A series exploring the media “input” of a group of people — our commercial semiotician colleagues, from around the world — whose “output” we admire.

Singapore/China…

SEMIOVOX

What forms of media do you “take in” the most regularly/frequently, during a typical day or week?

COCO WU

If I’m not completely swamped with projects, I like to start my day with a bit of reading. I mostly go for nonfiction, because it reflects the evolving culture and society around us, and I enjoy observing those shifts.

Some recent reads:

• 《逃走的人》 – Stories of young Chinese people escaping big cities for a remote town in northeastern China, on the Russian border. They live with extremely low material desires, often cutting ties with family and their past, in search of an alternative kind of freedom in a hyper-competitive society. (Sorry, I can’t find an English version.)
• Good Morning, Monster – A collection of deeply moving psychotherapy stories.
• I Want to Die But I Want to Eat Tteokbokki – A candid, relatable memoir about depression and self-acceptance (especially relatable for Eastern Asian kids, I guess), told with a mix of humor and vulnerability.

During my commute, I usually plug into various podcasts — mostly random interviews hosted by my favourite hosts. I especially enjoy those by stand-up comedians; they tend to be sharp, unfiltered, and unexpectedly insightful.

Evenings are my protected “chill time.” I’ll happily binge a Netflix series or watch a movie without a shred of guilt — total mental reset before the next day.

SEMIOVOX

Do you subscribe to any magazines or newsletters that you’d strongly recommend?

COCO WU

I subscribe to a mix of newsletters and magazines to stay on top of trends and insights in the industry. There’s a lot of great content out there — especially from independent colleagues and niche agencies.

From the mass media side, I regularly read Vogue Business, Fast Company, The Drum, Campaign Asia, Jing Daily, and Business Reporter etc. for broader business and culture updates.

For more specialized insights, I follow newsletters and webinars from CrowdDNA – Crowd Source, Canvas8 – Is it a thing, WGSN events, TRIPTK Codex among many others. They’re fantastic for spotting early signals, emerging trends, and fresh perspectives before they hit the mainstream.

SEMIOVOX

How do you use social media, these days?

COCO WU

I try to limit my screen time… but let’s be honest, it’s easier said than done!

As a late millennial, Instagram is still my main social media (I know this might sound dated to many youngsters!). It’s a bit of everything for me — part personal scrapbook, part work inspiration. I use it to keep up with climbing updates (climbing is my foremost passion out of work), see my friends’ travels and life changes, and follow media accounts that track cultural shifts.

Some accounts I check in on regularly:

• Tatler Taiwan – Lifestyle and culture with a regional lens
• Radii – Stories from the frontlines of Chinese youth culture, unbiased English medium
• Sixth Tone – In-depth reporting on modern China
• Mothership – If you choose only one account for Singapore, this is it. Social news, memes, entertainment, you can find them all here
• Rice Media – Sharp, witty takes on life and culture in Southeast Asia.

What I enjoy most is how my feed is this mash-up of personal moments and cultural commentary — it keeps me grounded while also feeding my curiosity.

SEMIOVOX

What’s the best movie you’ve seen recently?

COCO WU

Above the Dust really stuck with me. It’s a film by Chinese auteur Wang Xiaoshuai, and it’s such a beautifully strange and touching story.

The film follows Wo Tu, a 10‑year‑old boy in a dusty village in northeastern China who dreams of owning a plastic water pistol like other kids. When his grandfather dies, he promises to deliver it as a ghost. What follows is this surreal, dreamlike treasure hunt that blends memory, guilt, and the past in a way that’s at once whimsical and poignant.

For me, the film’s power lies in its emotional layering — three generations bound by love for the land, yet fractured by the forces of rapid development and urbanisation. It doesn’t just tell a personal story; it captures the quiet grief of communities watching their way of life fade. Visually and thematically, it’s bold, a little weird, and utterly moving — the kind of film that lingers like dust in the air long after the credits roll.

MEDIA DIET: GIANLLUCA SIMI (Brazil) | HIBATO BEN AHMED (France) | MARIE LENA TUPOT (USA) | EUGENE GORNY (Thailand) | YOGI HENDLIN (Netherlands / USA) | INKA CROSSWAITE (Germany / South Africa) | SÓNIA MARQUES (Portugal) | ĽUDMILA LACKOVÁ BENNETT (Czechia) | BRIAN KHUMALO (USA / South Africa) | JIAKUN WANG (Shanghai) | FRANCISCO HAUSS (China / Mexico) | ASHLEY MAURITZEN (England) | STEFANIA GOGNA (Italy) | BECKS COLLINS (England) | ANTJE WEISSENBORN (Germany) | MARIANE CARA (Brazil) | MARTHA ARANGO (Sweden) | PAULINA GOCH-KENAWY (Poland) | COCO WU (Singapore / China) | JOSH GLENN (USA) | JENNIFER VASILACHE (Switzerland) | ANDREA BASUNTI (England) | SARAH JOHNSON (Canada) | MARIA PAPANTHYMOU (Greece) | VICTORIA GERSTMAN (Scotland).

Also see these global semio series: MAKING SENSE (Q&As) | SEMIOFEST SESSIONS (monthly mini-conferences) | COVID CODES | SEMIO OBJECTS | COLOR CODEX | DECODER (fictional semioticians) | CASE FILE | PHOTO OP | MEDIA DIET | TATTOO YOU (semioticians’ tattoos).