Themes in contemporary

In the Week1, 

Day 1 10:00-12:30 Wednesday 21st September

Before class, we watch a video on James Clegg’s provocation of The Weird and Phil Ford’s study, Birth of the Weird. Today’s first part is the introduction to the course. Themes in contemporary consist of four Themes or “learning sprints” and each theme is approached from the perspective of ‘Problem Based Learning. Secondly, We learned methods and concepts about weirdness including a useful part —an introduction to various forms of weird studies across different disciplines by reviewing the Resource List for this Theme. Finally, the assignment after class is to work on the Weird-o-Verse that’s been created in Miro.

Description of My sprint: I am interested in the biotribal composition forms in the Weird-o-Verse, based on the connection, and combine with the word, I created a world about “Memories”, humans’(or none human) memories constructed one’s living space. Bausinger describes “Heimat” as a spatial and social unit of medium range, wherein the individual is able to experience safety and the reliability of its existence, as well as a place of a deeper trust: Our memories are our living space. For example, a person’s memory ranges over ten years, and the space he or she lives in is the corresponding size. So the logic here is that the more you remember, the bigger space you live in. The inspiration came from the research I did. There are three types of sources that result in my world construction.

Firstly, about The Mandela Effect: A situation in which a large mass of people believes that an event occurred when it did not (Fiona Broome, 2019, New York Times ). Broome has said that they distinctly recall different events or details, and could be proof that we are existing in alternate realities. In the film Coco 2017, To be forgotten from memory is the ultimate death. From this evidence, I argue that different people may live in different spaces and that these spaces consist of the person’s memories. The memories represent everything that happened in the past which shape the person’s values, and worldview.

Secondly, according to the study, The Weird, the Ontological, and the Normal by Andrew Strombeck (2019) mentioned public use some fundamental ways to resist the demands of capitalism’s logic of time, discipline, and subject formation. With similar expressions, the simulation hypothesis film The Mandela Effect proposes that all of our existence is a simulated reality, such as a computer simulation. They all demonstrate the quest for human rights and fairness, which has been a constant theme for centuries. And true fairness is difficult to achieve, so I assume that in the context of people living within the space of memory, each person is the center of his or her own memory.  As Andrew (2019) said by positing a vast with less human manipulation, the unknowable material realm obscures historical hierarchies relating to race, poverty, and gender. This is equality that can only be achieved in a situation detached from reality. But memories are not absolutely equal, for example, through growth some people gain a view of the world that already has class divisions, so it’s unequal even in their personal space.


Thirdly, a film called Everything Everywhere All at Once raised an interesting concept that 

when you want to travel to other universes, you need to go through the UNIVERSE JUMP, and normal people cannot achieve a UNIVERSE JUMP. In my perspective, if you are limited to the idea of the present 3D world, you will be confined to the real universe. Because we live in a 3D world, we cannot overcome our inherent logical thinking and behavior patterns, so it is difficult to achieve the anomaly and enter other universes. As a result, I designed the memory space as a flat surface, and it is difficult to create an exchange between different memory planes.

Day2 10:00-12:30 Monday 26th September

Today’s topic is about Weird-o-verses, Weird Machines, Weird Scenes. At the beginning of the class, we do a mini Present in our group to present our boards to each other.

Description of My sprint: Psychenight (uncountable noun) is kind of staying up late at night and mood or spiritual getting into psychedelic. The word is born from the phenomenon “The Inordinate stay up late at night”, which is a new definition that comes from people’s life nowadays. Our daytime is loaded with work, and we can only use the nighttime to compensate for our dissatisfaction and anxiety. We struggle to get away from reality. It’s a merge of reality and fact. The aim of the word is an attempt to alleviate the anxieties of the current society.

There are two references for creating the word. Firstly, Psychedelics (also known as hallucinogens) are a class of psychoactive substances that produce changes in perception, mood, and cognitive processes. Psychedelics affect all the senses, altering a person’s thinking, sense of time, and emotions. Secondly, Psychedelic art (also known as psychedelia) is art, graphics, or visual displays related to or inspired by psychedelic experiences and hallucinations known to follow the ingestion of psychedelic drugs such as LSD, psilocybin, and DMT. The word “psychedelic” (coined by British psychologist Humphry Osmond) means “mind manifesting”. By that definition, all artistic efforts to depict the inner world of the psyche may be considered “psychedelic”.

In conclusion, I did not get the specific aim of our assessment. Next time, I will be more critical about the topic, and do this in two ways. Firstly, knowing that my supervisor can always step in and help me, I need to figure out what is exactly we need to learn and explore. Secondly, before starting the work I will take as much research as I need to gain information.


To sum up, it’s not a work meet satisfaction. Partly because this is my first time writing a reflection because the entire blog is just a description of what we did in groups, but I should concentrate on the problem scenario.



Coco, Lee Unkrich, America, Pixar Animation Studios, 2017

The Weird, the Ontological, and the Normal, Andrew Strombeck, 2019, American Literary History, Volume 31, Number 2, Summer 2019, pp.347-355

“Heimat”, Accessed at: