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"[http://chinadigitaltimes.net/2011/04/love-the-future-netizens-show-support-for-ai-weiwei/ Love the future]" is a coded reference to Chinese artist and dissident, [http://chinadigitaltimes.net/china/ai-weiwei/ Ai Weiwei] (艾未未) that began to be used after Ai's disappearance in early 2011.  Ai’s surname sounds the same as the word “love” in Chinese, and his given name “Weiwei” can be converted into the word “future” by adding two small strokes to the second character.  After the phrase "love the future" became a synonym for Ai, the word "future" became a [[sensitive porcelain | sensitive word]] in China. See [http://chinadigitaltimes.net/2011/06/future-banned-on-sina-weibo-search/ here].
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[[File:AiWeiwei.jpg|300px|thumb|left|''“Ai Weiwei” and “love the future” were blocked on Weibo in April 2011.'']]“[http://chinadigitaltimes.net/2011/04/love-the-future-netizens-show-support-for-ai-weiwei/ Love the future]is a coded reference to Chinese artist and dissident [http://chinadigitaltimes.net/china/ai-weiwei/ Ai Weiwei] (艾未未) that came into use after Ai's [http://chinadigitaltimes.net/2012/05/a-black-hood-81-captive-days-for-ai-weiwei/ detention] in April 2011.  Ai’s surname sounds the same as the word “love” in Chinese, and his given name “Weiwei” (未未) can be converted into the word “future” (未来) by adding two small strokes to the second character.  After the phrase “love the future” became a cipher for Ai, “future” was for a time a [[sensitive porcelain | sensitive word]] on the Chinese Internet. (See [http://chinadigitaltimes.net/2011/06/future-banned-on-sina-weibo-search/ here].)
  
From [http://en.wikipedia.org/wiki/Ai_Weiwei Wikipedia]
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One of the designers behind the iconic Bird’s Nest Stadium, Ai was prominent in the art world long before he became a thorn in the Chinese government’s side. He started to rankle the authorities in May 2008 when he lead a project to collect the names of children who died in the [http://chinadigitaltimes.net/2010/05/ai-weiwei-%E8%89%BE%E6%9C%AA%E6%9C%AA-commemoration-%E5%BF%B5/ Sichuan earthquake]. Active on Twitter, he commented there in February 2011 about the calls for a “[http://chinadigitaltimes.net/2011/04/uprooting-the-%E2%80%98chinese-jasmine-revolution%E2%80%99/ jasmine revolution]” in China modeled after Egypt’s. Visits from the police and the destruction of his Shanghai studio in late 2010, combined with the tension in Beijing brought by the Arab Spring, lead Ai to attempt to leave for Hong Kong on April 3. He was detained while boarding his flight and disappeared for 81 days. Once back home and under surveillance, he [http://chinadigitaltimes.net/2011/07/ai-weiwei-joins-google-users-protest-true-name-policy/ didn’t stay silent] for long.
: Ai Weiwei is a Chinese artist and activist, who is also active in architecture, curating, photography, film, and social and cultural criticism.  Ai collaborated with Swiss architects Herzog & de Meuronas the artistic consultant on the Beijing National Stadium for the 2008 Olympics.  In addition to showing his art he has investigated government corruption and cover-ups. He was particularly focused at exposing an alleged corruption scandal in the construction of Sichuan schools that collapsed during the 2008 Sichuan earthquake. He intensively uses the internet to communicate with people all over China, especially the young generation. On 3 April 2011 police detained him at Beijing airport, and his studio in the capital was sealed off in an apparent crackdown by the Chinese authorities on political dissidents.
 
  
On June 22, 2011, Ai was released on probation with strict instructions to not leave Beijing.
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''New Yorker'' China correspondent Evan Osnos [http://www.newyorker.com/reporting/2010/05/24/100524fa_fact_osnos?currentPage=all profiled] Ai in 2010. Edward Wong of the ''New York Times'' wrote an [http://www.nytimes.com/2012/05/27/world/asia/first-a-black-hood-then-81-captive-days-for-artist-in-china.html?_r=1&smid=fb-share account] of Ai’s detention on May 26, 2012.
 
 
A terrific profile of Ai Weiwei is available in the New Yorker, [http://m.newyorker.com/reporting/2010/05/24/100524fa_fact_osnos?currentPage=4 here].
 
  
 
[[Category: Grass-Mud Horse Lexicon]]
 
[[Category: Grass-Mud Horse Lexicon]]

Revision as of 19:39, 29 May 2012

爱未来 (ài wèilái): Love the future


“Ai Weiwei” and “love the future” were blocked on Weibo in April 2011.

Love the future” is a coded reference to Chinese artist and dissident Ai Weiwei (艾未未) that came into use after Ai's detention in April 2011. Ai’s surname sounds the same as the word “love” in Chinese, and his given name “Weiwei” (未未) can be converted into the word “future” (未来) by adding two small strokes to the second character. After the phrase “love the future” became a cipher for Ai, “future” was for a time a sensitive word on the Chinese Internet. (See here.)

One of the designers behind the iconic Bird’s Nest Stadium, Ai was prominent in the art world long before he became a thorn in the Chinese government’s side. He started to rankle the authorities in May 2008 when he lead a project to collect the names of children who died in the Sichuan earthquake. Active on Twitter, he commented there in February 2011 about the calls for a “jasmine revolution” in China modeled after Egypt’s. Visits from the police and the destruction of his Shanghai studio in late 2010, combined with the tension in Beijing brought by the Arab Spring, lead Ai to attempt to leave for Hong Kong on April 3. He was detained while boarding his flight and disappeared for 81 days. Once back home and under surveillance, he didn’t stay silent for long.

New Yorker China correspondent Evan Osnos profiled Ai in 2010. Edward Wong of the New York Times wrote an account of Ai’s detention on May 26, 2012.