JY
correojiayun@gmail.com
Instagram: @fabricant_fang
Jiayun Yan (JY) is a Shanghai-based, Singapore-raised strategist, editor, and cultural researcher working at the intersection of Chinese youth culture, internet trends, and cross-border storytelling. She leads social media and content strategy at RADII Media, develops emerging-culture and trend reports with various creative studios, and has contributed to platforms like Sabukaru and Nero Editions internationally. Her work bridges Chinese digital culture, contemporary aesthetics, and global creative networks.
CV upon request
SELECTED WORK DIRTY PRODUCT FOR A NEW ERA
DIRTY PRODUCTS FOR A NEW ERA: DOOMSCROLL 996
NOVEMBER 2025, NEPHILA STUDIO
RESEARCH LEAD: JIAYUN YAN
GRAPHIC DESIGN: LOUIS LAM
EDITORS: BRANDON TAY, FLORA WEIL
RESEARCHERS: JIAYUN YAN, JENN LEUNG, YANNIS SIGLIDIS, ALEX TAYLOR, FLORA WEIL
MEDIA ASSISTANT: SIENNA SUAREZ
DESCRIPTION
Dirty Products for a New Era (also known as Doomscroll 996) is an experimental cultural research project exploring how Chinese subcultures mutate, remix, and communicate under the pressures of algorithmic life and the 996 work culture. Developed with Nephila in 2025, the project investigated the rise of “dirty products”—what global internet discourse now calls slop—as an emerging aesthetic and survival logic shaped by burnout, platform governance, and hyper-accelerated digital communication.
The project was conceived in a moment of global inflection: shifting trade borders, AI bubbles, platform fragmentation, and a multipolar cultural landscape. Within this context, the research mapped how Chinese digital communities metabolize chaos, ambiguity, and platform constraints into new visual languages and tactics—from swarm software and tactical demos to reversed interpolations and new forms of meme literacy.
JY played a central role in shaping the cultural research and editorial framing of Dirty Products for a New Era. Her contribution focused on tracing how slop aesthetics take form within Chinese digital environments, especially within ecosystems shaped by exhaustion, overwork culture, and algorithmic opacity. Through close reading of platform-native behaviors, she identified the ways young Chinese netizens use messy, chaotic, and low-effort visual languages as both creative expression and subtle resistance.
She helped articulate emerging patterns in subcultural behavior—tactical shitposting, swarm-style collaboration, coded communication, remix logics—and connected these practices to broader global shifts in digital culture. By contextualizing Chinese “dirty products” within a larger network of internet evolution, she showed how these aesthetic mutations foreshadow future global creative tendencies.