「未·未来」 北京媒体艺术双年展“生态融合” 「Future Unknown」 Beijing Media Art Biennale “Ecological Integration”
展览时间 2023年4月1日-2023年4月23日 展览地点 中央美术学院美术馆第2A、3A、4层展厅 前 言 生态融合 因为众所周知的原因，本届媒体艺术双年展已经延期到了第三个年头。人们在这若干年里也更多地选择了媒体化的生活，并且是更数字化的媒体生活。媒体艺术虽然早在上个世纪中叶就已出现，从作品到名词，但真正开始广泛绽放的还是到本世纪随着信息科技的高速进步，形成了社会发展层面的影响。技术带来了更多可能性以及创新的艺术形式，媒体化生活使艺术家有了更丰富的内容素材，也更有了数字科技加持的表现力。但是自然的力量依旧存在，一种病毒即令人类生活暂停。媒体已与生活密不可分，艺术借助媒体的形式更方便和深入地展现艺术家的思考，媒体形态不断衍生，媒体艺术展现的边界也在不断扩展，持续推进人们的感官体验。 人工智能的话题讨论近来也很热烈，一些科技研究成果正直接或间接地影响着日常工作生活。本次展览以《生态融合》为主题，继前两届《技术伦理》、《后生命》之后进一步在探究不同环境、不同领域，不同类别的相交性。特别是机器与人，人与生物，人与非人等的交错或是融合。艺术家通过多形态的数字媒体艺术作品描绘了对“虚拟与现实”、“科技与自然”、“表象与本质”之间关系的关注。也试图从某种角度展示自然、环境与人的复杂关系趋势，探究自然生态与人工造型和谐共生的生态逻辑。人们在感受数字、空间、时间、与环境生态紧密交织的媒体艺术中，是否与某种未来更为接近。 ——靳军/策展人 Ecological Integration Media art is constantly evolving across the fields of science, art and humanities. Media forms are continually derived, the boundaries of display are expanding, and continue to promote human sensory experiences, which are bringing more integrations and developments to aesthetic experiences. The theme of this exhibition is "Ecological Integration", which is a further extension after the previous two editions of "Ethics of Technology " and "Post·Life". From anthropocentrism to non-anthropocentrism, and then to the harmony between man and nature, we discuss the theme in a "media" way of practice. Through multi-form digital media art works, we depict the artists' concerns about the relationships between "Virtual and Reality", "Technology and Nature" and "Appearance and Essence". We want to show the possibilities of the complex relationships between nature, environment and human, also to analyze and think about the internal ecological logic of harmonious coexistence of natural life. We would like to share with the audience the proximity of digital, space, time and environmental ecology interwoven media art experiences, which could connect you with a magical future. ——Jin Jun/CURATOR “生态”作为新媒体艺术的内容，为其发展带来了新的维度与表征。新媒体艺术作为融合了科技、艺术、人文的交叉领域，有无数可能性在等待着被挖掘，艺术家们在探索可能性的过程中将“生态”作为艺术创作内容，通过作品来展现他们的视角与观念，如今“生态”成为全球重要议题的背景下，“生态”以更加主动的方式参与到艺术创作中。 ——陈慰平 张逸轩 发表于《艺术与设计》2023.1(02) 科技迅猛发展的今天,媒体形态在科技的推动下不断衍生，媒体艺术表达的边界不断被打破，多元的艺术表达对人类传统审美经验带来巨大冲击，持续刷新人类的视觉感官体验。科技的变革带动媒体形态的持续蜕变。互动装置影像、VR、动态影像、机械装置、声音艺术、网络艺术等媒体艺术,以多元的形态探讨艺术与媒体、科技与媒体、媒体与流变.媒体艺术创造了一个与观众互动的媒体空间,让观众感受媒体艺术带来的沉浸式体验.透过一件件精心制作的艺术作品,强化媒体在艺术表达中的多种可能性,以及它所呈现深刻的哲学世界观.通过空间与观众建立连接, 共同探讨科技在媒体艺术中的应用.本杰明·布拉顿（Benjamin H. Bratton）在《堆栈：论软件与主权》中说“使用工具进行思考，使用先进技术这一固定资本进行思考是有益的，这是我们身而为人的天赋之一。”今天,媒体艺术已成为不可或缺的艺术创作形式.艺术家不断在创作中试探媒体艺术的边界,一次次的带来全新的艺术观赏体验。 ——丁怡 王昭 作品介绍 1-作品名称：《过载》 Art Work:Superfluity 艺术家：乔纳森·莫纳亨 Artist:Jonathan Monaghan 国籍：美国 Nationality:United States of America 类别：三屏影像 Type:Three-screen video Video 创作年代：2021 Year:2021 《过载》（Superfluity）由三个循环动画组成，表达了有机体和人造物之间逐渐模糊的界限。该系列将巴洛克时代的富裕与数字时代的过剩进行了对比，算法生成的数字生物引发了人们对日益技术化的未来和逐步消失的自然世界的焦虑。 Superfluity is a series of three looping animations depicting cryptic creatures from an alternate reality where the boundaries between the organic and man-made are blurred. Drawing parallels between the opulence of the Baroque era and the excess of the digital age, the series elicits anxieties about an increasingly technological future and a vanishing natural world. 2-作品名称：《冷流》 Art Work:Cold Flux 艺术家：本·卡伦·威廉姆斯 Artist:Ben Cullen Williams 国籍：英国 Nationality:United Kingdom 类别：融合投影 Type:Mapping 创作年代：2021 Year:2021 《冷流》（Cold Flux）取材于艺术家团队和极地探险家罗伯特·斯旺（Robert Swan）在南极探险时拍摄到的“拉森-B冰架”画面。该冰架于2002年从南极半岛分裂出来后，⼀直处于解体状态。影像中，艺术家使⽤算法合成了冰⼭和阳光，巨⼤的冰块随着电⼦声响移动，摄像镜头中原本静⽌的阳光不断地旋转，使画面充满了不确定性。声光和影像技术在这里动摇了人们脑海中“⽓候对冰川造成了不可逆影响”的固有认知，艺术家在这⾥强调的是：我们现在采取行动就会有希望！ Cold Flux is a three-channel AI generated video installation created from the footage Williams filmed of the Larsen-B Ice shelf whilst on an expedition to Antarctica with polar explorer Robert Swan. The ice shelf splintered off from the Antarctic peninsula in 2002 and has been disintegrating since. The resulting video is strange and uncanny, a familiar yet distant landscape, a prediction or a recording with echoes of the sublime. Cut into this video landscape is AI generated video of the surface of the sun, synthetic and uncertain. The work presents to us the new digital materiality that is starting to exist alongside our own, while exploring its relationship to the natural. Accompanying the video is a haunting audio track by musician Gaika. The camera looking at the sun is static, with the sun continually rotating within the frame, something seemingly impossible. The work maps the complex network between technology, environmental change and our understanding of the world. 3-作品名称：《我曾经的家园》 Art Work:Used to Be My Home Too 艺术家：马克·李 Artist:Marc Lee 国籍：瑞士 Nationality:Switzerland 类别：实时互动 Type:Real time cartography 创作年代：2021 Year:2021 在《我曾经的家园》（Used to Be My Home Too）中，观众可以实时地通过谷歌地球不断飞往世界上各个精准的位置。在那里，人们将动物、真菌和植物的观察结果拍下，传送到了iNaturalist.org。并且，在同一个国家过去30年内发生濒临灭绝或已灭绝的物种会通过RedList.org实时自动添加。这使得我们在感叹世界丰富的生物多样性的同时，也警醒人类物种的持续灭绝以及如何与地球和谐共生的问题。 Used to Be My Home Too reflects in real-time our rich biodiversity and at the same time the continuous extinction of species and how we humans have become biodiverse agents interacting with the most fundamental processes of our Earth. In this experiment, you fly via Google Earth continuously to the exact locations, where animal, fungus and plant observations are being photographed right now and sent to iNaturalist.org. In addition, taxonomically similar species that occurred in the same country and are endangered or became extinct within the last 30 years are automatically added in real time via RedList.org. Artist Profile: Marc Lee (b. 1969) is a Swiss artist. He uses contemporary art as a vehicle to continuously redefine how we see ourselves and the world around us. He is experimenting with information and communication technologies and within his contemporary art practice, he reflects critically creative, cultural, social, ecological and political aspects. In this context he is creating network-oriented interactive art projects: interactive installations, media art, performance art, augmented reality (AR) art etc. His works are exhibited in major museums and new media art exhibitions including: ZKM Karlsruhe, New Museum New York, Transmediale Berlin, NJPAC Seoul etc. 4-作品名称：《重构》 Art Work:in s.asmbli 艺术家：黑川良一 Artist:Ryoichi Kurokawa 国籍：日本 Nationality:Japan 类别：虚拟现实（VR） Type:Virtual Reality（VR） 创作年代：2020 Year:2020 《重构》（in s.asmbli）是一个从建筑的角度追求自然与人造关系的项目。该项目主要通过激光扫描出的建筑、废墟和自然的3D数据，将这些数据扭曲并重建为每个模块的子组件，以创建具有层次和无序的时间线，同时揭露出自然和艺术的力量。废墟、被自然侵袭的建筑和年久失修的建筑被动态叠加和重建，在抽象与具体现象之间延伸了一种漂浮的感知、破坏和修复感。物理定律的消失、自然和人工成分的混合以及熵和负熵的换位等运动也逐一展现。 In s. asmbli is a project that pursues the relationship between nature and man-made from the perspective of architecture. The project uses the 3D data of buildings, ruins and nature scanned by laser to distort and reconstruct these data into sub components of each module, so as to create a hierarchical and disordered timeline and reveal the power of nature and art. Ruins, buildings attacked by nature and dilapidated buildings are dynamically superimposed and rebuilt, extending a sense of floating perception, destruction and repair between abstract and concrete phenomena. The disappearance of physical laws, the mixing of natural and artificial components, and the transposition of entropy and negative entropy are also revealed. 5-作品名称：《泻湖》 Art Work:The Lagoon 艺术家：费利西蒂·哈蒙德 Artist:Felicity Hammond 国籍：英国 Nationality:United Kingdom 类别：影像 Type:Video 创作年代：2021 Year:2021 气候变暖会给沿海城市造成什么影响？ 在《泻湖》（The Lagoon）中，艺术家用世界各地大约50张照片制作成一段8分钟的动态拼贴视频，并展现了一个她想象中的海滨城市：由于气候变化而面临着最严重的洪水威胁，它们被水抹去，直至完全淹没。 What might happen to our coastal homes in the future? In The Lagoon, an 8 minute duration video collage, artist Felicity Hammond depicts an imaginary coastal city that slowly submerges in water over 80 years. The landscape, created with approximately 50 photographs of locations around the world that are most at threat of flooding due to climate change, is erased by water until completely submerged. 6-作品名称：《对话》 Art Work:MASS 艺术家：琼·巴尔塔扎德 、 皮埃尔·波兹 Artist:June Balthazard & Pierre Pauze 国籍：法国 Nationality:France 类别：装置、影像 Type:Installation, Video 创作年代：2020 Year:2020 视频装置《对话》（MASS）围绕着一种传奇的物质展开，这种被称为“以太”的原始物质是许多创世神话的构成因子，后来在量子物理学的最新发现中得到了回应。两位艺术家在现实与科幻小说之间编织了一个故事，携手来自欧洲核子研究中心的科学家探讨了这个原始且无所不在的实体物质。当一种神秘的自然现象使人类陷入了前所未有的危机，宇宙的某种结构似乎编织了一张将人与自然、与世界联系在一起的网。一种超自然的物质也在雕塑和叙事影像的对话中悄然生成...... The video installation MASS is articulated around a legendary substance. This primeval matter, called Æther, served as the backdrop for many creation myths, before finding an echo in recent discoveries in quantum physics. June Balthazard and Pierre Pauze weave a story, between reality and science fiction, in which scientists from the CERN laboratory discuss the existence of this original and omnipresent entity. While an enigmatic natural phenomenon has plunged humanity into an unprecedented crisis, this fabric of the universe appears as the mesh connecting people to nature and holding the world together. A kind of supernatural substance also generates quietly in the dialogue between the sculpture and narrative images...... 7-作品名称：《消失的陆地》 Art Work:NO LAND X 艺术家：乌尔夫·朗海因里希 Artist:ULF Langheinrich 国籍：德国 Nationality:Germany 类别：立体影像 Type:3D Video 创作年代：2019 Year:2019 《消失的陆地》（NO LAND X）是一件视听作品。影像结合了工业式的算法生成噪音、位移线条及海浪，以黑白的主色调逐渐将地球陆地的演变过程通过数字化呈现出来。在交融与破碎，狭缝扫描和时间线的干预下，所有时间序列都发生了变化，我们仿佛身处在一种凝胶状、易碎，却又有着弥散性锐利感的暗物质海洋里。 NO LAND X is an audio-visual work. The image combines the industrial algorithm-generated noise, displacement lines and waves, and gradually presents the evolution process of the earth's land through digitization with the dominant color of black and white. Under the interference of blending and fragmentation, slit scanning and time line, all the time sequences have changed. We seem to be soaked in a gel-like, fragile, yet diffusive sharp ocean of dark matter. 8-作品名称：《突如其来的地带》 Art Work:A Sudden Zone 艺术家：刘诗园 Artist:Liu Shiyuan 国籍：中国 Nationality:China 类别：影像 Type:Video 创作年代：2020 Year:2020 电影作品 A Sudden Zone 分为四个章节,探索了不可言说性、时间的流动、停滞乃至控制论等主题。艺术家在电影中缜密地创造了一种复古- 模拟时代审美，并以此检视当下的全球现实。 在影片中，一对青年男女在用老式家庭座机煲电话粥。对话的内容琐碎而青涩，但这种平常、庸碌的只言片语在对话过程中不断重塑自身一一这谈话频繁而让人恼火地被父母的监听、两人的突然沉默乃至监听记录的回放过程不停打断。最终将二人谈话扬弃的,是陡然从形式语言变成叙事结构的蹩脚钢琴声。这钢琴声超越了语言，并作为贯穿影片始终的结构将观众引入被数字技术覆盖的人类纪现实。 影片质疑了这对男女的“纯真”: 在通话的过程中,他们尝试以各种途径反抗或规避家庭的规训。同样被质疑的,还有愈发朝向博尔赫斯式中国百科全书发展的当代无尽数字档案库。影片的声音- 音乐结构泄露了其构建的 1990 年代现实的不可置信性:两位欧洲男女以有些整脚的美式英语展开对话，而那称不上悦耳的钢琴声将模拟时代特质和作品的自传性与数字时代特质及普世性相连接。 A Sudden Zone in its four chapters speaks of the unspeakable in relationto continuity, disruption, and the theme of the cybernetics.lt brings abouta choreographed retro sensibility of the analogue, and scrutinises thecontemporary global reality one is facing today In the film, two teenagers are having a phone call that is typically juvenile,but the meaningfulness of the conversation re-shapes itself as it goes: it isinterrupted frequently and constantly by overhearing, eavesdropping, theteenagers' own silence, by being repeated in playbacks. When the minimalpiano sounds in the background of the film becomes an integral but noisypart of the lived reality, the tele-conversation that could last indefinitelyabruptly becomes something else, uncanny and sublime, as one is remindedof the situation of the digital and the Anthropocene one is caught in today.Playfully questioned, is the juvenile innocence of the two teenagers duringthe course of the phone call, at once rebelling against and transgressing thefamilial discipline: also examined in the same gesture is the notion of thecontemporary,infinite digital archive, that increasingly resembles a certainBorgesian Chinese Encyclopedia The realness of such reality is also beingquestioned in the structural verbal and musical elements, as the maincharacters speak with an imitated, acquired American accent - signallingthe uncanny aspect of the lifestyle; and as the essential formal aspect of thefilm - a flat-footed piano session - becomes its content, and as the analogueand the autobiographical become the digital and the universal. 9-作品名称：《南国少将的早餐》 Art Work:The Southland General's Dreams 艺术家：沈朝方 Artist:Shen Chaofang 国籍：中国 Nationality:China 类别：影像 Type:Video 创作年代：2016 Year:2016 故事是戏中戏，一个导演在创作期间的困顿和婚外情的故事。《南国少将的早餐》是一部中国人独有的章回式结构的电影，也是探讨存在主义的电影。第一大主线讲述一位从小家庭破碎的女性成长过程中的种种歇斯底里、忧郁乏力的情状，以及她与爱人、朋友间的情感纠葛。第二大主线是导演自身在创作过程中的，面对当今的语境，以海纳百川式的视线，创造出这个时代的审美的电影，是一种模糊了西方歌剧传统、南洋华侨文化、民粹文化的创作观念。本片呈现了精致优美的场面调度，多采用一场一镜的长镜头，触觉电影的剪辑方式及蒙太奇的时间压缩，提出“电影影像本体论”的思考，同时也对当代人的情感状态、生存状态、心理状态有一个全面的呈现。 This story is a play-within-a-play. It narrates a director’s fatigue and extramarital affair during his work. The first main line of The Southland General's Dreams tells about the hysteria, depression and fatigue of a woman who grew up with a broken family, as well as her emotional entanglements with her lover and friends. The second main line is that the director himself, in the current context, creates the aesthetic films of this era with a rich and inclusive vision in the creation process, which reflects a creative concept that blurs the western opera tradition, the culture of overseas Chinese in the South, and the culture of populism. This film presents a delicate and beautiful scene scheduling. It mostly adopts a long shot of one scene, the editing method of tactile film and the time compression of montage. It puts forward the thinking of "film image ontology", and also presents the emotional state, living state and psychological state of contemporary people in a comprehensive way. 10-作品名称：《对想象的支配》-Art Work:The Manipulation of the Imagination 艺术家：张文超 Artist:Zhang Wenchao 国籍：中国 Nationality:China 类别：漫游式互动游戏装置 Type:Roaming Interactive Game Device 创作年代：2021 Year:2021 《对想象的支配》根据作者对互联网叙事的剧作化观察，构建了一间巨大的，源于日常经验和互联网想象的戏剧生产车间，观者可以在其中自由游走，参与其中的表演。我们当下的认知大多来自信息建造的世界，它支撑着互联网世代的所有想象。古老叙事原型在最新媒介技术的加持下，把当下的世界呈现为一部无限戏剧，满足着在线群体对新鲜故事的好奇与欲望。作品由日常信息中充满了感官刺激的场景拼贴而成。观者控制一个穿梭在流动场景里的角色，从蒙太奇式的探险，不知不觉地成为“表演”的一部分。 The Manipulation of the Imagination is a completely new work created for this exhibition by the artist. Based on the artist’s observation of the dramatization in news narrative, an urban legend originated from Internet imagination and collaged from daily browsing experiences. Our current cognition comes from a world built with information. Starting from Shenzhen, the fast-paced construction of urban physical space and online virtual space is supporting all the imagination by the Internet generation. Strengthened by the latest media technologies, ancient narrative prototype turns the present world into an endless drama, satisfying Internet users’ curiosity and desire for fresh stories. The work will guide the audience to explore a giant production workshop of modelized drama in a simulation world constructed by the Unreal Engine. The repetitive scenes on the flow line are all sections of urban life that are full of sensory stimulation. In the three-screen simulation, symbolic characters walking back and forth in the flowing scenes is like taking part in a montage-style adventure, unconsciously becoming part of the drama performance. They are the representation of the information desire planted within us in an environment with information. Watching the scenes switch and characters walk around, the audience is lost in the imagination of continuous replication. 11-作品名称：《一》 Art Work:One 艺术家：许毅博 Artist:Xu Yibo 国籍：中国 Nationality:China 类别：装置、影像 Type:Installation, Video 创作年代：2021 Year:2021 机械动态装置作品《一》由三部分组成：悬浮在空中的固体装置、地面投影裸眼增强现实及墙壁投影，形成了一套完整的剧场式空间场景。作品对隶书中“一”的比喻形式进行提炼和转换，形成作品形式的基本元素。“一”生成二，二生成三，三生成万物，这使得作品中“一”的能指和所指统一。作品的概念渗透着中国传统道家思想的生成趋势，万物的秩序往往就隐藏在生成趋势中；地面裸眼增强现实部分呈现出不断涌动的云海，它就像一个标本，被收集在现实世界中，并且在展览空间中形成了一种思辨的视觉逻辑；圆形墙面的光、影和设备投影被压缩成二维平面，形成一种机械运动带来的诗意投射。作品还揭示了“透明社会”中个人隐私与信息掌控阶层的制衡问题，同时对后人类系统中人与机器的本体论边界进行探讨，以寻求稳定模式制定人们进入未来所遵循的规则。 The mechanical dynamic device work One is composed of three parts: the solid device part suspended in the air, the ground projection naked eye augmented reality part, and the wall projection, forming a complete set of theater like space scenes. The works refine and transform the figurative form of the "One" in official script to form the basic elements of the works' form. "One" generates "Two", "Two" generates "Three", and "Three" generates all things, which makes the signifier and signified of "One" in the work unified. The concept of works conveys that the generation of works also permeates the generation trend of Chinese traditional Taoist thought, and the order of everything is often hidden in the generation trend. The ground bare eye augmented reality part presents a constantly surging sea of clouds. It is like a cloud sea specimen collected in the real world is still in the exhibition space, forming a speculative visual logic. The light, shadow and device projection of the circular wall surface are compressed into a two-dimensional plane，and forms a kind of poetic shadow brought by mechanical movement. The work also reveals the balance between personal privacy and the information control stratum in the "transparent society", and discusses the ontological boundary between human and machine in the post human system, in order to seek a stable mode and formulate the rules that people will follow when entering the future. 12-作品名称：《隐形之躯2.0》 Art Work:Invisibody 2.0 艺术家：闵嘉剑、于博柔 Artist:Min Jiajian & Yu Borou 国籍：中国 Nationality:China 类别：沉浸影像 Type:Immersive Video 创作年代：2021 Year:2021 《隐形之躯2.0》为虚拟现实影像作品，是对意大利超现实主义画家基里科作品的解构与重构。从古典希腊化空间向外逐层展开，建筑空间被抽象和扭动，形成一个巨大的数字迷宫。白噪音、铁路、钟声、宇宙声音等烘托出机械时代到信息时代转变的立体声场。坚硬变为柔软，阴郁变为迷醉，具体变为抽象，整个空间隐喻疫情中动荡的外部环境以及孤独和自我迷失感觉。身体既是物质性的，也是非物质性的，是在场的情绪波动，也是来自远方的回声。通过声音、动作、剪影、骨骼、表情等不同媒介，身体的内涵与解读被逐层展开。隐形之躯超越时间和空间的限制，自由感知和流动。 作品展出于2021成都双年展智能共振版块，中国计算机图形学大会（Chinagraph 2022）电子剧场，荣获2022爱马仕创意大奖金奖。 Invisibody 2.0 is an Immersive Theater, a cross media translation of Italian surrealist Giorgio de Chirico’s paintings. The Greek bizarre is deconstructed, with classic architectural spaces distorted into an enigma and labyrinth. White noise, railways, bells and cosmic sounds create a stereo field, echoing the transition from the mechanical age to our information age. Hard becomes soft, gloomy becomes intoxicated, concrete becomes abstract, and the whole space is a metaphor for the turbulent external environment and the feeling of loneliness and self-lost in the epidemic. The body is both material and immaterial, a reflection of emotion and an echo from afar. Through different media such as sound, movement, silhouette, skeleton, expression, the interpretations of the body are unfolded layer by layer, questioning the relationship between the real and the unreal, the memory, mythology and truth. The Invisibody is free to sense and flow, beyond time and space. 13-作品名称：《微·声》 Art Work:Micro-Sound 艺术家：邱宇 Artist:Qiu Yu 国籍：中国 Nationality:China 类别：装置、影像 Type:Installation, Video 创作年代：2021 Year:2021 植物生命与我们人类，包括其他生命共享着这个地球环境。我们共同呼吸，相互依存，但我们在生活中似乎很少近距离地，去了解植物生命里的微观世界。当我们观察显微镜下的植物体时，就会发现它美丽且迷人的“生命宇宙”。《微·声》根据经由显微镜实时采集的、植物中的叶片信息，将其转化为不断变化的电子信号。通过算法，使其合成为带有不同频率和音色的声音，由此组成由植物显微信息所谱写而成的“交响乐”，并由喇叭矩阵播放出来。从显示屏中，可以观测到植物相应的显微影像和信号数据的变化。 Plant life shares this earthly environment with us humans, as well as other life. We breathe together and depend on each other. But in our lives, we rarely seem to get to know the microcosm of plant life up close. When we look at the plant under the microscope, we will find its beautiful and fascinating “universe of life”. Micro-Sound is based on the information collected in real-time by the microscope from the leaves in the plant, which is transformed into a constantly changing electronic signal. Being synthesized into sounds of different frequencies and tones through an algorithm, the signal forms a “symphony” composed by the microscopic information of the plant, which is also placed in the center of the installation and played out by a matrix of flower-like speakers. The display above the device allows the observation of the corresponding microscopic images and signal data changes of the plant. 14-作品名称：《唤醒者》 Art Work:ROUSER 艺术家：张羽洋 Artist:Zhang Yuyang 国籍：中国 Nationality:China 类别：装置、影像 Type:Installation, Video 创作年代：2021 Year:2021 《唤醒者》是一场行为表演、一个可穿戴装置、一段实验影像。表演者身穿装有植物生长灯的可穿戴装置在夜晚的森林中穿梭、起舞，与植物互动。夜幕降临之时，植物不再进行光合作用，而是进入休息状态。可是特制的植物生长灯会发射适合于光合作用的电磁波谱来刺激植物进行工作。表演者如同一位急需氧气的剥削者，强迫植物在夜晚进行光合作用并产生氧气，从而打破了自然的秩序。动态的表演者与静态的植物产生了强烈的对比，看似和谐优美的画面背后则是人类至高无上的统治者姿态的体现，“rouser”意为“激励者”、“唤醒者”，试图讽刺人类中心主义，同时也是对未来荒漠化、氧气稀缺的构想。 In ROUSER, performers are wearing the plant growth light installation and dancing through the forest at night to interact with the plants. When night falls, plants stop photosynthesizing and switch to respiration. However, the specially made plant growth lamp will emit electromagnetic spectrum suitable for photosynthesis to stimulate plants to work. The performers, like an exploiter in urgent need of oxygen, forced plants to conduct photosynthesis and produce oxygen at night, thus breaking the natural order. The dynamic performers create a strong contrast with the static plants. The artist is trying to satire the supreme conqueror posture of human beings, as well as the conception of the future desertification and the scarcity of oxygen. 15-作品名称：《造形》 Art Work:Shape of Wave 艺术家：刘佳玉 Artist:Liu Jiayu 国籍：中国 Nationality:China 类别：装置、沉浸影像 Type:Installation, Immersive Video 创作年代：2021 Year:2021 《造形》使用来自“Adidas by Stella McCartney”回收的旧衣粉碎后的布料融合环保树脂，为观众塑造出一个无尽、虚拟的地表景观。这一重塑过程也是一场反复再现的构建，通过以“物体”重塑“物体”的概念，创造了一个无形空间。 在黑暗且无尽的空间中，由粒子组成的动态水流将透过投影映射，附着于流体雕塑之上，以科技的虚拟手段展现自然的演化。透过这一呈现形式为观众捕捉组成物质的“无形之形”，感受破碎之后重生的力量。作品意在强调可持续的“再利用”在社会发展中的可能性，试图引导观众透过表象感知事物的本质，唤起更多人对可持续 “再利用”的认同。 The Shape of Wave carried forward the sustainability concept of Shape of Plastic. It smashed old clothes from Adidas by Stella McCartney and combined such fabric with environmental-friendly resins to create an endless and virtual overland landscape. This reshaping process was about repetitive reconstruction. It created an intangible space through the concept of shaping one object with another. The dynamic water consisting of particles is projected and attached to the fluid sculpture in a dark and boundless space, showing nature’s evolution through virtual technology. This form of presentation captures the intangible shapes of materials, allowing viewers to experience the power of rebirth after breaking. The work intends to emphasize the possibility of sustainable reutilization in social development, guiding the audience to perceive the essence of things through superficial phenomena and awaking more people’s identification of sustainable reutilization. 16-作品名称：《声音温室》 Art Work:Sonarium 艺术家：谢雨帆 Artist:Xie Yufan 国籍：中国 Nationality:China 类别：生成声音装置 Type:Generative Sound Synthesis 创作年代：2022 Year:2022 视觉与空间信息能呈现为声音信息吗？形态生成算法如何与声音叙事产生联系？除了可听化之外，我们如何更进一步探索声音的质感与情感反馈？ 声景温室让我们“听见”景观，在一场声音雨中冥想。这一项目以实时交互探索从形态生成到声音合成的转化，在微缩的尺度中造景，将景观中的交互与空间形态信息实时转化为声音。借由交互，观众融入声音以及视觉营造出的氛围中。 Can visual and spatial messages present as acoustic? Is generative algorithm capable of audio storytelling, not in a visualization way, but using Sonification/Pulsed Melodic Audio Processing concepts? Sonarium explores sonification with landscaping and generative forms. User interactions and spatial informations are transformed into generative audio narrative in real-time. As we listen to an acoustic rain in Sonarium, we meditate in the generative landscape. Such soundscape creates an emotional connection between the atmospheric space and audience. 17-作品名称：《数字教育元宇宙小镇》 Art Work:the Digital Education Metaverse Town 艺术家：网龙网络公司 Artist:NetDragon Websoft Inc. 类别：元宇宙作品 Type:Metaverse Works 创作年代：2022 Year:2022 从2022年元宇宙元年出发，人们对数字世界的认知不断提高，元宇宙从科幻小说走进现实生活，通过虚拟社交、数字娱乐、艺术创作、数字教育等领域都呈现了更加真实、自由的沉浸式体验，为人们带来全新的审美体验和文化思考。 元宇宙小镇以数字教育小镇为基础蓝图，打造数字孪生世界，构建企业号广场、艺术潮玩中心、数字文旅、培训中心、数字美术馆、元宇宙酒店等；基于区块链技术的数字身份和数字资产，连通现实和虚拟，在元宇宙以虚拟身份互动、协作；实现多维平行世界，打通线下产业，推动教育、艺术、体育、文旅、智慧城市等全方位的产业创新。 Since 2022, the first year of the metaverse era, people's awareness of the digital world has been raised. The once vision in science fictions has now penetrated into every corner of our real life. It forges a more authentic, free, and immersive experience in virtual socializing, digital entertainment, art creation, digital education and other fields, blowing a new breeze of aesthetics and cultural thinking. Parallel to the Digital Education Town, the Metaverse Town encompasses the Art Toy Center, Digital Stadium, Training Center, Digital Art Museum, Metaverse Hotel, etc. Endowed with blockchain-based digital identity and assets, the Town is designed to bridge the real and virtual worlds and allow visitors to communicate, collaborate, and interact via the metaverse avatars. This alternate dimension will invigorate offline industries, promoting all-round innovation in culture, sports, tourism, commerce, and smart cities. 展览现场 「未·未来」系列展览 「未·未来」系列展览于2023「未·未来」国际教育论坛同期举办。“人类世”已经成为科学技术与人文学科共同关注的核心话语，用以指代人类活动给地球生态系统造成巨变后开始的一个崭新的地质年代。系列展览中的“合成生态-北京艺术与科技双年展”“生态融合-北京媒体艺术双年展”“生态远见计划-生”展览将通过呈现“人类世”的连锁反应，反思全球面临的生态危机与挑战；“瞰·见”国际艺术设计院校教学成果展将设计作为方法，以艺术设计教育作为解决方案，邀请全球百所艺术设计院校，呈现全球艺术设计院校前沿领域学科教学成果与设计方案。“创新机遇文献展”“理想与思想-未来城市文献展”及“设计新目标99+”展将基于设计学院的学科研究回应时代的变革及全球共同关注的议题。 立即关注视频号 不错过每一位嘉宾的精彩发言 中央美术学院设计学院 中央美术学院设计学一级学科作为国家“双一流”建设获批学科，已经建成涵盖视觉传达设计、数字媒体艺术、公共艺术与设计、环境艺术设计、产品设计、服装与服饰设计、艺术与科技、艺术设计学、工业设计等目录内的二级学科，以及自主创设的出行创新（交通工具）设计、社会设计、设计管理、创新设计、系统设计、危机与生态设计、艺术治疗、服务设计及设计策展与空间叙事等新增二级学科。同时，在保持现有学科口径范围优势下，设计学科以对中国社会未来形态和经济模式整体研判为基础，以积极应对全球科技、经济和社会变革为契机，以培养具有中国文化立场和全球意识的顶尖人才为目标，以服务于国家重大战略举措为根本，全面深化改革和创新驱动发展。 面对新时代的形势变局、产业变革、危机与挑战，深刻研读新文科建设内核，设计学院以中国高等教育发展新需求、新变化、新阶段、新特征为依据，将设计学科与现代信息技术等其他专业集群相融合，于新工科、新医科、新农科提出的新命题、新方法、新技术、新手段中，创造新方向、新标准及新价值判断，并研判后疫情时代的全球政治、经济变化，以人类既有的社会组织结构、生产与消费方式为课题研究切入点，以学科专业划分为工具与方法，构建危机意识主导的全新学科教育架构与学科资源整合平台，全面聚焦应对人类未来生存模式的思考与行动。 ----------------------------------------------- 更多资讯可关注CAFA设计学院官网 http://design.cafa.edu.cn
