The four propellers begin to spin. A gust of wind presses down the surrounding rice plants as a pulsing rotor-whir fills the air. The drone, carrying its battery and a tank of pesticides, lifts off and stabilises, hovering briefly before angling towards the fields. It accelerates over the paddies, the air beneath it flattening the […]
China’s artificial intelligence (AI) trajectory is often characterised as ‘frugal innovation’ (Waters 2025), ‘self-reliance’ (Wang et al. 2025), or a state-controlled approach to innovation and diffusion (Roberts et al. 2021). Many observers have focused on China’s AI policy and regulatory approach, portraying it as ‘vertical’ (as opposed to the ‘horizontal approach’ of the European Union’s […]
Black Myth: Wukong (黑神话: 悟空; hereinafter BMW), an action role-playing game developed by the Chinese studio Game Science (游戏科学), became both a commercial and a cultural phenomenon after its release on 20 August 2024. BMW belongs to the ‘Souls-like’ genre, named after the Dark Souls series, whose punishing difficulty is by design: it appeals to […]
Diaspora is conventionally understood as the dispersion of a people from a shared homeland—a formulation that could reproduce binary imaginaries of centre and periphery, origin and afterlife, homeland and shadow. Such frameworks also tend to tether diasporic belonging to lineage and return, treating political life as something transmitted through continuity. As David Eng (2010: 13) […]
Drawing on the experience of a Chinese artist under the pseudonym ‘A’, this essay examines how leftist artists strive to reconstruct their political imaginary in this uncertain time. Central to A’s recent work is a dual impulse: first, the practice of international solidarity; second, a critical effort to decolonise the dominant political imaginaries within contemporary art. The essay argues that the legacies of grassroots Third World internationalism provide crucial intellectual resources through which A and other ‘artivists’ reproduce a leftist political imaginary in their artistic practice and social activities.
This essay examines how a liminal state of uncertainty and disorientation shapes the trajectory of a trans-advocacy organisation in contemporary China. By situating the group’s current struggles within the tension between global humanitarianism and China’s ambivalent institutional support for trans people, it argues that this situation produces a unique structure of feeling that can be called ‘fragile optimism’. Drawing on ethnographic fieldwork, the author shows how the members of this organisation cultivate fragile optimism as an affective orientation to navigate political and cultural constraints.
In 2023, the Special Interest Group on Computer Graphics and Interactive Techniques (SIGGRAPH) conference and exhibition, held in Sydney, featured an interactive installation by Miu Ling Lam titled Erased Murmurs. The art piece drew attention to the ever-vanishing graffiti in the artist’s hometown, Hong Kong. In Lam’s description, Erased Murmurs centred on affective, sentimental poems […]
This essay examines how Chinese retail investors make sense of repeated stock market failures across generations. Drawing on ethnographic research, it analyses the recurring discourse of ‘defending the 3,000 points’ on the Shanghai Stock Exchange Index as a generational joke that reflects deeper temporal attachments to the market. I argue that intergenerational memories of loss do not necessarily discourage participation but instead reinforce it, as failures are reframed within the investors’ experience of improvement and narratives of national development. Through this process, disappointment is normalised
This essay examines how collective memory of the singer Anita Mui unfolds across cultural productions in post-2019 Hong Kong. It begins with an analysis of memorial narratives associated with the 2021 biographical movie Anita, then examines a 2023 public debate about urban planning for museums, including the Hong Kong Heritage Museum, which at the time hosted an exhibition about the singer. Tracing the online circulation of memory narratives, the essay introduces the concept of ‘temporal fugitives’ to describe those who strategically withdraw from a politically turbulent present by retreating into a reconstructed past to seek solace.
In a town on the edge of a desert, a holoparasitic plant threads together memories of hardship, dreams of prosperity, and the feeling that development has come to a halt. Following centuries of human–plant encounters, this essay explores how China’s interior frontier has been shaped by successive incomplete projects of land reclamation, industrialisation, and nature conservation. Paying attention to this sense of unfinishedness sheds light on how people today live through political depression in China, where the future feels suspended but not entirely closed.
Made in China publications are open access and always available as a free download. To subscribe to email alerts for each issue of the Journal, newly published books, and information about upcoming events, please provide your contact information below.
