The hottest pursuit of new media art design

The pursuit of new media art design

what we call high and new technology today is actually a relative concept, that is, every era has its own high and new technology. For Neolithic stone, CFRP (carbon fiber reinforced composite) plays a major advantage over Paleolithic stone, that is, high and new technology; For stone tools, bronzes are high-tech; Coal and iron used to be high and new technology; Industrialization is high and new technology for its previous era; Information technology, for any previous historical era, is a high-tech. Therefore, the so-called high and new technology is a more superior and practical technology that human beings constantly discover and invent in the process of development

(I) has new media art matured in Europe and America

in the 1960s, the information revolution made personal computers the main form of computers. Artists who mastered portable photography and video equipment began to use this media for artistic expression, and new media art began. In the early 1970s, many European and American mass TV stations set up experimental TV programs to try to accept experimental works of art in mass TV, and provide experimental places to combine new technology with artistic trends. These experimental television centers provide artists with the latest equipment and opportunities to cooperate with technicians, which directly contributed to many refreshing electronic vision, created the first generation of masters of video art, and stimulated the creative application of new technology. For example, in 1973, video artist Nan Jun Paik cooperated with engineer Abby to develop a synchronous mixer, which has become one of the basic functions of television today. In the late 1970s, the Ford Foundation and the Rockefeller Foundation in the United States reduced their funding for experimental programs of mass television and turned to direct funding for artists. The national art foundation also began to sponsor non-profit media art centers. These media centers provide a more democratic way than TV stations, and they are also easier to access new digital technologies. The video works created by these centers are less broadcast on TV, but are displayed in museums and galleries. Therefore, artists began to consider the combination of electronic media and the space of traditional visual art, which contributed to the maturity of video devices

since the 1980s, video art has been in the limelight at various international art exhibitions. With the powerful power of new technology and the sensitivity, comprehensiveness, interactivity and strong sense of scene that traditional media can't compete, it has frequently appeared at international art exhibitions, becoming a major art medium that keeps pace with easel Art and installation art. Since the 1990s, major art museums around the world have not only held special video exhibitions, but also set up video departments or made video plans. Art institutions around the world regularly hold video festivals to promote the dissemination and exchange of new media art. In recent years, due to the growing maturity of personal computers, many works appear in the form of interactive multimedia CDs. The Bonn Video Festival in 1998 set up awards for multimedia works, and Internet works are also booming

with the support of the media industry and relevant government agencies, many media art utopias have been established, among which the most famous are "ZKM" (Center for art and media) in karlstuhe, Germany, "AEC" (ARS electronica Center) in Linz, Austria, and "ICC" (inter communication center) in Tokyo, Japan, in order to promote the dialogue between contemporary art and science. ZKM was founded in 1990 and officially began operation in October 1997. It is the first and only museum in the world with the theme of "interactive art". Its purpose is to create a large laboratory and media city combining art and technology, and a "new Bauhaus" that will set off a new visual movement. ZKM is a typical German enterprise management mode. Under the concept of large enterprises such as Siemens sponsors and founding curator Heinrich Klotz, ZKM hopes to continue the concept of the Bauhaus period and continue to become an art palace combined with industry, in order to confirm the so-called "second modernity" concept. The idea of ZKM's establishment came from the idea of rothar Spaeth, a local politician in Germany. He hoped to establish a research and development institution for art and media technology, especially visual image and music, and chose Krotz, the former founder of Frankfurt national architectural museum, as the host and curator of the plan. The main purpose of the museum is to develop media creation, collection, exhibition and promotion of German science and culture. Since 1992, the "multimedia" Multimedia Art Biennale has been held to display its media art collections, the works of internationally renowned media artists and central artists

from the development of new media art in Europe and the United States, we can clearly see that the emergence of this art form is closely linked with commercial interests from the beginning. Therefore, it is more about displaying new technology products than art. Visiting this new media art exhibition makes people feel more like visiting commodity fairs

(II) how to prepare

it is human nature to like the new and hate the old. It is inevitable for human society to create and utilize new technologies. Under the dual impact of China's IT industry and European and American new media art, China's new media art began to start in an almost hazy state

new media art is not only strange to the Chinese public, but also not completely understood and recognized by Chinese artists. However, like the occurrence and development of everything in the world, new media art does not enter your world until you fully understand and accept it. Whether you like it or not, it always breaks through the door according to its own rules. The development of new media art in China began in the late 1980s. By the mid-1990s, a group of excellent works and mature artists began to appear. In September, 1996, the first video art exhibition in China, entitled "phenomena and images", was held at the gallery of China Academy of Fine Arts in Hangzhou. This exhibition includes more than a dozen video devices and several video tape works, focusing on the pioneers of China's first generation of video art. The exhibition has received great repercussions at home and abroad, and the local media have reported it in a large format. Moreover, literary and art daily rated the event that the modified polypropylene material in the decoration has been widely used as one of the top ten Chinese Fine Arts in that year. The exhibition is positioned by many critics as an important milestone in Chinese contemporary art

in 1997, several personal exhibitions consisting solely of video art emerged in Beijing, such as Wang Gongxin's solo exhibition, Song Dong's "watching" video art exhibition, and Qiu Zhijie's "Luo Ji: five video devices" solo exhibition. This marks that Chinese new media artists not only become the focus as a creative community, but also begin to collide with the contemporary Chinese art market in an individual way. More artists affected by this began to invest in video art creation, and their achievements were reflected in the "97 China Video Art Exhibition". At this point, video art has become a hot spot in Chinese art circles. The Yearbook of Chinese art in the 1990s features a chapter describing the rise of video art. At the same time, the activity of Chinese video art has attracted the attention of the international art world, and the works of Chinese new media artists have begun to appear frequently in important media art festivals around the world. With the development of IT industry, the equipment on personal computers is cheap and popular. Not only does video art further flourish, but also more artists begin to explore interactive multimedia art and network art

new media art in China is only a decade old, but it has developed and expanded at a very amazing speed, just like the foundation of it - new media, including sound, light, electricity and it industries. Barbara Langdon, director of MoMA video department, said: "the activity of video art in China is the starting point of a new circle drawn after the closure of the circle of western new media art." Although we don't know how to more accurately define new media art, no matter what kind of opinions we have now, we don't need to worry about how history will review the development of Chinese new media art. Chinese new media art is working hard and moving forward in order to draw a circle that just started

(III) how should we define new media art

there are many forms of expression of new media art, but they have only one thing in common, that is, the user participates in changing the image, shape and even meaning of the work through direct interaction with the work. They trigger the transformation of works in different ways - touch, spatial movement, sound production, etc. Whether the interface with the work is keyboard, mouse, light or sound sensor, or other more complex and precise, or even invisible "trigger", the relationship between the viewer and the work is mainly interaction. Connectivity is a barrier that transcends time and space and connects people all over the world. In these networks, users can act as different identities at any time, search remote databases, information files, understand foreign cultures, and generate new communities. (to be continued)