The moose doesn’t strike any emotion.

Although most recently I’ve been focusing on creating the residency risograph prints, this post returns to the idea of context as a fundamental factor in untangling lipreading, typographic and AI errors. Lipreading is often like completing a giant freeform crossword puzzle; filling in one set of clues reduces the parameters for the next set, and the next. Context enables you to instantly discard broader variables and zoom in on the most likely possibilities. Working with BSL/SSE interpreters does the same thing; while “vignette” and “finesse” will create almost identical lip patterns, the BSL interpretations use completely different hand shapes and movements.

Lipreading is physically impossible with masks, but there’s also loss of facial expression giving tone & context. But there are still contextual clues; where are you, what’s happening around you?

The same issues seem to be occurring with AI transcription; I examine the context in which errors occur to try to work out what the most likely interpretation is. This is a real challenge as you’ve a tiny amount of time to expend before the conversation moves on – with possibly another set of mangled meaning to decipher. The last work I’ve made looks at this mental juggling by using the risograph duotone process to “correct” mangled AI using proofreaders marks, to represent the two simultaneous thought processes.  That work will be in the residency exhibition, but here’s a few puzzles for you to be going on with.

“The moose doesn’t strike any emotion.”

“The perfect cinnamon.”

“I know there is a framework for achieving Oswald by doing do command Libra.”


I think a good landscape should be enticing and thought-provoking. The power of landscape design is immense and should never be underestimated. As I mentioned before for this reincarnation of Tuner I plan on bringing it back underground to grow the sense enclose, need for air and to assist in the game plays interactions of fish collecting practices.

The Scanner is like a radar mechanism, when found and attached to the boats roof hook, all 3 of it orbs rotate about their orbits, at each turn displacing a line to their nearest corresponding subject, ie Fish, Junk and Rockets. All these three orbs speeds can be controlled individually sonically creating an ever phasing sequence. Initially this control was access via the Midi protocol each orb having their own physic knob here on earth. But now the foam of interacting will need to be re-designed into the GUI interface.
The scanner is also a lantern for dark zones epically when the internal torchlight fades due to the boats’ strength depletion . I will supply the new scanner in operation (video), here below are some (blurred) old in game shots.

Continue reading “INTERACTIONS [Landscape]”

A Conversation (Word Salad)

This week I’ve been focusing on practicalities for making risograph prints. As my region (England) is in lockdown, this involves a lot of forward planning, material purchase and prep that’s not very interesting to read about. So I’ve also been experimenting with AI transcripts to create a little script from some of the most egregious examples of distortion (looking at you, Microsoft Teams).

This has been added as a document and images.

The aim is to give the reader a feel of what it’s like trying to make sense of a situation which isn’t accessible, and the impossibility of acting on information which doesn’t make sense. During the current pandemic, misunderstanding is not merely an amusing anecdote (a la Auberon Waugh’s tale of mishearing “press freedom” and delivering a lecture on “breast feeding”), it’s dangerous. Currently, the UK offers no BSL interpretation for government briefings. While the BBC provides interpreters for government announcements, not everyone has access to the BBC, and clips shown on social media won’t be inherently accessible. And scientific briefings are not shown with BSL interpretation. It’s the government’s responsibility, not the BBC’s. Too many organisations push the responsibility for accessing information onto individuals rather than thinking about how they can make it straightforward.

So, anyway, I’ve been tiger, because you know, the man who chases two hairs catches mom.

Lipreading in the age of COVID-19

I was taught lipreading before I began using BSL (British Sign Language) and use the two communication methods contiguously. The term “lipreading” is somewhat misleading, as it’s not just lip patterns that contribute to understanding – you pick up information from the rest of the face, from body language, and from the contextual environment (context is something I’ll be picking up on again). My biggest obstacle is dark sunglasses that block the information you see around people’s eyes; if lip patterns provide information on words, the eye area often gives the equivalent of tone of voice, and lipreading people wearing sunglasses translates as a monotone to me.

During 2020, the ratio has been flipped, with masks preventing lipreading, but often leaving the eyes and surrounding areas clear; I’ve started to notice that I still pick up information, so can (sometimes) recognise tone, even if there’s no way to pick up words. I’ve also noticed hearing people struggling with understanding (with masks muffling voices), and am wondering if this will impact on people’s thinking about hearing loss in the longer term. Will their own difficulties lead to more understanding? Will they turn to D/deaf people as communication experts they can learn from?

I’ve been playing with images from the 1986 edition of “Lipreading – A Guide for Beginners”, masking the lip patterns illustrated. I’m planning a duotone risograph print, perhaps using several of these images – due to local lockdown I can only prep my files at present, so anything shown at this stage is an approximation.

Black and white photo showing a woman's face. Superimposed is an orange facemask. Only her eyes are visible. On the bottom left are the letters "OO"t ar
“OO”- Lipreading in the age of COVID (study for risograph) 2020

Miku made Minecraft

A screen shot of a website that tell the story of how Hatsune Miku created Minecraft. Miku looks like a Japanese anime character with long, turquoise twintails. She stands in front of a scene from Minecraft.
A screen shot of a website that tells the story of how Hatsune Miku created Minecraft.

In 2017, the original creator of Minecraft Markus ‘Notch’ Persson made a series of controversial comments on social media, such as referring to feminism as a “social disease” and claiming that most feminists are “overtly sexist against men.” In March 2019, he made a number of transphobic comments that eventually triggered backlashes including Hatsune Miku declaring herself creator of Minecraft.

Hatsune Miku is a Vocaloid software voicebank developed by Crypton Future Media (Japan) in 2004. The face of the Vocaloid is a 16-year-old girl with long, turquoise twintails. Soon after Notch published his tweets in March, queer Minecraft players decided to have the virtual superstar Miku as Minecraft’s creator.

A tweet by Miku claiming that she is the creator of Mincraft

Subsequently, Minecraft update silently removed references to Persson from the game’s menu, though his name is still in the credits. Persson was not invited to be part of the Minecraft tenth anniversary event later that year, with Microsoft saying that his views “do not reflect those of Microsoft or Mojang”

Cosmic Call

For this residency, I want to create a series of symbols from the Dutil-Dumas message as an intervention in a virtual art space. The work will reference a previous work Cosmic Call. (An audio description of the visuals in the trailer is available)

One minute trailer of Cosmic Call
Audio description of the images in the trailer
Installation view of Cosmic Call with a flatscreena and two cube monitors. The seats are designed based on a code from the Dutil-Dumas Message
Installation view of Cosmic Call at Tai Kwun, Hong Kong

Cosmic Call is a work commissioned by Wellcome Collection in 2018

The main video weaves together facts and fiction to create an alternative understanding of epidemics. Cosmic Call resists the dominant narrative of a disease outbreak – a formulaic plot of a detective story about disease emergence and eventually the triumph of western medical science – and suggests multiple belief systems in which science is only one of many ways to understand communicable diseases. It points to the danger of reducing all knowledge to scientific terms while addressing issues that are pertinent to Hong Kong, which is characterised by its high population density and mobility – conditions that make Hong Kong extremely vulnerable to disease outbreaks.

In the video, an interstellar message (the Dutil-Dumas message) was sent by extra-terrestrial life forms that warned human beings of epidemics caused by passing comets. Information about the Dutil-Dumas message can be found on the RESEARCH section of the website.


Working with collage, internet scavenged images and constructed symbolism these lightboxes show a myriad of forms present within the natural world. Bodies of animals, fauna and scientific photographs are entangled together to represent the different ways in which humans percieve, understand and order lifeforms.

Eviction in Shenzhen: Part 2

Stills from footage…

black and white image of a man in an alleyway, turning to look over his shoulder towards the camera. In front of him are many 'pay to use' bikes piled up high.
Black and white image of a man with his back to the camera. Pre-pay bikes are piled high in front of him
Resident; still from footage, filmed after Chinese New Years celebration, 11th February 2019

Tenants and Leaseholders

Black and white image of two men sitting inside a shop cluttered with objects, both are smiling and waving to camera.
Black and white image, man looks to his left to face his aquarium which has a fish inside, floating next to a photograph of the Chinese leader Xi Jinping
Eviction in Shenzhen: Part 2, 2019, One of the last remaining shop owners, in Hubei Old Village, Shenzhen; still from film after Chinese New Years celebration, 11th February 2019
Black and white image of a man crouching down to cut up a piece of pork. There is a table with cardboard on the top which serves as the butchers main selling platform.
Black and white image of man looks to the right, at his outdoor butchers stall. Low level hanging lights and plastic bags are in the frame. He is wearing a warm coat suggesting that it is a cold day.
Eviction in Shenzhen: Part 2, 2019, One of the last remaining shop owners due to the leaseholder’s being absent in claiming their plot. Hubei Old Village, Shenzhen; still from film after Chinese New Years celebration, 11th February 2019

Location: Temple Grounds

Black and white image of a incense holder in an Chinese shrine, filled with candles, incense and ash

Location: Surrounding Area

Black and white image of an alleyway with detritus on either side, fallen awnings and rubble
Black and white image of side street with bags of rubble lined up along the side
Detritus and rubble from Hubei Old Village

Chapter: Abundant Fish Interlude

This short interlude in between parts 2 & 3 of the ‘Eviction in Shenzhen’ series, features ‘feng shui fish’ which are said to increase the wealth, luck, health and prosperity of its owners.

The fish include Koi Carp, Arowana’s, Blood Red Parrot Cichlid, Flowerhorn Cichlid, Oscar fish, Iridescent Sharks and Terrapins which are admired for their longevity and wealth attracting characteristics. This interlude interrupts

the chapter to speak of the values of which the Chinese people have including their desires, wishes and


“In Chinese culture, the symbol of fish has two attributed qualities. The first one is the aspect of abundance

(because of the ability of fish to quickly reproduce in large quantities). The second one is the fact that the Chinese word for fish (yu) is pronounced the same way as abundance.” – Tchi. R (2019) Feng Shui Tips for Your Aquarium, online article

Black and white image of a bundle of cables haphazardly pinned to the side of a wall.

Eviction in Shenzhen: Part 1


Eviction in Shenzhen (2019-Ongoing) is a long-term ethnographic series of experimental documentary films which follows the planned demolition of Cheung’s fathers ancestral village of Hubei in Shenzhen, China, as the government initiates a major redevelopment plan to take its place. The proposed project includes an impressive 830m tall skyscraper which is set to become the tallest building in the world. This will be accompanied with a modern shopping centre, restaurants, plus a small portion of Hubei Old Village preserved as a living museum and film location for hire. The new redevelopment will become one of China’s most prized architectural accomplishments, a visual spectacle, which pays homage to the economic miracle that is Shenzhen as the city which led China to its new position as a global economical and technological power.

The film marks the eviction of the current tenants of the village who as low-income workers, are having to leave behind the cafes, food vendors, small businesses, residential homes and communities which they cultivated over a period of 10 – 20 years. Eviction in Shenzhen filmed over the course of this redevelopment period, will document these changes by recording the sociological make-up and ancient architecture of the village as it gradually disappears. 

The film is currently in development and will proceed in chapters as the project develops. ‘Eviction in Shenzhen: Part 1’ (2019 – Version 1) captures the residents of the area during a visit to the area in May 2018. The next chapter filmed during February 2019 features the area taken during Chinese New Year, with a near 90% of residents now fully evicted.

Directed, produced and edited: Seecum Cheung
Sound design: Natalia Domínguez Rangel

Colour photo, with red, blue, purple hues. A young woman looks to camera, whilst a street vendor prepares a meal for her.
Colour photo in red and black hues. A young woman and street vendor looks to camera smiling, another street vendor prepares the young woman's food. Plastic bags are strung up, pos and pans are steaming with food.

Deng Xiaoping + Special Economic Zone

Deng Xiaoping

Black and white image of Deng Xiaoping in mid-speech, raising his right hand as he addresses and audience in Paris (1976)
Vice Premier of China Deng Xiaoping during a visit to Paris, January 9th 1976.

Shannon Free Zone

Story of cities #25: Shannon – a tiny Irish town inspires China’s economic boom

Created in 1959 to lure foreign investors with tax breaks, the Shannon Free Zone proved revolutionary across the world. But in today’s world of looser trade and tax havens, Ireland’s innovators face an uphill battle to stay relevant

Special Economic Zone

Yeh, G. (1985). Development of the Special Economic Zone in Shenzhen, The People’s Republic of China. Ekistics,52(311), 154-161. Retrieved October 23, 2020, from

References + Resources

Learning from Shenzhen, China’s Post-Mao experiment from Special Zone to Model City

Colour image of a red book with Deng Xiaoping on the front, book is titled; "Learning from Shenzhen'
M.A. O’Donnell, W. Wong, J. Bach (2019) Learning from Shenzhen: China’s Post-Mao Experiment from Special Zone to Model City, The University of Chicago Press, Chicago, London.

“No city in the world has ever grown as rapidly as Shenzhen, China’s southern gateway to the outside world. In 1978, when the Reform and Opening policy was introduced in China, Shenzhen was a small town of some thirty thousand people, surrounded by paddy fields. By 2010, it had a population of more than ten million people – more than New York, America’s largest city. No tall buildings were more than thirty years old. It glittered with modern stores, hotels, offices and restaurants.” – Foreword, Ezra Vogel

Deng Xiaoping and the Transformation of China

The Chinese in Britain: A History of Visitors

Cover of non-fiction book, The Chinese in Britain: A History of Visitors"

Chinglish, An Almost Entirely True Story

Cover of red fiction book called, "Chinglish an Almost Entirely True Story by Sue Cheung"

Urban Villages in the New China: Case of Shenzhen

Focusing on Shenzhen as a representation of the general urban village phenomenon in China, this book considers the impact of China’s economic reform on urbanization and urban villages over the past three decades. Shenzhen’s urban villages are some of the first of their kind in China, unique in their diversity and organizational capacity, but most notably in their ability to protect village culture whilst coexisting with Shenzhen, one of the fastest urbanizing cities on earth. Providing a study of regional contrast of urban villages in China with newly collected fieldwork materials from Guangzhou, Beijing, and Xi’an, this book also considers recent developments within urban villages, including attempts at marketization of the so-called xiao chanquanfang (the quintessential urban village apartment units). It also addresses the corruption scandals that engulfed some urban villages in late 2013. Through cutting edge fieldwork, the author offers a cross-disciplinary study of the history, culture, socio-economic changes, and migration of the villages which arguably embody Chinese social mobility in an urban form. Da Wei David Wang (auth.)

Shenzheners Stories

African Shenzhen: China’s special economic zones in Africa

Common mental health problems in rural-to-urban migrant workers in Shenzhen, China: prevalence and risk factors

“In Global Burden of Disease Study 2013, China alone accounted for 17% of the global mental illness burden and the burden of mental illness was expected to increase by 10% in China between 2013 and 2025 (Charlson et al. 2016).”p2

“Risk factors specific to each phase would negatively influence the mental health of immigrants, i.e. early age at first migration and ‘no clear motive for migration’ before migration (Takeuchi et al. 1998; Fenta et al. 2004), exposure to violence during migration (Bhugra, 2003) and poor language skills in the host country language after migration (Mirsky et al. 2008; Im et al. 2014)”. p2

“This study was part of a large-scale cross-sectional sur- vey (Zhong et al. 2015), which investigated mental health of factory migrant workers in Shenzhen, China, between August 2012 and January 2013. Shenzhen is a modern metropolis in southeastern China. As one of the major destinations for migrants from impoverished western and central inland regions of China, it has been China’s largest migrant city with 7.8 million rural-to-urban migrants in 2012 (Zhong et al. 2015).”

“In brief, we first purposively selected ten factories (three electronic, two machinery, two shoes, two cosmetic and one garment) to represent factories of Shenzhen. Second, a total of 41 production units (2–6 units/factory) were randomly selected from the 397 production units of the ten factories. Finally, all eligible subjects of these identified units were invited to participate in this survey.”

“The seven items were: (1) Migration work improves my personal economic conditions; (2) Migration work improves my family’s economic con- ditions; (3) Migration work improves my working abil- ities; (4) Migration work gives me a good opportunity to make many friends; (5) Migration work makes me realise personal economic independence and freedom; (6) Migration work enriches my social experiences; and (7) Migration work makes me realise personal life value.”

“Results of the univariate analysis (Table 1) show that significantly higher CMHPs prevalence rates were observed among migrant workers who were young, had a low level of educational attainment, had a marital status of ‘others’, reported poor living condition, had a low monthly income, were ill in the previous 2 weeks, migrated before adulthood, worked outside hometowns for less than 10 years, had worked in five cities or more, infrequently called family members, infrequently visited hometowns, migrated alone, reported poor Mandarin proficiency, had a low level of PBM, had engaged in five jobs or more and worked more than 8 h/day, compared with their corresponding counterparts.”

“Multivariate logistic regression analysis (Table 2) revealed that young age, low monthly income, poor living condition, physical illness in the past 2 weeks, having worked in many cities, infrequently visiting hometown, poor Mandarin proficiency, a low level of PBM and working more than 8 h/day were independ- ently and positively associated with CMHPs. Taken together, these factors accounted for 27.6% of the vari- ance in the prevalence of CMHPs among these subjects.”

“The prevalence we found in migrant workers is similar to that reported among Latin American migrants of Australia (32.6%) (McDonald et al. 1996), among Romanian migrants of Spain (39.5%) (González-Castro & Ubillos, 2011) and among rural-to-urban migrants of Peru (38.0%) (Loret et al. 2012). The higher prevalence in migrant workers than Chinese general population and comparable prevalence between migrant workers and international migrants in this study support the increased risk of CMHPs in Chinese migrant workers.”

“In our migrant worker sample, as shown in Table 1, nearly two-thirds had an educational attainment of junior high school or below, about 50% were unmarried, over 70% had a monthly income of 599 USD or lower (lower than 50% of the average monthly income of urban residents), approximately 80% worked more than 8 h/day and nearly 40% migrated alone.”

“Perhaps there are particular pres- sures on young migrant workers arising from estab- lishing new careers and adapting to the new environment, often without support of parents and the extended family. There is evidence that a low socioeconomic status is associated with poor mental health (Muntaner et al. 2004; Lund et al. 2010); this is in accordance with our findings that migrant workers who had a low monthly income and poor living condi- tion had higher prevalence of CMHPs.”

“In the current study, infrequent visit of hometown was a risk factor for CMHPs. Because migrant workers are largely isolated from the mainstream of urban society (Zhong et al. 2015), family is the main available source of support for them when facing difficulties, though they work in remote cities.”

“Our study revealed that having worked in many cities was positively associated with CMHPs. As number of cities that migrant workers have worked in could be regarded as a measure of their mobility, this finding resembles the notion that high mobility is a risk factor for poor men- tal health of migrants (Ismayilova et al. 2014).”

“Similar to earlier findings in international migrants (Furnham & Li, 1993), migrant workers with difficul- ties in Mandarin were more likely to have CMHPs in this study. China has many dialects, migrant workers from various parts of China speak different dialects. Owing to their low level of education, migrant workers often have difficulties in speaking fluent Mandarin and have to face many barriers such as problems in commu- nication and making friends, which further increases the possibility of developing CMHPs.”

Figuring Post-worker Shenzhen

O’DONNELL, M. (2019). Figuring Post-worker Shenzhen. In Franceschini I., Loubere N., Lin K., Nesossi E., Pia A., & Sorace C. (Eds.), Dog Days: Made in China Yearbook 2018 (pp. 257-265). Acton ACT, Australia: ANU Press. Retrieved October 23, 2020, from

Ed van der Elsken

Historical and Contemporary Context

Birds eye view of Shenzhen from the 1970's, in contrast with a colour photo from the present


“Shenzhen is an extraordinary city, but until now, surprisingly little had been written about it.” 

Gordon Mathews, Chinese University of Hong Kong

Eviction in Shenzhen (2018-present) is a long-term ethnographic series of experimental documentary films, which follow the planned demolition of my fathers ancestral village of Hubei in Shenzhen, China, as the government (Communist Party of China – CPC) initiates a major redevelopment plan to take its place. The proposed project includes an impressive 830m tall skyscraper, which will become the tallest building in the world, and will be accompanied with a modern shopping centre, restaurants, plus a small portion of Hubei Old Village preserved as a living museum and film location for hire. The films mark the eviction of the current tenants of the village who, as low-income workers, have to leave behind the cafes, food vendors, small businesses, residential homes and communities which they cultivated over a period of 10 – 20 years. Eviction in Shenzhen (2018-present) filmed over the course of this redevelopment period, will document these changes by recording the sociological make-up and ancient architecture of the village that is soon to disappear.

Historical Context

The new redevelopment will become one of China’s most prized architectural accomplishments, a visual spectacle, which pays homage to the economic miracle that is Shenzhen, as the city which led China to its new position as a global economical and technological power. If measured by economical and industrial standards, it is a city which is unarguably the most successful and most rapidly transformed in the world. Within four decades, the small peasant fishing village metamorphosed into a leading global manufacturer, producer and exporter of goods, providing electronics, toys, machinery, furniture and plastics to countries across the world. This transformation is a direct outcome of the economic reforms cultivated by former paramount leader, Deng Xiaoping. Deng knew that economic growth was intrinsically linked with global trade and cultivating relationships with foreign governments was essential to China’s growth, so in 1978, he sent a number of Chinese delegates around the world to learn how other countries were managing their own economic models. By 1979 they presented to the CPC the concept of the Special Economic Zone (SEZ); a free trade zone with loose regulations, special tax incentives and simple custom procedures with minimal intervention from central government. Based upon the Shannon Free Trade Zone in Ireland, the SEZ model rolled out to 4 strategically based cities in China. Shenzhen was its third, thus beginning the opening up of China to the rest of the world in 1986, as a global import/export trader.

Hong Kong at the time, which was close to the border of Shenzhen, was already beginning to shut down its manufacturing sector, leaving Shenzhen close-by readily available to take on the work. With the SEZ model the city could offer investors lower tax rates, global export/import routes through Shekou Port and Shenzhen Airport, as well as a mass, low-income workforce who were ready and eager for work. The increase of factories led to the creation of millions of jobs thus attracting farmers and rural peasants from the nearby countryside around Shenzhen. These workers required urgent accommodation, so the CPC encouraged Shenzhen’s local peasants to transform their small properties into apartment blocks to house the increasing swathes of migrant workers. The CPC incentivised the peasants by giving them back the leases to their land, and promised them that the profits that they would make would be theirs to keep. My Aunt and Nan along with their neighbours, set upon this opportunity by collecting sand from the nearby mountains to make concrete, which they poured into hand-dug ditches to set foundations for 6-7 story flats (these flats were later coined as ‘wosholou’ or handshake buildings due to their close proximity to the adjacent apartments next door.) The flats elevated the fortunes of my family and their neighbours, transforming their lives from subsistence farmers into landlords with a steady and consistent income. The ancient Hubei Old Village became a bustling neighbourhood, hosting grocers, cafes, bakeries, merchants, food vendors, and providing residency for many thousands of rural migrants in the centre of the city.

As Shenzhen expanded, land became increasingly scarce and areas such as the urban villages gradually became valuable property for which the CPC wanted to reclaim. Considering the urban villages were seen as eyesores and festering slums, with their run-down mould-filled ancient walls and unsanitary and unclean streets, the sites fell out of favour with the central government’s future vision of China. Rather, they regarded the urban villages as an unappealing part of Chinese history for which they preferred to erase. In order to retrieve and repurpose the land, the CPC offered to buy back the leases from my family and their neighbours with an offer of compensation, to be awarded an apartment in the new development of their proposed project equivalent to the square meters of their old apartments and plots.

Contemporary Context

The closure of the once bustling Hubei Old village is particularly significant as it intersects upon a number of important sociological issues. For one, the urban village is considered to be one of the first settlements of Shenzhen as established 500 years ago by one of 3 Cheung brothers who are widely perceived to be the original founders of Shenzhen. This therefore marks the site as a place of ideological and historical value. Secondly, the forced evictions of the village residents and their lack of tenant rights show only one element to the human costs of this redevelopment project. By removing cheap accommodation, affordable services and amenities across the city, the service class are out-priced and given no option but to move elsewhere.

The minimisation of a low-income population coincides with the new AI reality of Shenzhen, as jobs originally facilitated by low-income workers are now in the process of being replaced by AI. Machines can cook, serve food and make coffees to order, and factories, operate with machines which can work 24hrs without pay or fatigue, efficiently, replacing the teams of people who used to perform the same tasks before. Undeniably, the low-income population was vital to making Shenzhen the success story that it is today, evidently, the economical advancements of China would not have been possible without the many years of dedicated continuous physical labor from which its people performed. And whilst the media has rallied around the evictees to support their cause including state-backed newspaper Shenzhen Daily, the reports have not prevented the closure of these urban villages which are essential to housing these workers. Migrant workers such as those in Hubei Old Village, are evicted from their properties and as they close down their businesses and move out of their homes, a generation of migrants are cut off from the livelihoods and communities which some have spent decades to build. ‘Eviction in Shenzhen’, shot over the course of this period, records the sociological make-up of the village and ancient architecture of the site to document it before it rapidly disappears.

Lasers and LEDs light up the facades of skyscrapers in Shenzhen at Shenzhen Light Show. (Photo by Masayuki Terazawa)
Lasers and LEDs light up the facades of skyscrapers in Shenzhen at Shenzhen Light Show. (Photo by Masayuki Terazawa)

A text based post.

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