Sino-futurism and alternative imaginaries of Digital China

Abstract

This paper investigates the role of digital technologies in transforming China's self-image. It focuses on the use of extended reality (XR) in ceremonial events and art exhibitions. The paper offers two case studies. The first study, Beijing 8-Minute Show (2018), a multimedia performance at the closing ceremony of the Pyeongchang Winter Olympic Games, set the scene for what was called the Science and Technology Winter Olympics in 2022. The second study, Blueprints (2020), was a multimedia exhibition in the UK by the artist Cao Fei, which drew attention to a future of increased alienation, loss of privacy and digital surveillance. In the paper, the framework of a ‘techno-cultural imaginary’ shows how China's self-image is increasingly tied to modernisation. The paper demonstrates how the ‘two cultures’, science and the arts, have converged in policy thinking. In this reset, China's so-called cultural confidence is re-energised by digital platforms, echoing the description of Digital China. Sino-futurism, originally used in relation to Chinese sci-fi literature, provides a stepping-off point to imagine the future, which is alternatively characterised as techno-utopian (within China) and dystopian (in the West). Drawing on the qualitative analysis of publicly available interviews, media reports, online comments and close reading of the art content, the paper argues that XR allows the government to present Digital China as a positive blueprint for human progress. Meanwhile, XR is capable of generating critical stories about China, which contradict the message the government seeks to cultivate with its public diplomacy and propaganda campaigns.