibilities that are different from those of traditional comic book exhibitions. For example, participants can fly freely in the virtual space, move instantaneously to different exhibition areas, and interact with virtual characters in depth. These new availabilities change the participants' behavioural patterns in Comic-Con. It enables them to explore and experience the content of the Comic-Con more actively. In addition to the affordance theory, the flow theory is also important. Flow theory was developed by psychologist Csikszentmihalyi（2013）. It describes a psychological state, the immersion experience, that occurs when an individual is fully engaged in an activity. In virtual reality ComicCon, flow theory helps us to understand why participants are attracted to the virtual environment. And what kind of experience they will get in a virtual Comic-Con. Virtual reality technology creates a strong sense of immersion for participants through highly realistic visual, auditory, and tactile feedback. When participants are immersed in a virtual Comic-Con. They will focus more on the content of the Comic-Con and ignore external distractions. This immersive experience not only enhances participants' satisfaction with the comic show but may also promote their identification with and dissemination of ACGN culture. There is also interaction design theory. Interaction design theory is concerned with the manner and quality of interaction between users and products, system or service. In virtual reality Comic-Con, interaction design directly affects the participants' experience. Reasonable interaction design can make it easier for participants to interact with exhibits and other participants in the virtual environment and improve satisfaction. For example, by designing intuitive gesture interaction and voice interaction, participants can naturally communicate with virtual characters and operate virtual exhibits. Interaction design theory provides guiding principles for the development of virtual reality Comic-Con. It ensures that the virtual Comic-Con can provide a smooth, efficient, and interesting interaction experience.

In summary, this study is guided by the affordance theory and other related theoretical frameworks. It aims to explore in depth the reconfiguration of the Comic-Con experience by virtual reality technology. It has important theoretical and practical significance. Through the study of transformative research questions. It is expected to provide useful references for the digital transformation of the Comic-Con field and the development of the dissemination of ACGN culture.

2.0 Literature review Comic-Con, as an offline event integrating multiple cultures such as animation, gaming and cosplay, has flourished globally and become an important cultural consumption and socialising place for young people. From the initial gathering of niche enthusiasts to

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today's large-scale commercial exhibitions. Comic-Con have undergone rapid evolution, and their forms and contents have been enriched. Meanwhile, virtual reality (VR) technology, as an emerging digital technology, is gradually penetrating various cultural fields with its immersive, interactive and imaginative features. It provides people with a brand-new way of experience. Nowadays, there is a lot of literature exploring how VR enables the interaction between virtual characters and the environment. How to create a personalised experience. How to promote social interaction. As well as in exploring the enhancement and expansion of the affordance of virtual reality technology to the Comic-Con experience.

VR technology significantly enhances interactive participation within virtual environments, fostering a strong sense of presence and immersion. (Liu, 2024) This stems from its unique affordances that enable active engagement with virtual characters and environments. Unlike traditional media, VR allows users to embody avatars and interact with virtual objects, cultivating a powerful feeling of "being there." The design of systems like ClassMeta, a GPT-4 powered agent embodied as a 3D avatar, exemplifies this. Liu et al.'s (2024) work demonstrates how such virtual embodiments can interact with instructors and students using both spoken language and body gestures, effectively promoting classroom participation by simulating an active student. This level of interaction and embodiment contributes to a heightened sense of presence, making the experience more engaging and memorable. The ability to actively shape the virtual world and influence the narrative through interaction distinguishes VR from passive observation, creating a more profound connection with the content. It has the same effect for virtual reality Comic-Con. Furthermore, VR technology offers substantial affordances for creating personalized and customized Comic-Con experiences. Catering to individual preferences and interests. Museums are increasingly adopting VR to enhance the interactive presentation of cultural information, yet personalization remains a key challenge. (Rikhtehgar, 2023) As Delaram Javdani Rikhtehgar et al. (2023) emphasize, tailoring content descriptions and tracking user viewing behaviour are crucial for gauging interest in a VR exhibition. This allows for dynamic adjustments to the exhibition narrative, focusing on characters, storylines, or artistic styles that resonate most with each visitor. The immersive nature of VR art exhibitions, as noted by Chen (2024), further enhances the sense of experience. By adapting the exhibition to individual preferences, VR can transform a generic experience into a deeply personal journey through the world of comics. Beyond individual engagement, VR technology holds significant affordances for fostering social interaction and collaboration among Comic-Con attendees, thereby promoting community building and shared experiences. Within virtual environments, attendees can participate in collaborative activities, such as co-creating digital artwork, engaging in virtual cosplay contests, or solving puzzles together within the exhibition space.

These shared experiences cultivate a sense of camaraderie and belonging, strengthening the overall community surrounding the comic exhibition. As Paloma Villegas et al.

(2023) emphasized, community building within and across classes was key when

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teaching online, a principle equally applicable to virtual Comic-Con. This collaborative dimension transforms the exhibition from a solitary activity into a shared social event.

Finally, VR technology offers significant affordances for enhancing accessibility and inclusivity in Comic-Con, particularly for attendees with disabilities or limitations.

(Dudley et al., 2023) VR can simulate the experiences of individuals with mobility impairments, vision deficits, or autism, fostering empathy and understanding among users. (Pinto-Coelho et al., 2023) Moreover, VR can be leveraged to create accessible and inclusive virtual worlds from the outset, ensuring equitable access to the emerging metaverse. (Anastasovitis & Roumeliotis, 2024) By removing physical barriers and providing customized experiences, VR can make Comic-Con accessible to a wider audience, promoting inclusivity and enriching the experience for all.

VR technology offers significant affordances in expanding the spatial boundaries of Comic-Con, allowing for the creation of larger and more immersive virtual environments. (Roumeliotis, 2024) Unlike physical exhibitions, which are often constrained by venue size and logistical complexities, VR can simulate expansive and even fantastical worlds that defy real-world construction. This liberates comic creators and curators to design exhibitions that extend far beyond the confines of a traditional gallery. Attendees can explore sprawling landscapes, navigate intricate cityscapes, or venture into the far reaches of outer space, all within the immersive context of their favorite comics. This expansion of space contributes to a heightened sense of presence and immersion, factors demonstrably linked to enhanced user engagement and improved spatial ability. (Munawar et al., 2024) VR technology has had a significant impact on the affordance of merchandise display and trading at Comic-Con. While traditional Comic-Con displays are often limited by physical space, VR technology breaks this limitation and creates unlimited possibilities for virtual booths. For example, merchants can build an immersive virtual showroom through VR technology, so that customers can ‘be there’ without leaving their homes, view the products in 360 degrees, and even simulate the experience of trying on and trying out the products. (Kim & Lee, 2021) This approach not only saves space costs, but also greatly enhances the richness and attractiveness of product displays. A study by Nayeon Kim and Hyunsoo Lee (2021) analysed consumers ‘visual attention and emotional arousal in immersive retail environments using eye-tracking and virtual reality technologies and found that there are differences in consumers’ points of interest and emotional responses to different spatial layouts. This finding provides an important reference for the design of merchandise displays in VR Comic-Con. Merchants can optimise the design of virtual booths according to consumers' visual preferences and emotional responses, thus enhancing the shopping experience. In addition, VR technology also brings new possibilities for transaction modes, such as virtual auctions and online customisation, etc. These innovative modes are expected to further enhance the transaction efficiency and user satisfaction of Comic-Con.

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Despite the transformative potential of virtual reality in comic book exhibitions, significant challenges related to technical limitations and usability remain. Motion sickness remains a major obstacle that undermines the quality of the immersive experience despite advances in both software and hardware. (Liao et al., 2020) D. Page et al. (2023) showed that specific interactions, such as gaze-tracking vignettes (GV) and first-person perspective (FP), exacerbate motion sickness (CS). The high cost of hardware also limits its widespread use, thus limiting its use by creators and participants.

(Munawar et al., 2024) Additionally, complex user interfaces can hinder seamless interactions and reduce the overall enjoyment of VR comic cons. Addressing these technical barriers is critical to realising the full potential of VR in this area.

3.0 Methodology 3.1 Research Design Qualitative research methodology was used in this study. The research questions focus on the reconstruction of the Comic-Con experience by virtual reality technology. From the perspective of affordance theory. This study aims to gain insights into how virtual reality technology changes experiential styles, perceptions, and interaction patterns.

How technology changes the way of experience, perception and interaction patterns of Comic-Con participants. Comic-Con participants' ways of experiencing, perceiving and interacting. Qualitative research methods enable an in-depth exploration of participants' subjective feelings, behavioural motivations and experiential processes. Experiential process. By analysing rich and detailed data. Revealing the inherent mechanisms and complex relationships of virtual reality technology in reconstructing the comic exhibition experience. This is highly compatible with the exploratory and interpretive research objectives of this study. The interpretive research objectives fit highly.

Specifically, qualitative research allows Qualitative research allows researchers to collect and analyse data in an open and flexible manner. It allows for capturing the nuances, emotional experiences, and unique insights of participants as they use virtual reality to participate in Comic-Con. using virtual reality technology to participate in Comic-Con. These are often difficult to reach with quantitative research often. By gaining insight into participants' personal experiences and perspectives, researchers can better understand how virtual reality technology interacts with the physical and social environment. How technology interacts with the physical and social environments of Comic-Con.Thus, reconstructing the affordance of the Comic-Con experience.

Hybrid ethnography and netnography is chosen as methodologies for this study. Hybrid ethnography combines the field observation and in-depth interview methods of traditional ethnography with the strengths of cyber ethnography in studying online communities and cultural phenomena. In the context of virtual reality technology reshaping the Comic-Con experience. Comic-Con is no longer confined to traditional

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offline physical spaces. Online virtual Comic-Con and online-offline hybrid forms of Comic-Cons are increasingly emerging. Hybrid ethnography enables researchers to penetrate both offline Comic-Con venues and online virtual Comic-Con communities.

A full understanding of participants' experiences and behaviours in different scenarios.

Netnography, on the other hand, focus on the study of social phenomena and cultural practices in the Internet environment. Virtual Comic-Con mainly relies on the Internet platform. Netnorgraphy can help researchers observe and analyse the communication, interaction and cultural creation activities of participants in the virtual Comic-Con community. It reveals the mechanism of virtual reality technology's reconfiguration of the Comic-Con experience in cyberspace. Through the combination of hybrid ethnography and netnography, researchers can obtain a more comprehensive and indepth research perspective.

3.2 Research Methods This study adopts a case study approach. Currently, there are almost no case studies of virtual Comic-Con. Therefore, this study will select several representative projects that are highly like virtual Comic-Con activities as cases. For example, VRchat, online Comic-Con, in-game Comic-Con, and traditional offline Comic-Con, and so on. These cases cover projects of different types, sizes and levels of technology adoption. Through the in-depth study of these cases, the researcher can analyse in detail the specific ways in which virtual reality technology is applied, the participants' experiential feedback, and the technology's role in reconfiguring the availability of the Comic-Con experience.

The case studies can provide concrete and vivid research materials. It enables the researcher to clearly demonstrate the practical effects and influence mechanisms of virtual reality technology in different contexts.

This study adopts a combination of purposive sampling and snowball sampling. Firstly, according to the purpose of the study and the typicality of the cases, select cases that are representative in different aspects. In this study, VRchat, Online Comic-Con, Traditional Offline Comic-Con, Live Action RPG Comic-Con, and Comic-Con in Games are selected as the main cases. VRchat was founded in 2014 and first exploded in 2017 as a free massively multiplayer online virtual reality game. Positioned as

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‘VR+Social’, it allows players to interact, explore and create with other players around the world. Because of this, it creates opportunities for virtual reality Comic-Con. In 2020, the ComicVket project emerges as shown in Figure 1. It uses VRchat as a Figure 1, a promotional poster for ComicVket at the time platform. This is supposed to be the world's largest virtual reality Comic-Con. It breaks the traditional Comic-Con format. Virtual reality technology has brought new availability to Comic-Con. And it brings new viability to the future Comic-Con format.

For example, VRchat serves as a platform for Comic-Con, and it brings a new affordance to the actions of the participants. In traditional Comic-Con, participants can show their favourite characters through cosplay costumes, but the degree of reproduction and diversity of character images are limited by realistic conditions. In VRchat, users can use the rich model library and customisation tools provided by the platform to create virtual characters with a high degree of freedom. Whether it's a classic character from anime or games, or an original fantasy image, they can be accurately portrayed in the virtual world. Traditional Comic-Con is limited by time and space. Participants can only meet and communicate with each other at a specific time and place, but VRchat breaks this limitation, allowing users to log in at any time and interact with comic fans from all over the world. The platform supports multi-person real-time voice, text chat and motion interaction. Users can express their emotions by waving, hugging, dancing, and other expressions. VRchat also brings a new affordance to participants' sensory experiences. VRchat uses virtual reality technology to create realistic 3D virtual Comic-Con scenes for users. The scene design highly reproduces the anime style, with bright colours, realistic light and shadow effects, and is full of anime elements from the building exterior to the interior decoration. After wearing the VR equipment, the user seems to be in the world of anime and can freely walk in the virtual streets and squares to enjoy the exquisite buildings and landscapes. At the same time, the movements of the character models are smooth and natural, and their expressions are rich and delicate, which enhances the visual realism and sense of immersion. In VRchat Comic-Con, the listening experience is also rich and threedimensional. The platform has carefully designed diverse background music and sound effects according to different scenes and activities. In the bustling booth area, cheerful anime theme songs and lively noises are played to create a bustling market atmosphere.

In the quiet gallery area, soothing classical music is played, allowing users to meditate and enjoy the works. In addition, users can judge the location of the speaker by the direction and distance of the sound, enhancing the realism of social interaction.

Although the current VRchat still has limitations in terms of haptic feedback, a certain degree of haptic perception can be realised through external devices (e.g. haptic gloves, somatosensory suits). For example, when the user picks up an object in the virtual world, the haptic glove can simulate the weight and texture of the object. In addition to ComicVket, this study analyses online Comic-Con (Figure 2), as well as in-game Comic-Con (Figure 3). They have a lot in common with Virtual Reality Comic-Con. They have a lot in common with Virtual Reality Comic-Con. In the Comic-Con, participants can interact socially across time and space, have the freedom to customise

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their image, have richer forms of activity, and so on. In summary, the qualitative research methodology, hybrid ethnography and netnography, and case study methodology used in this study have high suitability and feasibility. It can provide effective support for studying the reconstruction of the Comic-Con experience by virtual reality technology. Despite certain limitations, the researcher can obtain valuable research results through reasonable research design and rigorous data analysis.

Figure 2, The Japanese Online Comic-Con Figure 3, The map of in-game Comi-Con 3.3 Ethical Considerations When collecting and analysing data, there may be information and privacy content of the project involved. To mitigate this consideration, the data collected in this study will be anonymised and sensitive information such as participants' real names and contact details will not be disclosed in the study report and the paper. May be due to personal preference, ease of access to resources, or specific interest associations. Selecting cases that are favourable to the study but lack representativeness leads to one-sided conclusions. For example, selecting only cases of Comic-Con with more positive

comments and ignoring controversial or problematic Comic-Con affects the objectivity of the study. In this regard, it may be necessary to develop selection criteria that cover multiple dimensions such as the size of the Comic-Con, the type of theme, the characteristics of the participating groups, and the region in which it is held. Ensure that the selected cases are broadly representative. For example, both large-scale commercial comic shows and small-scale homoerotic comic shows are selected. Focus on both mainstream culture-themed Comic-Con and niche culture-themed Comic-Con. And to attract attention or pander to a particular point of view. Exaggerating or distorting the results of a study to negatively affect the image of a Comic-Con or the development of the industry. For example, over-emphasising the negative issues of a Comic-Con and ignoring its positive contributions, misleading the public perception of Comic-Con. In

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response, in the research report, present the research results comprehensively and accurately. Include both positive and negative information and provide a clear explanation of the limitations and uncertainties of the research findings. Avoid using exaggerated and one-sided language and expressions. Ensure that the research results truly reflect the actual situation of Comic-Con.

3.4 Summary Overall, the qualitative research methodology, mixed ethnography and weblog methodology, and case study methodology used in this study are highly compatible with the research questions. Qualitative research enables us to dig deeper into participants' subjective experiences and internal mechanisms. Mixed ethnography and weblogs enable us to comprehensively cover both offline and online Comic-Con scenarios. The case study provides concrete research material that helps us to fully understand the reconstruction of the Comic-Con experience by virtual reality technology. Nevertheless, there are limitations to the methodology of this study. The results of qualitative research are strongly influenced by the subjective factors of the researcher, and different researchers may interpret and analyse the data differently. Despite the purposive and snowball sampling strategies, the representativeness of the sample may still be somewhat limited, and the results of the study may not be fully generalisable to all virtual Comic-Con and participants. Qualitative research requires a lot of time and effort for data collection, collation and analysis, and the research cycle is long.

4.0 Discussion and Analysis 4.1 Key Findings In this study, a qualitative research approach was adopted, hybrid ethnography and netnography were chosen as the methodological approach. And using the case study method, taking virtual comic show and online comic show as the main cases. The traditional offline Comic-Con is used as a comparative case. Based on the perspective of availability theory, the reconstruction of the Comic-Con experience by virtual reality technology is analysed in terms of action availability, sensory availability and symbolic availability. In the study of virtual reality technology empowering Comic-Con experience. The theory is effective in analysing the various action possibilities that virtual environments offer users and how these possibilities affect the user's experience.

Through the discussion, we can conclude that. Firstly, findings in action affordance.

Virtual reality Comic-Con provides users with a high degree of freedom in characterisation. Users can make use of the platform's rich model library and customisation tools to fine-tune their character's facial features, hairstyle, clothing style and colour. They can also add unique decorations and special effects to achieve highly personalised identity expression. Virtual reality Comic-Con breaks the time and space

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limitations of traditional offline Comic-Con. Users can log on to the platform at any time and interact with comic fans around the world. The platform supports multi-person real-time voice and text chat and action interaction. Users can express their emotions through waving, hugging, dancing and other movement expressions. Users can also create or join different themed rooms. In-depth discussions are held around specific anime works, characters or topics. Virtual reality Comic-Con offers richer forms and possibilities for the event. In addition to traditional booth displays and stage performances, virtual gallery exhibitions, interactive games recreating anime episodes, online lectures and workshops can also be organised. In the virtual gallery, users can get a close-up look at the original drawings and works of anime and manga artists. Click on the artwork to get detailed information and an introduction of the creator. In the storyline reenactment game, users play different roles and work together to advance the story. Secondly, discoveries in sensory affordance. The Virtual reality Comic-Con uses virtual reality technology to create realistic three-dimensional virtual scenes that highly reproduce the anime style. Users wear VR equipment as if they were in the world of anime. They can freely walk through the virtual streets and squares and enjoy the exquisite buildings and landscapes. The character models have smooth and natural movements and rich and delicate expressions, which enhance the visual realism and sense of immersion. Virtual reality Comic-Con designs diversified background music and sound effects according to different scenes and activities, and adopts 360-degree realistic audio, allowing users to enjoy an immersive sound experience. Different animation scenes will use different BGM. Although there are certain limitations in the haptic feedback of the current virtual reality Comic-Con, a certain degree of haptic perception can be achieved through external devices. For example, haptic gloves can simulate the weight and texture of objects, and somatosensory suits can feel slight touch feedback. At the same time, the motion tracking function of the VR device enables the user's body movements to be accurately mapped onto the virtual character. Users can walk, turn, wave their hands and other movements in the virtual Comic-Con to explore freely, expanding the dimension of motion perception. Thirdly, discoveries in symbolic affordance. Each area, architecture and decoration of the Virtual reality Comic-Con carries a specific cultural significance, forming a complete symbolic space for ACGN culture. In the virtual reality Comic-Con, user social interaction becomes an important way of spreading ACGN culture. By communicating with global comic fans, users learn about the characteristics and trends of different regions and broaden their cultural horizons. By participating in Comic-Con activities and discussing animation topics together, users can form common cultural memory and emotional resonance. It strengthens the recognition and love of ACGN culture and promotes the global dissemination and exchange of ACGN culture. The virtual items in the virtual reality Comic-Con have unique symbolic value. It is not only the character appearance decoration, but also the symbol of user's identity and taste. Owning rare or unique virtual items can attract the attention and appreciation of other users.

4.2 Interpretation and Comparison

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VR technology has significantly enhanced the affordance of Comic-Con spaces, which is evident in the creation of immersive virtual booths and virtual sets, as well as the increased exploration and interaction of participants in the space. Compared with the traditional physical Comic-Con space which is limited by venue, number of booths and layout, VR technology breaks these limitations. It allows for the construction of unlimited virtual spaces. Providing greater freedom and creativity for exhibitors and participants. research by Ved Waliokar and D. Remedios (2023) shows that virtual reality comics can provide a unique immersive experience for audiences through 360degree spatial immersion, surround sound, motion capture, and interaction with content.

A good example of this is the virtual reality comic they have developed, Daikin Steel, which incorporates the narrative of a stage play into the comic, giving the audience a completely new experience. Participants can freely explore the virtual booth and interact with the virtual exhibits. They can even take part in virtual activities, thus greatly enhancing the sense of participation and fun. In addition, VR technology can simulate various scenes that are difficult to achieve in the physical environment. For example, it can reproduce classic scenes in animation works, allowing participants to feel the charm of the works in an immersive environment. VR technology also enhances participant exploration and interaction in space. Researched by J. Rekimoto et al. (1998) suggests that the introduction of chat systems and telepresence cameras into technical conferences can facilitate interactions between the virtual and the real. Although the study was not directly specific to Comic-Con, its findings are equally applicable to VR Comic-Con. That is, through virtual social spaces, participants can communicate and interact more easily, enhancing social availability. VR technology can also provide a personalised exploration experience. For example, relevant booths and activities are recommended based on participants' interests and preferences, thereby increasing satisfaction. VR technology significantly expands the affordance of Comic-Con events, providing participants with unprecedented ways to interact and blurring the boundaries between online and offline. While traditional Comic-Con events are limited by physical space and time, VR technology breaks down these constraints. Users are allowed to participate in events as avatars, role-play remotely, and even experience scenes and interactions that would be difficult to achieve. Some VR Comic-Con attempts to build virtual role-playing games where participants can customise their avatars, team up with other participants to complete tasks and explore the virtual world. This immersive experience greatly enhances engagement and fun. Murray (2020) argues that VR is not a magical technology that creates seamless illusions, but rather an emerging medium of expression that requires people to actively create and believe. The focus of VR ComicCon is therefore on how to utilise the affordance of VR technology to create unique interactive experiences rather than simply replicating the reality of Comic-Con. For example, VR technology can enable remote signing sessions, where participants can interact with their favourite manga artists or voice actors in real time through VR devices, and even obtain virtual autographs. This not only facilitates fans who can't be there in person but also provides a new business model for Comic-Con organisers. ‘VR technology shows great potential for optimising social interaction at Comic-Con. It can facilitate communication and interaction between participants by creating virtual social

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spaces and providing shared experiences, among other things. On platforms such as VR Chat, users can express and explore their identities and even challenge traditional gender norms by choosing different avatars, which provides Comic-Con attendees with a freer and more inclusive social environment.’ (Zhang et al., 2024) A study designed a social VR environment designed to promote dialogue and collaborative problem solving among older adults. The results showed that older adults responded very positively to this social VR, reporting high levels of engagement and finding the social VR both fun and useful. This study suggests that VR can be effective in facilitating social interactions even for less technologically savvy groups. (Kalantari et al., 2023) Hongyu Wan et al. (2024) laid the groundwork for applying large-scale language modelling (LLM) to non-player characters (NPCs) in VR, enabling them to react according to context with appropriate facial expressions and body movements, opening new possibilities for future social interactions. All these technological advances augur well for the broad application of VR in building richer and more natural social experiences.

4.3 Limitations Although this study can clearly reveal the reconstruction of the Comic-Con experience by virtual reality technology, the selection of cases may have certain limitations. There may be differences in the experience of different regions and types of Comic-Con. Only some representative cases were selected for analysis in this study, which may not be able to fully reflect the reconstruction of the Comic-Con experience by virtual reality technology. In addition, the case study method is mainly based on existing cases for analysis. The lack of direct observation and data collection of actual user experience may lead to a certain degree of subjectivity in the research results. Although the theory of affordance provides an effective theoretical framework for studying the reconstruction of the Comic-Con experience by virtual reality technology, it also has certain limitations in practical application. The theory of affordance emphasizes the possibilities of action that the environment offers to individuals. However, in virtual reality Comic-Con, the user's experience is not only affected by the properties of the environment, but also by a variety of factors such as personal and social factors. For example, personal factors such as the user's age, gender, cultural background, interests and hobbies, as well as social factors such as the social and cultural environment, and the operation strategies of the Comic-Con organizers. All of them may affect the users' experience of virtual reality comic exhibition. Therefore, when applying the theory of affordance, it is necessary to consider the effects of these factors in an integrated manner to explain more comprehensively the mechanism of virtual reality technology's reconfiguration of the Comic-Con experience.

4.4 Suggestions for Future Research

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In response to the problems raised in the study and the limitations of the critical discussion, future research can be expanded in the following ways. First, a combination of multiple research methods can be used, such as questionnaires, interviews, and experimental studies. More comprehensive user data can be collected to gain an indepth understanding of users' experiences and needs for virtual reality Comic-Con. Secondly, the scope of case selection can be expanded to cover different regions and types of Comic-Con to improve the universality and representativeness of the research results. In addition, the influence of various factors such as personal factors and social factors can be considered comprehensively. Further improve the application of affordance theory in the study of virtual reality Comic-Con experience. Provide more scientific theoretical support and practical guidance for the development of virtual reality technology in the field of Comic-Con.

5.0 Conclusion From the perspective of affordance theory, this study thoroughly explores the reconstruction of the Comic-Con experience by virtual reality technology. By analyzing relevant case studies, it outlines that the research intention aims to reveal how new technologies can reshape the user experience in the cultural consumption scene of Comic-Con. It provides theoretical basis and practical guidance for the integration and development of the Comic-Con industry with virtual reality technology. The study finds that virtual reality technology has brought about a multidimensional reconstruction of the Comic-Con experience. In terms of sensory affordance, users break through the physical space limitations and obtain an all-round immersive audio-visual experience.

In terms of action affordance, users can interact in more diversified ways, freely travelling to different scenes and interacting with virtual characters in depth. In terms of symbolic affordance, virtual space expands social boundaries and forms crossregional social networks. These findings not only enrich the application of affordance theory in virtual cultural consumption scenarios but also bring potential changes to the Comic-Con industry. Comic-Con organizers can use virtual reality technology to create differentiated experiences, attract a wider audience, and enhance the competitiveness of the industry. Creators can expand their creative boundaries and enrich the ecology of Comic-Con content. This study has a far-reaching impact on the field and provides new perspectives and ideas for subsequent research on the application of virtual reality technology to the experience of cultural activities. It promotes the continuous exploration of related fields in terms of technological innovation and user experience optimization. Helping the cultural industry and emerging technologies to deeply integrate and achieve innovative development.

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Figure 1. (2020). Available at: https://x.com/ComicVket/status/1244475390610919425 (Accessed: 28.4.2025) Figure 2. (2024). Available at: http://xhslink.com/a/n0rJM6OKoIsbb (Accessed: 28.4.2025) Figure 3. (2025). Available at: https://weibo.com/7342868389/5129009065363325 (Accessed: 28.4.2025)

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The rebellious spirit of male softness is shown through vintage style and naturalness Qiubing Liu

A collage of my own design

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contents

1. Abstract 2. Introduction 2.1 Diversity and Free Expression in Men's Fashion in Historical Perspective 2.2 The application of natural and biological design in clothing 2.3 Gender fluidity and male pressure in social phenomena 2.4 The Case of Male Rebel Spirit Branding 3.Literature review 3.1 Artistic Aesthetics and Gender Expression in Vintage Style 3.2 Masculinity and social expectations of male behaviour 3.3 Branding as a guide for consumers 3.4 The impact of nature and biomimicry on fashion 4.Methodology 4.1 Interviews 4.1.1 Purpose of the research 4.1.2 Data collection and sampling method 4.1.3 Data analysis methodology 4.2 Autoethnography 4.2.1 Rationale for methodological choice 4.2.2 Purposeful Drawing 4.2.3 Data Analysis 4.3 Case Study Method 4.3.1 Research Objectives

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4.3.2 Data collection and sampling methods 4.3.3 Data Analysis Methods 4.4 Theoretical Basis and Applicability of Method Selection 4.5 Research Ethics and Limitations 5.Discussion and analysis 6.Conclusion References list

1.Abstract My research project focuses on the pressures faced by men in contemporary society.

By analyzing the development of men's fashion from the 17th to the 19th centuries, I explore how men used to boldly express their charisma and flamboyant style. Based on this, I combine vintage styles with the resilience and blooming qualities of natural plants, and investigate how clothing design can express the rebellious spirit of men's softness and femininity.

The central idea of this project is that men have the right to dress freely, but they can also have soft, sensitive and fragile qualities similar to women. True high-class glamor is androgyny, which blends the best of both men and women, and calls for gender equality and inclusion in the field of fashion. The significance of this research lies in the fact that in today's society, men are also bound, and many men with neutral qualities often face anxiety and identity oppression. Therefore, I hope to express the

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rebellious spirit of men's soft power through the design project to help them better show their charisma and provide men with a more inclusive way of dressing.

Methodologically, I used a mixed research method, with qualitative research as the main focus and quantitative research as the support. Through interviews, autoethnography and case study method, combined with my design projects at undergraduate and graduate levels, I interviewed target groups in the fields of art and fashion and asked them about their views on gender fluidity and fashion to provide a theoretical and practical foundation for this study.

2.Introduction Under the influence of gender stereotypes, men and women show significant differences in their social roles, emotional expressions and behavioural styles. These differences not only limit the development of individuals, but also provide inspiration for me in the creation of men's clothing. The purpose of this study is to explore the significance of gender equality in fashion design, to focus on the expression of male softness, and to try to construct androgynous style menswear. Men are also soft, sensitive and emotional, and have the power to convey their aesthetics and emotions through clothing. Men's clothing should not only be a symbol of utility and function, but can also carry emotions and express individuality.

2.1 Diversity and Free Expression in Men's Fashion in Historical Perspective England and French France in the 17th and 18th centuries were centres of art and culture. The rise of bourgeois salon culture, Rococo dress emphasised the refined beauty of art with a certain inclusiveness (Jones, Allan; Hayward, Elijah, 2022). By analysing the Rococo period costumes, based on the preserved portraits from the second half of the 18th century, the types of costumes, accessories and the terms used to describe them will be described (Simoncic, Katarina Nina, 2015). Rococo clothing is characterised by a break with the left-right symmetrical aesthetics of the Renaissance and the pursuit of asymmetry, freedom, lightness and highly decorative and ornate style. The ‘baroque imagination’ is deeply rooted in the first century of European modernity, when the Italian cultural medium dominated the arts and some areas of material culture, including fashion design. Currently, it is sustained by the use of the word ‘baroque’ in fashion terminology and the visual impact of costume films (Pesce, S., 2016). Historically, men during the Baroque and Rococo periods were more elegant and softer, especially during the Rococo period. This period of men's

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fashion was full of splendour and free aesthetic space, which fascinated me.

At the beginning of the 19th century, the ‘Dandy’ culture in London triggered a revolution in men's fashion. The dandy was a man whose life, identity and everything he wore was made up of what he wore. He didn't dress to live, he dressed to live.’

(Shaun Cole, Miles Lambert, 2021). This style has had a profound effect on menswear.

Contemporary menswear is partly characterised by a blend of dandyism, such as tailored suits and neatness.

At the same time, vintage style as a cultural expression is also a style based on second-hand or vintage fashion. People convey their ‘real’ identity by wearing old clothes, associating vintage with authenticity, nostalgia and identity (Veenstra, A., & Kuipers, G., 2013). Vintage style encompasses three main manifestations: setting new trends, reviving traditional cultural elements, and restoring and re-examining old objects. Vintage watches are making an incredible comeback, not only as antiques or souvenirs, but also as fashion accessories with contemporary relevance (Campuzano, L., 2024). Vintage style is not only a reference to the past, but also an expression of a cultural attitude that gives new products a unique sense of history and fashion.

2.2 The application of natural and biological design in clothing The introduction of natural elements and biodesign concepts into clothing design not only enhances the aesthetic value, but also realises sustainable development. The current awareness of the environmental impact of the fashion industry calls for urgent interventions in the technical production and processing plants of the textile industry, and relying solely on the sustainability of materials and processes will not cure the core problems of the fashion system (Chiara Del Gesso, 2021).

Biodesign is at the forefront of innovation for the future of advanced textiles and materials. By combining the principles of biomimicry, bioengineering and synthetic biology, biodesigners are emphasising regenerative production models, biodegradable materials, and circular economy models in fashion and other sectors (Williams, N., & Collet, C, 2021). biodesign promotes the development of sustainable fabrics and aesthetic innovations through the introduction of active materials and natural elements in apparel design, achieving a deeper connection between apparel and the ecosystem (Chiara Del Gesso, 2021). biodesign has become an important direction for future textile and fashion design by introducing active materials and natural elements into apparel design, promoting sustainable fabric development and aesthetics innovation,

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and realising the deep integration of apparel and ecosystems.

2.3 Gender fluidity and male pressure in social phenomena My personal creative inspiration comes from my male friends who are feminine and elegant in their behaviour. My interaction with them made me realise that they are more sensitive, delicate and quality of life oriented than traditional men.People's subconscious mainstream aesthetic for men is powerful muscles, bushy beards and tattoos.(Jobsky Anke, 2013). Men experience self-conscious discomfort when imagining performing counter-stereotypical behaviours versus performing stereotypical behaviours. That is, males experience more self-conscious discomfort behaviours when imagining performing counter-stereotype behaviours compared to females (Borinca, l., lacoviello, V., & Valsecchi, G., 2021). This suggests that men are also under pressure from social norms in terms of dress expression. Therefore, I would like to investigate how the rebellious spirit of the soft power of mannered men can be expressed through fashionable menswear.

The traditional masculinity of ‘toughness, restraint and rationality’ is not applicable to all men. In contemporary society, male behavioural patterns do not come from natural instincts, but are constructed through long-term social discipline, cultural narratives and gender discourse. This creates norms of masculine behaviour that repress emotions and exclude softness. Men need to express their emotions and challenge traditional gender norms. Documentary film redefines masculinity and men can thrive in transcending rigid expectations, improving mental health and embracing their authentic selves (AkhaviZadegan, R., 2024). It reveals that social stereotypes actually greatly limit men's freedom to express their emotions and increase the risk of mental health problems. Many fathers have difficulty balancing hegemonic male norms with the new ideal of fatherhood. Men who closely follow masculine norms engage in less instrumental and expressive parenting and are more likely to engage in harsh discipline than less masculine men (Lotz, A. D., 2014). Social expectations tend to make less masculine fathers more educationally advantaged instead.

The nature of higher order charisma is androgynous and unique beyond gender boundaries. Freud said: A normal person never behaves in a completely masculine or feminine way.It is normal for men to have similar temperament to women, everyone has the right to be themselves and the right to It is normal for men to have similar temperament to women, everyone has the right to be themselves and the right to pursue beauty (Spence, Jant T, 1978). After middle age, women are more bold and men are more gentle, this personality trait which combines the strengths of both sexes is known as bisexual personality. People with bisexual personality. They are more

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successful in the fields of art, creativity and literature.

2.4 The Case of Male Rebel Spirit Branding In today's time, various brands are designing men's clothing with their own different rebellious spirit. In order to find more valid information about fashion in order to find brands that feel similar to the researcher's designs for inspiration, case studies of brands are a great way to find inspiration. right way to carry out the research (Ismail, Ahmed Raj and Spinelli, Gabriella,2012). I have selected four brands for further analysis. The analysis of brand positioning allows for a deeper understanding of the connection between the design concepts behind them and this study.

Brand positioning is the process of creating differences in products, differentiating them from their competitors, finding a suitable space for their survival in a competitive marketplace, and occupying a unique and valuable position and place in the minds of consumers (Keller Kevin Lane, 2013). For example, Alexander McQueen shows emotional depth and pioneering spirit with dramatic designs; Vivienne Westwood challenges traditional gender boundaries through genderless designs; Yves Saint Laurent represents androgynous elegance and rebellion; and Jean Paul Gaultier emphasises diversity and individuality. These brands all offer unique perspectives on gender fluid menswear design.

At the macro level, the market of consumer purchase motivation will produce a series of psychological activities, the consumer's combined response to objective fashion products and other consumer objects and their own subjective consumer needs.

Consumer psychology directly affects their consumption behaviour (Payne, Adrian, 2005). The rebellious spirit embodied in different fashion brands targets different classes of customers, and men's behavioural patterns are not naturally occurring, but are gradually shaped by culture, discourse and social regulation.

My transformative research question focuses on how to design garments that embody the soft, rebellious spirit of masculinity based on gender fluidity and the fusion of vintage styles and natural elements that are as powerful as the blossoming of a flower.

The significance of this research is to give voice to the freedom of dressing through clothing, to support gender equality in fashion, and to allow every androgynous male to express himself freely and to have a more emotionally expressive and inclusive way of dressing.

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3.Literature review The keywords of this study are rebellious spirit, masculinity, vintage style, nature imagery, gender fluidity and consumer psychology. This topic explores how to express the rebellious spirit in masculine soft qualities through clothing design in response to the restriction of male gender roles in contemporary society. By analysing the history of 17th-19th century vintage menswear and the symbolism of nature and plant imagery, the research aims to redefine masculinity and the freedom to dress.

This led to divergent thinking and these references were found.

3.1 Artistic Aesthetics and Gender Expression in Vintage Style Jones, Allan; Hayward, Elijah (2022)stated that Rococo dress emphasised the beauty of artistic refinement with a certain inclusiveness.Simoncic, Katarina Nina (2015) stated that based on the preserved portraits of the second half of the 18th century, with influences mainly coming from the fashion capital of the period, which was France.

The intensity of innovation and change in fashion was influenced firstly by Madame de Pompadour's personal style and then by Marie-Antoinette's. Pesce, S. (2016) argued that the ‘baroque imagination’ was rooted in the first century of European modernity, when the Italian cultural medium dominated the arts and some areas of material culture, including clothing, architecture and the arts. culture, including clothing, architecture and garden design.

Shaun Cole, Miles Lambert (2021) argued that in the 19th century, London's ‘dandy’ culture sparked a revolution in men's fashion, and that the rules of fashion he established still have a profound influence on modern menswear. Modern menswear is only partly an extension of the Dandy style. Dudes who don't dress to live, but live to dress.

Historically, men in the Baroque and Rococo periods were more elegant and softer, characterised by, among other things, a break with the symmetrical aesthetics of the Renaissance and the pursuit of asymmetry, freedom, lightness, and decorative splendour. Therefore, I would like to study men's clothing from this period. I chose these references because I am very interested in the Rococo period in vintage style, and I have usually been to some of the pavilions of this period to see the gorgeous and bold and flamboyant costumes up close. So I agree with the authors that there is a strong British and French influence in the design styles, and based on the views of the previous people, I am guided to apply this feeling to the design project topic. 17th to 19th century men's clothing was rich in colours, exaggerated shapes, and gorgeous fabrics, which embodied a strong sense of individuality and artistic flair. It was a time

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when men were able to express themselves according to their own preferences.

Campuzano, L.(2024) said that vintage watches are making an incredible comeback, not only as antiques or souvenirs, but also as fashion accessories with contemporary relevance. Watch brands continue to offer a unique blend of history, craftsmanship and style.Veenstra, A., & Kuipers, G. (2013) said that vintage dressing habits are a style based on second-hand or vintage style fashion. People convey an ‘authentic’ identity by wearing old clothes, associating vintage with authenticity, nostalgia and identity.

These authors argue that watches play an important role in the vintage style and that second-hand used clothes show the consumer's identity. Items in this category such as watches and clocks are very meaningful displays and interpretations of past lives. I believe that the gap that needs to be continued to be explored in this area is what psychology of the consumer lies behind vintage dressing habits and what nostalgia means to different people, and I would like to use interviews with this type of consumer to investigate this.

3.2 Masculinity and social expectations of male behaviour Spence, Jant T (1978) stated that men displaying a similar temperament to women is not alien and everyone has the right to be true to themselves and the freedom to pursue beauty.Jobsky, Anke (2013) argued that People's subconscious mainstream aesthetic for men is powerful muscles, bushy beards and tattoos. Borinca, l., lacoviello, V., & Valsecchi, G. (2021) stated that men experience self-conscious discomfort when imagining performing counter stereotypical behaviours versus performing stereotypical behaviours. That is, men experience more self-conscious discomfort when imagining performing counter-stereotypical behaviours compared to women. The objective summary of this is that most men experience shyness and internal tension when behaving in a feminine manner. However, my critical thinking on this point is whether this could be a result of society's long history of guiding and controlling male thoughts and behaviours, i.e. it is normal and appropriate for men to engage in feminine behaviours in real life if there are no societal rules and norms in place to influence them.

Lotz, A. D. (2014) argued that many fathers balance hegemonic masculine norms with the fact that men who more closely follow masculine norms engage in less instrumental and expressive parenting and are more likely to engage in harsh

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discipline than less masculine men. Hegemonic male norms continue to shape fathers' behaviour despite changing expectations of fatherhood Akhavi Zadegan, R. (2024) said the documentary film Beyond Men and Masculinity explores the negative impact of traditional masculinity on men's mental and emotional health, and the need for men to express their emotions and challenge traditional gender norms .

I couldn't agree more with this author that less masculine men may be better suited to be competent and good fathers, but in today's social environment, male hegemony still holds and controls the image of fatherhood that society expects. The pressure on men comes from the oppression of traditional masculinity and the conflict between men's thoughts and behaviours of having female gender roles, and that androgynous spirited males have more complete personalities and possess the masculinity of the perfect man.

There is some conflict between this point and the previous one, and based on this conflict my critical thinking is that it is not only sports that can reflect masculinity, but also other things like dance, music, performance and other things that are traditionally attractive with female roles. This point has guided my project and research, from which I have started to think deeply about and explore the manifestations and limitations of masculinity in men's lives, and I need to explore how this area can be made more inclusive and liberating through the design of fashionable menswear.

3.3 Branding as a guide for consumers Keller Kevin Lane (2013) said that brand positioning is the process of creating differences in products, distinguishing them from competitors, finding a suitable space for their survival in a competitive market and occupying a unique and valuable position and position in the minds of consumers.

Payne, Adrian (2005) said that the target market consumer purchase motivation market and consumers will generate a series of psychological activities that are analysed in the process of purchasing fashion products, which is a combination of consumer response to the objective fashion products and other consumer objects and their own subjective consumer needs.Ismail,Ahmed Rageh. and Spinelli.

Gabriella.(2012) stated that in order to find more valid information about fashion in order to find brands that feel similar to the researcher's design for inspiration, this brand case study is a good way to find inspiration.

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All three authors acknowledge that brands are cultural symbols that transcend material products, but diverge in their focus: Keller favours structural strategies, Payne emphasises psychological mechanisms, and Ismail focuses more on creative practices. For my research, this suggests that brands are not only the result of market positioning, but also the product of the intertwining of consumer psychology and cultural narratives. Current research has rarely explored brand narratives or analysed the influence of responsive societies on consumer behavioural patterns, which is a research gap that deserves to be explored further, especially in exploring how brands shape buyers' images and lifestyles through culture.

3.4 The impact of nature and biomimicry on fashion Chiara Del Gesso (2021) stated that the current awakening of awareness of the environmental impacts of the fashion industry calls for urgent interventions in the textile industry's technological production and processing plants, and that focusing on approaches based on the sustainability of materials and processes without taking into account the mechanisms that drive the fashion system will lead to symptomatic solutions that do not address the root causes of the problem.Williams, N., & Collet, C (2021) stated that biomimicry is at the forefront of future innovations in advanced textiles and materials. Collet, C (2021) said that bio-design is at the forefront of innovation for the future of advanced textiles and materials. By combining the principles of bionics and bioengineering, in fashion and beyond, biodesigners are emphasising regenerative modes of production, biodegradable materials and circular economy models.

The ideas of the two authors collide in a discourse. The latter seeks to propose technological change by promoting a circular economy and the use of recycled materials through bionics and bioengineering. However, they diverge in that Del Gesso questions the inability of technological innovation alone to get to the root of the problem, while Williams and Collet emphasise technology-driven solutions.

Based on their perspectives, which guided my own project, if my project focuses on how to express eco-ethics or cultural critique through fashion, it needs to consider material sustainability. The existing research gap lies in the lack of practical or narrative perspectives on how to stimulate a deeper sense of sustainability through cultural production.

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4.Methodology This study aims to present the changes and challenges of masculinity in the contemporary social environment through the exploration of the relationship between gender fluidity, natural botanical elements and vintage style clothing design. In order to gain a more comprehensive understanding of this complex phenomenon, this study adopts a mixed research methodologies, with qualitative research as the main focus and quantitative research as a supplement. Observations were made with multidimensional participant perspectives through interviews, autoethnography, and case study methodology, incorporating two of my own primary sources on the situation of masculinity in the context of social phenomena during my undergraduate and graduate studies. I need to continue to collect data on the target group's perceptions of gender stereotypes and free clothing to provide theoretical depth and practical foundation for my research.

4.1 Interviews 4.1.1 Purpose of the research The main purpose of the qualitative research is to explore the association between gender expression and clothing choices, and to understand how societal expectations of masculinity influence individuals' behaviour, self-perceptions and fashion choices.

4.1.2 Data collection and sampling method According to the purpose of my study, interviews were used as the main data collection method to select participants who could provide useful information for the study. Interviews were mainly conducted with men between the ages of 20 and 35 working in the fields of art, dance, fashion and music, especially those with non-traditional masculinity. The number of interviews was 20-25 and each lasted 90 minutes. 80 questionnaires. After the target consumers filled out the questionnaires sent to them, their responses and choices were important information in the development of the project, and they were used as part of the database to be used later in the study. (PR Newswire, 2020).

4.1.3 Data analysis methodology The questionnaire is considered as important data to locate the market demand.

Consumer psychology is related to the following factors: age, gender, economic status, social factors, personal factors, cultural factors. (Simova, Jozefine, Clinkanova, Lubica, 2016).The interview data will be processed through the thematic analysis

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method because this method allows identifying and summarising key words, core discourses in the interviewees' conversations and questionnaires. I chose this method because through the analysis, key data on gender stereotypes, social feedback, self-identity and aesthetic expression are distilled.

4.2 Autoethnography 4.2.1 Rationale for methodological choice Autoethnography is a method that combines self-narrative and cultural analysis. The sampling method is that my portfolio project itself is the sample, and I record my life experiences, emotions, memories, etc. from my own personal experiences and my own revelations and views on social phenomena as a starting point. I used my own experiences as two portfolio projects related to gender expression under social phenomena produced as research materials to explore issues related to specific cultural and social contexts.

4.2.2 Purposeful Drawing Consciously selecting my own specific experiences or contexts as research materials according to the purpose of the research, project case studies: Project 1: Social Euphoria Syndrome Inspired by the social phenomenon of ‘pretending to be happy’ in daily life. Through the use of symbols such as masks, red curtains, and elements of Beijing Opera, the design expresses a critique of society's false masks, and explores how people are forced to suppress their true emotions in the face of external expectations. The design uses materials such as transparent yarn and pearl tears to symbolise the intertwining of vulnerability, emotion and aesthetics.

Project 2: The Cursed Cage of No Dancing The project focuses on how men who express softness and beauty in the art world are misunderstood, labelled and even rejected by society.Through the use of structures such as welded steel frames, red warning lines, and cages, the project expresses unseen limitations, echoing the suppression of male flexibility by social norms. The spatial structure of the costumes emphasises the conflicting tensions between the dancers' bodies and emotions.

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4.2.3 Data Analysis I constructed a bridge between personal narratives and social structures by writing reflective texts and documenting the design process. Combining self-observation, theoretical literature and the understanding and expression of social phenomena, I reveal how gender fluidity is expressed in modern society through the presentation of costumes.

4.3 Case Study Method 4.3.1 Research Objectives To gain a deeper understanding of the brand's unique strategy in design concept, consumer interaction and cultural expression. To reveal through specific cases how brands combine visual language with narrative techniques to shape brand image and identity, and then provide inspiration and theoretical support for design practice.

4.3.2 Data collection and sampling methods Data collection usually includes analyses of historical brand documents, design works, social media content, and participation in observing offline brand activities. The sampling method adopts purposive sampling, selecting representative brands in terms of visual style, cultural influence or sustainable practices to ensure that the cases have typicality and research value.

4.3.3 Data Analysis Methods The data analysis mostly adopts content analysis and narrative analysis, interpreting the visual symbols, brand language, user interaction and other levels to identify patterns and themes.

4.4 Theoretical Basis and Applicability of Method Selection Autoethnography encourages the researcher to place the self within the object of study, and this method allows me to observe the complexity of masculinity from a unique perspective, thus providing a new design logic for the language of clothing.

Interviews can stimulate a greater clash of perspectives between participants, which is particularly suitable for exploring sensitive themes such as gender and identity. It enhances the depth of the research and reveals how social expectations permeate everyday language, behaviour and aesthetic judgements. The case study method helps

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to reveal the core elements of a brand's success by examining its design philosophy, market positioning and cultural symbols. This approach provides insights into how a brand creates a unique identity through visual language, creative strategy and consumer interaction.

4.5 Research Ethics and Limitations The ethical considerations of autoethnography, while focussing on ‘one's’ own experience, present several ethical challenges: ●Self-exposure, describing private experiences may involve sensitive information such as family relationships, trauma, gender identity, etc. The ethical point is the need to weigh the authenticity against the identity of the person. The ethical point is that there is a need to balance authenticity with the protection of personal privacy, so as to avoid inadvertently harming oneself or being forced to ‘over-reveal’. ●Involvement of others. Self-experience often involves others and may be recognised even if they are not named. The ethical point is to obtain the informed consent of the person concerned, or to anonymise and contextualise the person appropriately.

Ethical considerations for interviews, focus groups or focus interviews involve the voices and interactions of multiple participants and the ethical risks are more overt: ●Informed consent, interviewees must be explicitly aware of the purpose of the research, how it will be used and the possible risks, signing a consent form. ●Emotional triggering and psychological safety, topics that involve trauma, discrimination or identity issues may trigger strong emotions. Appropriate psychological support resources or plans to discontinue the discussion should be prepared. ●Field impact. To mitigate this issue, this study will ensure the reliability and validity of the research through cross validation of data from multiple sources, continuous reflection and theoretical support.

The ethical aspects of the case study method need to ensure the legal use of branded materials and protect their privacy. Limitations include the limited sample size, the non-widely generalisable nature of the findings, and the influence of the researcher's subjective interpretation, which needs to be cross-validated through multiple data sources to enhance the credibility of the study. All three methods require attention in terms of strict adherence to academic ethical requirements, with all interviewees

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signing an informed consent form and being able to discontinue their participation at any time, and all data will be anonymised and used only for the purposes of this study's analyses.

In addition to the research methods already mentioned, I may also consider the following alternative methods and methodologies: participant observation, narrative analysis, and phenomenological methods. These alternative methods can help me to delve into the relationship between gender mobility, clothing design and social expectations from different perspectives, providing more data dimensions and theoretical depth.

5.Discussion and analysis These research methods allow me to answer my research questions, and autoethnography helps to promote a deeper understanding of my own experiences, as well as a more comprehensive and nuanced understanding of the culture, social phenomenon or group I am studying. Self-reflection is at the heart of autoethnography, and by looking back at my own experiences, I was able to analyse in depth the interaction between the self and cultural and social phenomena, and I gained a more realistic sense of the ‘masks’ that most people wear when facing society. Men who possess qualities and preferences traditionally associated with women should not be treated with indifference by others, let alone discriminated against by society.

Everyone has the right to be bold.

Interviewing, as an interactive qualitative research method, was crucial to my role in the study. It not only helped me to gain a deeper understanding of the diverse perspectives of my interviewees, but also facilitated our discussions and contributed to the construction of theories. Through this method, I was able to collect data on perceptions of gender fluidity and freedom to dress, discover multidimensional perspectives on issues, and increase the flexibility of my research.

The case study method helped me to gain a deeper understanding of the brand's design concept, market positioning, and cultural expression. By analysing the brand's visual language, differentiation strategy and social response, I can reveal how the brand conveys emotional value and identity in its design. This provides me with the theoretical support to integrate social phenomena, gender fluidity and apparel design.

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This research project I have undertaken may reveal several potential findings as follows: ●Men's challenge to traditional gender roles: the research may reveal that men are challenging traditional images of masculinity through the adoption of vintage styles and botanical elements. This rebellion may represent a rejection of the socially accepted ‘tough’ masculinity, in favour of a more emotionally expressive and softly powerful image.

●Diversity of cultural and gender expressions: The study may reveal that in modern society, men are expressing their independent gender identities through vintage styles and botanicals, and are no longer confined to traditional masculinity. The soft qualities of botanical elements may become an important part of men's individualised aesthetics. Botanicals symbolise the life force, harmony of nature and a sense of subtlety, while specific motifs in vintage styles embody historical understandings of aesthetics.

●The relationship between self-expression and social acceptance: the study may find that through vintage style and botanical elements, men find a new way of self-expression, and whether or not this is widely accepted by society may be the focus of the study. The degree of social acceptance of men's soft power and the place of these expressions in the dominant culture may influence the development of this trend.

The construction of masculinity and identity among young men is often complex.

This complexity is reflected in the role of sport in young men's construction of ‘valued’ masculine identities, where sport is often seen as the quintessential space for the display of dominant forms of masculinity. (Harding, S. N., 2022). This perspective is in some conflict with the findings of my previous research, and based on this conflict, my critical thinking has led me to realise that masculinity is not only manifested in sport, but may also be embodied in other traditionally feminine domains such as dance, music and performance. This perspective provided a new entry point for my research, prompting me to think deeply and explore the manifestations and limitations of masculinity in men's lives. Particularly when masculinity under traditional society becomes oppressive and stressful for men, I need to explore how this area can be made more inclusive and liberating through the design of fashionable menswear.

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Traditional ideologies of masculinity and conflicting male gender roles are related but different contributors to male gender role pressures. Men with conflicted adhesion also perceived themselves as more masculine and believed they were more similar to other men. Research findings support the idea that men may exhibit different combinations of masculinity ideology and male gender role conflict (Petts, R. J., Shafer, K. M., & Essig, L., 2018). I agree with the idea that each of the four brands mentioned above appeal to different classes of consumers, cultural traits, and influences on men's behavioural patterns. Through a multi-faceted humanities and social sciences theoretical perspective, it is possible to gain a deeper understanding of how these four brands influence men's behavioural patterns and social identity construction in more than just dressing styles, but on a deeper level.

The influence of four brands on the male rebellious spirit: ●Alexander McQueen Target class: Upper middle class, fashion elite, art practitioners.

Analysis of social constructs: The brand promotes a new type of male image that is emotionally rich, artistically aesthetic and not overpowering.

Impact on men's behaviour: The brand tends to break through traditional masculine stereotypes, conveying a male image of ‘vulnerability and strength at the same time’, and attracting male consumers who have a deep knowledge of clothing and are willing to express themselves artistically. In terms of social behaviour, this temperament allows men to express their emotions and aesthetic pursuits while maintaining respect.

●Vivienne Westwood Target class: Middle class, cultural elite, subcultural groups.

Analysis of social constructs: Vivienne Westwood's designs represent a rebellion against the dominant male norms.

Impact on Male Behaviour: Encourages men to break away from traditional menswear and express more of their self-attitude and political stance. Consumption of this brand represents aesthetic and cultural attitudes rather than the flaunting of wealth, and it empowers men to dress emotionally and rebelliously.

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●Yves Saint Laurent Target class: Upper middle class, affluent, urban elite.

Social construction analysis: The brand portrays a ‘restrained but sexy, silent but confident’ image of masculinity.

Impact on men's behaviour: It creates an image of a sexy, aloof man. Encourages men to express their taste through attitude and gesture rather than over-accessorising.

●Jean Paul Gaultier Target class: art world, fashion world, LGBTQ+ community.

Social Construction Analysis: His designs challenge the cultural precept that men cannot be sexy or soft.

Impact on male behaviour: Supports gender fluidity and non-binary expression.

Encourages men to redefine masculinity in playful, exaggerated ways. This is very friendly to the transgender, non-mainstream sexual orientation community, where men have more gender expression.

The research methodology of these four brands' rebellious spirit and influence on male behavioural patterns helped me to answer my research question, and through comparative research, it can reveal the similarities and differences in the male rebellious spirit of different brand counterparts. Finding the target demographic profile, consumer pain point analysis, and analysing consumer spending habits.

(Hooley, Graham J., Nicoulaud, Brigitte. and Rudd, John M. 2020). This comparative cross-brand case study approach has allowed me to understand the fashion expression of male rebelliousness in a wider context, to avoid viewing the phenomenon in isolation and to support future design practice.

The following further questions may arise from my research project practice, how do I find ways to combine nature and clothing? How to select botanical flowers that express the spirit of rebellion and masculine character traits and integrate them deeply into the design? How do you study historical garments that embody male liberation and gender equality and draw inspiration from them? Own print dresses are very glamorous in a vintage inspired style. The tops, skirts and trousers were designed with botanical floral elements that were dynamic and highly sexually appealing (wintour, Anna, 1993). One Belgian fashion designer I particularly admire, Dries Van Noten, does this by incorporating the colours, textures and forms of nature into

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vintage-inspired clothing. His style is unique and shows a romantic yet powerful design concept by focusing on floral prints and highly saturated neon floral designs (PR Newswire, 2012). This design not only fits the spirit of rebellion, but also has the ability to bring a new vibe to men's fashion.

My research continues to deepen through the study of these designers and fashion brands. The Victoria and Albert Museum's exhibition ‘From Nature’ traces and reviews the complex relationship between fashion and the natural world since 1600 (At the V&A, Showing How Fashion and Nature Go Together, 2018). The application of bio-design to menswear design is a highly innovative direction full of possibilities.

Biodesign, as a new area in the field of design, opens up new methods, techniques and materials for the design process, and as such these new possibilities offer particular potential for textile design practice. The main gap is the exploration of new forms of plant tissue that challenge existing concepts of coexistence with plants (Keune, S., 2017). With these resources and sources of inspiration, I hope to further advance the creative application of plant bionics to menswear design. The characteristics that plants exhibit as they grow, reproduce and adapt to their environments, like leaf vein structures and the natural texture of plants, can provide structural inspiration for apparel design, as well as innovations in materials and patterns.

6.Conclusion I have always been concerned with the evolution of vintage menswear structures, and have travelled to museums and exhibition sites many times, accumulating my knowledge of clothing and culture through observation and documentation and practice. In my undergraduate studies and Masters research, I have focussed on the expression of elegance and gentleness in masculinity, and extended this to further reflect on gender performance. Textiles and Fashion explores the intersection between textile design and fashion, demonstrating the ways in which designers use fibres, fabric constructions and finishes on garments and bodies. It begins with a brief history of fashion textiles, demonstrating the links between technological innovation and social development (Jenny Udale, Udale, 2022). I pay special attention to the design potential of natural plant textures in modern menswear, attempting to combine botanical structures with historical vintage elements to express the spirit of rebellion in the soft strength of contemporary masculinity. I also try to respond critically through the practice of clothing design, exploring the possibility of clothing as a cultural practice to intervene in the construction of gender, and showing a new expression of the body through design.

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References list: ●Akhavi Zadegan, R. (2024). Beyond Men and Masculinity-Exploring the Detrimental Effects of Masculinity and Envisioning a New Paradigm. Journal ofInternational Women's Studies, 26(1),1-5.

●At the V&A, Showing How Fashion and Nature Go Together. (2018). In Modern painters (Vol. 30, Number 8, pp. 162-). Louise Blouin Media.

●Borinca, l., lacoviello, V., & Valsecchi, G. (2021). Men's Discomfort and Anticipated Sexual Misclassification Due to Counter-Stereotypical Behaviors:the Interplay between Traditional Masculinity Norms and Perceived Men's Femininization. Sex Roles, 85(3-4),128-141.https://doi.org/10.1007/s11199-020-01210-5.

●Campuzano,L.(2024). Fashion: The Vintage Comeback.WWD,30-.

●Chiara Del Gesso. (2021). Sustainable Fashion. From Material to Immaterial Through Biodesign.Pad (Palermo),14(20),130-151.

●Harding,S. N.(2022). ‘Boys, when they do dance, they have to do football as well, for balance': Young men's construction ofa sporting masculinity. International Review for the Sociology of Sport,57(1),19-33.https://doi.org/10.1177/1012690220987144.

●Hooley,Graham J.,Nicoulaud,Brigitte. and Rudd,John M.(2020).Marketing strategy and competitive positioning. Seventh edition. Harlow, England :Pearson.

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●Ismail,Ahmed Rageh. and Spinelli,Gabriella.(2012).Effects of brand love,personality and image on word of mouth: The case of fashion brands among young consumers. Journal of fashion marketing and management, 2012,Vol.16 (4), p.386-398.

●Jenny Udale,Udale,(2022).Texties and fashion :from fabric construction to surface treatents,Third edition,Bloomsbury.

●Jobsky,Anke. (2013).The Body-lmage Meaning-Transfer Model: An investigation of the sociocultural impact on individuals' body-image. 1. Hamburg: Diplomica Verlag.

●Jones,Allan;Hayward,Elijah.(2022)Listen,Consider,Evolve,Listen,Consider,Evolve.

●Keller,Kevin Lane.(2013).Strategic brand management : building, measuring,and managing brand equity. Fourth edition, Global edition. Harlow, England ;Boston Mass : Pearson Education Limited.

●Keune, S.(2017). Transforming textile expressions by using plants to integrate growth, wilderness and decay into textile structures for interior. Alive. Active. Adaptive,90-.

●Lotz,A.D.(2014). Cable Guys Television and Masculinities in the 21st Century.New York University Press.https://doi.org/10.18574/9781479800124.

●Payne,Adrian.(2005).Handbook of CRM : Achieving Excellence through Customer Management. New York : Routledge Florence : Taylor & Francis Group distributor.

●Pesce, S. (2016). The Baroque imagination: Film, costume design and Italian high fashion. Film, Fashion & Consumption,5(1),7-28. https://doi.org/10.1386/ffc.5.1.7_1.

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●Petts, R. J., Shafer, K. M., & Essig, L. (2018). Does Adherence to Masculine Norms Shape Fathering Behavior? Journal of Marriage and Family, 80(3), 704-720. https://doi.org/10.1111/jomf.12476.

●PR Newswire. (2012) Top Wholesale Fabric Importer Offers Diverse Choices:Ramtex, Inc., an internationally known wholesale fabric importer and manufacturer, is able to serve a wide range of markets because of the many different options in their deep inventory. New York: PR Newswire Association LLC.

●PR Newswire.(2020).The Top Web Design Companies in June, Accordingto Web Design Agency Rating Platform: It only takes 7 seconds for users to form an opinion about your website. WebDesign Companies.com determinedthe best web design companies that can help brands build high quality websites that engage users and capture leads. New York: PR Newswire Association LLC.

●Shaun Cole,Miles Lambert.(2021).Dandy Style:250 Years of British Men's Fashion.Yale University Press.

●Simoncic, Katarina Nina.(2015) Portraits from the second half of the 18th century in Ceoatia:Witnesses of clothing forms and fashion influences of rococo.DOAJ Directory of Open Access Journals.

●Simova,Jozefine and Clinkanova,Lubica.(2016),Attributes contributing to perceived customer value in the czech clothing on-line shopping. Liberec: Technical University of Liberec.

●Spence,Jant T.(1978) Masculinity & femininity:their psychological dimensions, correlates, and antecedents. Austin: University of Texas Press .

●Veenstra,A., & Kuipers, G. (2013). It Is Not Old-Fashioned, It Is Vintage, Vintage

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Fashion and The Complexities of 21st Century Consumption Practices. Sociology Compass, 7(5), 355-365.https://doi.org/10.1111/soc4.12033.

●Williams,N.,& Collet, C.(2021). Biodesign and the Allure of ’Grow-made’ Textiles: An Interview with Carole Collet. GeoHumanities, 7(1),345-357.

●Wintour, A.(1993). Fashion: In Full Flower. In Vogue (New York) (Vol.183, Number 4,pp.

338-). Condé Nast.

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Embodied Inspiration: Exploring How Musicians Create in Immersive VR Music Spaces Tong Zhou

Abstract This study explores how musicians gain inspiration for music creation in VR immersive music spaces, focusing on embodied experience, emotional engagement, and multisensory immersive creation. The emergence of VR technology has brought more unlimited possibilities to the field of music creation, realizing technologies such as spatial sound, gesture interaction, and real-time visual feedback, thus replacing traditional physical digital creation methods. However, how to inspire music creation inspiration in VR music space has not been deeply studied.This study adopts a qualitative-driven mixed method, combining phenomenology and narrative inquiry to explore how musicians describe, interpret, and reflect on their inspirational experiences in VR. Data collection methods include semistructured interviews, self-reflective narratives, video-stimulated recall, and analysis of creative outputs and behavioural logs. This study examines VR technology design's enabling and constraining effects on musicians' sensory, cognitive, and emotional states. The results

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show that immersive presence and embodied multisensory interactions are key to triggering flow states and creative breakthroughs. However, participants also experienced some immersive and perceptual challenges in VR space, which suggests that the environment, other emotions, and technical uncertainties influence inspiration production in VR space. This study shifts the focus from functional tools to subjective experience, which helps to explore the changes in perception and embodiment of inspiration in VR music space more deeply.

These subtle process changes are significant to VR music creation and lay a solid foundation for future VR music creation and emotional resonance.

Introduction Virtual reality (VR) has become an indispensable creative method in artistic creation, reshaping the real-time perception and gesture control of space, sound, and movement. In the field of music, VR technology has built an immersive, multi-sensory music creation environment, which allows musicians to not only be in the music and interact with the music but also to achieve more intuitive music expression through gesture control, dynamic sound and real-time feedback of sensory emotions. Therefore, VR technology improves how musicians create, allowing them to go beyond the creative level and make diverse choices that cannot be achieved in physical creation. It is a more immersive and multi-sensory creative experience.

The VR literature that has been reviewed focuses more on technical aspects, such as body dynamics, soundscape delay, and modular audio. Most of the research on the combination of VR and music applies to music education and performance rather than exploring the effects of the VR music environment on the generation of inspiration and the feeling of music immersion. Therefore, the research on VR's experience and emotional psychology in music creation is relatively weak. This study makes up for this shortcoming by shifting the focus from technical functions to the vivid experience of how musicians can be inspired or improvised in an immersive VR environment.

The core question of this study is: How do musicians get inspiration for music creation in VR immersive music spaces?

Rather than viewing inspiration as a purely cognitive or isolated phenomenon, this study explores how it is generated through embodied interaction, emotional resonance, and dynamic sensory feedback. The study argues that VR music environments are not just tools for sound production but also a complex experiential ecosystem that shapes the perception, processing, and expression of inspiration.

The main goal of this study is to explore how immersion, dynamics, emotions, and multisensory engagement contribute to generating inspiration by examining the enabling and constraining factors of VR, such as environmental coherence, technological affordances, and

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cognitive load. This study aims to understand how digital environments support or undermine the conditions required for creative conception and to illuminate how musicians construct creative meaning from these experiences, thereby connecting real-time perception with reflective, creative identity.

Three core theoretical frameworks inform this study. First, flow theory (Csikszentmihalyi, 1990) describes the psychological state of being engaged and spontaneously creative, often characterized by heightened unconscious cognitive and affective motivations. Second, embodied cognition theory (Varela, Thompson, and Rosch, 2017; Gallagher, 2006) argues that body dynamics and multisensory engagement with the present moment are important in perceiving and emotionally connecting with the immediate environment. Finally, narrative identity theory (Bruner, 1996; Clandinin and Connelly, 2004) provides a powerful bridge to how musicians narrate and construct immersive experiences from their inspirational experiences, particularly in post-reflection and self-expression during data collection.

In the methodological argumentation of this study, the use of a qualitatively driven mixedmethod approach is considered the most appropriate. The argument is based on the two methods of phenomenology and narrative inquiry to explore and understand the participants' immersive experience and changes in their mental journey in the VR music space more indepth and comprehensively. Data collection methods include semi-structured interviews, selfreflective written and oral narratives, video-stimulated recall, and creative work analysis.

Through the combined methods above, we can better understand the real-time feelings and retrospective exploration of participants in VR space, thereby revealing the temporal and emotional complexity of inspiration in VR space.

This transdisciplinary study builds a bridge between musicology, cognitive science, psychology, VR interaction design, and qualitative research. It promotes the growing academic interest in how VR technology can intervene in artistic practice to enhance functional possibilities and shape perception, subjectivity, and meaning construction.

The structure of this paper is as follows: The literature review section explores the rise of VR as a space for music creation, evaluates current creative tools, and points out gaps in the understanding of psychological and experiential processes. The methodology section outlines this study's qualitative framework and data collection strategy and argues for the rationality of phenomenological and narrative inquiry. The discussion and analysis section interprets the research results from immersion, embodiment, and emotion perspectives and critically evaluates how these factors promote or inhibit the generation of inspiration. Finally, the conclusion section reflects on the contributions of this study and proposes directions for future research and development of VR music systems.

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Literature Review The Rise of VR as a Space for Music Creation and the Current Status of Tools As technology continues to change, the emergence of virtual reality (VR) has brought a powerful impetus to artistic creation and opened up new uses in the fields of visual arts, music and film.VR enables musicians to transcend the limitations of two-dimensional digital interfaces and interact with music in a spatialised and embodied manner by providing an immersive, interactive environment. It provides musicians with a brand-new space for composing and performing. As noted by Rambarran (2021), digital technology not only reshapes the tools for music creation but also breaks the traditional boundaries between performers and audiences, as well as the single linear way of creation. However, in research on environmental art, VR can significantly enhance sensory engagement, spatial perception, and emotional interaction, which suggests that similar creative affordances also apply to music (Fang, 2025).

Using existing VR music creation tools, a series of existing tools demonstrate how music can be combined with VR to transform music creation into an immersive music experience.

SoundStage provides a room-scale VR studio where users can interact with virtual instruments (drum machines, synthesizers, and mixers) through intuitive gestures, thus achieving spatial manipulation of musical elements(Byford, 2016). SynthVR is a modular synthesis environment built from the ground up for VR. Users can freely tinker with sound modules in 3d space, encouraging exploratory and tactile sound design (42tones, 2021).

Compared to the previous two, Endlesss is more focused on real-time collaborative applications for music creation, allowing users to participate remotely and share in real-time to improvise (Endlesss, 2020). However, each tool not only enhances immersion through high-fidelity audio-visual effects but also enhances presence, autonomy, and fluidity— qualities that are closely related to enhancing creativity.

Existing platforms break the traditional creative environment and allow musicians to immerse themselves in a musical space with multi-dimensional instruments and stereo surround sound.

Features such as gesture input, modular freedom, and synchronous collaboration can support a creative "flow" state in which attention is focused, time is distorted, and ideas emerge naturally. Furthermore, based on a review of existing academic literature, it is found that it often focuses more on technical innovation areas, such as reducing latency, gesture recognition, and audio rendering, while lacking research on the experiential and psychological dimensions of musical creativity. Even research focused on the application of VR in music education or performance often fails to delve into the emotional, cognitive and embodied aspects of inspiration or imaginative exploration.

While the advent of VR technology enables new forms of musical interaction, it is less clear how these creative experiences facilitate idea generation, especially in inspiring creative inspiration. My research fills this gap by shifting the focus from instrumental functionality to musicians' subjective experiences when using VR platforms to encourage creative expression.

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VR music environments are digital workspaces and cognitive-affective spaces that may uniquely facilitate inspired creative expression.

Immersion and Flow: The Psychological Mechanism of Inspiration One of the most influential psychological frameworks is the theory of flow, developed by Mihaly Csikszentmihalyi (1990). Flow theory refers to a psychological state in which an individual is fully immersed in an activity that is both challenging and intrinsically satisfying.

When people are in a state of flow, their thoughts and behaviours change; they become more focused and immersed in their thoughts, and their perception of time is distorted. This state of experience is closely related to the creative process. However, for musicians, flow often occurs when improvising or composing, and their greater focus and spontaneity drive creative inspiration. Csikszentmihalyi (1990) argued that these moments of high engagement are essential to creativity because they connect the musician’s skills to the challenge of the musical task.

Virtual reality (VR) environments have many qualities that contribute to flow, and the immersive nature of VR can enhance attention and emotional engagement, two key prerequisites for flow. In education, Makransky and Lilleholt (2018) found that students who learned through immersive VR had significantly higher levels of emotional engagement and attention than those who used non-immersive digital tools. Using empirical structural equation modelling data, they showed that immersive experiences could stimulate higher learning motivation and cognitive engagement. Although based on the field of education, these findings are also highly applicable to music creation, as attention and emotional resonance are key elements for inspiration.

Combined with the above VR music tools, users can use these VR music platforms to immerse themselves in VR music spaces and interact with music in an embodied and spatialized way based on the creative environment in the space. Musicians can manipulate virtual instruments and create spatial soundscapes through body language, gestures, and other physical movements, enhancing their sense of control and presence. This form of multisensory interaction echoes the creation of "presence" mentioned by Slater and Sanchez-Vives (2016), the perceptual illusion of being in a virtual space. It has been shown to support immersive flow experiences. Inspiring cognitive and emotional states are amplified when musicians truly feel "inside" the musical environment. In addition, more studies have shown that immersion promotes imagination and creativity in games and art. Jennett et al. (2008) provided key information on the psychological dimension of immersion, including attention, emotional involvement, and unconscious behaviour, many of which are closely related to the flow theory proposed by Csikszentmihalyi. From these similarities, the psychological state of the VR immersive environment in games and art can also be used in VR music creation.

Although the existing flow theory can help explain how VR immersive experience promotes music creation, it cannot fully explain the emotional complexity generated in the creative

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experience. Flow theory emphasizes harmony and control, but artists believe that the source of inspiration is more vague and tense. It may be too simplistic to examine VR music creation alone with the help of flow theory. Through my research, I will extend this discussion, explore more specifically how flow is presented in VR music space, and understand how more complex and experiential emotional states can bring more inspiration to musicians.

Embodied perception and multi-sensory interactive experience: the creative potential of VR music space Music virtual technology brings musicians many creative methods and experiences, enabling them to create multi-sensory immersive creations through auditory, visual and tactile experiences. Compared with the previous physical creations that musicians mainly used hearing and combined with their cognitive environment, it is entirely different, and the most significant change is that VR technology allows musicians to interact with music in VR space to feel the music changes more vividly and make real-time feedback modifications. This multi-sensory interactive experience allows musicians to create music without restrictions and inspire more unusual inspirations.

From the perspective of spatial audio, with the help of VR music platforms such as the above-mentioned VR creation tools SoundStage and SynthVR, musicians can experience creation in these platforms and feel the fusion of soundscapes in an immersive environment.

Brümmer (2017) believes musicians' perception and creativity of music are closely related to spatial audio. These creative methods are musicians' thinking about the constant changes of sound through pitch, rhythm, position, distance and playing methods generated in VR space.

Therefore, musicians can continuously create in VR space to feel the different feelings brought by music, exploring new musical structures and emotional perception, opening up a new music creation system and inspiring inspiration generation. Secondly, regarding visual technology, VR music space can enhance the immersive experience by enhancing visual effects and visually creating music through the animation changes of sound waves, note presentation and immersive feeling in space. This kind of real-time visual feedback in VR music space can enhance the musician's more intuitive understanding of the musical structure of his creation, thereby further stimulating more spontaneous and exploratory creativity (Serafin et al., 2017). When combining the sensory experiences of vision and hearing, musicians can "see" the intuitive direction of their music creation, strengthening learning and stimulating further exploration. Finally, in the multi-sensory tactile experience, the tactile system through fingertips and gloves can improve the accuracy, emotional expression and realism of music expression in a VR environment (Pacchierotti et al., 2017). Sensory experience brings more creative inspiration to music creation, and music's authenticity is enhanced through tactile technology. The changes in notes and gestures can be touched to more intuitively control the direction of music. Haptic sensory technology can thus bring you closer to these abstract virtual elements, which is crucial to coexisting with music to maintain creative immersion.

Although multisensory integration can bring more creative experiences, we must also take the risks of multisensory integration seriously. Overly complex visuals, inconsistent spatial audio,

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and untimely tactile feedback can distract musicians and hinder their creative concentration (Makransky and Petersen, 2021). Therefore, multisensory coherence and the harmonious coordination of multisensory input are crucial in immersive creation. As Slater and SanchezVives (2016) have demonstrated, coherent multisensory integration can enhance musicians’ sense of presence, which is the psychological condition for inspiring creativity. According to the theory of embodied cognition, creative thinking is not purely abstract. Sensory experience and interaction with the environment are cognitive and creative processes in themselves rather than external decorations (Varela et al., 2017). Gallagher (2006) expanded on this, arguing that the body's cognitive processes can directly shape the mind. Therefore, in the VR music space, the musician's actions, such as raising hands, turning around or tapping, are not marginal activities but core cognitive operations that drive musical imagination and inspiration.

While the multisensory richness of VR offers unprecedented creative opportunities, careful system design is essential to balance sensory stimulation and coherence. My research aims to explore how musicians experience and manage multisensory complexity during the creative process in VR, and to explore when embodied interaction becomes a source of inspiration and when it becomes a hindrance.

In summary, although current research has demonstrated the technical potential of VR in music performance and education, few studies have explored how musicians subjectively experience inspiration in such environments. Therefore, this study will focus on the cognitive, affective, and embodied dimensions of musical creativity in VR to fill this gap.

Methodology This study adopted a qualitatively driven mixed methods approach to capture the complexity of musicians’ experiences of inspiration in VR environments. Inspiration is a highly subjective and embodied phenomenon that cannot be fully understood with quantitative measures alone. We combined two complementary qualitative research methods, phenomenology and narrative inquiry, to explore in depth how sensory immersion, physical movement, and emotional dynamics work together to promote creativity from a first-person perspective. Qualitatively driven designs are particularly appropriate when research goals prioritize the depth of personal experience, while quantitative data play a complementary and contextualizing role (Creswell and Plano Clark, 2018). However, Guetterman and Fetters (2018) emphasized that this flexible methodological integration is well suited to studying complex phenomena that emerge at the intersection of multiple experiential dimensions.

Therefore, given the emergent and complex nature of the VR music environment in this study, traditional models of creativity may not be fully applicable, and mixed methods designs are particularly appropriate. Qualitative research can more accurately detect the subtle changes and richness of inspiration, while limited quantitative research can support data measurement and provide additional descriptive depth.

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Phenomenology: Understanding the Lived Experience of Musical Inspiration in VR Music Spaces With the help of phenomenological theory, we further explore how musicians can inspire creative inspiration in VR immersive music space. Moustakas (1994) further expanded phenomenology. He believed that phenomenological theory should put aside preconceived thinking and judgment and directly focus on the phenomena produced by perception and feeling to reveal the experience of the essence of life. Therefore, inspiration is not generated through purely internal feelings or cognitive events but can be an embodied, emotional, and sensory phenomenon generated by musicians’ active engagement within VR environments.

VR technology integrates sound, space, movement and vision into a multi-sensory virtual environment, providing musicians with unprecedented creative engagement opportunities.

Using phenomenological theory analysis, it is believed that the unconscious rhythm of musicians in the VR environment is interrelated with the generation of inspiration. In line with Merleau-Ponty's (1962) concept of embodied perception, this study conceptualises inspiration as an emergent phenomenon, and the musicians' perceptions, actions, and feelings in the VR environment are inseparable from the specific way inspiration is generated. Rather than simply viewing VR as an external technological tool, this study explores how VR can give musicians a new experience of perceiving space, time, and self, creating new pathways for creative inspiration. The intersection of musicians' physical movements, sensory immersion and emotional resonance in VR space leads to a creative shift that ultimately inspires a novel form of music. This experience is not imposed from the outside but is an authentic, embodied experience that emerges organically through the conscious and contextualised interaction between the musician and the VR music space. This phenomenological approach echoes the theory of embodied cognition (Varela, Thompson, and Rosch, 2017; Gallagher, 2006), which emphasises that cognition is achieved through the dynamic coupling of the body and the environment.

This study focuses on how musicians gain inspiration for music creation in VR immersive music spaces and how VR technology reshapes the way of creation and provides new possibilities for the generation of musical inspiration. Although phenomenology provides a strong argument for musicians' creative experience in VR immersive music space, there are other methodological and conceptual challenges. VR breaks the traditional single physical creation mode and fundamentally changes music creation's perception, presence and subjectivity structure. Therefore, we need to rethink the embodied experience, agency, and inspiration in the virtual music space to promote the development of phenomenology and VR music creation research together.

Narrative Inquiry: Exploring How Musicians Narrate Their Experiences of Inspiration In addition to phenomenology, this study employs narrative inquiry as a complementary qualitative methodology to explore how musicians express and make sense of their moments of inspiration in an immersive virtual reality environment. Narrative inquiry is understood both as a mode of communication and as a fundamental structure for meaning-making as a

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mode of cognitive communication and as the underlying structure that constitutes the meaning of experience that individuals construct within a particular domain (Clandinin et al., 2000).

Through narrative, experience is ordered, emotionally interpreted and placed in a relational and temporal context, allowing a deeper understanding of how creativity and inspiration are lived and remembered. In VR music environments, inspiration does not emerge suddenly but is embedded in the musician’s evolving creative and life narrative. Barrett and Stauffer (2009) argue that narrative research is more broadly and particularly suited to the study of artistic practice because it captures the expressive, temporal, and relational dimensions of musicians’ interactions with their art form. Narratives are influenced not only by the events themselves but also by internal intentional states, such as beliefs, desires, and values. As suggested by Bruner (1996) and Taylor (1989), individuals construct coherent narratives to organize meaningful experiences and reflect self-evolution to understand how meaningful experiences can be organised into coherent narratives that reflect the evolution of the self. Through narrative research, we can more intuitively feel how participants construct inspiration and meaning in the VR environment, accompanied by unconscious body and emotional changes.

However, this study also combines other theoretical studies to help understand how participants express their inspiration and musical experience in an immersive environment.

This can help us understand the feelings and psychological changes in the VR environment more accurately and quickly and construct a broader range of creative experience methods.

Through this most direct expression method, the participants' experience can be directly captured and help improve the subsequent experience. Therefore, critically analyzing the inspiration that musicians burst out when telling in the VR environment can better observe how they construct their creative experience. Narrative exploration can capture musicians' emotional and sensory dimensions and challenge the differences in traditional music creation.

Allowing musicians to express their feelings of inspiration highlights the deep connection between life experience, meaning construction, and creative development.

Overall, the two methods of phenomenology and narrative exploration make this study's exploration of inspiration more specific and provide a strong argument for exploring the life experience of inspiration and the reflective process of musicians constructing creative meaning in immersive space.

Data Collection Methods Use various qualitative data collection methods to express specific and elucidate the embodied, reflective musical experiences that musicians experience in VR immersive music environments. Although the following methods have been carefully selected as more appropriate for this study, they also have some minor potential limitations.

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Semi-structured interviews were used as the primary collection method to interview participants immediately after their experience in the VR environment. Semi-structured interviews are a method that falls somewhere between a highly standardized questionnaire and an entirely open-ended focus group, blending both closed and open-ended questions. This approach provided a structured framework of guiding questions that allowed us to flexibly explore unexpected directions of inquiry based on participants’ responses (Adams, 2015). It also enabled us to maintain thematic coherence in the interviews while allowing participants to articulate the sensory, emotional, and cognitive processes of experiencing the VR music environment. However, semi-structured interviews are susceptible to interviewer influence and potential social desirability bias, so questions must be carefully designed, and a neutral interview stance must be maintained.

The self-reflective narrative approach allows participants to be more relaxed and independent in expressing their experiences clearly in written or verbal form. This approach can encourage self-reflection and capture meanings that may not emerge in an interview (Clandinin and Connelly, 2004). However, self-reflection is more susceptible to external interference, which may subtly reshape participants' memories. Second, video-stimulated recall records participants’ VR activities and prompts them to reflect on specific moments through video playback. This method can enhance the recovery of detailed experiences (Lyle, 2003), but it may also introduce reconstruction bias because participants reinterpret events when watching from the outside.

Finally, VR music production analysis and behaviour logs examine participants’ creative output and interaction patterns. This method uses music data mining methods for feature extraction and behaviour analysis to supplement subjective descriptions with observable patterns(Li et al., 2012). However, it is not enough to interpret and construct the inner meaning through these data collections alone but also to judge in combination with the participants' interview narratives. Therefore, this study combines these collection methods to construct a multi-level exploration perspective to explore further how immersive VR environments bring and change the creative inspiration experience of musicians.

Ethical Considerations This study has taken corresponding measures to deal with ethical issues to ensure the beneficial rights of the participants. Before data collection, participants need to be informed of the purpose, process, and possible problems of the study, and they are required to read and sign the informed consent form in detail. During the experience, participants will not be punished and have the right to stop and exit the experience at any time. Due to the immersive nature of the VR environment, the informed consent form needs to be dynamically reevaluated in conjunction with this study to cope with unpredictable emotional or physical reactions (Adams, 2015). Through anonymisation and secure data storage, researchers ensured anonymity and confidentiality; however, musical styles or narrative details may carry identifiable traces, which poses a challenge to absolute anonymity (Du Preez, 2008). Finally, the creative output generated by participants during the VR experience remains the property of the participants, and any academic use requires the explicit permission of the participants.

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Reflective practice was used throughout the research process to monitor the researcher's position and minimise interpretive bias (Du Preez, 2008). Although risk reduction was minimised to the greatest extent possible, it was recognised that ethical risks can never be eliminated, especially in research involving deep emotional engagement and creative expression. Therefore, continuous reflection and ethical measures are essential to remain responsible in the ever-changing research environment.

Discussion and Analysis Immersion and the Emergence of Creative Inspiration One of the core points of this study is that the immersive experience in VR music space is inseparable from the emergence of creative inspiration. When immersed in the VR music space, participants consistently reported that they would lose track of time and experience a diminished sense of self. They often recalled moments of spontaneous musical experimentation and free expression. These descriptions are very similar to the concept of "flow" proposed by Csikszentmihalyi (1990). Flow is a psychological state produced when people are focused, in which people's self-awareness is reduced, intrinsic motivation is enhanced, and a more deeply immersive working state is achieved. In VR space, immersion is not only a technical and multi-sensory experience but also an emotional, cognitive and physical state of perception, which provides unlimited possibilities for inspiring inspiration.

The immersive experience allows participants to feel the difference in creation. It combines spatial sound, dynamic vision and music interaction, which is impossible in the current traditional creative environment. Put the music around yourself and surround it with music to discover new creative modes. This result was also found by Makransky and Lilleholt (2018), who believed that immersive experience enhances emotion and presence and brings musicians deeper memories and perceptual experiences, which is also indispensable for creative conception.

From a phenomenological perspective, immersion in the VR music environment allows people to feel the constant changes in external sounds and their environmental perception.

Participants are no longer the controllers of music creation. However, they are integrated with the music to feel the constant changes of the music, allowing musicians to form a co-creation relationship with the environment to stimulate creative inspiration. This echoes MerleauPonty’s (1962) concept of “embodiment,” where perception and action are unified through a lived, situated experience. In VR immersive space, inspiration is generated by the immediate sensory feedback of participants during the experience.

Nevertheless, it is also crucial to critically reflect on the immersive VR experience. Some participants reported states of inspiration, while others described disorientation or sensory

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overload moments, especially when visual and auditory stimulation was too dense or unpredictable. In this sense, immersion is not inherently beneficial; it can disrupt attention, overwhelm the senses, or produce deliberate novel experiences mistaken for inspiration. Thus, the structure of the VR environment, pre-designed sound effects, visual interfaces, etc., may bring subtle restrictions to generating inspiration. The immersive experience should not be regarded as a neutral contributing factor but as a positive factor that may promote and build inspiration creation.

Embodiment and Multisensory Creative Inspiration Immersive presence provides a strong argumentation framework for music creation, and participants' inspiration comes more from physical and sensory interactions in VR music space. Participants think about how these behaviours are related to music creation when describing body movements (e.g., waving gestures, manipulating virtual instruments, or moving to the rhythm). This experiential connection between action and cognition reflects the core principle of embodied cognition: creative inspiration comes not only from thoughts but also from dynamic sensory-motor interactions with the environment (Varela et al., 2017).

Therefore, the body is an important carrier for generating musical inspiration in the VR environment.

In addition, interviews with participants revealed that their inspiration was more pronounced when the dynamics, visual effects, and sound feedback in the VR space were present simultaneously. This statement suggests that inspiration in VR is not purely conceptual but is generated through the constant changes in the sensory environment. Merleau-Ponty's (1962) concept of embodiment describes it as transcending the unity of perception, emphasizing how body movement is the primary source of inspiration cognition, indicating that the generation of inspiration is multifaceted and not just in experience. VR immersive technologies (spatial audio, gesture control, and 3D visual effects) have unlimited creative space, giving musicians more creative options and the creative experience of embodying inspiration in different styles and environments.

Multi-sensory integration in VR space will further enhance the creativity brought by this embodied experience. Dynamic sensory experiences such as tactile feedback, perspective effects, and surround sound combine to create a full range of sensory immersive music experiences. Although this multi-sensory integration gives musicians more intuitive and rich creative inspiration, there are also some risks and limitations. Some participants described that this multi-sensory simultaneous appearance would distract their thinking and slow their behaviour, affecting their creative ideas. As Serafin et al. (2016) observe, VR designs for music composition must balance sensory richness with clarity and control to prevent sensory overload.

A critical understanding of VR embodiment must, therefore, account for both its expansive creative affordances and the systemic constraints it introducesWhile embodied and

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multisensory participation fosters inspiration, it simultaneously introduces new forms of technological constraint. The sensory experience and creative activities of musicians are inevitably affected by the technical feasibility and limitations of the virtual environment.

Inspiration in VR cannot be entirely disentangled from the spatial, auditory, and tactile structures that mediate and shape it.

Critical Synthesis and Future Challenges The above analysis shows that the creative inspiration experienced by musicians in VR music space arises from the dynamic interplay between immersive presence and embodied multisensory engagement. Immersion creates the perceptual and affective conditions for a flow state, in which self-consciousness dissipates and enhances intrinsic motivation, allowing musicians to dynamically engage with their environment and experience moments of creative inspiration through embodied interactions such as gestures, movements, spatial orientation, and sensory integration. These insights attribute creative inspiration in VR not to passive or isolated psychological events but deeply rooted in immediate sensory and bodily experience.

This synthesis also prompts critical reflection on the limitations and contradictions of VR as a medium for inspiration. First, while immersive and embodied features can often enrich the creative process, they also bring risks of cognitive overload, disorientation, and loss of focus.

The same multisensory complexity, if not simultaneously properly calibrated within the technological design, may lead to confusion or cognitive overload among participants and hinder the generation of inspiration. Technical issues, such as pre-designed interfaces and environmental structures, can constrain musicians’ creative exploration. Thus, VR platforms are not neutral canvases but co-creators in the creative process, constructing the kinds of inspiration that are available to be accessed and even imagined.

The above analysis suggests that future research should go beyond the narrative of praise for VR's creative potential and more critically explore how this technology empowers and limits artistic agency. In future research, one could explore different musical style options, such as customizable sensory intensity, interface adaptability, or customised spatial configuration, which are all closely related to musicians' inspiration generation. Longitudinal studies can also help explore how the relationship between musicians and VR music spaces evolves as novelty fades and embodied familiarity deepens. Finally, we can observe how inspiration generated in the VR environment differs by analyzing diverse elements such as the cultural background and music style of different participants.

This study argues that the emergence of VR music space provides a new creative environment for embodiment and immersion.At the same time, corresponding countermeasures must be prepared when using the latest technologies and perceptual complexity. Therefore, in future challenges, the research and development of virtual music creation must continue to be critically examined for both their creative affordances and

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structural constraints from different perspectives to explore the broader possibilities and structural limitations of VR music space as a creative medium.

Conclusion Through the above exploration of how musicians generate creative inspiration in immersive VR music environments, this study summarizes the focus on the interaction between immersion, embodiment, and multi-sensory participation in space. Using the method of combining qualitatively driven phenomenology with narrative inquiry, it is believed that inspiration in VR is not passive or isolated but comes from embodied interaction, emotional resonance, and real-time feedback from dynamic senses. Therefore, the perception, emotional expression and interpretation of inspiration produced by musicians in VR environments are all constructed through psychological mechanisms such as flow, dynamic gestures and narrative meaning.

However, this study also critically analyses VR spaces' possible limitations and complexities.

Although immersive experience and multisensory input provide musicians with tremendous creative possibilities, they may also lead to cognitive overload, subversive thinking, or subtle design limitations, resulting in uncertainty or mistakes in the creative process. Therefore, VR music space should not be seen as a neutral platform but as a co-builder of artistic expression.

Ultimately, this study contributes to the growing knowledge of technology-mediated creativity by reframing VR as a technological tool and affective-cognitive space. Future research should further explore the evolving relationship between musicians and VR systems, exploring how design, culture, and long-term engagement influence the formation of inspiration and artistic identity in virtual environments.

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The elements of non-medical healing spaces on Emotional Health and Stress Alleviation Yuyang Wang

Abstract Emotional health disorders are considered a common psychological condition in contemporary society, primarily caused by excessive stress in various aspects of life and the lack of effective ways to relieve emotional stress. This has a significant impact on individuals' daily life, including their studies and work. Unlike traditional stress-

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relief methods, an increasing number of people are beginning to try using certain spaces to achieve a relatively calm state, such as watching movies alone, attending concerts, or painting. Architectural spaces are not merely physical structures; they also exert psychological influences. Interdisciplinary research indicates that individuals with emotional health disorders can reduce emotional stress, and which elements play an effective role in alleviating people's emotional stress by participating in spatial activities.

Therefore, healing spaces play a significant role in the restoration of physical and mental health. The core question of this study is: Which structural elements in a space can effectively create a relatively comfortable environment, and which elements have an effective role in alleviating people's emotional stress? To address this question, this paper analyses existing literature and relevant case studies of healing spaces to identify the key elements (colour, structure, lighting, and nature) that promote emotional regulation in healing spaces and how these elements regulate people's emotional states.

Additionally, this study focuses on non-medical healing spaces and discusses how these elements can be used to enhance the emotional value of spaces, ultimately achieving the goal of assisting users in alleviating emotional health disorders.

Key words: Healing Space, Emotional Health, Biophilic Design, Environmental Psychology

1 Introduction Design and health are gradually becoming core concerns in the design of all kinds of environments, but this field used to belong to medical design professionals(Altaf Engineer et al, 2020, p1). Emotional health disorders are regarded as a common mental state in contemporary society. This includes not only mental problems at the medical level, such as anxiety disorders and depression, but also conditions such as loneliness and social withdrawal, primarily caused by excessive pressure from familial, academic, occupational, and peer-related stressors. Long-term exposure to stressful environments can lead to physical fatigue, causing psychological and physiological disorders, which in turn can result in physical and psychological vulnerability (Yi-Kyung Hong et al,2025, p1-2). Unlike the previous methods of relieving stress, more and more people are trying to find some places to bring themselves to a relatively calm state, such as watching movies alone, attending concerts, or painting. Therefore, some people's demand for non-medical healing space has been gradually increasing.

The increasing demand for spiritual needs has influenced the field and made it a focal point for architectural design. The application of science to design has had a remarkable impact on healthcare facilities and services. Architects have discovered that space has the power to influence both physical and mental states by analyzing relevant data on patient recovery and healing effects in specific environments and have proposed the design concept of healing spaces (Jennifer DuBose et al, 2016, p47-50). Finnish architect Juhani Pallasmaa believes that architecture not only provides physical

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protection but also transcends these material aspects to play a key role in supporting our spiritual lives (Sarah Abbas et al, 2024, p2). This emphasis on the interdependence between our physical space, psychological space, and the world is reflected in Maurce Merleau-Ponty's phenomenological concept of ‘intertwined binding (MerleauPonty,1968).

The key point of the design of a healing space lies in how to create an environment that enables individuals to feel relaxed and improve their psychological condition.

Some research studies found that healing spaces could evoke a sense of home. This special sense enabled participants to build a connection with an unfamiliar environment.

Some scholars argue that healing spaces are closely related to the therapeutic environment and consist of four characteristics: reducing or eliminating environmental stressors, providing positive distractions, enabling social support, and providing a sense of control (Yi-Kyung Hong et al, 2025, p2). Some studies have shown that healing environments comprise three important aspects that contribute to the healing process: (a) natural environment; (b) psychology; and (c) the five senses (Hilma Tamiami Fachrudina and Dinda Annisa Yasmin,2025, p2).

The influence of the natural environment on spatial design is primarily exerted through the following methods: (a) the construction of a real natural environment; (b) the use of materials or devices to suggest a natural environment; and (c) the use of colours to suggest a natural environment. Hong et al. (Hong et al., 2025) posited that urban green-blue spaces, encompassing parks, gardens, and plazas, offer numerous benefits to city dwellers, profoundly enhancing their overall well-being. The study, which was conducted by Berdejo-Espinola et al. in 2021, revealed significant reductions in perceived stress and depression among the study participants. The significance of these interactions is especially pronounced during periods of stress, when exposure to natural environments is crucial for maintaining optimal mental and physical well-being. A recent study has provided novel insights into the impact of nature group walks during challenging periods on mental health outcomes (Yuliang Wang, 2025). A substantial corpus of research has underscored the pivotal role of design elements in modulating emotional responses and engendering an atmospheric ambience (Ahmed M. Radwan et al, 2024, p482-486). In the context of interior design, certain designers frequently utilize design techniques that draw inspiration from natural elements. These techniques encompass the incorporation of natural materials, such as wood panels and stone slabs, the utilization of natural lighting, and the arrangement of plants, to alter the spatial configuration of a given environment. In a seminal study conducted in 1984, Roger S. Ulrich (Roger S. Ulrich, 1984,420-421), a pre-eminent researcher in the field of medical architecture design, measured for the first time how a hospital ‘room with a view’ could significantly reduce post-surgical recovery times, with patients who had a view of a row of trees recovering faster than those who only faced the brick wall. Other elements that must be considered include spatial scale and openness, whether space is conducive to social interaction, and the balance between natural and artificial lighting (Ahmed M. Radwan et al., 2024, p487-489). All of these

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elements influence users' emotional perceptions. In the context of the creation of emotional spaces, the utilization of these elements is also observed by participants.

Spatial attributes play an important role in the construction of a healing space.

Examples of such spaces include sacred spaces (e.g., churches, memorial halls), urban public spaces (e.g., city parks, gardens), and designed indoor spaces. Conversely, individual participation and utilisation of space have also been identified as significant components of healing spaces. Andre´a de Paiva and Richard Jedon(2019) state in their research that physical space is considered a stimulus that individuals can ‘encounter.’

This ‘contact’ can be understood as ‘interaction,’ which can be either active or passive.

Another key focus of their research is the relationship between the duration of ‘contact’ and individual emotional recovery. Typically, people require prolonged exposure and repeated stimulation to develop emotional responses toward an object or food. However, in the fast-paced modern lifestyle, short-term exposure to unfamiliar objects is more common than long-term exposure. Therefore, how to achieve long-term effects through short-term exposure has become a key focus of design (Andre´a de Paiva and Richard Jedon,2019, p566).

The main research object of this study is non-medical healing spaces. The primary reason for this is that most mental disorders are not caused by mental illness, but rather by various pressures in life. Therefore, this paper aims to discuss the role of different elements in the spatial restructuring of healing spaces (non-medical) and the value and significance of non-medical healing spaces in the context of contemporary society through a review of relevant literature and analysis of some cases.

2 Literature review 2.1 Psychology-related theories 2.1.1 Environmental Psychology In 1960, Kevin Lynch (Kevin Lynch, 1960) discussed in his research how environmental spaces can be constructed and identified through multiple sensory elements. Daniel Stokols stated in his research that architecture and urban design have a significant impact on mental health. Environmental factors influence individuals' mental and behavioral health in multiple dimensions (e.g., physical, social, psychological). For example, high-density environments may cause stress, while natural environments help restore attention. He also pointed out that the interaction between individuals and the environment is dynamic, regulated by cultural and cognitive factors, and that people actively adapt to their environment (Daniel Stokols,1978). Proshansky et al. formed ‘environmental psychology’ at the intersection of architecture, urban planning, and psychology. Its main research content is the interaction between humans and their physical environment: natural environments (such as forests, oceans, and deserts) and artificial environments (such as cities, buildings, and indoor spaces) on human behavior, cognition, and emotions (Proshansky,

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1970, p517-518).

Harold Proshansky et al (Proshansky et al, 2014, p3-6) proposed ‘place identity,’ which is composed of an individual's cognition of the physical environment (emotions, memories, values) and reflects the relationship between the individual and the environment. At the same time, this study proposed that environmental interventions can alleviate anxiety caused by place identity disorder (e.g., post-disaster reconstruction communities should be consistent with past emotional memories). Chiara Annika Jutz et al. studied how architectural environments satisfy three basic psychological needs (autonomy, competence, and relatedness) and entry tendencies through specific design elements —– namely privacy, clutter, biophilia and color temperature (Chiara Annika Jutz et al.,2025, p2-5).

Anjan Chatterjee and others analysed three core psychological dimensions of architectural experience: coherence, fascination, and hominess. They also explored how architectural spaces and environments influence human brain activity and psychological states(Anjan Chatterjee et al., 2021, p1-4). Sarah Abbas et al (2024, p25). conducted a literature review and discussed how the built environment significantly influences human behaviour, emotions, and cognitive processes by affecting the brain's neural mechanisms. With the development of the discipline, research on architectural space now incorporates virtual reality technology. Sheng Wang et al. (Sheng Wang et al., 2022) used brain imaging technology (MoBI) and virtual reality to study the process of interaction between individuals and the built environment and then explored how individuals understand and perceive the built environment through physical exploratio.

2.1.2 Colour psychology In book ‘Theory of Colours’, von Goethe proposed that colours have an influence on emotions and believed that colours have a subjective psychological effect (Von Goethe, 1840). In 1876, Gustav Fechner proposed that colours can influence human emotions and aesthetic experiences, including: colours can trigger different emotional responses (e.g., warm colours make people feel energetic and warm, while cool colours make people feel calm, relaxed, and even melancholic) (Gustav Fechner, 1876). Carl Jung constructed a colour symbolism system, linking colours to the collective unconscious and symbolic meanings, laying the foundation for the study of colour symbolism (Carl Jung, 1964). Max Lüscher believed that unconscious colour choices can reflect deep psychological states (Max Lüscher, 1990). Johannes Itten explored the emotional and symbolic meanings of colours in his work ‘The Art of Colour’ (Johannes Itten, 1970).

These colour theories also became the basis for subsequent colour research.

In recent years, colour psychology related to architectural spaces has mainly focused on researching how colours affect spatial perception, emotions, and behaviour. Tom Clarke and Alan Costall found that green and blue are associated with relaxing emotions such as stability, peacefulness, and low anxiety (Tom Clarke and Alan Costall, 2008, p407). Sarah E. Babin found in her research that traditional medical spaces often use

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‘hospital white, which may exacerbate patient anxiety and fatigue. Blue and green are widely considered to create a clean, calm atmosphere suitable for waiting areas and hospital rooms (Sarah E. Babin, 2013, p18). Kemal Yildirim et al. found in their study that two rooms with consistent spatial characteristics produced different participant responses simply by changing the colours (using cool colours, warm colours, or achromatic and contrasting colours(Kemal Yildirim et al., 2011, p510-511). Jian Dong, Lan Qin, and others analysed the psychological impact of colours in modern interior design using the HSV colour space model and PAD emotion model, and proposed design optimisation methods based on affective computing. For example, children's spaces require high-saturation warm colours (such as orange) to stimulate vitality.

Office environments require cool colours (such as blue and green) to enhance concentration and avoid overstimulation. Medical/elderly care spaces require soft colours with medium brightness and low contrast (such as light blue) to reduce anxiety (Jian Dong and Lan Qin et al., 2024, p6-13). These studies reveal that colour has a certain influence on the spiritual level. In modern space design, the symbolic meaning of colour has become one of the important design elements.

2.2 Healing Space Design Early research on healing spaces was mostly focused on medical settings. Florence Nightingale discussed in her work Notes on the Nursing of the Sick that changing the appearance of hospital wards could alleviate patients’ emotions. She also pointed out that the environment has a direct impact on patients’ psychological state and that natural light plays a crucial role in their recovery (Florence Nightingale, 1947, p45-48). Roger Ulrich found through comparative experiments that natural landscapes can effectively alleviate patients' anxiety and pain perception and promote postoperative recovery (Roger S. Ulrich, 1984,420-421). In another article, Ulrich discussed in depth how natural elements can effectively reduce psychological stress in patients, while urban or artificial environments are unable to achieve the same effect. He also mentioned that both natural and artificial landscapes can effectively help patients shorten their recovery time (Roger S. Ulrich, 1991).

As research deepens, the concept of ‘healing space’ is no longer limited to the medical field, and other types of healing spaces are emerging, such as art therapy, cultural therapy (religious rituals), and natural ecological therapy. In this part of the research, architectural design elements are considered to shape users’ emotional experiences in specific spaces(Ahmed M. Radwan et al., 2024, p487-493). Some scholars also believe that design variables such as geometric shapes, natural lighting or artificial lighting, colours, the presence of windows, natural or artificial landscapes, and spatial layout have a direct impact on human emotions and stress levels (Gary W. Evans, 2003, p541)( Juan Luis Higuera-Trujillo et al., 2021, p21-23). Research has found that since the dawn of society, humans have utilised places and spirituality to heal personal or collective trauma. In ancient Greece, the builders of Epidaurus discovered that natural scenery and natural light were very important for the healing process of pilgrims

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(Paul L. Alt, 2017, p295).

In addition to research on overall spatial design, some scholars have found that architectural structures, colours and shapes used in interior design also have a certain degree of influence on the emotional state of users. Among these, the most important structure is the ceiling. Previous studies have shown that the height of the ceiling affects the cognition, behaviour, and psychological state of users (Sieun Kim and Sieun Kim, 2025, p10-12). Mofrad et al. conducted tests on 39 people using adjustable simulation facilities to investigate the impact of different ceiling heights on human comfort in residential spaces. They identified a relatively comfortable height range (2.7 m–2.8 m) within the 2.1 m–4.0 m ceiling height range(Mofrad, 2013, p281-286). In studies related to indoor colours, many scholars believe that blue and green are more likely to produce a stable and peaceful state. At the same time, they indicate that green can effectively evoke positive emotions in university students, such as relaxation and comfort, and associations with nature(Tom Clarke and Alan Costall, 2008, p407-409) (Naz Kaya, 2004, p1-6). Cho et al. found through electroencephalography tests that white is more conducive to recovery than green, and in their tests, they found that white elicited a higher relaxation response (Cho et al., 2023, p71-76). This finding is completely different from Babin's research (Sarah E. Babin, 2013) mentioned above. Research has also shown that circular designs promote the natural flow of energy within space, and their symbolic meaning (harmony, unity, and continuity) creates a sense of security and tranquillity for users(Hilma Tamiami Fachrudin and Hilma Tamiami Fachrudin,,2025, p9). The attributes of architectural space are also important characteristics. These attributes can subconsciously influence users' perceptions, such as hospitals (tension), restaurants (relaxation), and churches (calmness) (Guopeng Li, 2019, p192-195).

2.3 Biophilic Design Erich Fromm first proposed and defined the concept of ‘Biophilia’: Biophilia is the passionate love of life and of all that is alive; it is the wish to further growth, whether in a person, a plant, an idea, or a social grou(Erich Fromm, 1964). In his book Biophilia, Wilson argues from a biological evolutionary perspective that humans' dependence on nature is genetically driven, and proposes that there is a conflict between the modern urban environment and the natural preferences formed during human evolution(Edward O. Wilson, 1986, p118). With the development of related theories and practices, biophilic design has gradually been applied to healing spaces. Ulrich proposed that natural landscapes can accelerate post-operative recovery (Roger S. Ulrich, 1991), while Rachel Kaplan and Stephen Kaplan proposed the ‘attention restoration theory,’ which verifies that nature can improve work efficiency (Rachel Kaplan and Stephen Kaplan, 1989). Browning et al. presented a classification of 13 biophilic design patterns divided into three categories: nature in space, natural analogs, and nature of space (Browning et al., 2014, p64-70). Sakallaris et al. proposed the concept of an optimal healing environment that facilitates the innate healing process, consisting of four environments: internal, intrapersonal, behavioral, and external; they listed healing

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spaces as external elements (Sakallaris et al., 2015). The study revealed that the view of nature was the most significant variable in the perception of healing, followed by brightness, colour, and ceiling height. Eleanor Ratcliffe stated in her research that natural sounds can enhance positive perceptions of natural visual environments, increasing immersion and realism. Multisensory experiences (such as combining sound and vision) promote restorative experiences more than single visual stimuli (Eleanor Ratcliffe, 2021).

3 Methodology 3.1 Research Approach Based on the current research content, this study adopts a qualitative research approach to explore the following questions: a. What design elements in space influence changes in users' emotions? b. In non-medical healing spaces, what elements do designers focus on during the design process?

At present, research on healing spaces is still limited to summarising key design elements through literature reviews and case studies, such as natural or artificial landscapes, lighting, and colour. Therefore, the two issues mentioned above are particularly important at the current stage of this study. Research on healing space design is underpinned by two major theoretical frameworks: spatial theory and colour theory. There is also an interdisciplinary overlap between these two frameworks, particularly in the application of psychology within both frameworks (spatial psychology and colour psychology). Consequently, the theoretical component of this study will require extensive literature review and study. In contemporary design, the application of technology—virtual reality, biomimicry, and biophilic design—has become a common phenomenon. In order to understand the mainstream trends in contemporary design and combine them with theoretical research, extensive case studies are also necessary research content.

In addition, literature research has found that some psychology researchers and architecture researchers have adopted a quantitative analysis research approach.

Through extensive simulation experiments, they have obtained multifaceted experimental data on users. For example, in a study on the impact of building space colours on personal emotions(participants were placed in different virtual environment settings), the results showed that building space colours can trigger autonomic nervous system responses and brain activity related to emotion processing (Isabella S. Bower et al., 2021). Mofrad also studied the effect of ceilings on human comfort in residential spaces through comparative experiments (Mofrad, 2013, p281-286). Therefore, quantitative analysis is also effective for the study of healing spaces. Since the focus of this study is on the two issues mentioned above, qualitative research is more suitable than quantitative research.

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3.2 Methodologies and Methods 3.2.1 Methodologies Based on the current research progress, this study adopts phenomenology as the primary methodological approach for the present stage of research. Current research on non-medical healing spaces primarily focuses on the following aspects: (a) what elements in a space influence users' emotions; (b) what are the differences between nonmedical healing spaces and medical healing spaces; (c) from what perspectives designers consider and design healing spaces in existing design cases. Phenomenology itself is a research method that explores the subjective experiences and emotional responses of individuals in space, emphasizing how an individual's existence in a space constitutes their subjective perception of the world(Maurice Merleau-Ponty et al., 2013).

Phenomenology emphasizes understanding human experience from a first-person perspective, making it particularly suitable for exploring the internal processes and meanings of feeling healed in spac(Max van Manen, 2016, p8-17).

At the same time, this study will also employ a research methodology combining selfethnography with narrative analysis. Autoethnography is a form of narrative research that records research content through the researcher's expression and reflection on their own experiences. Another reason for using autoethnography is that the regulatory effect of space on emotions varies among individuals; the same colour or landscape may have different effects on different individuals. As a form of narrative research, autoethnography involves the research subject narrating their own feelings through a certain logic, so narrative research methods can also play a supporting role.

3.2.2 Methods This study will employ the following research methods: Literature review: This involves reviewing and summarising the theoretical frameworks relevant to this study. This includes the study and summary of foundational theories (such as Lefebvre's spatial theory and Eaton's colour system) and the identification of new phenomena or methods proposed in recent literature.

Case study and analysis: This involves analysing representative cases of healing space design to identify which design elements designers prioritise during the design process. At the same time, case studies can be used to research interdisciplinary content to fill gaps in one's knowledge.

Field research and interviews: Through field research on selected spaces with healing properties, we will record and observe the design and layout of these spaces.

Additionally, the researcher will serve as an experimental sample to document the emotional effects of space on themselves. Interviews will also be conducted to record the emotional changes experienced by different visitors in the same space at the same time.

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Behavioural observation: Behavioural observation is conducted on the basis of field research, through observing the behavioural and emotional changes of participants in the space and analysing which elements or structures in the space prompt participants to produce corresponding changes.

Questionnaire survey: Some questions related to the research content are set in advance, and participants' real experience feedback is collected, and the answers to the questionnaire are organised and summarised.

Cross-cultural comparison: This involves analysing the symbolic meanings of design elements in different cultural contexts (Eastern and Western). For example, there are some differences in the emotional symbolism of white in Eastern and Western cultures. In traditional Chinese weddings, red is often used for wedding attire, while white is used for mourning attire. In Western weddings, white wedding dresses symbolise pure love. By comparing different cultures, we can avoid miscommunication in spatial design.

Diary research: Participants in healing spaces can generally be divided into two categories: temporary visitors and long-term participants. For long-term participants, diary research can be used to analyse data based on their feedback on their emotional changes and spatial elements over a period of time.

3.2.3 Data collection and analysis methods The types of data that need to be collected include the following: Types of healing spaces. For non-medical healing spaces, the healing methods are the focus of space design, such as art therapy spaces (painting, music), natural healing spaces (e.g., gardens, ecological experience centres), and spiritual meditation spaces (e.g., churches, meditation rooms).

Elements commonly used in healing spaces. This data is primarily collected through case studies and field research, with findings recorded, analysed, and summarised to derive relatively universal conclusions.

Information about participants in healing spaces. This section primarily covers age, gender, cultural background, and related details.

Participants' understanding of the functions of healing spaces and their perceived effectiveness in alleviating emotions, as well as the frequency of their participation.

Participants' reactions and feelings toward design elements and installations in healing spaces, such as colour, landscape, and lighting.

Emotional changes in participants after interacting with healing spaces.

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In terms of data analysis, three main methods were used: thematic analysis, narrative analysis, and phenomenological analysis. Thematic analysis focuses on core ideas or patterns that repeatedly appear in the data and are relevant to the research question, such as the emotional value of natural elements (water views, greenery, natural light, etc.), the healing effect of cultural content (such as differences in symbolic meanings between Eastern and Western cultures), and individual differences and spatial experiences (different users' reactions to the same design elements).

Narrative analysis is applied to data from self-ethnography and diary studies, analysing the narrative structure of participants’ or researchers’ own accounts of the ‘healing process’ (e.g., entering the space – emotional changes – which elements triggered these changes). Phenomenological analysis focuses on the feedback and experiential descriptions provided by participants or researchers during field research, as they actively engage in the process.

3.2.4 Sampling methods The core research content currently underway in this study is: which design elements in non-medical healing spaces have an effect on participants’ emotional changes; which design elements cause significant changes in participants’ emotions? Therefore, the sampling methods will mainly use purposive sampling, and snowball sampling.

The purpose of purposive sampling is to directly select samples with high relevance, such as selecting healing space cases with corresponding characteristics for analysis, conducting interviews with designers and specific user groups to obtain useful data, such as architects who have participated in healing space design and users who have used healing spaces.

The purpose of snowball sampling is to gradually expand the sample size.

Researchers will ask respondents to recommend individuals with similar experiences, such as users who have also used healing spaces.

3.3 Ethical Considerations This study explores the impact of design elements in non-medical healing spaces on emotions, which may involve public or semi-public offline locations and interview content. Therefore, a series of ethical issues must be considered. First, informed consent was obtained from all participants (including designers and space users) prior to their participation, providing them with clear information about the purpose of the study, its procedures, and their rights. Informed consent was obtained in written or digital form, with particular emphasis on the voluntary nature of participation and the freedom to withdraw from the study at any time, with no consequences for doing so.

For participants who were unable to read or write, consent was recorded verbally.

The second part is confidentiality and anonymity. All identifiable information (such as names and locations) used in the thesis will be recorded and reported using

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real names (where permitted) or anonymised or pseudonymised. Audio recordings and field notes will be used solely for data analysis and stored securely. If participants shared sensitive emotional experiences (such as traumatic experiences), the thesis will avoid using language that may cause discomfort. Cultural sensitivity will also be respected, given the cross-cultural context of the research (e.g., differences in Eastern and Western symbolism). Culturally appropriate terminology and explanations will be prioritised. For example, discussions about the meaning of colours (e.g., the different symbolic meanings of white in funerals and weddings) will be presented in a neutral manner, avoiding value judgements.

Finally, this study complies with the ethical review procedures of the University of Wales Trinity Saint David and adheres to the ethical guidelines established by relevant professional associations in the United Kingdom.

4 Discussion and analysis Today, people's pursuit of excellence often leads to neglect of emotional health. In comparison with conventional psychological therapy methods, non-medical healing spaces provide the general public with more natural and everyday ways to alleviate emotional distress. The transition from the conventional 'hospital treatment' model to a holistic approach involving a series of activities within a designated space is indicative of a paradigm shift in the understanding of emotional well-being. In this process, architectural spaces are imbued with the capacity to engender a sense of well-being, transcending their role as mere physical conduits. They become 'media' that profoundly interacts with the human psyche through the medium of form, atmosphere, and symbolism.

4.1 Mechanisms of Emotional Regulation through Spatial Design Elements The findings of this research project indicate that the design elements in healing spaces that provide emotional regulation for participants mainly include: colour, appropriately scaled spatial structures, lighting systems, and natural elements.

Colour: The First Point of Contact with Emotions The phenomenon under scrutiny functions in a manner that extends beyond the realm of mere visual regulation, encompassing the realm of psychological suggestion, encompassing emotions and behavioural responses, in addition to exerting significant physiological feedback effects on participants' emotional responses. Recent research in the field of colour psychology has provided substantial evidence to support the hypothesis that different colour tones have the capacity to evoke specific emotional responses in individuals. To illustrate this point, consider the following example: Blue tones are frequently linked to the calming of the nervous system, the alleviation of anxiety, and the promotion of relaxation. Green tones, on the other hand, are often associated with nature and vitality, readily evoking feelings of relaxation, tranquility,

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and rejuvenation.

Warm tones have been shown to stimulate vitality and warmth in the observer.

However, these tones should be avoided in overly saturated forms in order to prevent visual fatigue. Neutral tones, such as white, grey, and black, have the potential to convey 'calmness' or be perceived as 'coldness'. This following text is intended to provide a comprehensive overview of the subject matter.

Conversely, as a non-verbal medium of "emotional coding", the application of colour must take into account cultural connotations while ensuring spatial functionality. The colour configuration of healing spaces must be considered in relation to their connotations and emotional implications across different cultural contexts. I When using colours, it is important to exercise caution and consider regional cultural backgrounds to avoid any potential negative associations.

Structure and Form: The Psychological Implications of Spatial Scale The structural elements of architectural spaces, such as ceiling height, spatial openness, and line forms, though not directly expressive of emotions, play a crucial role in behaviour, cognitive construction, and the generation of a sense of security. For instance, Mofrad et al. proposed that an appropriate ceiling height (e.g., 2.7–2.8 metres) can provide optimal psychological comfort (too high or too low may induce feelings of oppression or loss of control) (Mofrad, 2013). The geometric form of a space has been demonstrated to play an important role in mood construction. Circular structures, characterised by their soft and continuous lines, are frequently regarded as symbols of harmony and safety. This renders them well-suited for static activity areas, such as meditation rooms and art therapy spaces. Conversely, angular spaces are better suited to the stimulation of vitality and action, as they have the capacity to guide efficiency and goal orientation, for example in music workshops or painting studios.

It has been demonstrated that certain open spaces are conducive to social interaction and encourage expansive behaviour, rendering them suitable for group activities.

Conversely, closed spaces are better suited for self-reflection and emotional reflection.

In the process of designing circulation routes, a 'streamlined' spatial structure, such as circular paths or spiral corridors, has been shown to encourage users to actively explore the environment, thereby establishing spatial connections and familiarity. This, in turn, has been demonstrated to reduce anxiety caused by unfamiliar environments. It can thus be concluded that spatial structure is not only the foundation of physiological adaptation, but also a psychological suggestion system.

The Lighting System: A Synergistic Regulator of Rhythm and Mood The lighting system is a significant variable affecting human physiological rhythms; consequently, it is an essential consideration in the design of healing spaces. A significant corpus of research has demonstrated that exposure to natural light exerts a

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favourable influence on mood and circadian rhythm regulation. In circumstances where natural light is not a viable option, the utilisation of artificial lighting equipped with adjustable colour temperature can serve as a substitute to emulate the variations in daylight, thereby aligning with the body's circadian rhythm. In this context, the colour temperature of the lighting becomes a significant indicator in the regulation of mood.

It is a well-documented fact that low colour temperatures (for example, 2700K) tend to evoke a sense of warmth and security, while high colour temperatures (5000K and above) have been shown to facilitate concentration. It is evident that, in multifunctional healing spaces, the implementation of a colour temperature gradient system can serve as a effective medium to address the diverse emotional needs of individuals.

Introduction of Natural Elements: The Triggering of Biophilic Appeal The concept of 'biophilic design' posits the notion that humans possess an innate emotional connection to nature. It can thus be concluded that the incorporation of natural elements into space is a practice that evokes a sense of pleasure, whilst concomitantly enhancing the space's environmental affinity and sustainability. These natural elements encompass, but are not limited to, green plants, water features, wooden materials, and natural sounds. The incorporation of natural elements into design has been demonstrated to engender aesthetic pleasure, whilst concomitantly inducing physical relaxation responses.

The incorporation of natural materials is also a salient feature. It has been demonstrated that materials such as wood, stone and rattan have the capacity to evoke a sense of 'primitive shelter', thereby engendering a psychological sense of stability.

Sound elements: The auditory experience appears to be influenced by the presence of birdsong, water sounds, and wind sounds, which contribute to an enhanced sense of spatial immersion through the creation of sound fields.

In circumstances where the provision of a natural environment is not feasible, simulated natural landscapes (e.g. wall-mounted greenery, light and shadow installations, water walls, etc.) or virtual imagery can be utilised as design alternatives.

The incorporation of 'natural elements' has been demonstrated to facilitate a multisensory immersive spatial experience, thereby engendering a sense of calm in participants during their engagement with the spatial environment.

4.2 Psychological Mechanisms of Non-Medical Healing Spaces During the course of the interviews conducted with interviewees, it was observed that the majority of people instinctively felt aversion and resistance when mentioning places with medical attributes, such as mental hospitals. When individuals opt for these locations (frequently at the behest of family or friends) for the purpose of 'healing', their emotional state is already in a relatively low condition, with their psychological cues more aligned with a 'forced compromise' or 'half-hearted acceptance' mindset. However, the 'emotional imbalance' experienced by some individuals today is not necessarily

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'pathological,' but rather a state where 'stress or emotions cannot be released or expressed normally.' Consequently, there has been an increasing demand for nonmedical healing spaces.

The psychological mechanisms of non-medical space healing have been determined to involve the following aspects: The emotional release mechanism is defined as follows: Through the utilisation of specific spatial elements (e.g. colour, lighting, music), emotions are naturally expressed and externalised. In certain specific environments, individuals' emotions are externalised through various forms of expression, such as the use of colour in the space of painting or the exploration of sound resonance in the space of music.

Attention restoration mechanism: In accordance with Kaplan's 'attention restoration theory'(Rachel Kaplan and Stephen Kaplan, 1989), this mechanism is predicated on the attraction of unintentional attention through natural elements, thereby effecting the restoration of overused intentional attention resources. The integration of 'gentle stimuli' (e.g. dynamic water features, intertwining leaf shadows, and natural light spots) into space design has been demonstrated to effectively attract unintentional attention, thereby facilitating cognitive relaxation.

The reconstruction of self-identity: In accordance with Proshansky's 'place identity' theory (Proshansky, 1970) (Proshansky et al, 2014) the act of space facilitates the reconstruction of individuals' sense of self and their relationship to the world, through the evocation of memories and emotions. For instance, within sacred spaces (such as churches or clan buildings), the sacredness conveyed by architectural language has been demonstrated to facilitate a sense of transcendence in individuals, thereby contributing to the reconstruction of their self-worth.

Symbolic healing mechanism: It is evident that specific spatial elements, including circles, white, and light, are endowed with healing symbolic meanings by culture. It is an inherent human tendency to experience a sense of safety and tranquillity in specific cultural contexts.

4.3 Challenges and future trends for non-medical healing spaces 4.3.1 Current limitations The focus of research on non-medical healing spaces is on achieving emotional mediation through participatory spaces. This approach is entirely different from traditional medical methods. The spatial experience demands a substantial degree of user participation and perception. The design of space necessitates that designers possess a certain level of psychological theory, emotional resonance, and spatial perception. Concurrently, such spaces are predominantly public, yet there is a paucity for user participation in the design process. Participants are predominantly passive recipients of space, as opposed to being active co-creators.

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4.3.2 Future Trends The primary trend is the integration and application of perception technology. The integration of virtual reality (VR), augmented reality (AR), and emotion recognition systems has the potential to transform healthcare environments, leading to the development of 'smart healing spaces' and 'multi-sensory healing spaces'. The advent of virtual spaces affords participants a greater range of choices and conserves time for certain groups who would otherwise be required to participate offline. In the future, the concept of 'portable virtual spaces' may become a reality, thus overcoming the constraints of device usage locations. Furthermore, the integration of AI and response systems facilitates the real-time identification of user emotions, enabling the adjustment of the environment in accordance with emotional fluctuations.

5 Conclusion This study systematically explores the role of design elements in non-medical healing spaces on emotional well-being and stress relief. Based on a review of existing literature and case analyses, this paper identifies the core design elements that influence the effectiveness of non-medical healing spaces and further explains their psychological mechanisms and practical implications.

Research has found that colour, spatial structure, lighting systems, and natural elements are key factors influencing users' emotional states. Appropriate colours, spatial structures, and lighting have been proven to have significant mood-relieving effects. The introduction of natural elements is of irreplaceable importance in healing spaces. Emotional repair and stress relief are achieved through multi-sensory experiences.

At the psychological mechanism level, non-medical healing spaces exert their effects through four dimensions: natural emotional release, attention restoration, self-identity reconstruction, and symbolic healing. Spatial elements enable individuals to express and externalise their emotions in a non-coercive environment, activate non-voluntary attention to alleviate cognitive fatigue, and support emotional restructuring and selfidentity repair through symbolic systems and cultural connections.

However, non-medical healing spaces still face numerous challenges in practical application, such as differences in effectiveness due to individual user differences. In the future, with the introduction of virtual reality (VR), augmented reality (AR), and emotion recognition technologies, space design will move towards intelligent, personalised, and multi-sensory experiences, further expanding its application in different scenarios.

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AI: Revolution and Future Perspectives

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Enhancing User Acceptance of VR Museum Guide Systems: A Hypothetical Study Using the Technology Acceptance Model for Experience Design and Optimization Qinyuan Du

Abstract In the era of digital transformation, the widespread adoption of information technology, virtual reality (VR), and generative artificial intelligence has unlocked new creative and practical possibilities for virtual reality museums. Unlike traditional museums that focus on physical collections, virtual museums prioritize the symbolic meaning and dissemination of cultural artifacts. By leveraging unrestricted spatial layouts, they offer enhanced accessibility and convenience for visitors’ appreciation and engagement. However, despite the evident potential of virtual museums, little attention has been paid to integrating guide systems to meet users’ experiential needs, particularly in how users process information and adapt to the virtual environment to enhance interaction comfort and overall satisfaction upon entering the virtual space. This study extends the Technology Acceptance Model (TAM) by incorporating immersion, emotional response, and technology trust as external variables, constructing a research model with six hypotheses to examine users’ behavioral intention (BI) toward VR museum guides. Due to time constraints, simulated data for 300 (n=300) participants were analyzed using Structural Equation Modeling (SEM). The simulated results indicate that immersion significantly influences perceived usefulness (PU) (β=0.35, p<0.01), while emotional response impacts perceived ease of use (PEOU) (β=0.28, p<0.05). Technology trust also enhances both PU and PEOU. These findings suggest practical design improvements, such as enhancing 3D interactions and adopting emotionally engaging narration. This study aims to address the gap in design research and provide actionable insights for future museum curators and designers to optimize user experiences in virtual museums.

Keywords Virtual museum, intelligent guide system, user experience optimization, immersion, emotional response, technology trust

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Introduction Museums are increasingly positioning themselves as platforms for delivering enriched visitor experiences, moving beyond their traditional roles as mere repositories of artifacts (Falk & Sheppard, 2006; Kirchberg & Tröndle, 2012). From this perspective, museums are evolving into active producers of culture (Smith, 2011), shaping a sense of place and cultural identity, and establishing themselves as significant tourism destinations (Kirshenblatt-Gimblett, 1998). With the advent of the information technology era, there has been growing interest in leveraging new technologies to create more experiential, interactive, and engaging spaces. However, as with any novel technology, the rapid and seamless adoption of these innovations requires clear guidance and user-friendly support to ensure accessibility and effectiveness.

In recent years, the proliferation of virtual environments in industries such as entertainment and heritage preservation has drawn significant attention to their potential in museum development (Lepouras, 2001). Virtual museums, particularly those utilizing Virtual Reality (VR), offer unique opportunities to enhance visitor engagement. However, compared to the well-established service systems of traditional museums—such as guided tours, information desks, and visitor notifications—virtual museums face challenges due to factors like underdeveloped VR hardware, nonstandardized platform designs, and external limitations (Schofield et al., 2018). These constraints position virtual museums as an emerging field with considerable room for growth.

A critical question arises: does the absence of robust hardware fully account for the challenges faced by virtual museums, or are there underlying software-related issues that persist? In other words, even if hardware limitations are resolved, will new problems emerge? Furthermore, are there theoretical frameworks capable of evaluating users’ experiences with intelligent guidance systems in virtual museums and quantifying their satisfaction levels? (Lee & Jung, 2020). This study seeks to address these questions by exploring the experiential dynamics of virtual museum visitors interacting with intelligent guidance systems, particularly those powered by advanced technologies such as large language models (LLMs).

Generally, a complete visitor experience can be conceptualized in three stages: intention (motivation-driven), engagement (interaction occurrence), and reflection (outcome evaluation). These stages reflect a dynamic process from initial intent to active experience and subsequent reflection. In the intention stage, visitors’ motivations can be conscious (e.g., seeking knowledge) or unconscious (e.g., leisure and entertainment) (Yan, 2018). Self-Determination Theory (SDT) provides a robust framework for understanding these motivations, positing that behavior is driven by intrinsic factors (e.g., interest-driven exploration via Augmented Reality [AR]) and extrinsic factors (e.g., rewards or social expectations) (Deci, 1971). This stage

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determines whether visitors will engage deeply with a VR museum experience.

Intelligent guidance systems, powered by LLMs embedded in museum applications, can enhance this phase by offering personalized recommendations, tailoring guided routes, and curating content based on individual motivations, thus laying the foundation for a meaningful experience.

In the engagement stage, the visitor experience is conceptualized as a “dialogue” between the individual and the environment (McCarthy & Ciolfi, 2008). Embodied Cognition Theory underscores the pivotal role of the body not only as a medium for information but also as a central component in cognitive processes (Foglia, 2013).

Cognition emerges through bodily interactions with the environment, suggesting that applications must incorporate contextualized interactions—such as AR-guided tours or voice-activated narrations—to deepen visitors’ understanding of exhibitions.

Additionally, Flow Theory highlights that immersive experiences arise from pleasurable interactions and a state of “oneness” where users lose track of time (Csikszentmihalyi, 1990). Early conversational agents, such as chatbots, have already demonstrated a shift toward interactivity, transforming users from passive recipients to active participants (Toumanidis et al., 2019). However, the potential for technologyinduced anxiety should not be underestimated, as it may negatively impact the user experience, particularly in complex VR interfaces.

After that, visitors’ evaluations of their interactions with intelligent guidance systems in virtual environments will directly influence their satisfaction. The Technology Acceptance Model (TAM) provides a framework for assessing technology adoption based on perceived usefulness (PU) and perceived ease of use (PEOU) (Davis, 1989). For instance, an intuitive and practical guidance system can enhance immersion and engagement, thereby increasing acceptance of the service. Compared to traditional museum guided tours, intelligent systems supported by advanced technology enable more natural and seamless interactions. Well-designed navigation planning and efficient question-answering systems further optimize the user experience by providing responsive and context-aware support.

Building on the integration of these theoretical frameworks, this study aims to empirically analyze users’ experiences and states when interacting with intelligent guidance systems in virtual reality museums, employing TAM, SDT, and Flow Theory as foundational models (YiFei, 2024). Specifically, the study investigates how variables such as immersion, trust in technology, and emotional responses influence user behavior through perceived usefulness (PU) and perceived ease of use (PEOU).

Additionally, it examines the roles of intrinsic motivation and flow experience in shaping the overall interaction process. By constructing a comprehensive theoretical model, this research seeks to uncover the multidimensional factors affecting user experiences in VR guidance systems.

To expand the scope, this study also considers the role of cultural context and individual differences (e.g., technological literacy, cultural background, and prior

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museum experience) in shaping user interactions with virtual museum systems. For example, users from different cultural backgrounds may exhibit varying levels of comfort with VR interfaces or differing expectations for content delivery. Furthermore, the study explores the potential of adaptive learning algorithms within LLMs to dynamically adjust guidance based on real-time user feedback, enhancing personalization and engagement. By providing theoretical insights and practical recommendations, this research aims to inform the optimization of VR museum system designs, ensuring they are intuitive, immersive, and culturally responsive, ultimately contributing to the broader adoption and success of virtual museums as innovative cultural and educational platforms.

Literature Review Development and Challenges of Virtual Museum Guidance Design The concept of the virtual museum was first formalized by Geoffrey Lewis in the 1996 Encyclopaedia Britannica, where he defined it as a digital repository of images, sounds, texts, and other data of historical, scientific, or cultural significance, accessible through electronic media (Lewis, 1996; Lepouras, 2001). Unlike physical museums, virtual museums lack tangible artifacts, which strips them of the permanence and uniqueness inherent in traditional institutions. This distinction initially led developers to undervalue the importance of immersive spatial design and user experience in virtual environments (Wang et al., 2024). Early virtual museums were often relegated to supplementary roles for physical museums, receiving minimal attention. However, as technology has advanced, there is growing recognition that robust guidance systems are essential in virtual settings, particularly in Virtual Reality (VR), to deliver high-quality user experiences (Delgado & West, 2024). The absence of such systems has become a critical barrier, prompting a shift toward more user-centric design approaches.

Current online virtual museums frequently lack integrated guidance systems, relying instead on passive visual browsing of digital exhibits, which limits interactivity and engagement (Xia, 2023). This reflects a broader neglect of guidance in virtual museums, akin to overlooking the role of guided tours in physical museums, where visitor satisfaction depends on cultural significance, unique exhibits, and professional narration. Similarly, in virtual museums, adaptive guidance systems can significantly enhance cognitive and entertainment value, fostering deeper connections with content (Delgado & West, 2024). The challenge lies in designing systems that not only present information but also respond dynamically to user needs, paving the way for AI-driven solutions to bridge this gap.

The rise of artificial intelligence (AI), particularly large language models (LLMs),

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has transformed information processing and user interaction, excelling in knowledge storage, reasoning, and responsive communication (Ivanov & Webster, 2019). Yet, technological sophistication alone is insufficient; success hinges on user-centric design.

AI technologies, such as natural language processing (NLP)-based systems like ChatGPT, enable dynamic narration and personalized interactions, creating natural connections between users and exhibits (Wang & Cai, 2022; Toumanidis et al., 2019).

As human-centered systems, virtual museum guidance relies on understanding user needs and preferences, underscoring the need for theoretical frameworks to support design. For instance, researchers at Beijing Information Science and Technology University developed a virtual guide system that aggregates online museum data, converts text to audio using text-to-speech (TTS) technology, and integrates visuals via Unity plugins (Guo, 2023). While technically impressive, such systems often fall short of delivering holistic user experiences, highlighting a persistent gap between technical implementation and user satisfaction that requires further exploration.

Despite these advancements, research on user experiences with cutting-edge technologies in museums remains limited (Han & Jung, 2018). Han and Jung’s study on virtual urban heritage tourism revealed that users favor intuitive interfaces with minimal learning curves, a preference that extends to virtual museum guidance systems.

As this field is still in its infancy, many questions remain unanswered, particularly regarding how to design guidance systems that align with user expectations. These challenges set the stage for examining key factors influencing technology adoption, such as perceived usefulness and ease of use, which are central to understanding user interactions in virtual environments.

Perceived Usefulness (PU) and Perceived Ease of Use (PEOU) The Technology Acceptance Model (TAM), introduced by Fred Davis in 1989, offers a robust framework for predicting technology adoption. Its core constructs— Perceived Usefulness (PU), Perceived Ease of Use (PEOU), Attitude (ATT), and Behavioral Intention (BI)—explain how users evaluate new technologies. PU captures the extent to which users believe a technology enhances their performance, such as improving learning outcomes or efficiency (Davis, 1989). Research has used PU to study adoption behaviors for technologies like personal computers (Al-Khaldi & Wallace, 1999) and virtual stores (Oh et al., 2009), showing that higher PU fosters positive attitudes and increases usage. Huang et al. (2013) found that user and system characteristics amplify PU, enhancing attitudes toward digital museum platforms. In virtual museum guidance systems, PU is critical, as users are more likely to engage with systems they perceive as valuable for their cultural or educational goals.

PEOU measures how intuitive and user-friendly a technology is perceived to be (Davis, 1989). Studies demonstrate that PEOU indirectly drives adoption by enhancing PU (Cheng, 2012; Kashive et al., 2020). For example, in e-learning, systems deemed easy to use are perceived as more functional and engaging. In VR museum guidance systems, intuitive interfaces and seamless interactions boost perceptions of usefulness

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and engagement, encouraging adoption. Thus, this study proposes: H1: Perceived Usefulness positively influences users’ intentions to use VR museum guidance systems.

H2: Perceived Ease of Use positively influences users’ intentions to use VR museum guidance systems.

By shaping users’ perceptions of utility and usability, PU and PEOU lay the groundwork for deeper engagement, setting the stage for exploring psychological factors like immersion, which further enhance the user experience.

Immersion (IM) Introduced by Mihaly Csikszentmihalyi in 1975, immersion is a psychological state defined by nine dimensions, including balanced challenge and skill, clear goals, and immediate feedback. Fully immersed users experience sustained cognitive engagement, losing track of time and self-consciousness. In VR, immersion aligns with presence, where users feel “present” in a virtual environment through vivid visual, auditory, and tactile stimuli (Slater & Wilbur, 1997). For VR museum guidance systems, fostering focused attention and seamless action-awareness integration enables users to engage deeply with exhibits, unlocking the experiential value of immersion. Systems that create such immersive experiences are likely to be perceived as more useful and user-friendly, enhancing overall adoption. Therefore, this study proposes: H3: Immersion positively influences Perceived Usefulness in VR museum guidance systems.

H4: Immersion positively influences Perceived Ease of Use in VR museum guidance systems.

The immersive quality of VR guidance systems not only enhances usability but also builds user confidence in the technology, leading to the exploration of technology trust as a critical factor.

Technology Trust (TT) Technology trust, rooted in social psychology and information systems, reflects a user’s willingness to accept risks based on perceived competence, benevolence, and integrity (Mayer, Davis, & Schoorman, 1995). With technological advancements, trust has evolved to encompass performance, reliability, and security (McKnight, Choudhury, & Kacmar, 2002). Amid growing data privacy concerns, trust in privacy protection is pivotal, directly influencing technology acceptance. In AI-driven VR museum guidance systems, reliable navigation, seamless interactions, and robust data security foster user confidence, facilitating effortless engagement. Systems that inspire trust are perceived as more valuable, enhancing their utility for users. Thus, this study proposes:

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H5: Technology Trust positively influences Perceived Usefulness in VR museum guidance systems.

Trust in technology shapes users’ willingness to engage, which in turn influences their attitudes and intentions, key drivers of sustained interaction with virtual museum systems.

Behavioral Intention and Attitude (BI) Attitude refers to the positive or negative emotions associated with a behavior (Pallud & Straub, 2014), while Behavioral Intention (BI) reflects the strength of userorganization connections (García-Madariaga et al., 2017). In information systems research, understanding adoption intentions is paramount (Hsu & Lu, 2004; Shin, 2021).

Studies show that attitudes toward products or services strongly predict behavioral intentions. In virtual museums, positive attitudes toward museum websites drive revisit intentions (Castaneda et al., 2007). Pallud and Straub (2014) note that VR guidance system design shapes attitudes, influencing users’ likelihood of returning to virtual spaces. This study defines attitude as users’ evaluative responses to VR guidance systems and proposes: H6: Attitude positively influences Behavioral Intention to use VR museum guidance systems.

H7: Behavioral Intention positively influences the actual use of VR museum guidance systems.

Users’ attitudes and intentions are closely tied to their emotional experiences, as emotional responses play a pivotal role in shaping how they perceive and interact with guidance systems.

Emotional Response (ER) Rosalind Picard’s (1997) concept of affective computing posits that positive emotional responses enhance user interactions, while negative ones hinder them. Norman’s (2004) Emotional Design framework identifies three experiential levels: visceral (visual aesthetics), behavioral (interaction fluency), and reflective (cultural resonance). In VR guidance systems, these translate to appealing visuals, smooth interactions, and meaningful cultural connections. Although the TAM does not explicitly include emotional variables, researchers have integrated them as external factors influencing PU and PEOU (Venkatesh & Davis, 2000). Positive emotional responses, such as delight from an engaging virtual tour, enhance perceptions of a system’s usefulness and ease of use, driving adoption. Thus, this study proposes: H8: Emotional Response positively influences Perceived Usefulness in VR museum guidance systems.

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H9: Emotional Response positively influences Perceived Ease of Use in VR museum guidance systems.

Figure 1. Proposed research model(for showing) Methodology This study employs a virtual museum developed by the researcher as the experimental platform, created using the Unity game development engine. Unity’s extensive SDK plugins make it more than just a game development tool; it is also wellsuited for building VR environments. Components such as the XR Interaction Toolkit and Interaction System effectively support the needs of virtual reality platform development. For the guidance system, this study utilizes the generative AI system developed by Convai, which enables NPCs in games and virtual worlds to engage in dialogue. Convai’s system addresses issues like information hallucination through knowledge bases, ensuring accurate real-time responses, and allows characters to perform contextually appropriate actions based on environmental states and instructions. This functionality is critical for constructing an effective guidance system within a VR virtual museum.

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Figure 2. The Environment of the virtual museum I The research methodology primarily centers on quantitative analysis, employing Structural Equation Modeling (SEM) for data analysis (Baum, 1973). SEM integrates confirmatory factor analysis and path analysis, comprising measurement and structural models. This approach enables the validation of relationships among selected latent variables—immersion, emotional response, technology trust, perceived usefulness (PU), perceived ease of use (PEOU), and usage intention—and their corresponding observed items. Factor loading coefficients are used to confirm whether each item significantly correlates with its respective latent variable, ensuring statistical significance. Beyond examining variable relationships, the study aims to verify the scientific validity of the proposed model by assessing fit indices such as X², CFI, TLI, and RMSEA. It should be noted that the data used in this study are simulated to demonstrate the feasibility and rationality of the research process.

For data collection, the study adopts a questionnaire survey method, with items adapted from relevant literature to measure the constructs in the proposed research model, aiming to explore user behavior and perceptions in virtual museum experiences.

All items are measured using a 5-point Likert scale (1 = strongly dissatisfied, 5 = strongly satisfied). The questionnaire items and their reference sources are detailed in Table I. As this study is a simulation to investigate user experiences with VR museum guidance systems, it requires a sample size of n=300 to ensure reliable conclusions.

Due to constraints such as time, environment, and other factors, simulated data representing 300 potential VR museum guidance system users (including museum visitors, students, and design professionals) are used. The simulated dataset is generated using Python to produce normally distributed data aligned with theoretical assumptions (e.g., immersion has a mean of 4.0 on a 5-point Likert scale). In total, 18 observed

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variables (RQ1–RQ18) are created to measure the six latent variables, with each latent variable comprising three measurement items. The sample size of 300 exceeds the minimum requirement for SEM, which typically recommends a participant-to-item ratio of 10:1 (Jackson, 2003). The simulated data are analyzed using R language for Confirmatory Factor Analysis (CFA) and SEM to ensure the reliability and validity of the measurement model. This approach provides a preliminary test of the proposed model, laying the foundation for future empirical studies with real user data.

Figure 3. The Environment of the virtual museum II For future questionnaire design, a pre-test will be conducted with ten randomly selected participants, and feedback from two domain experts will be solicited. Based on this feedback, the number of questions and the questionnaire layout will be adjusted.

After these steps, the finalized scale will be distributed on a larger scale. The questionnaire will include the three following key sections: The first is the pre-test Section, This section assesses users’ expectations and anticipation before interacting with the system. To enhance response quality and reliability, the first question is designed as: “Have you previously experienced a VR virtual reality museum?” If respondents select “No,” this response will be recorded and statistically analyzed. the second is Variable Questions, The questionnaire includes 18 questions targeting the six variables in the model. The third is about demographic Information: Respondents’ basic personal information, such as gender, age, education level, and occupation, will be collected and securely protected.

When studying user acceptance of intelligent guidance systems in VR environments, Table I. Measurement Model and Sources

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Construct

Indicator

Immersive(IM)

RQ1

I feel like I am physically present in Y Yang（2024） the virtual art museum.

RQ2

The visual effects of the virtual scene George（2021） make me feel it is real.

RQ3 Emotional

RQ4

Reflection(ER)

RQ5

Description

When using the VR guide, I feel Dimitrios isolated from the real world. （2021） The explanations from the AI guide make me feel pleased.

When using the AI guide, I feel excited or curious.

Tech trust(TT)

Perceived

References

Y Yang（2024） Krishna（2024）

RQ6

Mello The response speed of the AI guide de makes me feel satisfied. （2024）

RQ10

I believe the information provided by ZhanWan the AI guide is accurate. （2024）

RQ11

I feel reassured about the privacy ZhanWan protection of the AI guide. （2024）

RQ12

I think the AI guide system is W Peng（2010） reliable.

RQ13

The AI guide helps me better ZhanWan understand the artworks. （2024）

Usefulness(PU) RQ14 RQ15 RQ16

The AI guide improves my visiting efficiency.

The AI guide helps me learn more

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Perceived ease

RQ17

about art knowledge.

Of use(PEOU)

RQ18

I think the AI guide system is easy to （2024） operate.

Giuliano(2014) I can quickly learn how to use the AI guide.

Y Yang（2024）

RQ19 Behavioral

RQ20

Intention(BI)

RQ21

ZhanWan

Interacting with the AI guide feels effortless to me.

ZhanWan I am willing to use this AI guide （2024） again.

Dong I would recommend this AI guide to Jining2023 others.

I plan to use similar VR guides in the Y Yang（2024） future.

Costas(2001)

data collection and cleaning pose greater challenges than data analysis. Collecting and converting 270–300 high-quality responses via Likert scales requires significant effort. Additionally, ensuring a smooth experimental process and enabling users to accurately translate their experiences into numerical ratings is inherently challenging.

But the key difficulties in the experimental process and data analysis relate to ethical considerations and data quality. In scenario-based experiments, an informed consent form is essential to ensure participants fully understand the study’s purpose, legal assurances, and intended use, empowering museum users to accept or decline participation. Additionally, protecting the anonymity of participants’ data during the experiment is critical to prevent information leaks.

Regarding data collection, sampling bias is a significant challenge, as it is difficult to balance participant demographics. Not all participants will have prior VR experience, so the n=300 sample must carefully account for user backgrounds, covering diverse age groups, educational and professional backgrounds, and related demographics to minimize external influences on the study’s outcomes.

In terms of data quality, ensuring participants respond thoughtfully is crucial.

Empirical research indicates that many post-experiment online questionnaires suffer from invalid or careless responses. To address this, the study incorporates attentioncheck questions (e.g., requiring participants to select “3” in specific instances) to filter out non-serious responses.

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After data collection, proper data processing is critical to the model’s functionality, as SEM assumes normally distributed data. Significant skewness or kurtosis in the dataset could undermine the reliability and accuracy of model evaluations. To address this, the study will assess data normality through skewness and kurtosis tests. If the data deviate from normality, non-parametric methods (e.g., Bootstrap) will be employed for robustness checks, followed by necessary transformations to ensure compliance with SEM assumptions.

Discussion and Analysis Analysis of Reliability and Convergent Validity In this section, the results of the quantitative experiment are evaluated and analyzed using simulated data to clarify the implications and value of the research findings. The data and analyses presented are intended to demonstrate the research methodology and do not carry precise empirical significance.

The reliability of the collected data was analyzed using SPSS 27.0 software. As shown in Table 3, the Cronbach’s α values for each factor range from 0.790 to 0.905, exceeding the threshold of 0.7 proposed by Nunnally (1967). Furthermore, removing any item results in lower Cronbach’s α values, indicating that the measurement items exhibit strong reliability and are suitable for further analysis.To assess the internal consistency of each item, Exploratory Factor Analysis (EFA) was conducted. Principal Component Analysis was used to extract new factors with eigenvalues greater than 1 for each construct. The results show that the Kaiser-Meyer-Olkin (KMO) values for all items exceed 0.50, and the Bartlett’s Test of Sphericity yields significance levels below 0.05, confirming significant correlations among measurement items and their suitability for EFA (Kaiser, 1974; Norusis, 1992). All items within each dimension contributed to the extraction of a single new factor with an eigenvalue greater than 1 (Harman, 1976), demonstrating strong internal consistency within each construct (Kohli et al., 1998). As shown in Table 4, the KMO values for all variables exceed 0.700, and the significance probability of Bartlett’s Test is less than 0.001, further confirming significant correlations among measurement items.

To evaluate convergent validity and discriminant validity, Confirmatory Factor Analysis (CFA) was performed using R programming. Factor loading coefficients indicate the correlation between factors and their measurement items. In general, standardized factor loadings of 0.5 or higher are considered practically significant (Hair et al., 1998). Additionally, all constructs exhibit Composite Reliability (CR) values greater than 0.7 (Chin, 1998) and Average Variance Extracted (AVE) values greater than 0.5 (Fornell & Larcker, 1981), indicating strong convergent validity. As shown in Table 3, all measurement items achieve a significance level of 0.001 (p < 0.001), and the standardized factor loadings, CR, and AVE values fall within standard thresholds,

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confirming robust convergent validity. As shown in Table 5, the square roots of all AVE values exceed the correlations between other constructs in the matrix, further validating the discriminant validity of the research data (Fornell & Larcker, 1981).

Table 2. Reliablity and Convergent Validity Constru ct

Item

Unst d

SE

Unstd./S E

pValu e

SD

Cronbach’ AVE CR α

IM

RQ1

1.00 0

-

-

-

0.86 1

0.898

0.74 5

0.89 8

RQ2

0.98 2

0.05 4

18.169

***

0.95 7

RQ3

0.99 2

0.05 4

18.524

***

0.87 1

RQ4

1.00 0

-

-

-

0.891

0.05 8

17.038

***

0.83 7

0.73 0

0.89 0

17.703

***

0.05 7

-

-

-

19.305

***

0.76 1

0.90 5

0.05 2

18.972

***

-

-

14.597

***

14.413

***

0.64 4

0.84 5

10.972

***

11.236

***

-

-

ER

RQ5 RQ6 TT

PU

PEOU

RQ1 0

0.98 6 1.00 2

RQ1 1

1.00 0

RQ1 2

0.99 6

RQ1 3

0.99 2

-

RQ1 4

1.00 0

0.06 8

RQ1 5

0.99 0

0.06 7

0.05 2

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0.84 7 0.87 8

0.905

0.87 0 0.88 0

0.840

0.86 7 0.80 5 0.80 6

0.790

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BI

RQ1 6

0.96 6

0.09 6

RQ1 7

1.05 6

0.10 7

RQ1 8

1.19 7

-

RQ1 9

1.00 0

RQ2 0

0.94 7

RQ2 1

1.10 4

11.215

***

12.259

***

-

-

0.79 7 0.75 3

0.800

0.56 2

0.79 4

0.57 1

0.79 9

0.78 5

0.08 4

0.75 3

0.09 0 -

0.71 5

1.00 0 Structural Model Assessment To ensure consistency between the data and the theoretical model, the model’s goodness-of-fit must meet established standards. (The following analysis evaluates simulated data to illustrate the research process.) The proposed model was tested using R programming. As shown in Table 5, the overall model fit indices are as follows: CMIN/DF = 2.093 < 3, RMSEA = 0.038 < 0.10, CFI = 0.982 > 0.9, GFI = 0.939 > 0.9, TLI = 0.978 > 0.9, and IFI = 0.982 > 0.9, all of which meet the criteria for acceptable model fit. Overall, the model demonstrates satisfactory statistical significance and meets the research requirements.

Table 3. Results of KMO and Bartlett Sphere Test Constru ct

KM O

Bartle tt

Item

Communali Factor ty Loadin gs

Eigenval ue

Total Variation Explained %

RQ1

0.787

2.493

83.091

Spher e Test IM

0.75 3

<0.01

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0.898

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ER

0.74 8

TT

<0.01

<0.01 0.75 6

PU 0.72 7

0.70 3

RQ3

0.785

0.906

RQ4

0.742

0.927

RQ5

0.749

0.881

RQ6

0.801

0.877

RQ1 0

0.804

0.904

0.835

0.889

0.809

0.937

0.622

0.747

0.590

0.873

0.589

0.852

0.501

0.874

0.570

0.805

0.503

0.767

0.594

0.757

0.696

0.843

0.675

0.870

RQ1 2

RQ1 4 RQ1 5

<0.01

0.70 2

0.905

RQ1 3 <0.01

BI

0.783

RQ1 1 <0.01

PEOU

RQ2

RQ1 6 RQ1 7 RQ1 8 RQ1 9 RQ2 0 RQ2

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2.463

82.100

2.522

84.050

2.275

75.826

2.114

70.454

2.144

71.482

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Table 4: Main Test Indicators for Model Fitting：

Common indices CFI

TLI

X^2/df IFI

Judgement criteria Value <0.9 >0.9

<3 >0.9

<0. 1 >0.9

0.982

2.093 0.982

0.038 0.939

0.978

RMSEA GFI

The path coefficients of the structural equation model reflect the relationships and effect sizes among the model’s paths. Standardized effect sizes are presented in Table 7, and the relationships among variables in the structural model are illustrated in Figure 3. The results indicate issues with certain paths, including TT to BI, ER to TT, and TT to IM, as well as the path from PEOU to BI, which exhibits a low variance proportion (SD = 0.19). Although the p-value for this path (0.004 < 0.005) is statistically significant, the risk of Type I error is relatively high, highlighting a significant issue in this simulated model.

IM significantly affects PU and PEOU (p = 0.000 < 0.01), supporting H3 and H4.

PEOU positively influenced by ER (p = 0.000 < 0.01) and IM (p = 0.000 < 0.01), supporting H6 and H7. PC significantly affects PU (p = 0.001 < 0.01), supporting H5.

Additionally, BI are positively be influenced by PU(p = 0.000 < 0.01) and PEOU (p = 0.000 < 0.01), supporting H1 and H2. PU positively be affected by ER (p = 0.000 < 0.01) and IM (p = 0.014 < 0.05), supporting H3 and H4. furthermore, PEOU, ER, and TT explain 52.8% of the total variance in PU for VR museum guidance system usage. TT accounts for 53.7% of the variance in BI.

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Table 5. Correlation Matrix and AVE Table 6.

Hypothesis Test Results

IM

ER

TT

PU

PEOU

BI

IM

0.863

ER

0.033

0.854

TT

0.076

0.107

0.872

PU

0.408

0.433

0.384

0.799

PEOU

0.478

0.462

0.014

0.408

0.748

BI

0.359

0.372

0.252

0.738

0.456

0.753

IV value

→ SD

DV

Unstd Result

SE

Unstd/SE

p-

TT -

→ 0.535

BI

PEOU 0.000

→

PU

ER 0.000

→ PU 0.480

ER -

→

PEOU -

H6 is valid

→

PU

0.261

TT

R^2

0.537

0.629

-

-

-

H8 is valid 0.688

0.131 H9 is valid

5.257

0.327

0.039 H6 is valid

8.372

0.528

0.528

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-

0.036

-

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0.000 TT -

0.400

0.528

→

IM

-

PU 0.000

→

PEOU 0.004

→

IM 0.000

→

IM 0.000

→

H5 is valid -

-

-

0.684

0.079 H1 is valid

8.630

0.189

0.066 H2 is valid

2.846

0.265

0.037 H3 is valid

7.097

0.337

0.045 H7 is valid

7.521

BI 0.580

0.573 BI

0.190

0.573 PU

0.390

0.528

PEOU 0.490

0.457

The above analysis demonstrates that Structural Equation Modeling (SEM) effectively measures the reliability and validity of observed variables, assessing the significance of relationships among latent variables. The measurement and evaluation of the path model further confirm whether reasonable connections exist among latent variables, directly validating the effectiveness of the proposed model.

Conclusion The value of virtual reality (VR) museum guidance systems lies in their ability to provide users with convenient access to cultural experiences despite external constraints. In contemporary society, factors such as fast-paced lifestyles, demanding work schedules, and geographic or economic limitations have made technologyenabled virtual museums increasingly appealing. However, the successful implementation of advanced

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Figure 4. Proposed research model (hypothetical for showing) technologies hinges on the human element. Compared to traditional physical museums, modern virtual museums integrate new narrative and dissemination methods enabled by digital technologies, such as the internet, cloud computing, and VR interactions. Yet, current research primarily focuses on the technical implementation and application of virtual museums, with limited attention given to user-centric guidance systems. This study shifts the focus to measuring the diverse experiences and perceptions users exhibit when interacting with such technologies.

Most visitors voluntarily and purposefully use VR devices to access virtual museums, transitioning from passive recipients of information to active co-creators of the exhibition experience. Therefore, it is crucial to help future virtual museum developers, designers, researchers, and professionals recognize the importance of enhancing user perceptions and understanding. At the theoretical level, this study clarifies previously ambiguous causal relationships among variables and provides technical insights into improving the adoption rate of guidance systems in VR museums.

First, this study explores users’behavioral intentions through the **Technology Acceptance Model (TAM) and system characteristic factors. It proposes 11 hypotheses, of which 8 are statistically significant. The results indicate that Perceived Ease of Use (PEOU), Perceived Usefulness (PU), and Behavioral Intention (BI) determine whether users and visitors ultimately adopt intelligent guidance systems in VR museums, consistent with prior research. Second, the study extends four key literature domains, revealing that for users to experience positive feedback in virtual museum spaces, the guidance system’s ability to provide immersion, technology trust, and emotional engagement significantly enhances usage intentions. By improving immersion and experiential richness, guidance systems can help users enhance their perceptions,

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fulfilling both knowledge and emotional needs.

However, one hypothesized path in this study encountered issues, primarily due to the study’s reliance on simulated data generated under a normal distribution, which may have led to suboptimal model fit for certain latent variables. This simulation experiment highlights a critical insight: even when using the TAM framework, data issues or the pursuit of higher statistical significance may require consideration of **mediating or moderating variables** between certain latent constructs. This is an area to address in future research.

Moreover, well-designed VR museum guidance systems have the potential to address challenges faced by traditional virtual museums, such as accommodating growing visitor numbers, alleviating physical space constraints, and mitigating funding shortages. However, while virtual museums, especially those equipped with intelligent guidance systems, offer numerous advantages, they cannot fully replace physical museums. A content analysis study suggests that virtual museums inspire many users to visit physical museums to experience authentic artifacts (Saiki & Robbins, 2008). In the future, virtual and physical museums are likely to coexist, catering to users and visitors with different needs. People will choose between virtual and physical museums based on their circumstances and contextual suitability.

This study serves as a supplementary exploration for future doctoral research, aiming to empirically identify the factors influencing users’ optimal use of guidance technologies in virtual environments. It primarily demonstrates the validation process of the TAM framework by examining the impact of perceived usefulness, perceived ease of use, immersion, emotional response, and technology trust on usage intention, thereby establishing the rationality of the proposed model. However, future research must acknowledge that relying solely on quantitative analysis may limit the depth of inquiry, particularly in user experience (UX) research. As humans are inherently emotional beings, their experiences are difficult to fully quantify through data alone.

Quantitative research excels at addressing questions like “what is it?” or “how much?” but often falls short in exploring “why?” Traditional UX research methods, such as interviews, focus groups, or A/B testing, can provide valuable qualitative insights to complement and enrich findings.

In conclusion, achieving a robust research outcome for VR museum guidance system design requires meticulous attention to detail across all aspects. By addressing both quantitative and qualitative dimensions, future studies can offer a more comprehensive understanding of user experiences, paving the way for optimized and user-centric virtual museum platforms.

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Reference（To The question 1. Richter, N.F. and Tudoran, A.A., 2024. Elevating theoretical insight and predictive accuracy in business research: Combining PLS-SEM and selected machine learning algorithms. Journal of Business Research, 173, p.114453.

2. Yildiz Durak, H. and Onan, A., 2024. Predicting the use of chatbot systems in education: a comparative approach using PLS-SEM and machine learning algorithms. Current Psychology, 43(28), pp.23656-23674.

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Towards a model of user experience in immersive virtual environments. Advances in Human‐Computer Interaction, 2018(1), p.7827286.

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8. Carignani, F., Laura, C., Iodice, G. and Bifulco, F., 2023. How management uses AI in the museum field: From chatbots towards chatGTP. In Sinergie-SIMA Management Conference Proceedings Rediscovering local roots and interactions in management (pp.

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EXPLORING USER ENGAGEMENT OF INTERACTIVE ART INSTALLATIONS IN PUBLIC SPACES Xiuyuan Chen

Abstract This paper investigates the relationship between the characteristics of interactive art installations and user engagement, with a focus on public spaces. The research aims to identify direct links between installation properties and how users interact with and participate in these installations. The study utilizes user research methodologies inspired by prominent user experience theories, employing both observational experiments and critical methodological analysis. Two main experiments were conducted: the first examines the impact of device material choices on user engagement within a consistent environment, while the second explores how different public spaces influence engagement with the same device. Findings reveal that factors

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such as the interactivity of the process, narrative richness, emotional expression, thematic relevance, and artistic effect significantly influence user experience.

Additionally, spatial attributes play a crucial secondary role. The paper also provides a critical analysis of interface user research and prototype usability testing, offering valuable methodological insights for future interactive art installation design and evaluation.

Keywords: Interactive Art Installation, User Experience, User Engagement, User Research, Interaction Design, Prototype Usability Testing, Public Space, Research Methodology

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This paper will critically discuss the methodologies for studying interaction design and the applicability for the research of interactive art installation in public spaces.

The paper consists of two parts: the first part will present the research finding for supporting the conference paper, including the proposal and the original research idea, the problems when doing the research, the changes in the research methods, and the final research findings. The second part will be a critical analysis of two methodologies: one is the research method of interface user research, and the second will be the research method of the prototype usability test.

Part 1: Research Findings

In the beginning, the research’s goal is to find a direct relationship between the “property of the interactive art installation” and “the user engagement”, the research method I will be using is based on user research for interaction design. The user experience research is inspired by the article written by Marc Hassenzahi, in his article, he describes that user experience is a strange phenomenon, with a very complex determinant. Some people argue that the word “User experience” is vague, elusive, and ephemeral. While some others describe it as beauty, hedonic, affective or experiential aspects of technology use (Marc, 2006). Due to the complexity of user experience, the research plan starts with the phenomenon, which is, finding a measuring method to test the user engagement indirectly. The measuring method could be the number of people interacting with the device or the happiness of the people after the interaction. The original research was planned to conduct an experiment on one self-made large screen installation and put them in public spaces to test the users’ reaction. Because considering the effect factor could either be the different material been used for the device or a different environment, the experiment will contain 2 parts: part 1 was to try devices with different materials at the same place and do the observation to test the effect of device choice/material choice; While the second part was trying different locations with the same device to test the impact of the environment. The assumption is that the interestingness of the interaction process, the richness of the narrative content, the emotional expression, the timeliness of the theme and the art effect will be the main factor of the user experience. Also, the property of the space will also be the second factor of user experience.

However, to critically analyse the research method, it is obvious that the original research method only fits a narrow scope, because the measuring methods only count the number of users and the satisfaction of users, which is far not enough for all public spaces. To solve this problem, self-directed research needs to restructure the research method. The experiment is too early before the research is getting the full image. Generally speaking, the full image should be from the perspective of multiple parties, including the users, the designers, the space owner, and the marketplace. The

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word “user experience” only describes the perspective of the user, but from some other perspective, they might not only wish the users have a good experience. For example, in the case of shopping malls, the interactive device might need to provide some shopping guide to the users; in shop windows, the device might have the function of leading the users to go in the store, etc. As a result, the research uses the word “user engagement” to describe the true design goal of making an interactive art installation.

Normally, research always consists of 2 main parts, which are called “primary research” and “secondary research”. As the name implies, “primary research” means the first-hand data created by the researchers, collected directly from the experiment or surveys. and “secondary research” means the finding the second-hand data created by previous research, by searching articles, or from any other source. To avoid repeating the experiment with others, the “secondary research” should be done at the beginning, then the “primary research” will be the supplement or validate part and will be done for the second step. For this research, the research order will follow the principle above - to do the “secondary research” firstly, then do the “primary research” secondly.

A large number of previous studies are centred on the spatial planning and design of shopping malls or user-centred interactive device design, which gave the researcher a lot of inspiration of research method. From a interview with the interaction designer Harry Brignull, he refer that “A good interaction designer should be flexible. (Sharp, H. 2019)” The field of interaction design has changed dramatically. The practice of interaction design is very complex, but keeping technology innovative and evolving is a constant goal. When it comes to the wider business world, interaction designers face a range of pressures, including time limitation and resource limitation. In addition, they need to work with a variety of roles and stakeholders. Moreover, many principles, techniques and methods still need to verify through practice.

But before the practice, the first thing of the study is to find out the research range, which is called scoping study. According to Danielle Levac, “scoping study allows the researchers to understand the extent, range, and nature of research activity so that they can determine the value of undertaking a full systematic review, summarize and disseminate research findings, or identify gaps in the existing literature (Levac, 2010).” The scoping study is necessary for the beginning stage of the research because the research area needs to be clearly defined before the study start, researcher needs to understand what is in or out of the range of the study so they can know what is missing and what is the extra work. In the case of the study of interactive art installation, the scoping study will need to understand what the nouns in the title refer to. Researchers need to make a clear definition of “user engagement”, “interactive art installation” and “public space”.

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PUBLIC SPACE From the legal point of view, private space should be the space of individual ownership, such as a “home”. However, public space is a space that does not belong to any individual.

But generally speaking, the public space can also be opened up for their own control of the space out, which temporarily forms personal space. For example, when someone uses a public bathroom, the space inside the room temporarily becomes the person’s private space. Identically, private space also has the potential to form public space. For example, having a party at home makes the home a public space.

So here is how I define it: An individual's disposable space is called private space; A space that can be dominated by multiple individuals is a public space.

A public space could either be a coffee shop, a restaurant, a cinema, an auditorium, a shopping mall, a plaza, a shop, a park, a playground, a road, a corridor, a bus stop, a strain station, an airport.

INTERACTIVE ART INSTALLATION Literally speaking, people can interact with an installation, and while the installation can provide art value back to people, we call it Interactive Art Installation(The following article may be abbreviated as “IAI”, “Installation”, “Art Installation”, or “Interactive Installation”).

To narrow it down, the devices we are talking about here are mostly electronic devices because electronic devices make more complicated interactions, and are more commonly appear in the public space, so the pure mechanical constructions will be out of this research.

Normally, an Interactive Art Installation consists of three parts: an input device, a central processor, and an output device.

The input device detects a person’s behaviour and transforms it into an electronic signal. For example, turning buttons on and off can be the digital signal 0 or 1. A sound sensor can catch people’s sound wave and turns them into analog signal. More complexly, the Kinect sensor can catch a person’s body coordinates and upload them to the processor.

The central processor works as a “brain” of the interactive device, it receives the input signals and generates the output signal after processing it. Installation Artists commonly use Single Chip Microcomputers (SCM) as central processors. For

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example, the Arduino series boards work with open-source platforms and adapt a large number of modular components, which is very popular among beginner designers. The ESP 8266 series boards work well with networks such as Wi-Fi connection, and Bluetooth connection at an extremely low cost. The Raspberry Pi micro computer has a more powerful hash rate but a low power cost, which can do more complex jobs such as simple graph analysis and AI analysis.

The output device gives feedback to the user during the interaction process. It could either be an LED’s on or off, a motor’s move or stop, a monitor’s visual effect, a speaker’s sound, a motion of a mechanical arm, etc.

There could also be more complex devices with multiple inputs or multiple outputs depending on how the designer wants it to be.

For example, Designer Daniel Rozin uses a camera as an input device, combining a large number of servo motors attached with wooden blocks as output devices. It becomes a “wooden mirror” which can reflect audiences’ shapes. It could be a good example of one input device with multiple output devices.

USER ENGAGEMENT For interactive art installations, user engagement is the interaction between users and installations. "Interaction" means mutual influence, mutual restriction, and mutual coordination. Specifically, it can be divided into sensory interaction, emotional interaction, behavioural interaction, etc. Nowadays it can refer to mutual participation, mutual cause and effect.

In the process of user interaction, "engagement" can measure the enthusiasm for user participation. The criteria for measuring user engagement vary from device to device due to their different purposes. But generally speaking, they can be summed up in two categories, namely quantitative analysis and qualitative analysis.

Quantitative analysis, that is, using statistical data to prove the degree of participation in the initiative. It can be the ratio between users who participate and users who do not participate, the average time for users to participate in the interaction, the behaviour statistics before and after users participate, etc.

Qualitative analysis means exploring the feelings of subjective feedback from users, such as whether they like it, whether they are getting the full experience, whether they will participate repeatedly, whether they will recommend others to participate, etc.

To sum up, the degree of user engagement depends on the type of the installation and the purpose of the design. User research usually requires a combination of qualitative and quantitative research, I will use both quantitative analysis and qualitative analysis.

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Based on the scoping study, the next step of the study will be exploring the content of the whole scope. The research will focus on finding out a clear classification of “how many kinds of interactive art installations”. Depending on the different environments and demands from different parties.

The question is could we classify them into some categories so that we can easier to analysis? Because the interactive art industry is new, very little literature is available.

However, we can still find some value from non-academic sources. Mike CUI is a tutor from INSTART international education institute. He is majoring in Product design and interactive device design. He helps many students work on their interactive art installations to complete their portfolios in order to apply to universities. In his shared article “How should I start the interactive device in my portfolio”, he mentioned that more and more overseas art colleges and universities have begun to try installation design in design teaching these years. During his teaching, he suggests his students not just make an installation for the portfolio, but find the meaning of the installation. In another word, don’t make a project without a narrative. The device should have a design goal, to solve a problem, or express something. As a tutor, Mike summarized and provided three kinds of designing goals for students to work on their art installations in their portfolios.

According to Mike’s article, the three main kinds of designing goal as following: 1. “Make you think” installation The Main goal is to objectively criticize (or publicize) controversial topics in society.

2. “celebrate a thing” installation The main goal of this kind of installation is to adjust the atmosphere and mood.

3. “just for fun”installation The author put the remaining installations here because the thinks that they are hard to classify. Such as some small games, or some with some black humor props.

Through case studies, the research find some good examples to match the three kinds of installations, for example, the Team Lab made the Flower and People - Dark installation to create an immersive experience. According to Mike, the installation adjusts the atmosphere and mood of the environment, so it is “celebrate a thing” installation. For another example, the installation Lifescape was an installation with 6 light boxes. According to Mike, the installation makes people think about the process of people’s lives, so it belongs to “make you think” installation.

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The classification by Mike uses “designing goal” to distinguish art installations.

However, the case study is limited to the environment of galleries and museums. As the scoping study has defined, “A space that can be dominated by multiple individuals is a public space”. It is obvious that galleries and museums are just parts of the “public space concept”, there is more place to install the installations so there should be more possibilities. For example, public space could either be a coffee shop, a restaurant, a cinema, an auditorium, a shopping mall, a plaza, a shop, a park, a playground, a road, a corridor, a bus stop, a strain station, an airport. If there are more places available for the installation, there should be more kinds of user engagements.

In another word, the design goal should be more complex than the three categories defined by Mike, so the research call Mike’s classification “the original classification” and call the new finding “new classification”.

In logic, a counterexample is a concept relative to a universal proposition. If we find one counterexample, we can say the universal proposition is a false statement.

Academically, if we find one evidence that is out of the three situations, so we can say it is a counterexample and we can prove that there should be one or more design goals that we haven't found yet.

According to this idea, the next stage of this study is to look for interactive devices outside the pure artistic space and discuss the value and significance of their existence, so as to deduce the design goal of the device and the form of user engagement.

The research method of this step is mostly offline observation and searching for online sources. The observation targets are shopping malls such as Teemall, Zhengjia Shopping Center, and Guangbai Shopping centre, also searching for online sources such as the designing labs’ official websites, and news.

The counter example is the Nike shopping window located in Oxford Street, London in 2013. The display used 2 Kinect sensors to detect passers-by’s movement, a highresolution camera catches the real-time picture and the word “JUMP” on a highresolution screen follows people’s movement.

According to the designer’s website, this device is an advertisement for Nike+ Lunar ESP. It allows passers-by experience the shoes with Nike+ Lunar ESP technology without actually wearing them. “Jump high, get the data, replay the movie, and save it to the gallery”. This is how the installation works (Staat, 2014).

Applying Mike’s classification to this particular device, when attempting to find out what type of installation it is, it seems very hard to use one of the types above to describe. After a discussion, the research found that the Nike shopping window is the counter example of the “original classification”. It should be the fourth kind of interactive art installation (please refer to the conference for details).

After finding one counter example proving that the three kinds of installations are not

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enough to describe all installations. Also, the example represents the new development trend of interactive art installation, which is, that the installations are moving out of pure artistic space and getting closer to daily life. During this study, the researchers also realized that there are differences between pure artistic space and non-artistic space. Firstly, when moving to the non-artistic spaces the audience can access the artworks without buying a ticket, so they can interact with the installations freely, as a result, artists are not earning money directly from the audience. Secondly, the space out of art galleries/museums has their own properties, in another word, the space has its own function of service. Thirdly, artists still need to cost a lot to create an art installation, the cost includes research cost, material cost, human resources, and time cost. As a result, the contradiction is that the cost of making an interactive art installation is expensive, but designers can not earn back the cost directly from the audiences, so how do designers survive to fit this trend?

To fit this trend, designers need to look for good existing good survivors in nonartistic public spaces.

The study launched a deeper investigation on every potential interactive art installation in all public spaces. The goal of this study is to face non-pure-artistic public spaces, to fill the missing parts of the previous study’s “original classification”.

Based on a comprehensive literature review and case studies, the research finds some good survivor examples fitting the new trend. For each example, the researcher paid extra attention to many factors: who is the space owner? Who creates the installation?

Who is the user? And most importantly, what is the design goal?

Through the example of “Holofit Group Training”, “Microsoft store”, “Route Leading Robot”, and “Sonic Light Bubble”, the research found that it is clear that there are more kinds of installations in public spaces. Not only Mike’s point of view from the perspective of pure artistic space, but there are also other places that have more complex properties and, correspondingly, more categories of interactive installations depending on the design goals. To sum up, the add-ons are the following: 4.“Attract people in” installation In the space such as shopping windows, the purpose of the installations needs to serve the shop. The shop’s goal is to promote its corporate image and attract more people go in the store. The core is to transform passers-by into the shop’s potential customers.

5.“Make people buy” installation In an environment such as an electronic device store, the devices are the product themselves, so the purpose of the shop is to sell the products as more as possible. The devices are going to encourage customers to try them so there are more opportunities to purchase them.

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6.“Service” installation In large commercial environments such as super sopping centres, the installations are needed to direct the customers to find the store they want. In addition, to provide art values, the installations need to provide the services as well.

7.“Public welfare” installation In the open public space such as parks and playgrounds, the installations there need to provide the functions such as relaxation, reducing pressure, or social communication chance. These functions of installations are called public welfare.

So far, the research finds 4 more design goals of the interactive art installations located in public space, which helps artists and designers not only concentrate on the narrative expression but also take care of the potential function of the installation which is required by the environment and the space owner. Only by deferring the design goals, artists can fit the new trend and spread more interactive art installations to public spaces.

To critically reflect on the research, the methodology of the research is using scoping study to determine the overall range of the research. Then, it uses a literature review to find useful research results done from previous studies. Third, the research uses a case study to verify the authenticity of the previous study. Fourth, combined with the scoping study done before, the research finds the limpness of Mike’s point of view, so that the study can push forward to find more evidence to fill the missing part of the existing classification system. Fifth, the counter-example supports that there is a limitation of Mike’s point of view. Sixth, more case study supports the evidence that there is a new trend and designers need to follow the new design goals in order to fit the trend and survive in the public space.

However, due to the study range being very wide, there are various kinds of public spaces and they all have different properties. The limitation of the study is hard to carry out detailed research of every space because of the time limitation. The case analysis above is only representative examples after screening. The future study will focus on research in practice, picking one of the public spaces to study in detail. The study will also use multiple research methods. The study will consider not only the designer, but also consider the point of view of the space owner, and the audience.

Also, the user research methods will also be used, the psychology model “Fogg behaviour model” and “Mechanism of choice behaviour model” will be used to analyse the user behaviour. Also, after doing the user research, the future study will

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research in practice: to pick one situation to talk it deeper, focusing on a specific space and find out what the designers will need to pay attention to when designing an installation for that space.

Part 2: Critically Analyse minimum of 2 research methodologies As an interaction designer, there are two research methodologies I learned from my previous instructor. During my previous work and practice, I found the two methodologies are very useful for interaction design. After systematic collection and organisation, I think of them as my toolbox for making interactive products. The first one is called user research, it is a series of research methods to help designers to understand the user behaviours, which are often been used before making an interactive product. The second one is called the usability test, it is a useful method to test a product during the designing stage or after the launch. Following, this part will discuss the methodologies and critically analyse their advantages and disadvantages and scope of application.

1. User research In the market, there are many companies that ignore user research before designing a product. They mostly rely on their intuition or previous experience when making decisions. However, these intuitions and experiences may not lead designers to the right path in product design. It is a feeling of hitting luck. Designers always ask: How to establish a correct thinking mode of product design, and how to make our product design have a more scientific basis, avoid the risk and uncontrollability caused by the deviation of personal experience? In order to solve such problems, more systematic user research methods and thinking patterns are needed.

In the methodology of user research, designers are required to know the following research methods: questionnaire, interview, data analysis, mood board, card sorting, and personas.

These series of research methods are being used to find out the users’ needs and the users’ pain points, and the main direction of the research is to find out the problem and decide the direction of the design. They all have their advantages and

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disadvantages. But the two I mostly used were the interview and questionnaire and I always do them together so the results can complement each other. However, after times using them for the research, I realized that there is a lot to be careful about.

There are differences between the two methods questionnaire and interview.

Questionnaire: Through the formulation of a series of questions, in a certain range of release, recovery, and statistics of user feedback information. Reasonable feedback can help to make decisions and adjust policies.

Interview: By asking questions and communicating, we can have a deeper understanding of users' ideas, understand the process of their ideas, and even dig out the real reasons behind them.

In short, questionnaires can be easily duplicated and hand them out to a large number of test subjects, but this method can only collect the shallow answer, which only stays at the level on the surface layer but cannot dig into the underlying cause of things.

Compared with the questionnaire, normally interviews can only conduct with a small group of people because each interview would take a longer time. However, the interview can help researchers understand the deeper emotional reflection of the question by observing. Also, the interviewer could ask for deeper reasons from the interviewee, which might help the researcher get the root reason for the phenomenon.

When combining the two research methods together, the questionnaire is more like quantitative research and the interview is more like qualitative research.

When designing the questions for the questionnaire, the logic and connection of questions are worth to be taken care of.

Critically thinking back to the experience of previous researches, I found that there are some problems that will need to avoid in the future research: 1. Wrong question jumping logic. After answering a question, the questionnaire should jump to the next question related to the answer.

For example, one of the previous library surveys contains a questionnaire, it asked people “1. have you been to the library for these days?”, If yes, the questionnaire should lead people to jump to the detailed question “2. which area did you visit?”; If no, it should ask “3. do you have any plan to go to the library?” In this case, the question jumping logic should be “1 jump to 2 if people answer ‘yes’ and they don’t need to answer the question 3”; “1 jump to 3 if people answer ‘no’ and they don’t need to answer the question 2”.

2. Ending logic. When the questionnaire finds the person is not a potential user, the

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researcher can finish the test immediately to avoid wasting time.

For example, if a person answers “no” to the question “do you buy anything online?” or “do you plan to buy anything online?” then we can confirm that the person is not a user of “online shopping”, so the “online shopping survey” can finish earlier to save time for both researcher and interviewee.

Contradiction logic. This logic can help researchers filter the invalid questionnaires.

For example, if a person’s answer contains “I have been to the social sciences part of the library these days” as well as “I haven’t been to the library these days.” We can analyse that the person’s answer is contradictory. So it is highly possible the person didn’t treat the questionnaire well, so this copy of the questionnaire is invalid.

After doing the questionnaire, many researchers directly jump to the statistics and analysis step, including my previous research. However, after reading the book “The Practical Path of User Research” written by Shu Chen, and Zhenhua Chen. I understand that there are many things I was missing during previous research.

According to Shu Chen, “Recycling and Counting are the hardest part of the questionnaire, and this part is closely related to data analysis. (Chen, 2018) ” The recycling part includes 5 steps and some of them were the steps I missed during my previous research.

1. Recycling the questionnaire. If the questionnaire was done online, researchers can directly get the data feedback table. If the questionnaire was done on paper, researchers will be required to make an e-table and fill in every data for the counting.

2. Eliminate the invalid samples. Due to all analysis processes needing to stand on valid data, it is necessary to find out the invalid ones and make them out of the analysis.

3. Statistical analysis of sample information. This step will need the researchers to analyze the sample user’s characteristics from the overall samples.

4. Analyze the connection between questions and answers. Understand individual questions and correlate data results between questions.

5. Analyze the acquired data and refine the conclusions.

Above, the research method is used to design for doing user research on a product design. However, the research method can be used more widely, and it will require a practical verification to find out the range of applications. More practical validation

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opportunities will be applied in future studies.

2. Usability test If we describe user research as a conventional research method, the usability test can be described as a new research method. As there are many new interactive products that have User Interface (UI), the usability test is necessary to avoid mistakes and make the product easier to use. According to Shu Chen, designers always have the usability test at the stage of the designing stage, inviting user representatives to try out the prototype. By using this method, the usability problems can be quickly fixed. It can find out some serious leaks within a controllable stage in advance to avoid some risks after launch (Chen, 2018).

During usability tests, many high technologies are in use, such as voice recording, video recording, screen capturing, and eye-tracking.

Normally, researchers do usability tests in a controlled laboratory environment. This kind of method focuses on testing whether the product is easy to use or not. In the beginning, it is been used for testing the computer products, such as websites, text processing software, or search engines. But nowadays it is in wider use, such as applications on mobile devices and other digital products. Performing usability tests in a laboratory or other designated controlled environment enable designers to control user operations, allowing them to control environments that may affect user performance. For now, there are more meanings for usability tests: not only testing the usability but also testing the user experience in some cases, such as game testing will consider the degree of pleasantness and attraction.

The core content of the usability test is to observe typical users perform typical tasks and then draw conclusions based on how well the user completes the task. The typical users refer to the target user of the product, while the typical tasks refer to the actionable activities designed for users. Normally, designers need to compare the number and type of errors users make in different versions and record how long it takes them to complete tasks. As users perform tasks, they are typically recorded on video, and their interactions with the software are often recorded through logging software. Some labs use new research methods during the usability test, with the use of eye movement detection, the test can record the focusing point of the user’s eyeball, so researchers can know the attention point of the user in real-time. Also, with the help of processing software, researchers can see the overall heat map of the eye movement, so they can know the most popular element of the interface.

As a useful research method, the usability test was based on user experience research for user interface design. However, the range of the application could be in wider use.

For example, it can also be used for medical equipment tests. By doing a usability test, developers can optimize the difficulty of the usage for beginners, so people can

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save people’s life even if in extreme conditions (Hass, 2013). According to apple, the product Apple Watch was also usability tested before launch (Budiu, 2015).

Advantages: The scientific method: control variable method. Because the experiment is done in laboratories, the environment is highly controlled by researchers, so it is easier for them to eliminate any other possible interference with the subject's performance. By doing so, the result of the research is more convictive.

The usability testing was done at an early stage of development, so it can quickly find the potential problem before mass production. So it is a good method to avoid risk and prevent financial loss.

The testing cost is very low. Nowadays, almost everyone has a mobile device with a camera, they can use it as a recording device for the testing. No other equipment is needed unless the research requires a eye-tracking equipment.

The testing could be very fast. Due to the test only requiring the subject do some preset tasks, the testing time always is around 30 minutes depending on the number of the tasks.

Remote testing. With the help of technologies, remote testing is available online (Usertesting, 2022). However, when doing it online, it is harder for researchers to control the environment that potentially effects the test result.

Disadvantages: Usability tests are only limited to physical products or user interfaces. If there is no equipment or prototype, the test can not occur as there is nothing to test.

The result analysis will require researchers' knowledge of psychology, to understand the logic behind the user behaviours.

Most usability tests are based on the passive observation of researchers. But it is hard to gather further subjective feelings from users. So normally usability test is supplemented by satisfaction surveys and interviews.

Due to the large amount of data generated during the experiment, including multicamera video shooting, recording, eye movement data, operation logs and so on. The great amount of data needs more time to screen, so data processing is more difficult than other research methods.

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Reference Marc Hassenzahi. User experience – a research agenda. Vol. 25, No. 2, March-April 2006, pp.91–97.

Sharp, H. Interaction Design: Beyond Human-Computer Interaction Fifth Edition pp.23-25.

Levac1, D. Scoping studies: advancing the methodology. Implementation Science.

Retrieved from: https://implementationscience.biomedcentral.com/track/pdf/10.1186/1748-5908-569.pdf

Staat. 2014. The windows are watching you. Retrieved from: https://www.staat.com/projects/nike-selfridges/

Chen, Shu. & Chen, Zhenhua. 2018. The Practical Path of User Research. pp.69-70.

Hass, Chris & Berlin, Dan. 2013. Usability Testing Medical Devices: A Practical Guide to Minimizing Risk and Maximizing Success. 407-416. 10.1007/978-3-64239241-2_45.

Raluca, Budiu. 2015. The Apple Watch: User-Experience Appraisal. Retrieved from: https://www.nngroup.com/articles/smartwatch/

User testing. 2022 Offical website. Retrieved from: https://info.usertesting.com/freetrial_usertesting_usability-testing_registration.html?utm_campaign=PAD-2021REQUEST-TRIAL-USABILITYTESTING&utm_content=Request%20Trial&utm_source=Paid%20Advertising%20%20Demand&utm_medium=adwords&utm_chnl_cmp=Usability%20Testing%20-%2 0NA&utm_chnl_adgrp=remote%20usability%20testing&utm_region=NA&gclid=Cj wKCAjwhCVBhB8EiwAjFEPGejTKoWeENGmmUiYhG2W5ThhY_smSRo6X_tp8FOWDjl8S _903VeKFhoC-8QQAvD_BwE

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META JOURNAL. VOLUME 2, ISSUE 2: August 2025

Exploring Human–AI Collaboration in News Broadcasting: Emotional Resonance, Audience Trust, and Hybrid Anchor Models

Yi Huang

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ABSTRACT This study investigates how collaborative models between human news anchors and artificial intelligence (AI) systems influence emotional engagement, trust, and audience perception in contemporary broadcasting. Rather than treating AI as a direct replacement for human presenters, the research examines three forms of collaboration—full replacement, supportive presence, and co-hosting—to understand their emotional and communicative implications. A central concept emerging from this inquiry is “mechanical sincerity,” which refers to how some digital-native viewers may perceive AI’s affective neutrality as honest and trustworthy.

The study draws on posthumanist theory and communication frameworks such as Uses and Gratifications, Parasocial Interaction, and Affective Disposition Theory, positioning the anchor as a hybrid communicator within an ethically attuned media ecology. Adopting a practice-based and interpretivist approach, the research combines autoethnography, netnography, semi-structured interviews, and participatory feedback from public exhibitions. The researcher brings a unique dual perspective to this inquiry, informed by eight years of hosting experience—including six years at Guangdong Radio and Television (GRT)—and her practical engagement in customizing AI news avatars using platforms such as HeyGen. This practitioner– insider lens offers embodied insight into the emotional and technological dynamics of hybrid anchoring.

Preliminary insights have been gathered from an initial showcase titled AI vs. Human: The Future of Broadcasting, presented at the Volcano Theatre in Swansea, UK, as part of the Residuum 2024 exhibition (15-23 August 2024). The exhibition served as an early-stage audience-testing environment, using dual-screen installations to compare human and AI anchors. Feedback collected at this stage is indicative but not conclusive. The study remains in progress, with additional data to be collected through a follow-up exhibition, semi-structured interviews, and longitudinal selfreflection. Ultimately, the research aims to inform the design of emotionally intelligent co-broadcasting systems—such as the proposed Emotional Synchronization Index (ESI)—while offering practical insight into ethical communication and affective AI literacy for journalism education and industry practice.

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INTRODUCTION In recent years, artificial intelligence (AI) has moved from the fringes of journalism into the core of media production. From automated news writing to the use of AIgenerated avatars and voice synthesis, these technologies are no longer experimental—they are now embedded in how news is created and delivered. For those of us who have worked as human anchors, this change is more than technical. It raises a deeply personal and professional question: What role remains for the human presenter—the voice that once carried authority, empathy, and emotional connection?

This research emerges from that question. It does not assume that AI will simply replace human anchors. Instead, it explores how different forms of collaboration between humans and AI might evolve in real-world broadcasting. The focus is on three working models—full replacement, AI as support, and co-hosting—each offering a different way of sharing screen presence and communicative responsibility.

Rather than framing AI and humans in opposition, the study asks: What happens when they appear together?

The research is informed by the researcher’s dual professional background: six years of experience as a television anchor at Guangdong Radio and Television, combined with current experimentation in AI-generated news avatars using platforms such as HeyGen. This combination of traditional media and digital practice supports a practice-based, qualitative approach. The methodology includes autoethnographic reflection, netnography, semi-structured interviews, and participatory exhibitions.

One such exhibition, AI vs. Human: The Future of Broadcasting, was held in 2024 at the Volcano Theatre in Swansea. Using a dual-screen installation, it invited the public to view and compare an AI-generated avatar and a human-presented broadcast.

Without being told who was who, viewers gave anonymous feedback on perceived authenticity and emotional connection. These early insights helped shape the questions this project now investigates more deeply.

At the heart of this inquiry is a tension between technological capability and emotional credibility. While some early studies praised AI for its efficiency and neutrality (Dörr, 2016; Tandoc & Maitra, 2022), others warn of emotional flatness or audience discomfort when machines try to “act human” (Lischer, 2021; Mori et al., 2012). For some viewers, AI’s emotional neutrality feels honest—what I call ”mechanical sincerity.” For others, it feels cold or unsettling.

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This research takes that ambiguity seriously. It draws on posthumanist theory and three communication models—Uses and Gratifications, Parasocial Interaction, and Affective Disposition Theory—to understand how emotional trust is formed (or broken) in hybrid human–AI news formats. Concepts like symbolic interactionism also help frame the anchor not just as a deliverer of news, but as a performer— someone (or something) who earns trust through tone, rhythm, gesture, and gaze.

Rather than seeking to predict the future of journalism in deterministic terms, the study focuses on what is currently unfolding: the interaction of human presence and AI performance, and how audiences engage with this convergence. In doing so, it aims to offer insights into how emotion, trust, and credibility might be preserved—not through resistance to AI, but by designing ethically and emotionally attuned frameworks for human–AI collaboration. These considerations are not purely technological, but philosophical, inviting reflection on the nature of mediated presence and emotional connection in a posthuman media ecology (Braidotti, 2013; Hayles, 1999).

The central questions guiding this research are as follows: 1.

How do AI and human anchors complement each other within different collaboration models?

2.

In what ways do these configurations influence emotional engagement, trust, and audience perception?

3.

Which hybrid approaches demonstrate the greatest potential for sustaining emotional credibility and culturally appropriate news delivery?

These questions are situated within a constructivist ontology and an interpretivist epistemology, where emotional credibility is understood not as a static property but as a co-produced outcome of mediated interaction. Building on Blumer’s (1969) symbolic interactionism, the act of news presentation is interpreted as a performance in which trust is conveyed through multimodal cues. When AI avatars attempt to reproduce these cues, their affective legibility often becomes unstable, complicating the boundaries between simulation and authenticity.

To interrogate these dynamics, the study engages three theoretical models. Uses and

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Gratifications Theory (Katz, Blumler & Gurevitch, 1973) explains how audience preferences are shaped by differentiated needs—speed, reliability, or emotional resonance. Parasocial Interaction Theory (Horton & Wohl, 1956) addresses the affective relationships formed between audiences and media figures, a process less accessible to synthetic hosts due to their lack of spontaneity and historical presence.

Affective Disposition Theory (Zillmann & Cantor, 1977) illuminates how viewers’ emotional alignment is conditioned by perceived moral agency, a variable that remains ambiguous in AI-driven communication.

This research contributes to current debates on AI ethics, affective computing, and the future of media professionalism by shifting the analytical focus from automation to collaboration, and from replacement to coexistence. The project’s interdisciplinary scope and empirical grounding in practice-led inquiry offer both conceptual and applied relevance.

Moreover, the study addresses key gaps in existing literature. As noted by Hermida and Young (2019), comparative studies on cross-cultural and intergenerational audience reception of AI anchors are notably scarce. The lived experiences of professional broadcasters adapting to hybrid formats remain under-documented.

Additionally, few empirical frameworks have accounted for the performative, relational, and emotional dimensions of AI–human co-hosting, particularly within participatory or exhibition-based environments.

Accordingly, the aim of this research is twofold: first, to analyse the communicative and affective dynamics of human–AI co-anchoring in news broadcasting, with attention to emotional resonance and credibility; and second, to reconceptualise the news anchor as a hybrid communicator embedded in a technologically mediated, emotionally attuned, and ethically responsive broadcast ecology.

By taking a reflective and critical approach, this research does not offer predictions but contributes to a more nuanced understanding of how human presence, emotional intelligence, and intelligent systems may be reconfigured to coexist productively within the evolving landscape of journalism.

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LITERATURE REVIEW This literature review synthesizes peer-reviewed academic works, industry reports, and verified media case studies published between 2015 and 2024. Literature was selected through keyword searches in Google Scholar, Scopus, and the UWTSD library catalogue using terms such as “AI in journalism,” “emotional AI anchors,” and “human-AI collaboration in broadcasting.”

Interdisciplinary sources from communication studies, media psychology, posthumanist theory, and AI ethics were prioritized for their methodological diversity and relevance to the research’s guiding question: How can human–AI collaboration in broadcasting sustain emotional engagement and credibility?

Studies were chosen based on three criteria: (1) empirical robustness; (2) conceptual clarity around emotional and ethical dimensions; and (3) potential to support or challenge the development of hybrid human–AI broadcast models.

1. Operational Efficiency vs. Affective Deficiency Early literature emphasizes the operational benefits of AI news anchors. Dörr (2016) highlights the capacity of automated journalism to produce content quickly, especially in structured domains such as finance and weather. Tandoc and Maitra (2022) further note AI’s role in scaling multilingual reporting and expanding production capacity.

These findings are echoed by industry developments: platforms like Synthesia and HeyGen allow non-specialists to generate lifelike avatars in minutes (Lee, 2023), reducing the cost and time of producing anchor-led segments. Such tools are increasingly adopted by digital newsrooms and regional broadcasters seeking automation in standard reporting.

However, some argue that efficiency comes at the expense of emotional depth. AI anchors often lack the empathy and situational sensitivity that audiences expect from human journalists. Sundar (2020) and Lischer (2021) point out that AI struggles to express genuine emotion or moral understanding. Even when avatars look realistic, Guzman and Lewis (2020) note that viewers may wrongly assume they have emotional intelligence, which can affect how trustworthy they seem. This connects to Mori et al.’s (2012) “uncanny valley” theory—when AI comes close to human but misses emotional cues, it can feel unsettling.

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As generative AI continues to improve, these concerns become more pressing. For example, HeyGen’s “Instant Avatar” can now replicate a person’s face and voice in minutes. But while these tools are impressive, they still often lack the depth needed for telling emotionally sensitive stories.

2. Emotional Neutrality in Context-Specific Reporting Not all reports must be emotionally resonant. Haim and Graefe (2018) suggest that in information-dense, high-speed settings—such as crisis briefing or business news—a neutral tone will help promote understanding. Audiences, they argue, tune expectations according to content type: while human warmth is sought in humaninterest or humanitarian stories, neutrality is maybe wanted in analytical or datadriven segments. This highlights the necessity for differentiated collaboration models, in which humans and AI are allocated roles in accordance with emotional demand and narrative context.

3. Ethical Risks and Algorithmic Opacity Beyond emotional limits, ethical risks in AI news production have increasingly sounded the alarm. Scholars such as Diakopoulos (2019) and Carlson (2018) warn of the "black box" of algorithmic reporting, which can conceal editorial decisions from scrutiny. Noble (2018) and Eubanks (2017) further caution that embedded bias in training data might perpetuate stereotypes, especially on issues of race, gender, and class. In a Chinese context, Fang, Lin, and Zhang (2023) find that AI news anchors often mimic gendered images and voice characteristics, thus perpetuating such ageold stereotypes. These are concerns that bring forth the need for transparency, culturally informed design, and ethical oversight in using AI in publicly accessible news products.

4. Collaborative Models and Verified Case Studies Recent developments point toward a radical departure from dualistic “AI vs. human” models of competition to unified and contextual models of collaboration. A more familiar example includes the world's first AI news anchor launched in 2018 by Xinhua News Agency in partnership with Sogou. These digital figures were employed to deliver finance and weather reports across online platforms, offering round-theclock coverage and reducing newsroom labour costs (Xinhua, 2018; BBC News, 2018). In 2019, China Media Group introduced a co-hosting experiment in which renowned anchor Sa Beining interacted live on stage with his AI avatar during the Online Spring Festival Gala (CCTV, 2019). These instances indicate that hybrid

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models can provide a practical method for bridging the emotional appeal and operational efficiency gap.

Figure 1. Sa Beining and his AI avatar on stage during the 2019 Online Spring Festival Gala Source: CCTV (2019)

More recently, Hangzhou TV adopted a more structured approach to human–AI collaboration during the 2025 Spring Festival. According to People’s Daily Online (2025), six AI-powered avatars were assigned to routine news segments, allowing human presenters to concentrate on emotionally nuanced stories. The AI avatars— including “Xiaoyu,” powered by large language models such as DeepSeek-V3—were praised for their realistic expressions and “zero-error” performance. This model aligns with Lewis and Westlund’s (2014) conceptualization of AI’s “supportive role,” where machines handle standardized content while human anchors retain affective labor and moral discretion.

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Figure 2. Screenshot of AI anchors during Spring Festival coverage on Hangzhou TV Source: People’s Daily Online (2025)

Beyond case-specific examples, recent market research indicates strong economic and social momentum for AI-driven virtual human technologies. According to the White Paper on the Development of China's Virtual Digital Human Industry in 2024 published by iiMedia Research, the core market for virtual humans in China is projected to reach 48.06 billion RMB by 2025, with the wider ecosystem potentially expanding to 640.27 billion RMB (iiMedia Research, 2024).

In addition to infrastructure and investment, public receptivity also plays a vital role in driving the integration of virtual humans into mainstream media. According to Statista (2024), over 80% of Chinese respondents have interacted with virtual figures across livestream shopping platforms, television broadcasts, and social media channels. About one in four respondents said they would consider financially supporting digital personalities. Some avatars, like A-Soul and VirtuaReal, are reported to earn over one million RMB per month. This indicates a rising level of emotional acceptance toward AI presenters, particularly among Gen Z and other digital-native groups.

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For this study, such findings highlight the influence of audience attitudes and market forces in shaping future models of human–AI cooperation. While existing research often emphasises the emotional and ethical limitations of AI news anchors, current viewer behaviour suggests that trust may grow with continued exposure. This reinforces the need for co-hosting formats that balance technical efficiency with emotional depth.

5. Theoretical Frameworks To make sense of these transformations, this research draws on posthumanist theory, which challenges the dualism between humans and machines. Hayles (1999) and Braidotti (2013) argue that subjectivity is not biologically exclusive; instead, it can be technologically mediated. Under this lens, both human and AI anchors function as “affective interfaces”, mediating emotion, information, and authority between newsrooms and audiences.

This framework is complemented by three communication theories: (1) Uses and Gratifications Theory (Katz et al., 1973): Audiences selectively engage with news sources that fulfill specific needs—speed, trust, relatability—thus explaining divergent preferences for human vs. AI hosts.

(2) Parasocial Interaction Theory (Horton & Wohl, 1956): Audiences form emotional relationships with recurring media figures. Synthetic anchors lack the historical continuity and spontaneity that typically foster these bonds.

(3) Affective Disposition Theory (Zillmann & Cantor, 1977): Viewers evaluate media characters based on perceived morality and affect. AI’s ambiguous agency complicates these assessments, especially when emotional cues are inconsistent.

These theories offer both diagnostic and design-oriented insight into the ongoing negotiation of emotional engagement and credibility in human–AI news collaboration.

6. Research Gaps and Relevance Despite a growing literature, key gaps remain. Most studies focus on Western or

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Chinese national newsrooms, with limited exploration of platform-specific cultures (e.g. TikTok vs. Bilibili) or regional broadcaster innovation. Few empirical works examine how human anchors negotiate their evolving roles within AI-augmented environments. Moreover, longitudinal studies tracking audience trust across repeated exposure to AI anchors are still scarce.

This project addresses these gaps by combining practice-based methods (exhibition feedback, autoethnography) with interpretivist analysis and interview-based insights from both AI developers and traditional news presenters. Ultimately, this literature review provides the foundation for theorizing a hybrid collaboration model grounded in ethical, emotional, and technological equilibrium.

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METHODOLOGY This qualitative study adopts a constructivist–interpretivist framework, supported by a multi-method design. Its primary concern lies in understanding how emotional trust and perceived credibility take shape within interactions between audiences, human broadcasters, and digital presenters. Rather than treating emotional credibility as a stable or inherent attribute, the study regards it as a relational and evolving construct, shaped by context-specific, embodied encounters.

Guided by the principles of symbolic interactionism (Blumer, 1969), the project treats news broadcasting as a form of social performance, where meaning is co-created through subtle non-verbal elements such as tone of voice, body language, eye contact, and the rhythm of conversation. When digital avatars attempt to simulate these expressive cues, they may give rise to a sense of emotional disconnect or ambiguity in interpretation—responses that this research aims to investigate closely.

To explore these complexities, the study draws on communication theory, media studies, sociology, human–computer interaction, and posthumanist perspectives. This interdisciplinary foundation helps to explain how emotional connection and credibility take shape in AI-assisted news environments. It also supports an analysis of how technology, emotion, and culture interact in shared broadcast formats. A key part of this analysis involves three audience-focused communication theories. One of them, Uses and Gratifications Theory (Katz, Blumler & Gurevitch, 1973), explains how viewers choose news sources based on needs like speed, trust, or relatability— needs that human anchors may still meet more naturally than AI presenters. Parasocial Interaction Theory (Horton and Wohl, 1956) explores how viewers form one-sided emotional bonds with media personalities, with human presenters typically offering richer relational cues. Affective Disposition Theory (Zillmann and Cantor, 1977) adds that audience trust depends on affective alignment between viewer and presenter—an area in which AI avatars may struggle due to limited affective capacity. These theories shape both the analytical lens and the development of survey and interview instruments used in this study.

The theoretical framework is further enriched by interdisciplinary perspectives: Picard’s (1997) foundational work on affective computing informs emotion analysis; Hochschild’s (1983) concept of emotional labor offers insight into the role conflict experienced by hybrid broadcasters; and posthumanist theory (Hayles, 1999; Braidotti, 2013) facilitates a reframing of AI avatars not as tools, but as relational agents in a broader media ecology. Crucially, the study draws on Wang and Li’s (2022) concept of the “cyborg anchor” to analyze hybrid performance in Chinese AI–

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human broadcasting systems.

Together, this integrative framework allows the research to respond to existing gaps— such as the lack of longitudinal accounts of broadcaster adaptation (Hermida and Young, 2019) and the scarcity of comparative data on emotional trust across cultural contexts (Wang and Li, 2022).

To operationalize the framework, the study deploys three interlinked strands: autoethnography, netnography, and audience-centred field research, with semistructured interviews forming a core empirical method.

1. Autoethnographic Strand The researcher, having experience both as a traditional TV anchor and as an AI avatar content creator, engages in a longitudinal autoethnographic inquiry. Rather than detached observation, this strand foregrounds embodied emotional labor and internal conflict across hybrid hosting practice (Ellis et al., 2011).

Data sources include: •

Reflexive journals (5,000+ words), capturing emotions such as moral discomfort and adaptation stress,

•

Reflexive logs will be used to capture evolving positional biases, such as the researcher’s initial skepticism toward AI's emotional capability—later challenged by netnographic findings showing younger audiences' affinity for the perceived 'mechanical sincerity' of virtual anchors,

•

Weekly video diaries, comparing human and AI delivery of identical scripts,

•

Annotated hosting scripts, marking instances of emotional mismatch (e.g., missed prosodic emphasis or flat expressions in AI avatars).

These materials will be analyzed through emotional coding (Saldaña, 2021) and situational mapping (Clarke, 2005), revealing how affective expectations are negotiated in real-time broadcast settings.

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2. Netnographic Strand In parallel, a six-month netnographic investigation is being conducted following Kozinets’ NETLED model (2015). The goal is to map how online audiences evaluate or contest AI anchors across platforms such as Reddit, Twitter, Bilibili, and Douyin.

To support cross-cultural comparisons, Hofstede’s cultural dimensions—especially power distance and uncertainty avoidance—will inform a contrastive coding framework that assesses how cultural values influence audience trust in AI authority and emotional expression.

Phases include: Lurking phase (Month 1): Platform mapping and identification of key hashtags (e.g., #AInews, Virtual anchor); Observation phase (Months 2‒6): Daily tracking of over 120 videos and 300+ discussion threads, including real-time “danmu” comments; Validation phase (Months 7‒8): Focus groups (Chinese and UK audiences) will interpret recurring themes and test emergent cultural insights.

This approach reflects Sun’s (2018) theory of digital embodiment, which suggests that emotional presence in virtual communication is deeply shaped by ritualized interpersonal codes—such as warmth, fluency, and appropriateness—differently understood in China versus the West.

3. Empirical Field Methods This strand integrates both semi-structured interviews and audience feedback gathered through public exhibitions.

Semi-Structured Interviews. To gain in-depth perspectives on co-hosting ethics, affective labor, and trust dynamics, the study will conduct interviews with 20 participants, stratified across four professional categories: AI developers (n=5), Veteran broadcasters (n=7), Junior anchors (n=3), Media ethicists (n=5).

All interviews will be conducted online (Zoom or Tencent Meeting) or in person based on location. Each session will last 45‒60 minutes, use a semi-flexible interview script, and be audio-recorded with consent. Transcripts will be coded in NVivo using thematic analysis. Stimulus materials will include three curated video clips (AI-only,

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human-only, hybrid), and a reaction-mapping task using Plutchik’s (2001) emotion wheel. This builds on Zhang and Li’s (2022) concern for professionalism and transparency, and Dong and Ding’s (2021) emphasis on emotional stylization in Chinese virtual anchors.

Audience Feedback from Exhibitions. Two public exhibitions serve as participatory research contexts: 2024 Exhibition: Broadcast Anchors vs AI, with 92 valid questionnaires on emotional trust, presenter credibility, and substitution anxiety; Future Showcase: Co-Present: Human + AI, exploring multimodal emotion delivery in hybrid news environments.

Planned features include AR comparison booths, trust-rating quizzes, comment walls, and optional eye-tracking for 20 participants. Collected data includes Likert trust ratings, format preferences, open-ended reflections, and emotional surprise/mistrust narratives. These exhibitions act as embodied field sites where AI-human trust is coperformed and tested in real time.

4. Ethics and Data Security Ethical approval is being obtained via UWTSD. Protocols include: Transparent AI labeling (per BBC R&D, 2023); Appendix documenting AI tool settings (e.g., emotional intensity, prosody); Tiered consent, anonymized IDs, and encrypted storage. IBM’s AIF360 toolkit supports fairness during avatar calibration. Sensitive content may be redacted upon request.

5. Data Management All materials (logs, transcripts, surveys) are stored securely on UWTSD servers.

Access is limited to the researcher and supervisors. Data will be kept for five years, followed by secure deletion. A positionality log is maintained to track interpretive bias.

6. Analytical Framework The analysis applies a triangulated three-level model:

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Micro-level: ELAN-based annotation of prosody, gesture, and timing from video diaries; Meso-level: Thematic comparison of interviews and netnographic themes in NVivo; Macro-level: Critical discourse analysis of institutional norms and policy documents (e.g., Chinese AI guidelines).

Although primarily qualitative, the study follows an explanatory sequential model for integrating mixed-method data. Emergent themes from qualitative analysis (e.g., emotional resonance patterns) will guide survey construction, while outlier trends in quantitative data (e.g., unexpected trust ratings) will be re-contextualized through follow-up interviews or reflexive review.

A custom Emotional Synchronization Index (ESI) is under development to quantify alignment between human and AI co-hosts, using indicators such as pitch variation, gaze direction, and audience empathy ratings.

7. Methodological Innovation and Contribution This study aims to contribute methodologically to the evolving field of AI–human collaboration in media. It advances current qualitative practice by integrating interdisciplinary theory with participatory and practice-based inquiry. Notable planned innovations include:

Development of an Emotional Synchronization Index (ESI): A bespoke metric currently in development to evaluate real-time affective alignment between human and AI co-anchors. Unlike traditional sentiment analysis, the ESI draws on multimodal inputs—prosody, gesture, gaze, and viewer empathy ratings—collected through field experiments.

Dual-role Autoethnography: Drawing on the researcher’s hybrid experience as both a television broadcaster and AI avatar content creator, this strand offers a situated perspective on emotional labor, identity transformation, and the tensions inherent in synthetic journalism.

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Exhibition-as-Fieldwork Model: Interactive public exhibitions are proposed as immersive, embodied research sites. Tools such as AR comparison booths, emotionmapping tasks, and optional eye-tracking are used to convert audience participation into situated ethnographic data.

Communication Theory Integration into Field Methods: Rather than serving solely as an analytical lens, communication theories—Uses and Gratifications, Parasocial Interaction, and Affective Disposition—are integrated directly into the design of audience feedback instruments. This methodological bridging reinforces both academic coherence and applied insight.

Through this triangulated and reflexive approach, the study proposes a culturally attuned, ethically grounded strategy for exploring hybrid news systems. It informs ongoing theoretical debates on affect and automation while offering practical tools for evaluating credibility and emotion in co-anchored formats. These innovations not only extend qualitative methodology, but also provide scalable templates adaptable to future cross-cultural and comparative research.

8. Appropriateness, Limitations, and Alternative Approaches The selected multi-method qualitative design aligns well with the research aim: exploring emotional trust, credibility, and affective interaction in culturally embedded contexts. It enables deep, reflexive, and embodied insights that are often inaccessible through surveys or automated sentiment analysis. The triangulation of autoethnography, netnography, and participatory exhibitions enhances methodological depth and stakeholder engagement.

However, qualitative approaches have inherent limitations in scalability and generalisability. Their interpretive nature requires ongoing reflexivity and transparent data handling. While large-scale experiments and sentiment-mining tools are not employed here, they may inform future studies aiming to model audience responses or validate emerging patterns. The chosen methods reflect a need to capture emotional nuance, sociocultural meaning, and multimodal dynamics in AI–human broadcasting.

Tools like facial EMG and automated sentiment detection were considered but excluded due to their limited interpretive capacity.

Future research could integrate biometric tracking or machine learning to quantify

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affective responses or use A/B testing with larger cohorts to explore generalisability.

Yet such approaches risk oversimplifying emotional engagement into quantifiable signals. This study instead prioritizes interpretive depth and cultural sensitivity— trade-offs consistent with its constructivist aims.

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DISCUSSION AND ANALYSIS 1. Alignment between Research Design and Research Questions The research investigates which models of human–AI collaboration can enhance emotional engagement and audience trust. It adopts a qualitative, interpretivist approach grounded in constructivist ontology, using methods including autoethnography, netnography, semi-structured interviews, and participatory exhibitions.

This methodology is well-suited to exploring the nuanced and socially constructed nature of trust and emotional credibility in mediated contexts. The combination of personal reflection and public engagement provides insight into how meaning is cocreated across human–machine boundaries. Early findings from the 2024 exhibition suggest that audience perceptions vary depending on both content type and anchoring format, validating the need for a typology of collaboration models and tools like the Emotional Synchronization Index (ESI).

But this design also raises some concerns. Using autoethnography brings valuable insider insight, yet it can introduce bias because the researcher is both the presenter and the AI designer. To manage this, the study cross-checks different data sources and uses reflective journaling, following Tandoc and Maitra’s (2022) guidance on keeping interpretations trustworthy. Another difficulty is measuring emotional credibility. The Emotional Sensitivity Index (ESI) provides a useful overall score, but it may overlook key factors like social context, cultural background, and empathy (Lischer, 2021).

Future versions could add physiological data or storytelling methods to better capture emotional responses.

Cultural differences make things even more complex. While the study looks at Chinese and Western audiences, global media habits aren’t easily divided by region.

The lack of input from areas like Africa or Latin America may also limit the findings.

Hermida and Young (2019) highlight the importance of including diverse voices in media tech research.

In addition, the rapid pace of AI development presents a timing challenge.

Technologies seen as emotionally limited today may soon evolve. To stay relevant, this study focuses on core patterns of human–machine interaction rather than on specific tools, aiming for longer-lasting conceptual value. These factors highlight the necessity of methodological flexibility, reflexivity, and cultural awareness in the next

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stage of the research.

2. Collaboration Models: Patterns and Propositions Through theoretical synthesis and early exhibition feedback, this study proposes three models of AI–human news collaboration: Full Replacement: AI anchors deliver all content independently; Supportive: AI enhances human presentation (e.g., through translation or overlays); Co-hosting: Human and AI anchors appear together and share roles.

These models reflect current experimentation in media settings. Xinhua’s AI anchors and HeyGen’s multilingual clips exemplify the full replacement model, often used for neutral, low-affect content like finance or weather. BBC’s automated captioning and CGTN’s translation systems illustrate the supportive model, where AI assists without replacing the human anchor. Co-hosting models, such as those in CCTV’s Spring Festival Gala or MBN TV’s AI-human segments, offer more visible interaction but also raise concerns about affective authenticity.

Based on preliminary feedback, the supportive model appears most acceptable to general audiences. It balances technological novelty with emotional clarity. In contrast, co-hosting formats, while engaging, risk confusing viewers about the emotional capabilities and communicative intent of AI, leading to what Guzman and Lewis (2020) call “emotional misattribution.” Full replacement is tolerated only in contexts where affect is minimal, echoing findings from Haim and Graefe (2018).

Netnographic observations reinforce these insights. On platforms like Bilibili, collaborative content—such as co-hosting formats—tends to generate higher engagement, especially when creators leverage community features and interactive tools. Bilibili’s 2023 Annual Report notes that professional user-generated videos (PUGVs) and live broadcasting both contributed to a 25% year-on-year increase in total daily video views, reaching 4.3 billion in 2023, reflecting the platform’s strong engagement with diverse and interactive content formats (Bilibili, 2024). Research also shows that Bilibili’s audience, primarily Gen Z, values authenticity, creativity, and community participation, which are often enhanced through collaborative and avatar-driven content (BWB Agency, 2025). In contrast, viewers on traditional television or official platforms tend to favour the supportive model, prioritising

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empathy, professionalism, and ethical clarity. Studies indicate that traditional news anchors build trust through authoritative presentation, formal attire, and standardised language, which help establish credibility and reliability in the eyes of the audience (Clausius Press, 2024). Comparative studies of virtual and traditional anchors further highlight the continued importance of human anchors for trust and emotional connection in conventional media environments (Library Progress International, 2024). These patterns suggest that the acceptance of different collaboration models is shaped by platform culture, content genre, and audience demographics.

3. Mechanical Sincerity and Digital-Native Familiarity A key insight from preliminary data is the emerging concept of mechanical sincerity.

While the "uncanny valley" hypothesis (Mori et al., 2012) suggests discomfort when machines mimic humans imperfectly, some Gen Z viewers interpret AI’s emotional neutrality not as unsettling, but as a form of authenticity.

Feedback from the Residuum 2024 exhibition—where participants engaged with both AI and human anchors in a blind setting—revealed that although 82% of respondents preferred the human anchor, citing emotional connection and authenticity, 18% explicitly favored the AI host (Huang, 2024). This minority group often referenced the AI’s composure and consistency as positive attributes. Additionally, 79% correctly identified the AI avatar, suggesting that while realism is improving, human-AI differences remain perceptible.

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Figure 3: Audience Perceptions of AI and Human Anchors in the 2024 Residuum Exhibition (Huang, 2024)

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Figure 4: Exhibition Scene (Huang, 2024)

These nuanced responses echo broader generational patterns. A 2024 report by Sprout Social found that Gen Z users are 46% more likely than older groups to express interest in AI influencers, and less concerned with emotional authenticity in media content (Sprout Social, 2024). A Gallup study commissioned by the Walton Family Foundation similarly reported that while 40% of Gen Z respondents feel anxious about AI, nearly half believe AI literacy is essential for their future careers (Gallup &

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Walton Family Foundation, 2024).

Taken together, these findings suggest that while human anchors remain dominant in terms of emotional appeal, AI presenters may still resonate with younger digitalnative audiences under specific conditions. This necessitates a reconsideration of human-centric norms of authenticity and opens up interpretive possibilities for AI design in news broadcasting. The study anticipates that future testing will confirm generational and cultural variations in affective tolerance and trust.

4. Reframing Emotional Engagement Through Theory The research draws on three core communication theories to interpret audience reactions: Uses and Gratifications Theory (Katz et al., 1973) explains diverse motivations behind audience choices. Some seek efficiency and clarity—attributes associated with AI—while others prioritize relational connection, favoring human or hybrid anchors.

Affective Disposition Theory (Zillmann & Cantor, 1977) posits that trust arises from alignment between presenter and viewer. However, the notion of mechanical sincerity complicates this, suggesting that affective neutrality can itself signal reliability.

Posthumanist Theory (Hayles, 1999; Braidotti, 2013) provides a non-binary framework for understanding the anchor as a “cyborg communicator.” Zhang and Li’s (2022) concept of the hybrid anchor reframes emotional performance as a relational negotiation rather than an innate trait. These frameworks help decenter anthropocentrism and recognize AI as a legitimate, though different, actor in the emotional ecology of news broadcasting.

5. Ethical Reflections and Design Implications Ethical concerns surfaced across both literature and early audience responses. Fang et al. (2023) and exhibition feedback highlight discomfort with hyper-feminized AI avatars, suggesting that gender stereotyping remains an unresolved issue in avatar design. This reinforces Noble’s (2018) critique that AI often reproduces social biases unless intentionally corrected.

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Carlson (2018) raises the issue of algorithmic opacity, echoed by audience confusion over whether AI segments were pre-scripted or autonomous. This underlines the importance of transparency in AI-human formats. The integration of explainable AI (XAI) principles and clear visual cues will be vital in managing audience expectations.

Additionally, as co-anchoring technologies evolve, audiences may demand more participatory input into how AI anchors are developed. Participatory design—where users help shape the appearance, voice, and demeanor of AI avatars—may increase emotional identification and cultural relevance while reducing aesthetic bias.

6. Current Limitations Given the study’s ongoing nature, all claims remain provisional.

This discussion is grounded in: A literature review from communication and media studies; Conceptual development from earlier modules; Autoethnographic and exhibition-based insights; Early audience feedback and netnographic data.

The full series of interviews and surveys is forthcoming and will provide a more robust empirical foundation. Therefore, the interpretations here function as informed hypotheses to guide the next stage of inquiry.

7. Anticipated Contributions and Future Directions Despite its limitations, this research offers several anticipated contributions: It introduces mechanical sincerity as a credible emotional affordance, particularly relevant for younger, digital-native audiences; It highlights the contextual and cultural flexibility of trust in hybrid anchor formats; It proposes a roadmap for the development of the Emotional Synchronization Index (ESI) as a tool for real-time affective analysis.

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Future research will aim to: (1) Test the ESI through audience feedback in controlled environments; (2) Compare audience responses across age groups and cultural contexts; (3) Explore participatory avatar design to promote ethical and inclusive development; (4) Investigate disclosure policies around AI voice/image rights; (5) Observe long-term trends in trust and emotional preference for hybrid formats.

These emerging hypotheses—including mechanical sincerity and generational affective preference—lay the groundwork for the study’s next stage. Rather than replicating human affect, future broadcast AI systems may evolve toward fostering new forms of relational credibility, where emotional clarity and ethical transparency coexist with technical innovation.

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CONCLUSION This study set out to explore how collaborative models between human anchors and AI systems might sustain emotional resonance, preserve trust, and improve audience experience in contemporary news broadcasting. Anchored in constructivist ontology, interpretivist epistemology, and posthumanist thinking, the research used a transdisciplinary, practice-based approach—combining autoethnography, netnography, semi-structured interviews, and participatory exhibition.

So far, the investigation has focused on how different collaboration types—full replacement, supportive presence, and co-hosting—shape emotional responses and audience perceptions. Early findings suggest that while AI anchors offer speed and consistency, their affective neutrality can weaken trust, especially in emotionally charged reporting. The concept of “mechanical sincerity” has emerged as a lens through which Gen Z viewers, in particular, may interpret emotionless delivery as authentic. Among the models explored, the supportive format appears to offer the most balanced combination of efficiency and emotional credibility.

Theoretical frameworks such as Uses and Gratifications, Affective Disposition Theory, and posthumanist perspectives have helped position AI not merely as a tool, but as a co-performer in hybrid broadcast settings. Future explorations may further investigate the potential of co-hosting formats and inform the refinement of the Emotional Synchronization Index (ESI) through additional public engagement and testing. Methodologically, the use of reflexive journaling and audience-centred feedback has highlighted the complexity of trust and emotion in human–AI interaction. The insights gained are not only conceptual, but also practical.

Broadcasters may use this study as a reference for integrating AI through collaboration. Media organisations might apply the trust-based model when deploying AI avatars, and educators could consider incorporating affective AI literacy into broadcast training.

Importantly, the research also surfaces ethical risks, such as algorithmic opacity and emotional ambiguity. These challenges underline the need for transparent design and inclusive development processes. Future stages will extend the study to cross-cultural audiences and test the application of ESI across generational contexts. In doing so, the research aspires to contribute to the ethical, emotional, and creative future of hybrid news broadcasting—where human intuition and machine capacity can complement each other meaningfully.

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