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Oakland, CA

New World (i): The “Discovery”

新大陆(i):被发现了

前言:美洲文明感觉很牛逼,和中国同期comparable。本文和chatGPT合作完成。


在欧洲人抵达之前,美洲并非一片等待命名与占有的荒原,而是一个已经被人类长期居住、改造并赋予意义的世界。考古学证据显示,最晚在距今约 1.5–2 万年前,人类已通过白令陆桥或沿海路线进入美洲,并在此后数千年中发展出多样而成熟的社会形态。这些社会并不是零散的部落集合,而是拥有稳定人口、复杂分工、宗教体系与政治结构的文明网络。

在中美洲,玛雅文明建立了高度精密的历法、成熟的文字系统和以城市为核心的政治组织:玛雅文明。

玛雅文明并不是一个在某个时间点“兴起—辉煌—突然消失”的单一文明体,而是一系列在中美洲持续运作了两千年以上的城邦体系。从前古典期到古典期,再到后古典期,玛雅社会不断重组、迁移与转型,有的城市衰落,有的新中心兴起。这种变化更接近于政治与生态条件下的结构调整,而不是文明层面的终结。

与许多以征服和扩张为核心的帝国不同,玛雅文明的突出特征并不在于军事占领大面积领土,而在于他们对时间、知识与宇宙秩序的系统化理解。在玛雅世界中,政治权力、宗教仪式与天文知识紧密交织,统治者的合法性并非仅来自武力,而来自其与宇宙秩序之间被“正确安放”的关系。

玛雅人发展出一套高度复杂而精确的历法体系。他们同时使用多个历法系统,用于宗教仪式、农业安排和历史纪年。这些历法并非抽象的数学游戏,而是通过长期天文观测积累而成,使他们能够预测日食、行星运行和周期性天象变化。时间在玛雅社会中不是线性流逝的背景,而是一种被计算、被标记、被赋予意义的结构性存在。

与此相配套的,是一套成熟的文字系统。玛雅文字是一种表意与表音相结合的书写体系,可以精确记录人名、事件、王朝谱系和宗教仪式。这意味着玛雅社会拥有清晰的历史意识,他们不仅在“发生事情”,也在记录、解释并传承这些事情。王权不是抽象的,而是被书写、被纪念、被嵌入时间结构之中的。

在空间层面,玛雅城市并非随意聚集的居住点,而是围绕宗教与行政中心组织起来的政治—仪式空间。金字塔、神庙、广场和王宫构成城市核心,仪式活动、公共集会与统治行为在这些空间中反复上演。城市既是权力的物理载体,也是宇宙秩序的象征性投射。通过空间布局,玛雅社会不断强化人与神、统治者与时间之间的关系。

如果说玛雅文明的核心是对时间与宇宙秩序的掌控,那么阿兹特克帝国所展现的,则是一种对空间、人口与权力关系的高度组织能力。阿兹特克并不试图通过抽象知识来理解世界,而是通过对城市、交通、水利与贡赋网络的精密布局,将权力具体地嵌入地理结构之中。

其首都特诺奇蒂特兰本身,就是这一逻辑的集中体现。这座城市建于特斯科科湖中的岛屿之上,并非自然形成,而是通过持续的人为改造才得以存在。人工堤坝与堤道将岛屿与陆地相连,既承担交通功能,也起到防御作用;复杂的水利系统将淡水引入城市,同时隔离咸水,确保饮用水与农业灌溉的稳定供应。城市内部不仅有明确分区,还有有组织的垃圾清理与排水安排,这在当时并非普遍存在的城市条件。

特诺奇蒂特兰并不是一个象征性的王城,而是一座真正意义上的超大型城市。其市场体系尤为突出。位于邻城的特拉特洛尔科大市场,每日有数万人参与交易,商品涵盖粮食、纺织品、工具、奢侈品乃至远距离贸易物资。交易活动并非混乱自发,而是受到制度性管理,价格、度量衡与秩序均受到规范。这意味着,城市不仅能维持自身运转,还能作为区域经济的核心节点。

在政治结构上,阿兹特克帝国并不是通过全面占领与直接统治来扩张领土,而是依靠一套高度成熟的贡赋制度。被征服地区通常保留原有的地方统治结构,只要按期向中央缴纳物资与劳力。这些贡赋并非单向掠夺,而是构成了帝国运行的基础:中央再将资源用于维持军队、修建公共工程、支持宗教仪式和保障首都运作。正是这种制度,使帝国能够在不彻底摧毁地方社会的前提下,维持对广阔区域的控制。

这一模式的关键不在于残酷或仁慈,而在于效率与可持续性。阿兹特克的权力并非抽象存在,而是通过道路、水利、市场与贡赋网络,持续地被“看见”和“使用”。权力嵌入空间,空间反过来巩固权力。

将这一现实与同时期的欧洲城市相比,反差尤为明显。15 世纪的许多欧洲城市仍在反复遭受污水问题、周期性饥荒与瘟疫冲击,基础设施薄弱,公共卫生体系几乎不存在。而特诺奇蒂特兰,已经具备稳定供水、有效交通、集中市场与行政调度能力,是一座能够长期、自我维持运转的巨型都市。

而在今天的美国中部密西西比河流域,曾经存在过一个以城市为节点、覆盖广阔区域的文明体系——密西西比文化。它并非由零散分布、彼此孤立的部落偶然拼接而成,而是一个在农业生产、宗教秩序、政治权力与空间组织上高度整合的社会网络。其中,最具代表性的中心是卡霍基亚,也是这一文明复杂程度最集中的体现。

在鼎盛时期(约公元 1050—1200 年),卡霍基亚的人口规模可能达到数万。这一数字不仅在北美极为罕见,也超过了同时期欧洲的大多数城市。更关键的并非人口数量本身,而是人口能够在同一地点长期集中并维持运转。这意味着稳定的农业剩余、有效的资源调配机制以及持续存在的社会组织能力。卡霍基亚显然已经跨过了“大型聚落”的阶段,进入了真正意义上的城市形态。

城市的空间结构以成组分布的巨型土丘为核心,其中规模最大的僧侣丘在体量上甚至超过了许多中世纪欧洲的石质建筑。这些土丘并非随意堆筑的纪念物,而是城市权力结构的物理表达。它们承担着宗教仪式、政治统治与公共集会等多重功能,是城市中最具象征意义的空间节点。通过高度、位置与视线关系的精心安排,权力被嵌入地形之中,并在日常生活与仪式活动中被不断确认。

围绕土丘展开的,是有序分布的居住区、公共空间与道路网络。考古证据清楚显示,卡霍基亚社会存在明确的社会分层。不同区域在住房密度、墓葬规格与随葬品配置上呈现出系统性的差异,这表明权力并非临时集中,而是一种已经制度化的等级结构。城市中存在相对稳定的统治集团,也存在被纳入这一秩序的普通居民群体。

同样重要的是卡霍基亚所体现的宇宙观与时间秩序。城市周边发现的“木阵”(Woodhenge)由排列成圆形的木柱构成,其位置与日出方位、节气变化高度吻合。这说明卡霍基亚的空间规划并不只是出于实用考量,而是与天文观测、农业周期和宗教仪式紧密相连。城市本身既是政治中心,也是对宇宙秩序的一种象征性呈现。

在北美西南部,普韦布洛人展示了一条与中美洲和密西西比流域截然不同的文明路径。

普韦布洛人生活在干旱、高温、降水高度不稳定的自然环境中,却并未因此停留在临时性的生存状态,而是逐步发展出高度适应环境约束的农业与居住体系。这种文明并非建立在资源充裕之上,而是在长期压力中被塑造出来的。

在生产方式上,普韦布洛人通过梯田建设、蓄水系统与精细化种植,应对水资源稀缺的问题,形成了稳定而可持续的农业结构。在居住形态上,多层、紧凑的聚居建筑被直接嵌入岩壁或高地之中。这种建筑方式不仅节省材料与土地,也在防御、保温与气候调节方面发挥了重要作用。至今仍然可见的石质聚居遗址,证明其结构设计并非权宜之计,而是经过长期实践验证的稳定方案。

更为关键的是,普韦布洛社会并非短暂聚集后便解体的脆弱共同体,而是形成了长期延续的社区结构。权力并不高度集中于个别统治者,社会运行更多依赖传统规范、协商机制与宗教仪式来维系秩序。这种相对分散而内聚的组织方式,使他们在环境高度不确定的条件下,反而具备更强的社会韧性。

如果说前述文明所挑战的是“没有城市就没有文明”这一欧洲中心的判断,那么易洛魁联盟所挑战的,则是欧洲关于政治本身的基本定义。在一个长期将政治秩序等同于领土主权与君主权威的思想传统中,易洛魁联盟的存在本身,就是一种异类。

易洛魁联盟并非由单一部族构成,而是多个部族组成的政治联合体。它并不以持续扩张领土或建立中央集权为目标,其核心在于制度设计本身。联盟内部的决策依赖协商与共识,重大事务需要各部族代表反复讨论,任何一方都无法单方面强行通过决定。权力不集中于个人统治者,而是受到制度、传统规范与集体意志的多重约束,从而在结构上避免了个人专断。

这种政治形式在欧洲语境中显得极为“反常”。在一个长期将主权与君主个人绑定、将秩序建立在服从之上的世界里,易洛魁联盟证明了:即便没有国王,政治依然可以高度组织化,并且具备长期稳定运作的能力。正因如此,这套制度后来曾被部分欧洲思想家研究和讨论,成为反思君主专制、重新理解政治可能性的一个重要参照对象。

这些社会之间并非彼此隔绝。贸易网络、技术传播、宗教观念与冲突长期存在,美洲本身就是一个已经在运作的历史空间。它有自己的时间线、内部秩序与权力结构,并不因为欧洲人尚未“知道”它而处于未完成状态。因此,“发现新大陆”这一说法本身就带有强烈的视角偏向。所谓“发现”,并不是美洲第一次进入人类历史,而是欧洲文明第一次系统性地意识到它的存在,并迅速将其纳入自身的认知框架之中——绘制地图、重新命名、划分主权、确立贸易与统治逻辑。

换言之,这并不是一场关于“看见”的事件,而是一场关于纳入、重构与支配的过程。

美洲不再只是美洲本身,而成为欧洲地理学中的“新大陆”、经济体系中的资源库、政治想象中的扩张对象。原本已经存在的社会,被重新定义为“尚未被发现的他者”,并在随后的几个世纪里,被系统性地边缘化、摧毁或重写。

Preface: The civilizations of the Americas were remarkably advanced—fully comparable to China during the same historical periods. This essay was co-written with ChatGPT.


Before Europeans arrived, the Americas were not an empty wilderness awaiting naming and possession, but a world that had long been inhabited, shaped, and endowed with meaning by human societies. Archaeological evidence shows that as early as roughly 15,000–20,000 years ago, humans had already entered the Americas via the Bering land bridge or along coastal routes, and over the following millennia developed diverse and mature forms of social organization. These societies were not loose collections of scattered tribes, but interconnected networks of civilizations with stable populations, complex divisions of labor, religious systems, and political structures.

In Mesoamerica, the Maya civilization developed highly precise calendrical systems, a mature writing system, and forms of political organization centered on cities.

The Maya civilization was not a single entity that “rose, flourished, and suddenly vanished” at a particular moment, but rather a series of city-state systems that operated continuously in Mesoamerica for more than two thousand years. From the Preclassic to the Classic and then the Postclassic periods, Maya society repeatedly reorganized, migrated, and transformed. Some cities declined while new centers emerged. These changes resembled structural adjustments driven by political and ecological conditions, rather than the collapse of civilization itself.

Unlike many empires built primarily on conquest and territorial expansion, the defining feature of Maya civilization lay not in large-scale military occupation, but in a systematic understanding of time, knowledge, and cosmic order. In the Maya world, political authority, religious ritual, and astronomical knowledge were tightly interwoven. The legitimacy of rulers did not derive solely from force, but from their being properly positioned within the order of the cosmos.

The Maya developed an exceptionally complex and precise calendrical system. They used multiple calendars simultaneously for religious ceremonies, agricultural planning, and historical reckoning. These calendars were not abstract mathematical exercises, but the result of long-term astronomical observation, enabling the prediction of eclipses, planetary movements, and cyclical celestial phenomena. In Maya society, time was not a neutral, linear backdrop, but a structured presence—calculated, marked, and imbued with meaning.

Complementing this was a fully developed writing system. Maya script combined logographic and phonetic elements, allowing precise recording of names, events, dynastic lineages, and religious rituals. This indicates a strong historical consciousness: events were not merely happening, but were recorded, interpreted, and transmitted. Kingship was not abstract; it was written down, commemorated, and embedded within temporal structures.

Spatially, Maya cities were not random clusters of dwellings, but political-ritual spaces organized around religious and administrative centers. Pyramids, temples, plazas, and palaces formed the urban core, where rituals, public assemblies, and acts of rule were repeatedly enacted. The city functioned both as the physical carrier of power and as a symbolic projection of cosmic order. Through spatial design, Maya society continually reinforced relationships between humans and gods, rulers and time.

If the core of Maya civilization lay in mastery of time and cosmic order, the Aztec Empire demonstrated a highly developed capacity to organize space, population, and power. Rather than understanding the world through abstract knowledge, the Aztecs embedded power directly into geography through the meticulous design of cities, transportation networks, hydraulic systems, and tribute structures.

Their capital, Tenochtitlan, embodied this logic in concentrated form. Built on an island in Lake Texcoco, the city did not arise naturally but existed through continuous human intervention. Artificial causeways and dikes connected the island to the mainland, serving both transportation and defensive purposes. Complex hydraulic systems brought fresh water into the city while separating it from saline water, ensuring stable supplies for drinking and irrigation. Within the city, clear zoning and organized waste removal and drainage systems existed—features that were far from universal in cities of the period.

Tenochtitlan was not merely a symbolic royal seat, but a true megacity. Its market system was especially notable. The great market at Tlatelolco, located in a neighboring city, drew tens of thousands of traders daily. Goods ranged from foodstuffs and textiles to tools, luxury items, and long-distance trade products. These exchanges were not chaotic or informal, but institutionally regulated, with standardized prices, measures, and order. This meant that the city not only sustained itself, but also functioned as the economic hub of a wider region.

Politically, the Aztec Empire did not expand through total occupation and direct administration of conquered territories, but through a highly developed tribute system. Subjugated regions typically retained their local rulers, provided they delivered goods and labor to the center on a regular basis. Tribute was not merely one-way extraction; it formed the foundation of imperial operation. Central authorities redistributed resources to maintain armies, build public works, support religious ceremonies, and sustain the capital itself. This system allowed the empire to control vast territories without completely dismantling local societies.

The significance of this model lies not in cruelty or benevolence, but in efficiency and sustainability. Aztec power was not an abstract concept; it was continuously made visible and operational through roads, waterworks, markets, and tribute networks. Power was embedded in space, and space in turn reinforced power.

When contrasted with contemporary European cities, the difference is striking. Many fifteenth-century European cities continued to suffer from chronic sanitation problems, recurring famines, and devastating epidemics, with weak infrastructure and virtually nonexistent public health systems. Tenochtitlan, by contrast, already possessed stable water supplies, efficient transportation, centralized markets, and administrative coordination—a megacity capable of long-term, self-sustaining operation.

In the Mississippi River valley of what is now the central United States, another urban-based civilization once existed: the Mississippian culture. It was not an accidental aggregation of isolated tribes, but a highly integrated social network structured around agriculture, religious order, political authority, and spatial organization. Its most representative center was Cahokia, where the complexity of this civilization was most fully expressed.

At its height (approximately 1050–1200 CE), Cahokia’s population may have reached tens of thousands—a scale rare in North America and larger than most European cities of the same period. What mattered was not simply population size, but the ability to sustain such concentration over time. This required stable agricultural surpluses, effective resource distribution, and enduring social organization. Cahokia had clearly moved beyond the stage of a large settlement into that of a true city.

The city’s spatial structure centered on clusters of massive earthen mounds, the largest of which—the Monks Mound—surpassed many medieval European stone structures in sheer volume. These mounds were not arbitrary monuments, but physical expressions of political power. They served religious, political, and communal functions, forming the most symbolically charged spaces in the city. Through careful control of height, placement, and sightlines, power was embedded into the landscape and repeatedly reaffirmed in daily life and ritual practice.

Surrounding the mounds were orderly residential areas, public spaces, and road networks. Archaeological evidence clearly indicates pronounced social stratification. Systematic differences in housing density, burial practices, and grave goods reveal a hierarchical structure that was institutionalized rather than temporary. The city contained stable ruling groups as well as broader populations incorporated into the social order.

Equally important was Cahokia’s cosmology and conception of time. Nearby “woodhenges,” circular arrangements of wooden posts, align closely with solar positions and seasonal changes. This suggests that Cahokia’s spatial planning was not driven solely by practical concerns, but was tightly linked to astronomical observation, agricultural cycles, and religious ritual. The city functioned simultaneously as a political center and a symbolic model of cosmic order.

The decline of Mississippian culture has often been reduced to claims of “fragility” or “unsustainability.” Such interpretations reflect a Eurocentric, linear view of civilization more than historical reality. A more accurate explanation lies in the convergence of multiple factors: ecological strain caused by dense populations, climate fluctuations that undermined agriculture, and internal political reorganization. Later, European arrival introduced decisive external disruptions—disease, trade dislocation, and violence—that ultimately severed the civilization’s historical continuity.

Cahokia and the Mississippian world did not disappear naturally; they were forcibly interrupted. Their existence alone is sufficient to refute the notion that North America lacked urban civilization before European contact. The issue is not whether they were “advanced” by European standards, but that their developmental path lay outside the civilizational coordinates Europe imposed.

In the American Southwest, the Pueblo peoples followed yet another distinct civilizational trajectory. Living in arid, high-temperature environments with highly unstable rainfall, they did not remain in temporary survival modes, but gradually developed agricultural and residential systems finely adapted to environmental constraints. Their civilization was not built on abundance, but shaped through prolonged pressure.

In terms of production, Pueblo societies employed terracing, water-storage systems, and intensive cultivation to cope with water scarcity, creating stable and sustainable agricultural structures. Architecturally, multi-story, compact settlements were built directly into cliffs or elevated terrain. These designs conserved materials and land while offering defensive advantages and climate regulation. The stone dwellings that remain today testify to structural solutions refined through long-term experimentation rather than expedient improvisation.

More importantly, Pueblo societies formed long-lasting communities rather than fragile, transient groupings. Power was not highly centralized; social order depended on tradition, consensus-building, and religious ritual. This relatively decentralized yet cohesive organization gave Pueblo communities greater resilience in the face of environmental uncertainty.

If these civilizations challenge the idea that “there is no civilization without cities,” the Iroquois Confederacy challenged Europe’s very definition of politics. In a tradition that equated political order with territorial sovereignty and monarchical authority, the Iroquois Confederacy stood as an anomaly.

The Confederacy was not a single tribe, but a political union of multiple nations. It did not aim at continuous territorial expansion or centralized authority; its core lay in institutional design. Decision-making depended on deliberation and consensus, with major matters requiring extended discussion among representatives of all member nations. No single party could impose decisions unilaterally. Power was not concentrated in individual rulers, but constrained by institutions, tradition, and collective will, structurally limiting personal domination.

This political form appeared deeply “abnormal” in the European context. In a world where sovereignty was long bound to monarchs and order equated with obedience, the Iroquois Confederacy demonstrated that politics could remain highly organized and stable without kings. For this reason, elements of its system were later studied and discussed by European thinkers, becoming reference points for critiques of absolutism and for reimagining political possibility.

These societies were not isolated from one another. Trade networks, technological exchange, religious ideas, and conflict existed over long periods. The Americas were already an operating historical space, with their own timelines, internal orders, and power structures, regardless of whether Europeans were aware of them. For this reason, the phrase “the discovery of the New World” is itself deeply perspective-bound. What was “discovered” was not the Americas entering human history for the first time, but Europe systematically becoming aware of their existence and rapidly incorporating them into its own cognitive framework—through mapping, renaming, claims of sovereignty, and the establishment of trade and rule.

In other words, this was not an event of “seeing,” but a process of incorporation, reconstruction, and domination.

The Americas ceased to be simply themselves and became Europe’s “New World”: a geographical category, a reservoir of resources, and an object of political expansion. Societies that already existed were redefined as “undiscovered others” and, over the following centuries, were systematically marginalized, destroyed, or rewritten.



Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

Artist Statement

My work is not about explaining the world; it’s about dismantling the emotional structures that everyday life tries to conceal. What I focus on is not “story,” but the dynamics between people—the pull and tension of intimacy, the quiet control embedded in family, the fractures that come with migration, and how an individual maintains their boundaries within these systems.

I grew up between shifting cultures and languages, often in environments where I was expected—needed—claimed by others. I was asked to understand, to accommodate, to take care, to adjust. Even the gentlest relationships carried an undercurrent of consumption. That tension became the foundation of my creative work.

The characters in my stories are not moral types. They each carry a kind of private conflict: they want closeness but fear being swallowed; they long to be seen but can’t fully expose themselves; they are asked again and again to give—to family, to love, to work—without knowing how to keep space for themselves. These aren’t inventions; they’re reflections of lived experience. Writing, for me, is a way to unearth the emotions that have been suppressed, ignored, or normalized—and let them speak again.

I gravitate toward rhythmic narrative structures: compressed scenes, quick shifts, intentional gaps, silences between characters. These spaces reveal more truth than dialogue ever could. The themes I explore—migration, family, identity, trauma, intimacy, female autonomy—ultimately point to a single question: how does a person protect their boundaries in a world that constantly pulls at them, demands from them, watches them?

Creating is neither escape nor self-soothing. It is a way of reclaiming authorship over my own narrative. When I write a character’s silence, resistance, hesitation, or departure, I’m answering one essential question:

When the world insists on defining me, how do I choose to define myself?

艺术家陈述

我的创作不是为了解释世界,是为了拆开被日常掩盖的情绪结构。我关注的核心不是“故事”,而是人与人之间的力量关系——亲密带来的拉扯、家庭带来的隐性控制、身份在迁徙中的断裂,以及一个人在这些结构里如何保持自己的边界。

出生在不断变化的文化与语言之间,长期处在“被期待—被需要—被占用”的环境里。很多时候,我被要求理解别人、照顾别人、顺着环境。那些看似温和的关系里,也潜藏着吞噬性的需求。这种张力成了我创作的源头。

在我的故事里,人物不是善恶分明的类型。他们都带着某种困境:他们想靠近别人,但又害怕被吞没;他们渴望被看见,却无法完全暴露自己;他们在家庭、爱情、工作里不断被要求付出,却不知道怎样为自己保留空间。这并不是虚构,是现实经验的折射。我写作,把那些长期被压抑、被忽略、被习惯化的情感重新挖出来,让它们重新发声。

我倾向于使用节奏性的叙事结构:压缩的篇幅、快速切换的场景、留白的空间、人物之间的静默。这些“空隙”比对白本身更能暴露一个人的真实状态。我处理的主题是移民、家庭、身份、创伤、亲密、女性的自主性,但它们都指向同一件事:一个人如何在被拉扯、被要求、被凝视的世界里,维护自己的边界。

创作不是逃避,也不是自我疗愈,是重新夺回叙事权的方式。当我写下一个人物的沉默、反抗、犹豫或离开,我其实是在回答一个核心问题:
当世界不断定义我时,我选择如何定义自己?

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2024, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,24年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2024, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,24年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

sunny.xiaoxin.sun@doubletakefilmllc.com

Sunny Xiaoxin Sun's IMDb


©2025 Double Take Film, All rights reserved

I’m an independent creator born in 1993 in Changsha, now based in California. My writing started from an urgent need to express. Back in school, I often felt overwhelmed by the chaos and complexity of the world—by the emotions and stories left unsaid. Writing became my way of organizing my thoughts, finding clarity, and gradually, connecting with the outside world.


Right now, I’m focused on writing and filmmaking. My blog is a “real writing experiment,” where I try to update daily, documenting my thoughts, emotional shifts, observations on relationships, and my creative process. It’s also a record of my journey to becoming a director. After returning to China in 2016, I entered the film industry and worked in the visual effects production department on projects like Creation of the Gods I, Creation of the Gods II, and Wakanda Forever, with experience in both China and Hollywood. Since 2024, I’ve shifted my focus to original storytelling.


I’m currently revising my first script. It’s not grand in scale, but it’s deeply personal—centered on memory, my father, and the city. I want to make films that belong to me, and to our generation: grounded yet profound, sensitive but resolute. I believe film is not only a form of artistic expression—it’s a way to intervene in reality.

我是93年出生于长沙的自由创作者。我的写作起点来自一种“必须表达”的冲动。学生时代,我常感受到世界的混乱与复杂,那些没有被说出来的情绪和故事让我感到不安。写作是我自我整理、自我清晰的方式,也逐渐成为我与外界建立连接的路径。


我目前专注于写作和电影。我的博客是一个“真实写作实验”,尽量每天更新,记录我的思考、情绪流动、人际观察和创作过程。我16年回国之后开始进入电影行业,曾在视效部门以制片的身份参与制作《封神1》《封神2》《Wankanda Forever》等,在中国和好莱坞都工作过,24年之后开始转入创作。


我正在重新回去修改我第一个剧本——它并不宏大,却非常个人,围绕记忆、父亲与城市展开。我想拍属于我、也属于我们这一代人的电影:贴地而深刻,敏感又笃定。我相信电影不只是艺术表达,它也是一种现实干预。

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