It is a journey that intertwines fire and silence, war and celebration, national identity and family affection. In The Work of Art in the Age of Mechanical Reproduction, Benjamin points out that reproducing, presenting and distributing artistic works are inevitable when inheriting history and culture. Under the background of the large-scale industrial production, the “fake” produced by the mechanical reproduction gets rid of the limitation of space and time, making the “display value” of the work exceed the “worship value” of the original one. However, now, the advent of code, digit, and interactive technology is leading us to the next stage of art copying —— digital reproduction. The “display value” of art may also undergo a transformation toward the “experience value”. This project, The Memory of War in The Age of Digital Reproduction, is a serious attempt to create a brand new interactive art show with current digital technologies, which under the influence of Benjamin’s theory. This project combines a variety of technologies and strives to create an immersive visiting experience through scene layout, motion-sensing equipment, vision, sound, music and other aspects. In addition, referring to the definition of national identity made by Chris Barker, this project choose to show redesigned images, music, medals of honour and other symbols from 70 years ago, to tell the memory of the Korean War that was different from the “anti-war” aspect but from the perspective of a Chinese to show China’s unique national identity and sense of pride.
