My first object is an article published by Sandy Sufian and Rosemarie Garland-Thompson in 2021, which features CRISPR, a biotechnological procedure discovered in 2009 that involves gene editing by altering an organism's DNA. As such, CRISPR allows scientists to alter the genotype of an organism and is currently used to help treat diseases, improve agriculture through the production of genetically modified organisms (GMOs), and foster advances in biomedical research.
Although CRISPR is one of this century's most influential scientific discoveries, awarded a Nobel prize in 2020, many ethical concerns are associated with it. As stated in its title, the article explores the side effects of CRISPR and critiques its methodology. Hence, the context in which the object is presented is an ethical one, conflicting with the scientific context of CRISPR.
The genetic alteration of organisms raises concerns about it being misused since the idea of identifying 'biologically inferior genes 'and 'enhancing human traits' draws parallels with the notion of eugenics. Moreover, one of the primary uses of CRISPR today is the genetic alteration of embryos to repair genes and cure hereditary diseases such as blindness. However, it has been objected to due to consent and safety concerns, as embryos can't consent, and there's a potential of having unintended effects on the genetic makeup and future generations of the gene pool after undergoing CRISPR treatment.
Therefore, when presented with wider ethical considerations by people who share the same concerns as the ones presented in my object, individuals would be influenced to reject using CRISPR due to its inhumane practices and ethical implications. However, in a purely scientific context, individuals would accept the use and development of CRISPR as a form of scientific knowledge due to its potential for medical advancements and to cure previously untreatable conditions.
My second object is a COVID-19 poster published in 2022 by Sinovac, a Chinese biopharmaceutical company. It follows Sinovac's announcement that Hong Kong children ages six months to 3 years are now permitted to take COVID-19 manufactured by them after getting approval from the Health Bureau of Hong Kong (Sinovac, 2022).
In the context of the COVID-19 vaccines, many Hong Kong citizens hesitated to let their children get vaccinated due to safety concerns, mistrust of the government, and conflicting cultural beliefs. This object links to the prompt because scientific and environmental knowledge regarding the COVID-19 vaccines are presented in a way that helps verify its legitimacy, influencing people to be more accepting of being vaccinated. At the time of its publication, only 10% of parents were willing to let their children get the COVID-19 vaccine, and 85% were concerned about the potential side effects of vaccinating (Fiona Sun, 2022).
Sinovac uses medical evidence to reassure Hong Kong citizens about the safety of the vaccine by conducting experiments verified by medical experts stating that the vaccine had 'no severe adverse reaction reported six months after two doses of vaccination among children aged six months to 35 months' (Sinovac, 2022). Moreover, the object declares that the vaccine is verified by the Hong Kong government by stating that "Hong Kong Authorized CoronaVac," which seeks to skew individuals' skepticism and safety concerns about letting young children take the COVID-19 vaccine. Since many people were aware of the health dangers of contracting COVID-19, more parents were willing to vaccinate their children for COVID-19.
Therefore, when knowledge is provided in a scientific context and verified by experts in the field, people are more likely to accept knowledge. In my object, when Hong Kong citizens are provided with statements and claims made by medical experts and well-trusted pharmaceutical companies, they are influenced to be more accepting of the COVID-19 vaccine, specifically allowing children to take it.
My third object is a traditional Chinese clothing worn by males, called the Tang Suit. It originated during the Qing Dynasty and took inspiration from Machurian-styled clothing. This object has a personal connection to me since I wore it at family gatherings when I was younger to celebrate Chinese New Year and follow traditional Chinese culture.
The Tang Suit represents elegance, grace, and refinement. Mine incorporates the words 福 and 寿, which connote good fortune and luck. My family believes that wearing this helps me connect to my cultural heritage and ancestors to bring me good luck.
Since the Tang Suit has cultural significance, people from foreign countries and backgrounds may be unfamiliar with the historical context of the Tang Suit and require knowledge before accepting its cultural significance. The object presented without explanations may influence individuals to see the Tang Suit as a pretty seasonal ‘costume’. However, those from Chinese backgrounds and familiar with the cultural significance of the Tang Suit would have preconceived knowledge of its deeper meanings.
Moreover, stylists have created adaptations of traditional Chinese clothes as a part of contemporary fashion. This was most notable in the 2015 Met Gala: China Through the Looking Glass. Many designers for the men who attended, such as Justin Bieber, took inspiration from the Tang Suit for their outfits by incorporating stylistic features in traditional Chinese clothes.
This generated controversy within the media and was classified as cultural appropriation and sacrilegious, causing many Chinese people to reject the modified version of the Tang Suit. From another perspective, one might say that since the Tang Suit was presented in a Western, modern context, it caused contemporary audiences to view it in a different way.