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ying digital & multimedia arts projectsdo not work hard but work smart |
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October 25 Shanghai eArts Festival I will come back later for the critic article, hereby are some pictures first to share with you. Enjoy! October 14 Two months later 十一临近的时候我开始整理自己的思绪，准备着手论文的写作了。 在中国做博士论文最大的难处是没有足够的资料可查。几个月以前曾经跟随狗狗去三联书店买书。三层的书店里，两个小时之内只找到了一本朱其的“Video: 20世纪后期 的新媒介艺术”。没过多久回法国注册，在书店找资料时，突然翻到了这位所谓中国“第一策展人”的著作资源，原来是抄一位法国艺评的大作写成的。我开始以为自己看错 了，也许朱某的书皮上写着“译著”而非“著”。回到中国仔细察看，竟然真的是“著”。惊讶下大失所望，中国的艺评都这样赚取名利吗？ 抱着又一次希望，我上了当当网。竟然真的找到了不少关于新媒体艺术的书籍。记得和美院某位老师闲聊的时候曾为参考书籍忧虑，对方也一时给不出太好的建议。当当网 的搜寻却没有让我失望。 以下是在当当网上找到的几本国内各个院校教师撰写的有关新媒体艺术的书籍，有感兴趣的可以一同分享： 首要推荐陈玲的“新媒体艺术史纲，走向整合的旅程”，清华大学出版社，347页，北京，2007年2月第1次印刷。 十一是抱着这本书过的，非常喜欢。作者现在清华大学新闻与传播学院做副教授，曾经在日本筑波大学，东京大学学习艺术学和建筑学，又作为日本文部省学术振 兴协会的特别研究员，法国博物馆研究与修复中心研究员，哈佛大学设计学院的访问教授等，活跃在新媒体艺术理论文化遗产虚拟 展示等领域的理论研究和实践活动。 她的著作逻辑清晰，文字简练，50年短暂但异常杂乱无章的新媒体发展历程被极为顺畅地梳理和分类。回国两年了，还是第一次找到一本真正严谨顺畅地介绍新媒体艺术 起源和发展的著作。欣赏之余不仅担忧：这一次是否人如其书呢？还是又一次碰到了“批着羊皮的狼”？ 我曾经尝试同出版社联系要作者的通信方式，却吃了个软钉子，回答尽管是帮忙联系着看，却实际是不管的意思。试想书都出了，能没有她的联系方式吗？只是这种保密 让我百思不得其解。作为同领域的研究人员或艺术创作者，相互联系讨论，交流经验在国外是很正常的事。有人欣赏你的作品或著作，在欧洲的待遇是要请到家里，痛痛 快快地聊才行。到了中国，竟然成了稀有动物，被保护起来了。保护什么呢？ 这种经历不久前在艺术北京开幕式上看池田亮斯的表演后也有过。如往常在欧洲一样，看过表演，我上前找艺术家闲聊，没想到从艺术家到助手都反应及其冷淡，远不象 在欧洲时那么亲切。两分钟的交流弄的我象个”追星族”。这还不算，又蹦出个经纪公司横在中间，吵吵嚷嚷要我离开。惊异中一种哭笑不得的感觉堵在心里，好久还不痛 快。这算什么呀？！以为我象片子里的变态日本少女那么不开眼吗？ 中国的明星公式真是太可笑了。简直用的驴唇不对马嘴。 以下是正准备阅读的书籍： 新媒体艺术（New Media Art）， 张燕翔， 科学出版社，2005年6月第一版， 北京， 313页 这本书粗略看上去似乎讲技术多过讲艺术，但仔细读下一两章来，还是挺好的。 新媒介艺术 （New Media Art）， 西方后现代艺术流派书系， 张朝晖，徐翎， 人民美术出版社， 2004年5月， 71页 以张朝晖的学历背景，写出这样的书实在让人失望。倒不是书不好，而是字里行间的粗浅应付让人对何为“学者”和其在当代社会的角色与责任产生怀疑。不过这个问题对当代的 中国美术界似乎是无关痛痒的。今天的中国美术界是个“火拼”的世界，谈责任不是会被人笑掉大牙吗？我不认识张朝晖，但两天前在网上偶然读到的有关他的消息却让我 不得不重新解读其看上去极为令人欣羡的履历。媒体报道的真实性固然令人怀疑，但“无风不起浪”的老话也绝对有它的道理。 总之，如果实在无书可读，张朝晖的这本薄著还是能讲得清楚什么是新媒体艺术的。 数字艺术论 （Digital Art）， 廖祥忠，中国广播电视出版社，2006年5月，548页（上下册） 还没读。从封面看是国家教育部“211工程”科研项目，被用作全国艺术院校本科辅助教材和研究生考试参考书目。 对于搞艺术的朋友没什么用，只是我用得着，论文里分析到国家教育那部分可以有点帮助。 数字化与现代艺术（Digital Art）， 王利敏，吴学夫， 中国广播电视出版社，2006年5月，196页 也没什么用，而且几乎是上一本书的缩写。 数字媒体艺术概论（An Introduction to digital Media Arts）， 李四达，清华大学出版社，2007年6月，362页 偏教你如何做三维，太设计。不过这本书本来也是作为设计教材用的。 读陈玲的书同时收获了几个同时应该阅读的外语著作，在这里提一下，有人感兴趣可以找找看： The Culture of Time and Space, 1880-1918, Ken Stephen, Havard University Press, 1983 Vision in Motion, 1947, Chicago: Theobald, 1947 Digital Harmony - on the complementarity of music and visual art, John Whitney, McGraw-Hill, Inc. 1980 Virtual Art - from illusion to immersion , Oliver Grau, Vienna, 2006 (向大家极力推荐，是陈玲在清华的研究室翻译的，而且作者我认识） Art & Telematics: Toward the construction of new aesthetics, Roy Ascott （信息不全，但应该不难找，作者的名字如雷灌耳） Reframing Consciousness: Art, Mind and Technology, Roy Ascott（肯定非常有意思） Art Technology Consciousness, Roy Ascott （极力推荐） 好啦，祝大家阅读愉快！ August 25 Why dance but not theater?I've been tortured yesterday the whole day by a theater play scenario that, the writer who was at the same time the future investor of the play, absolutely wanted to interpret through multimedia art. I finally decided to give it up. My decision was due to two reasons: first, the scenario was poorly done; second, I finally realized that, when it's been written in traditional theater form - means, with dialogue - it can no more be interpreted by multimedia art. I have to admit that the main reason that tortured me so much that I had to take one day to make decision was the person's double identity - writer AND investor. I've been trying to convince myself to find the solution to get a budget from the writer so that I could work out a play in my own way with my team. The hypotheses was then quickly denied by myself thinking about the obstacles and the conflicts I might meet later during the creation period, as I saw how much the writer insisted in the dialogue form while I talked to him about rewriting the scenario on the phone call. No matter the scenario was poorly done or very well arranged, it was still a creation based on time and energy consuming. Everyone's work deserved others respect. Yet, a question stayed in my mind: my experience, my knowledge and my sens in/for multimedia art told me that I could not put a theater play written in dialogue form into a multimedia play, and the negative answer was pertinent. But why pertinent? I couldn't tell. There must an explanation behind this "No", and I got to find it to avoid to repeat the same reflexion in the future. This morning, the down stair neighbor who used to yawl after getting drunk over night woke me again at 6 from my deep sleep. Lying in bed, eyes closed, the dialogue in the scenario infiltrated into my vague mind while I tried to get back to sleep. Suddenly, I got it, and my whole mind was "woke up" by the click. On the stage, a theater play can actually hardly share a dominant position with multimedia art right because of its dialogue form writing. Comparing to dance that is based on corporal language, the theater tells all the contents hidden through the dialogue which could have been interpreted with the aide of multimedia art. Differently said, the dialogue and the image play the same role in a theater play as they both contribute to interpret the main element in a scenario which is human or actors' thoughts, although it is not the only "function" that multimedia art can play on the stage. What other "functions" does multimedia art play on the stage beside human thoughts? The environment / atmosphere description, the actors identities in the play, or from time to time an interactivity between the stage (active space / actors / story) and the audience (passive space / perceivers / perceived content). The interactivity can be realized by new technology (based on computer and some other medias such as webcam, Internet, LED...) or by pure moving images, however, its role is mainly to revers the traditional concept to explore a theater space that was, for thousand years, destined to "show". The interactivity means to break the "show" concept in traditional theater creation so that the audience can be somehow a part of the "happening" on the stage (spatially and spiritually). Yet, the dialogue helps on the contrary the actors (from the very beginning of the creation the scenarist) to keep the traditional "show" concept - when you try to "tell" something to somebody you actually are "showing" to that person, as there is always the act of "convincing" in your dialogue, no matter it is built in positive, negative or interrogative form... you are "convincing" the audience to concentrate on you and to react on what you are "saying" - so its goal is opposite to the principal of the existence of multimedia art on the stage. In this case, the creators - especially the scenarist(s) - have to make a choice between the dialogue and the silence (that allows multimedia art to "tell" everything through "images" in stead of "dialogue - words"). Dance is different. It is supposed to be "showed" in silence, and it doesn't require any perception / reaction from the audience part, not necessarily. Multimedia art can easily find its position on the scene, tells everything hidden within the actors (choreographer)'s interior world. Or, it simply restraints its role into an environmental decoration, helps to create a certain special atmosphere... The corporal language of the actors preserves the total "freedom" for multimedia art to explore the potentiality of every element on the stage: decor, light, actors, space... although we can do the same in a theater play with the set and the light designs, but we can never "free" as much as we can in a dance creation for it. Understand this is radical for me to react before the future scenarios I will get and I will work on. I am not saying that there is NO possibility for a theater play to inlay multimedia art. So far the best solution that I think is to reduce the dialogue volume so that multimedia art can get enough "freedom" to play on the stage. But of course, we also have to think about its collaboration (or conflicts?) with set and light designs. This looks a big problem for any performing arts creation - can multimedia arts replace set and light designs on the stage? My answer - so far - is : from aesthetic view, no; from functional view, yes. It depends on the creation team to find the balance. August 24 DVDsGot DVDs from a French curator who, a few days ago while calling me, insisted that he absolutely did not want to do any projects in Beijing but has been forced (by two top master choreographers friends) to contact me. Didn't know what to say. He must have been terribly unfortunate at the moment he sent the DVDs. Being forced so much to do something in life, he cannot be not unfortunate. Here they are, the unlucky but extremely attractive DVDs, on my dest, in front of me: "Amelia", "Compilation 1997-2004", Dumb Type", "Saburo Tshigawara"(3 including a documentary), "LA LA LA human steps"of Edouard Lock. Hard to make my friends in Europe understand BJ and China. They are too much famous and busy to hold any time and patience for this hot, cold, dynamic, messy, arrogant, generous, unbelievably open but strictly conservative city... What a pity! I decided to keep silence and work. I am exhausted by proving and arguing. August 23 Ivo Bol - being abandonedThis afternoon, before going to BMDC, I got the email from Ivo, telling me that he was going to abandon our project for a while. "I know that you've been working hard on it, I know that you did a lot of work..." Alter Factory, The Art of Sampling, then what? Disappointed? Not very much. This is actually something that I was waiting for. Ivo said that he was going to transform the project into something bigger and more solid, with a real exchange between China and the Netherlands. "We have a wonderful team, good venues, perfect opportunity". All of these are true, we just cannot make it happen. More and more, I'm convinced that it's time for me to get married and make some children - find back my real "woman identity". I hate being curator / agent / producer... whatever... When you loose your project because of money, you just feel so weak, fragile, little, an insect with a sort of brain, that's it. Tonight, at the theater rehearsal, one of the investors for the play talked about multimedia art with me:"I have a question: why your multimedia art work looks like some pieces of plasters? It's like that we only have to put them somewhere but they have nothing to do with the play?" Good question. I cut him off and said:"Because you only gave us a place for plaster." He looked excited by my answer (obviously not very friendly), wanted to talk more about multimedia with me. He noted down my phone number, like really ready to call me tomorrow. Who knows? I don't care anymore. If he calls me tomorrow for sure I will go meet him and talk about multimedia. I'm actually more expecting his wonderful dinner than his talk, as I know that once again I'm going to upset a Chinese investor with my "lecture", as what I repeated thousand times before. One of my girlfriends told me that I was extremely unattractive before males because I gave too many "lectures". "They all got bored and try to escape from your speech, from you!" Well, what can I do? I'm just anguished by what I expect to do but cannot do in China. I need more people to understand me. I'm so lonely in my research here! The theater play has completely gone to another direction. I'm just so disappointed. It's even worse than Jing Meng. I learned to be hypocrite. I started to lye to myself, to lye to everyone. In fact, from my part, if the director asked me tonight, I would probably have answered:"I don't like this play. Nothing is fine in it." But she didn't give me chance to say it. During a short while she talked about human beings' double identity: everyone has two aspects (maybe even more for certain people). Sometimes by accident we can see a person completely changing into another person - a stranger - in life. This is exactly what I was doing to her at our meeting - a very important skill to handle for our survival. It is just SAD. Long time ago, an architect friend has retorted me while I was expressing my ideals with excitement:"Why being so serious and responsible? Of what? Of whom? Want to do something in life? Do it but be simple!" I've been asked so many times:"Why did you make yourself so complicated?" Frankly, I have no answer to the question. That's just me. |
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小潆真棒
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