Shitong Chu's blog

I tried to use AI to generate a “gender-neutral” portrait to see how “avant-garde” it would be on such a sensitive topic. After the photo was generated, I felt that was really good, with soft colors, simple design, and futuristic technological background. But upon closer inspection, I couldn’t help but wonder: is this really “genderless”?

This portrait, while not displaying obvious gender characteristics, is not entirely free from the original gender framework either. Although it doesn’t clearly favor men or women in the traditional sense, it is easily reminiscent of a masculine Western aesthetic. This got me thinking: Is AI-generated “gender-neutral” content in fact culturally biased? Is it unknowingly choosing a “default standard” when it comes to blurring gender identities?

Is Visual “Neutrality” a Form of Bias?

Neutral colours like light blues, whites, and gentle greys are used throughout the image to create a cosy, soothing atmosphere. These colour selections appear to be an attempt to steer clear of gendered designations, such dark blue, which is sometimes seen as a male colour, or pink, which is frequently associated with women. The figure’s facial features are also more neutral: neither long hair nor slim facial lines, which are typically associated with femininity, nor a prominent jawline, which is a symbol of traditional male beauty, are present.

I find this design approach to be contradictory. The AI’s “neutral” behavior appears to be predicated on male traits by default, despite the fact that it may be attempting to defy gender stereotypes. The AI’s training dataset is probably connected to this male-oriented visual language. The AI’s ability to replicate these tastes will be constrained if the dataset is largely based on popular Western aesthetics.

‘Algorithms are the products of the data they are fed’

In other words, AI representations are based on human input data that may itself be biased. If there is a lack of diversity in the dataset, such as minority cultures or non-binary gender representations, it is difficult for the AI to present a wider range of neutral expressions. Portraits that seem to be laden with technology, like this “genderless” image, indicate an attraction for Western cultural domination. This demonstrates how human culture and aesthetics continue to affect even a cold technology like artificial intelligence. “Algorithmic self” has opened my eyes to new ways of thinking about how AI outcomes not only reflect the assumptions of the technology’s creators but also influence how we perceive “neutrality.” One learns from this encounter that technology has a considerably greater impact on how we perceive the world than we may realise.

The Limitations of AI Design and Future Possibilities

In a way, AI does help us explore new possibilities for gender expression, but it also reminds us that the cultural biases and data limitations behind the algorithms remain. Future technology development needs to pay more attention to the diversity and inclusiveness of data in order to avoid turning “genderless” into another standard of homogenization. We need to provide more specific requirements and instructions, or offer more diverse inputs to the technology. Through such interactions, we can truly push AI towards a broader expressive space. This experience has made me more aware of AI’s limitations, but it also fills me with anticipation for its future. Perhaps one day, AI will truly break free from the constraints of human cultural and gender biases, bringing us a brand new, diverse worldview.

Recently, I swiped a set of photo ads from Freitag on Instagram. The simple compositions, natural scenes, and unique bag designs instantly caught my eye. The Swiss brand has always been known for its eco-friendly philosophy, making bags from recycled truck tarps, each one unique. These ads, though seemingly understated, skillfully integrate brand values and environmental concepts into everyday life scenarios, making me rethink: how exactly does this kind of brand content convey environmental concepts while at the same time creating an emotional connection with us, the consumers?

From Truck Tarps to Unique Bags

The content of Freitag’s ads is always straight to the point, often with no extra words or actions to convey, and the focus of the photo is often just the bag. Take for example this photo they posted on Instagram. (See the image below)

A girl in minimalist attire, carrying a blue bag, walking down a black spiral staircase. This not only highlights the simplicity and individuality of the product, but also makes people unconsciously focus on the material and color of the bag itself. It also hints at the brand’s core values – each bag is unique because they are made from scrap truck tarpaulins.

Another one that impressed me was the video that Freitag had released showing the entire process of making a bag, starting from cutting the fabric for the truck and finishing with the final stitching.

This video is not flashy, but very real, and every frame gives you a sense of the care that went into making it by hand. This transparent narrative is very gripping, as if you’re not just buying a bag, but participating in a small action to save the planet. The content visually reinforces Freitag’s eco-friendly and customized brand image and emotionally appeals to those seeking sustainable consumption.

The Charm of Brand’Owned Content

While traditional advertising is often aimed at direct marketing, brands like Freitag are blurring the line between brand and media by publishing original content on social media. This content not only tells consumers “what we sell” but also shows “who we are” and “why we do what we do”. Using video, Freitag made the production process of each bag transparent, which not only enhanced the brand’s credibility, but also created an emotional connection with consumers.

The brand as ‘an object or medium for the exchange of information between “producers” and “consumers”. The interface of the brand organises the exchange of information or communication so as to produce relations between products’

(Lury, 2004: 62)

Freitag combines product values with consumer values through content creation. It is not only a brand that sells bags, but also a cultural symbol that advocates an environmentally friendly lifestyle.

I’ve owned a Freitag bag and every time I wear it, I feel a subtle sense of joy. I knew that it was not an “assembly line standard product”, but a unique design that was reborn from waste materials. This emotional connection is the reason why the brand’s content is able to influence consumers on a deeper level.

The Significance of Freitag

Freitag is a shining example of creative, idea-driven branded material. The transition from truck tarps to distinctive bags represents the trend of advertising and content crossing, as well as the promise of sustainable consumption. In my opinion, Freitag is a lifestyle champion as well as an environmentally conscious company. And as consumers, we must never stop considering that we are buying not just a bag but the world we wish to create.

If you’ve come across this Mercedes-Benz ad recently, you might have paused for a moment. It was released by Mercedes-Benz on INTERNATIONAL WOMEN’S DAY 2023, and instead of cool car tricks or images of luxury cars chugging along, it’s a group of girls standing up and saying, “I don’t want to be the only woman.” The advertisement uses straightforward language to address the sensitive topic of gender bias. Although it appears to be a genuine demand for affirmative action, do you also wonder if the brand is really behind this push for change, or is it a clever marketing ploy?

https://www.youtube.com/watch?v=jGhe13nY2sg

This Mercedes-Benz commercial grabs the viewer’s attention from the very beginning through a series of subtle and impactful shots. The central scenes of the ad include the girl’s voice in a male-dominated lab, on a racing track, and in everyday but symbolic scenes such as a classroom. Not only do they refer to specific occupational fields, but they also hint at the deep-rooted gender bias in society. But in advertising, these symbols are given a new meaning – they become tools for breaking through gender boundaries.

It is also notable for its use of color. The symbolic change from “ordinary to extraordinary” is visually represented by the color transition from the girl’s blue and white school uniform to the vivid red of the racing outfit. The campaign’s emotional impact is increased by the design, which furthers the idea of women working to overcome obstacles.

The Commodification of Feminism

The ad is apparently about feminism, but it’s actually a very smart branding strategy. As Sarah Banet-Weiser describes in her concept of “popular feminism,” empowerment is packaged as a commodity, making the brand appear more “edgy” and “progressive.” With the idea of gender equality, Mercedes-Benz is not only trying to capture the emotional resonance of young consumers, but also trying to portray itself as a more socially conscious brand. This approach is undeniably clever, but it also makes you wonder: if empowerment is also being commoditized.

There is no denying that the advertisement has gained a lot of attention for Mercedes-Benz and captured a very hot topic at the moment. But the question is whether the “equality” mentioned in the ad is just a gimmick? Empowerment is not just about pretty pictures or loud slogans, it’s about whether the brand can actually put these ideas into action. If the concept of gender equality is not integrated into the corporate culture, for example, through practical measures to support women’s career development, or to provide more opportunities for women in the field of motor racing, then such advertisements may soon be regarded as “empty sentimental marketing”.

In addition to showcasing a lovely picture of gender equality, the Mercedes-Benz commercial successfully attracts a lot of attention because to its emotional story. However, its actual effect still depends on the brand’s ability to apply the concepts in the advertisement. The public will undoubtedly be suspicious of the brand’s true intentions if the campaign is only a formality; however, if Mercedes-Benz uses this as a chance to encourage real social change, it will be a successful example of turning “emotional marketing” into “social practice”.

China’s media industry has always been an interesting balancing act. It has both officially dominated media outlets like the China Central Television (CCTV) and Xinhua News Agency, which are responsible for disseminating policy and shaping public opinion to ensure the spread of mainstream values; there are also commercial platforms represented by Douyin and Aqiyi, which profit from market competition to attract user traffic and generate advertising revenue. The combination of both policy and market forces has made China’s media ecosystem unique, but also full of challenges.

Balancing Policy and Market

These two different models satisfy the needs of different audiences to a certain extent: mainstream values are solidly disseminated through official media, while commercial platforms allow users to satisfy their individual interests. They also reflect the core characteristics of China’s media industry – policy guides the direction and the market adds vitality.

Is Douyin “Democratizing” Media?

Media democratization focuses on enabling ordinary people to participate in the production and distribution of content.

（McChesney 2000)

Douyin’s model seems to support this very well. With just a cell phone, any ordinary person can share their views and record their daily lives through short videos.

But the problem is that this “democratization” is not entirely pure. Platform algorithms often prioritize entertainment content that attracts more traffic over truly in-depth or diverse work. This kind of traffic orientation may lead to the overflow of low-quality content, and at the same time create a “cocoon of information”, so that users can only be exposed to content that is consistent with their own interests. Coupled with the requirements of policy regulation, it remains difficult for certain sensitive topics to be widely disseminated. The result is an environment in which “everyone has a voice”, where the boundaries are actually defined by both algorithms and policy.

The double challenge of policy and technology

China’s media environment has always been a balance between policy and market, and commercial platforms such as Douyin are dynamic but still subject to strict content restrictions. Commercial platforms such as Douyin are dynamic but still subject to strict policy restrictions on content, and a BBC article noted that China’s “firewalls” not only block the inflow of information from abroad, but also control domestic content. While such regulation ensures the stability of public opinion, it also poses a challenge to the diversity of content on platforms. (see China Media Guide from BBC)

Against this backdrop, short-video platforms have made it easier for ordinary people to participate in content creation, but how to maintain the vitality of the platforms under policy constraints while avoiding information homogenization and low-quality content is a key issue for Chinese media to address in the future.

The Future: A New Direction for Chinese Media

Chinese media need to find a new breakthrough between policy and market. Commercial platforms can optimize their algorithms to allow more quality content to be seen, rather than simply catering to traffic. Policy-wise, if creators are given more freedom of expression, it will also provide more space for diverse content. Whether it’s official media or commercial platforms, the key to the future lies in how to use technology and creativity to make the media ecosystem more open and dynamic.

Netflix’s Absence in China

Stranger Things、Squid Game、The Witcher……Netflix’s hit shows attract global viewers, but the content is virtually inaccessible to Chinese subscribers. Netflix cannot operate directly in China due to policy restrictions. If Chinese viewers want to watch this content, there are usually only two options:

• either use a VPN to bypass restrictions, which comes with financial and technical costs;

• or simply turn to piracy websites, where you can access full episodes effortlessly with just a click.

Piracy Websites: Convenience or Trouble?

Due to platform oversight loopholes and inadequate policies and regulations, numerous piracy platforms in China provide access to content. On the surface, they appear to be “heroes” saving domestic audiences, but actually they are troublemakers. While they offer free HD Netflix sources while saving you the hassle of a VPN, you’ll be immediately flooded with pop-up ads when you open the site, and the pages can also sneak in malware and viruses. This kind of chaotic experience reminds me of a term – “Cyber Psoriasis”. They are like a persistent disease in the digital world that not only disrupts the user experience, but also hurts the viability of legitimate content.

A CNN article mentions that Renren Video had raised concerns for illegally distributing overseas content. It fills a gap in Chinese viewers’ demand for quality content, but the impact of such behavior on content creation and even the industry as a whole is worth pondering.

The Rise of Piracy: Driven by Users’ Cost-Benefit Calculations

In China, the vacancy of Netflix has led to an imbalance between supply and demand – users want to watch it, but there are no legal channels in the market to fulfill this demand. The rise of pirate websites is the result of the unequal distribution of resources in the economic system. Why do users choose piracy? The answer is simple: it’s cheaper, more convenient and more flexible. Compared to the monthly cost of subscribing to Netflix and buying a VPN service, pirate websites offer a “low-cost solution”. This reflects one of the characteristics of users’ economic decisions: they will always choose the option that meets their needs and costs them the least, even if it damages the industry as a whole.

Who Pays the Price for Piracy?

Maybe you’re thinking, isn’t piracy just about paying less to watch a show? But the truth is that piracy is not only stealing revenue from content creators, it’s also gradually weakening the environment in which high-quality content is produced. Big budget movies and series like those on Netflix rely on subscription fees from a large number of licensed users to support their huge production costs. If piracy continues to proliferate, fewer and fewer companies will take the risk of producing new content in the future.

On the other hand, users are actually paying for piracy. Things like those annoying pop-up ads, unsafe online environments, and even the risk of leaking personal data are all hidden costs.

Will We Ever Cure the “Cyber Psoriasis”?

Piracy websites may seem to satisfy audience demand on the surface, but the issues they bring are far more complex than they appear. To truly eliminate this “cyber psoriasis,” we first need to improve the economic system’s supply-and-demand relationship, and Netflix could try to launch more localized content in the Chinese market; there is also a need for media companies, users and policy makers to work together to create a healthier environment for viewers to consume content.