【新媒体艺术教育作为一种创作方法从东方到西方】英国 Kevin教授 Original

"Tianjin Academy of Fine Arts Experimental College Cloud Forum Plan" (sub project)

Project period: September 2021 to April 2022

[New media art education as a creative method from the East to the West]
——Series Lectures/Collection of New Media Art Education in China, Japan, South Korea, Britain, France, the United States and Romania since 2000/

Sponsor: Tianjin Academy of Fine Arts
Instructor: International Exchange Office of Tianjin Academy of Fine Arts
Organized by: Mobile Media Art Department of Experimental Art School of Tianjin Academy of Fine Arts, and Global Media Studio of Cross Media Art Center of Tianjin Academy of Fine Arts

Academic consultants: Chen Xiaowen, Zhen Wei
Art consultant: Jia Guangjian
Project Director: Shen Yan, Fan Min, Wang Aijun, Zhang Mang
Project initiator and host: Liu Shuming
Project coordinator: Zhang Shuheng

Since 2000 of this century, the iteration of science and technology and media has changed rapidly. The development of media art in various countries around the world has shown a very active trend, and new media art education also plays an important role in it. Compared with other art categories, new media art stems from its close relationship with the evolution of science and technology. It seems to have a natural gene that transcends race, national boundaries and culture, and also has the possibility of more extensive international exchanges and dialogue. It can even become a link to build different cultures and social relations. However, to some extent, in the nearly two decades of development of media art, it has also exposed its own limitations, such as the conceptual norms at the linguistic level, the relationship with technology and other issues; It is a common problem faced by media art educators, students and creators all over the world that how to peel off the appearance of technology, jump out of the profit seeking bondage of capital, and truly enter the core of new media art creation.

Many issues worth discussing almost cover the whole span of new media art from macro to micro. Macroscopically, in the context of western art history, what is the past and present life of new media art, as well as its birth mechanism and internal creation logic? Whether we can take Flux as its starting point; Then, what is the relationship between the creative ideas and practices of artists represented by Nam June Baik and John Cage and eastern mysticism, and how did the Riptide School be influenced by the thoughts of philosophers such as Marcuse, which laid a foundation for the innate speculation of new media art and the gene of constant reflection and innovation; And how the pan media theory represented by Marshall McLuhan affects the combination of new media art and application design.

At the micro level, no matter in terms of professional naming in the field of education, industrial application, and the normative expression of the academic community, we have no intention of unifying the name of media art, such as new media art, digital media art, multimedia art, cross media art, digital media art, etc., but it is necessary to carry out retrospective and dialogue from the artistic development context of the East and the West respectively, from scholars From the perspective of education practitioners, they should establish a fact statement for the context of media art, establish the context of their respective art history and mutual agreement with the work supporting method, and carry out a comparative study of the corresponding context and development status.

In addition, compared with other art categories, new media art education has a similar starting point and development path in eastern and western countries. What is the current development situation of each country, as well as their own characteristics and advantages, etc. In particular, in the coming era of artificial intelligence, a series of issues facing media art education are worth discussing. Based on this, I think it is time to re-establish the connection between the East and the West as an experienced participant, and build a platform for the comparative study of the current situation of media art education between the East and the West represented by China, Japan, South Korea, Britain, France, and the United States. At the same time, the the Belt and Road countries represent the art school of Timiswara Western University in Eastern Europe, Romania. It is hoped that this kind of dialogue and exchange will play the role of a sampler and jointly open a new exploration of international exchange of media art education in the post epidemic era from the perspective of a community with a shared future for mankind. At the same time, it provides a literature reference for the future vision of media art education.

——Liu Shuming