Analogue Angels and Digital Diamonds： Tracing the Origins of New Media Art

This paper explores the key vocabularies, themes, ideas, artistic movements, and technological innovations contributing to the development of the digital arts over time. As new media theorists have argued, one of the defining features of the digital arts is the break-down of divisions between art forms, and between art and society （for example, Manovich 2001, 2005）. This paper outlines how digital processes intersect with aesthetic and conceptual forms. Relevant frameworks, such as materiality, embodiment, hybridity, interactivity, and narrativity, form the origins of the genre. Digital artworks, like digital media, are interactive, participatory, dynamic, and customizable, incorporating shifting data flows and real-time user inputs （Paul 2003, 67）. The customization of content and technology, as well as the recontextualization of information, characterize projects of digital art.

Problems and Strategies of English Teaching in Rural Middle Schools in the Era of New Media

With the deepening of curriculum reform in junior high school,the education field is undergoing tremendous changes.Besides,with the rapid development of the Internet today,students have been exposed to various new media software since childhood.The existing education and teaching are also desperately keeping up with the pace of the times,and continue to bring online teaching to the practical classrooms of rural middle schools through new media.Teachers should not only impart basic professional knowledge to students,but also improve students'ability to use English.

The Construction of Digital Media Art Teaching Model in the New Media Era

In new media era,the network coverage is wider,application of mobile terminals is more convenient,speed of information dissemination is fully accelerated,scope of dissemination is wider and people's access to information is more diversified.Therefore,the current media has become an indispensable part of human’s lives such as changing the way human live,work,learn and communicate daily.In this context,it is compulsory to improve the traditional teaching methods in order to keep in pace with the fast development and promote art education through the combination of technology and art.This paper analyses the current situation of digital media art teaching and the construction path of teaching model in the new media era.

On the Integrated Model of Music in the Creation and Dissemination of New Media Era

Into the era of new media art, music develops toward a more comprehensive, more novel direction. Music is no longer pure spirit product, and becomes a resource of information society. This paper analyzes the new media era music creation mode change, as a result of this mode of music dissemination of new characteristics were summarized, illustrate the influence of new media tools generated for music culture, find some means of basis for the development of music art in the new environment. With the development of computer and the popularization of the Internet, everyone can become the creator and disseminator of music. At the same time of the concept and the mode of creation have changed, music dissemination way is to find a broader approach. In numerous new media era music works, those who conform to the times and the nature of music works will also become a classic in the information after the bubble.

On the Ethical Dimensions of Literary Criticism in the Realm of We Media

In the realm of We Media,literary criticism is not completely free and unrestricted during its continuous production process;instead,it should adhere to certain ethical norms.The ethical dimensions of literary criticism in We Media focus on fostering a fair relationship between criticism activities and text,society,and the audience in order to facilitate healthy and orderly criticism that yields positive outcomes.The ethics of literary criticism in We Media can be categorized into aesthetic ethics,cultural ethics,political ethics,and media ethics within its internal structure,all of which ultimately converge into the realm of art production ethics.It is important to embrace a consciousness of intersubjectivity and adopt a cognitive approach of situationism in order to avoid blind restrictions and misjudgments in order to foster a positive and healthy ecosystem for literary criticism in We Media.Additionally,it is crucial to adhere to bottom-line thinking and emphasize responsibility,taste,and discipline while regulating the field of criticism,the audience,and critical text.

The Transformation of Archival Philosophy and Practice Through Digital Art

In many ways, digital practices have precipitated remarkable changes in the global accessibility of art. However, the digital revolution has also radically influenced the conservation processes surrounding art, including archiving, preserving, and remembering. This paper explores the conservation of digital （or ＂variable media＂） artworks for the future benefit of culture, with particular reference to creators and viewers of art, as well as participants in interactive artworks. More specifically, this paper focuses on the philosophical and technical approaches adopted by creators, conservators, and philosophers involved in the preservation of variable media artworks. Issues of programming, interoperability between archival systems, and enhanced public access increasingly inform the design of digital archives. Indeed, the continuously shifting technological landscape-marked by the centrality of digital technologies to everyday life-problematizes the preservation of digital art through mainstream museological paradigms. Part of this analysis of digital art conservation will be drawn from the archival philosophies of Boris Groys and Rick Prelinger.

Actresses, Gender, and 1920s Theater in China： A Discussion Concerning ＂Female Involvement in Art Performances＂

In 1923, Wu Ruiyan, a schoolgirl at the Beijing People＇s Art Drama School, starred in a play titled Hero and Beauty, written by Chert Dabei. This was the first joint performance of male and female performers in the history of Chinese drama. The incident immediately triggered a debate in the Morning Newspaper Supplement between a group of middle-class intellectuals concerning ＂female involvement in art performances＂. This paper sees the boom in female participation in politics in the 1920s, as well as the ＂improvement in traditional drama＂ during the early republican period in China as the reasons behind the discussion. This incident shows how the New Cultural Movement shaped intellectuals＇ views on females and art performances.

从新媒体、科幻创意到通用人工智能:脑机接口的艺术革命

作为一种前沿技术,脑机接口不仅为科学家探索人类意识和思维的奥秘提供了重要的工具和途径,而且为艺术家提供了全新的创作手段和表达方式。在新媒体艺术领域,脑机接口给开拓者带来了新思路、新机遇,脑控绘艺、脑波音乐、脑控游戏等由此诞生。在科幻艺术领域,脑机接口赋予主创人员电光石火的灵感。相关作品想象如何通过这种技术在生理层面增强大脑能力、修改记忆或治疗疾病,在信息层面破译思想活动、深入赛博世界、实现灵明转移,在意向层面发挥自家大脑的主动性、利用他人大脑的受动性、增强多个大脑的交融性。脑机接口与通用人工智能的结合则为探索艺术创作提供了全新的视角和无限可能性。人们有可能通过纯思维与AI系统交互、超越传统肢体限制开展艺术活动,在梦境、冥想等特殊意识状态下配合AI抒情写照,共同经历丰富而深刻的艺术体验,形成前所未有的集体创作模式。

自创生:媒介及新媒介文艺意义生成

“自创生”是用以描述系统自我生成性质的重要概念,“自创生系统”是能够自主生产、递归进化的系统。自创生理论以生成论为哲学基础,在去“本体”化的过程中建构了独特的“自体论”。按照自创生理论,媒介是典型的自创生系统。进入现代社会,媒介系统将物质性与技术性转化为自身的生产力,展现出更为强劲的自主性,并在进阶演化和更新迭代的螺旋式生成运动中表现出递归性以及人、物、媒介之间新的缔合关系。数字新媒介系统的自创生进入了“数智化”阶段,形成了以计算法则为主导的信息生产方式,也带来了新世界即赛博空间的涌现。新媒介的数智化自创生,建构了新媒介文艺意义生成的自创生性质。从自创生视角看,新媒介文艺实践不过是数字化的人类行动者与媒介性行动者在互动耦合过程中,联合其他生产要素共同开展的自创生性文艺意义生产活动。在这一过程中,媒介性与文艺性交叠衍生,数字文艺性也由此生成。

2022年版艺术新课标的内涵解读与实践引领

进入21世纪,国家先后颁布了三版义务教育各学科课程标准。目前,新修订的《义务教育艺术课程标准(2022年版)》是指导基础教育领域学校艺术课程教学的权威文件。艺术新课标具有总分、契合、对接、联系、达成、优化等六方面主要亮点,有助于引领学校艺术课程教育理念和音乐教学实践的改进方向。以我国革命音乐家聂耳写于1933年的儿童歌曲《卖报歌》的教学为例,可以帮助我们更好地理解艺术新课标在教学实施层面的具体要求。

基于中外合作办学模式培养国际胜任力人才——以北京邮电大学为例

该文基于北京邮电大学的中外合作办学项目电子商务及法律专业进行分析,研究国际化创新创业教育改革和新文科建设二者的内在关系。该文发现二者相辅相成,可以共同促进国际化“双创”人才发展,在专业优化、课程提质、模式创新三个方面制定创新创业教育改革与新文科建设相结合的特色化方针政策,提出培养国际化复合型创新创业人才的工作新机制,研究引导学生德智体美劳全面发展的高等教育牵引范式和方法,非常值得同类高校借鉴。

数字时代下色彩在美术教育中的新媒介应用

本文通过分析色彩在传统美术教育中的角色与新媒介技术的融入,揭示了数字技术如何重塑色彩教学方式,包括沉浸式学习环境、智能化色彩调配、远程协作与资源共享等。文章进一步阐述了互动式色彩学习、项目式色彩实践、跨文化色彩交流、自适应学习路径及数字化作品展示与评价等具体应用场景,为色彩教育的创新与发展提供了理论与实践参考。

艺术的“去物质化”与身体的“去物质化”——新媒体艺术中的观念、技术与身体

本文主要探讨的是新媒体艺术中的“去物质化”问题。首先追溯了观念艺术中“去物质化”这一理论来源及其内涵;接着从观念、技术和身体三个角度讨论了新媒体艺术“去物质化”的不同层次;进而,通过赛博格身体、虚拟性和具身性问题探讨新媒体艺术中的主体性问题;最后通过具体的案例分析,讨论了当代新媒体艺术中去物质化与去主体性存在的问题。

新媒体时代声乐艺术传播的形态研究

新媒体的涌现,如互联网、移动应用等,极大地丰富了声乐艺术的展示平台,使其从传统舞台、剧院延伸到每个人的手机屏幕上。新媒体的交互性、即时性等特点,也让声乐艺术与观众之间的距离更近,互动更频繁。这种变革不仅为声乐艺术家提供了更多展示才华的机会,也为观众带来前所未有的艺术体验。声乐艺术在新媒体推动下,正逐渐打破传统界限,融入更多现代元素,焕发出新的生机与活力。

机器智能美学时代的跨媒介记忆:雷菲克·安纳多尔新媒体艺术的影像叙事

21世纪,人类社会进入普适计算时代,人工智能的出现开创了人类世的新纪元。作为新媒体数字艺术家,雷菲克·安纳多尔以智能算法为基础,综合运用医学、统计学、档案学、环境学、人工智能等学科领域的知识资源,以“记忆”为主题进行数字艺术的视觉化叙事,深入挖掘人类个体、集体和社会之间的内在关联。本文以安纳多尔“跨媒介记忆”话语为主轴,援引文化记忆和技术哲学理论,分析其代表性艺术文本呈现的“个体记忆”“集体记忆”和“记忆重组”等影像叙事,尝试分析机器智能美学时代的媒介与记忆问题,并力图在数字技术和当代艺术两大领域之间寻找一条新的对话路径。

油画语言在新媒介艺术绘画中的研学和应用

新艺术媒介通过科学技术将艺术思想付诸于视觉画面,传统的油画艺术面临了前所未有的挑战。文章重新思考传统的油画艺术,探讨油画语言在新媒介艺术绘画中的应用及其重要性。

高校新媒体艺术人才培养模式创新路径探析

新媒体艺术形式既包含传统艺术元素,还广泛应用视频艺术、数字动画和虚拟现实等现代技术,使艺术表达更加多元化。新媒体艺术人才培养是促进新媒体行业可持续发展的有力举措。但目前,高校新媒体艺术人才培养存在课程设置欠科学、教学方法陈旧、师资结构不合理以及考评体系不全面等问题。通过科学设置课程内容、持续创新教学形式、完善现有师资结构和优化考核评价体系等解决途径,为创新高校新媒体艺术人才培养模式提供重要参考。

新媒体交互艺术在皮胎漆器非遗传承与传播中的应用研究

皮胎漆器是一种极具少数民族特色的非物质文化遗产,兼具深厚的历史、文化、艺术价值和一定的现代应用价值。文章以新媒体交互艺术在皮胎漆器非遗传承与传播中的应用为主要研究对象,详细阐述了皮胎漆器非遗传承与传播的现状及存在的问题,对新媒体交互艺术的应用价值进行总结,并以案例的方式对新媒体交互艺术在皮胎漆器非遗传承与传播中的应用思路与效果等进行了分析,旨在为新媒体时代下皮胎漆器的创新性传承提供借鉴。

非物质文化遗产与新媒体交互艺术的融合创新——以湖南涉外经济学院为例

该文深入研究了非物质文化遗产与交互艺术的融合创新。首先,分析了非物质文化遗产在数字媒体艺术中的各种呈现形式并探讨了其在新时代面临的机遇和挑战。其次,详细分析了数字媒体艺术在文化传承中的角色与作用,包括在传统文化中的融合与创新。此外,该文还探讨了数字媒体艺术专业教学融入非物质文化遗产的方法与策略,以提升学生对中华优秀传统文化的理解与创新能力。通过融合案例研究,揭示了数字媒体艺术为中华优秀传统文化注入新元素、拓展传播途径的积极影响。最后,强调了这种创新对于提升文化传承活力的重要性,并为未来进一步探讨非物质文化遗产与数字媒体艺术的融合提供了新的视角和启示。

融媒体时代新闻美术设计的创新应用研究

通过对融媒体与新闻美术设计关系的梳理,深入探究时代语境下融媒体产品中新闻美术设计的创新应用,为美术编辑进一步把握新闻传播方向,用设计讲好新闻故事提供可资借鉴的经验。