上海教博会 | “光与影：数字世界中的文化人工制品”作品介绍（下）
数字媒体艺术 欧亚艾德艺术设计学院
“光与影：数字世界中的文化人工制品”
Light & shadow：
cultural artefact in a digital world
展览时间：
2020.12.5-12.13
展览地点：
上海西岸艺术中心
展览介绍
“光与影：数字世界中的文化人工制品”
在2020 年 12 月 5日 – 12 月 13 日第二届FutureLab 艺术与设计创新未来教育博览会上，我们将看到西安欧亚学院和澳大利亚科廷大学跨学科合作项目阶段性成果展示——“光与影：数字世界中的文化人工制品”19组作品。这些作品由两校师生共创，以开阔的思维和跨学科的通力创作，探索了数字媒体和数字制作对艺术品创作和交流的影响。为后数字世界中数字媒体在设计、数字制作、数字艺术品的感官体验等方面，提供了广泛的创意可能性和新的思考方式。
“光与影”展览作品探讨了艺术品的感知、物品数字化、文化艺术品和遗产、过去的城市文化以及未来的城市文化。在关注保护地球现有文化和新兴文化的同时，畅想了地球之外的可能性。它展示了使用一系列数字技术传达与交流文化艺术品，是艺术、设计、科学和技术的综合实践。
At the 2nd Art & Design Education FutureLab from December 5 - December 13, 2020, we will see the outcomes of the interdisciplinary cooperative project between Xi’an Eurasia University and Curtin University of Australia —— "Light & shadow：cultural artefact in a digital world" . The group of 19 works created by teachers and students from both schools explores the impact of digital media and digital production on the creation of works with open-minded and interdisciplinary collaborations. It offers a wide range of creative possibilities and new ways of thinking about digital media in the post-digital world in terms of design, digital production, and sensory experience.
The works in the exhibition "Light and Shadow" explore the perception of artworks, the digitization of objects, cultural artifacts and heritage, urban culture of the past and urban culture of the future. While focusing on the preservation of the Earth's existing and emerging cultures, it contemplates the possibilities beyond the Earth. It demonstrates how a range of digital technologies can be used to communicate and exchange cultural artifacts and is an integrated practice of art, design, science and technology.
"光与影"源自于中国西安欧亚学院艾德艺术设计学院和澳大利亚科廷大学设计与建筑环境学院的学者、研究人员和学生之间的持续交流。光与影展览为应对当前COVID 19的流行，发展出一条作品与艺术品的数字交流之路。展览促进了跨学科的合作，探索了创意的可能性和设计应用的新思路，作品研究了数字媒体在可视化、模型制作和人工制品交流中的应用。
这个跨学科的设计创新展示，为中澳两国在知识和创意领域的合作开发了新的领域。
科廷大学设计与建筑环境学院院长
Nathaniel Quincy Belcher
Light & Shadow emerges from ongoing exchange between academics, researchers, and students the schools of Design and the Built Environment-Curtin University, and Art & Design-Eurasia University, Xi’an China. The Light & Shadow concept provided a pathway for the digital exchange of works/artefacts in response to the current COVID 19 pandemic. The exhibition represents an interdisciplinary collaboration into the creative possibilities and new ways of thinking about design with work investigating the application of digital media to visualisation, model making and artefact exchange.
The interdisciplinary showcase of design innovation contributes to the development of new areas of engagement between Australia and China across knowledge and creative sectors.
Head of School of Design and the Built Environment，Curtin University
Nathaniel Quincy Belcher
作品预告Previews
《太空竞赛：为什么月矿殖民地看起来是这样》 Paul Ventrice /澳大利亚
《The Space Race: Why should a Lunar Mining Colony look like this》 Paul Ventrice / Australia
2020 | 500x1000mm
数字屏幕，3D模型，数字照片| digital screens, 3D models, digital photographs
数字影像，装置 | Digital Imaging, Installation
在所有的空间里，都需要有社会公共空间来保障人类的心理健康。生物生存的需要是一个国家的关键。一个人类将长期停留的地方，其美感是一大重点。这个地方的设计是在熔岩管的范围内完成的。美国宇航局表示，为了保护自己不受外来气候的影响，居住在熔岩管中会有最大的成功。
In all spaces, there is a need for social and public spaces for the mental health of humans. The need for biological survival is key to a country. The aesthetic appeal of a place where humans will stay for an extended period of time is a big focus. This local design was done within the confines of a lava tube. NASA stated that in order to protect itself from the alien climate, inhabiting a lava tube would have the greatest success.
《展览交流会行星际委员会的奥尼尔1星际博物馆》
Jake H.M.Schapper和Bich Lien Vu/澳大利亚
《The Interplanetary Committee for Exhibition Exchange’s O'Neill 1 interplanetary Museum》
Jake H. M. Schapper and Bich Lien Vu /Australia
2020 | 300mm，400mm x 400 mm，1200x500mm
3D打印物，cnc木板，高光相纸 | 3D print, cnc board, glossy photo paper
装置 | Installation
奥尼尔1星博物馆专注于人类星球的文化、生物和和地质学.作为一艘远征船，它还负责收集、记录和展示来自世界外的新发现，以及他们的新兴文化（我们的未来之光）。这是一个尚未过去的时代的数字愿景。
O'Neill 1 Star Museum Focuses on Culture, Biology, andand the geology of the human planet.As an expeditionary vessel, it is also responsible for collecting, documenting and presenting the new discoveries from off-worlds and the emerging culture that their people will inevitably create (the light of our future). This is a digital vision of an age not yet past.
《兰花回忆》Jayden Dry /澳大利亚
《The Orchid Recalling Memories》 Jayden Dry / Australia
2020 | 20英寸
数字屏幕 | Digital Screen
APP 应用
Orchard是一款针对老年人的双功能照明设备，因为他们通常有退化或功能障碍的嗅觉感受。它可以通过应用程序进行控制和定制，让他们沉浸在充满音乐的投影环境中，包括从内部或连接的扬声器中播放的声音。
The Orchard is a dual-function lighting unit aimed at the elderly as they typically have degraded or dysfunctional olfactory receptors which control the sense of smell. It can be controlled by app. Constructing a projected environment for the user, immersing them in their selected projection including sound played from the internal or connected speaker, with music played to immerse the person into the projected environment through audio.
《一个观点问题：对向上看（宏观空间）和向下看（微地球）的持续渴望》 Raelene Walter/澳大利亚
《A matter of perspective: the continuing desire to look up (Macro Space) and look down (Micro Earth》
Raelene Walter /Australia
2020 | 40英寸
数字屏幕 | Digital Screen
数字影像 | Digital Video
人类通过探索不断发现不同的边界和前沿，这个项目想象这些欲望在21世纪获得了新的维度。为超越地球上生存的局限性，人类在火星上建立了定居点。作为第一步，已经在月球上建立了一个空间定居点。
Mankind has continually discovered different boundaries and frontiers through exploration.This project imagines these desires have acquired new dimensions in the 21st century.The decision has been made to move beyond the limitations of an earth-based existence to the establishment of off-world settlements on Mars. As a first step, an interagency off-world space settlement has been established on the Moon.
《灭绝的阴影：黑猩猩的死亡面具》
Gregor MacGreggor /澳大利亚
《In the Shadow of Extinction: The Death Mask of a Chimpanzee》
Gregor MacGreggor/Australia
2020 | 188mm x118mm x 47mm
3D打印 | 3D Prints
装置 | Installation
这个装置是我正在进行的研究的一部分，研究新兴的视觉技术如何将既有的探索路线扩展到对以下两个方面的感知中：主体与客体的鸿沟和文化与自然的鸿沟。
The installation is part of my ongoing research investigating ways in which emerging visual technologies can extend established lines of enquiry into the perception of both
the subject-object divide and the culture-nature divide.
《触觉感知》Hayley Henheffer /澳大利亚
《Haptic Perception》Hayley Henheffer/ Australia
2020 | 40英寸
数字屏幕 | Digital Screen
数字影像 | Digital Video
对触觉和知觉的研究激发了我的灵感.我的项目是从西澳大利亚的触觉连接纺织品的投影中创造出来的。一个是自然灵感，一个是人类共识。它将数字和物理感官体验与具有文化意义的艺术作品相结合，邀请人们在一个数字世界中发现、想象和感知触觉。
Research into tactile adaptations and perceptual experiences has encouraged my inspiration.My project has been created from a projection of haptic connected textiles in Western Australia.A nature inspired narrative resonates, a familiar universal human understanding and fundamental experience. It combines digital and physical sensory experiences with culturally significant artworks and places, inviting people to discover, imagine and perceive touch in a digitally adapted world.
《数字印记》 Anne Farren/澳大利亚
《Digital Imprint》 Anne Farren/ Australia
2020 | 2000x1000mm，710x1086mm
激光切割真丝织物，高光相纸 | laser cut silk fabric, high gloss photo paper
数码印花 | Digital Printing
这件作品研究的是通过数字媒体转化手工制作的形式。我的实践蕴含在用材料制作物体的亲手和触觉过程中。这个装置中的数码印刷品描绘了我二十年前创作的作品 "Imprints "中手工制作的机器刺绣蕾丝组件。作品中的激光切割织物面板代表了蕾丝工艺品如何通过数字媒体进行转化。装置中的织物面板代表了数字翻译产生的系列迭代之一。
This work investigates the translation of a hand-crafted form through digital media. My practice is imbedded in the hands-on and tactile process of crafting an object from materials. The digital print in this installation depicts a hand crafted machine embroidered lace component of the work ‘Imprints’ that I created twenty years ago. The laser cut fabric panel in the work represents how the lace artifact might be translated through digital media. The fabric panel in the installation represents one of series iterations of the digital translations that were generated.
《增强的在线购物体验》 Blake Harding / 澳大利亚
《Enhanced Digital Shopping Experience》 Blake Harding / Australia
2020 | 40英寸
数字屏幕 | Digital Screen
数字影像 | Digital Video
时尚正在向数字形式发展，复制这种体验很重要。我的项目专注于以数字形式匹配实体艺术品的体验。它研究如何以数字形式完全复制一件艺术品的物理体验。
Fashion is moving into digital form and it's important to replicate the experience. My project is focused on matching the experience of a physical artwork in digital form. It looks at how to completely replicate the physical experience of a piece of art in digital form.
《Enarah-IV反隐喻》 Qassim Saad/新西兰
《Enarah-IV An Inverse Metaphor》 Qassim Saad / New Zealand
2020 | 800x800x1700mm
塑料，铝 | plastic, aluminum
装置 | Installation
Enarah-IV对文化对象的数字化保存提出了一个反面的隐喻，它建立在其作为一个由数字可视化和制造的设计的起源之上。数字化保存的目的是使物理设计部件不受互动、使用和损坏的影响，保护实物设计组件不因互动、使用和损坏而退化，同时也为创造同样规格的其他版本提供了优越的机会。正如各种研究报告所指出的那样，在人类的经验中，实物与实物之间的关系是非常密切的。
Enarah-IV presents an inverse metaphor to the digital preservation of a cultural object, building on its genesis as a design created by digital visualisation and fabrication; digital preservation aims to sustain the physical design components from the deterioration resulting from interaction, use, and damage. It will also offer superior opportunities for creating additional versions with the same specifications. versus the physical in relation to human experiences, as noted in various studies promoting the superiority of the physical over the digital.
《 射入阳光＃2》 Toni Wilkinson/澳大利亚
《Shot into the Sun #2》 Toni Wilkinson/ Australia
2020 | 781x1086mm
高光相纸 | High Glossy Photo Paper
数字照片 | Digital Photo
Shot in the Sun是一系列在大南部地区拍摄的新照片. 2020年冬天西澳大利亚。这些新作品是通过唤醒视觉以外的感官来理解影像。逆光摄影的使用颠覆了专业摄影的惯例；高光没有管理好，日落时分白化强度光导致视觉混乱。光线形成七边形像波浪一样撞向镜头，画面中的人物几乎被光线湮没，勉强被岩石挡住。
Shot in the Sun is a series of new photographs taken in the Great Southern region. the last days of winter 2020, Western Australia. These new works are shot to understand images by awakening senses other than the visual. The use of backlit photography overturns professional photography. The conventions; highlights are not managed well and the visual chaos of the albino intensity light at sunset. The light forms a heptagon crashing into the lens, attacking, like a wave, and the figure in the image is almost obliterated by the light. Barely blocked by rocks.
《90年代的复古休息室》 Taliana Appadoo/澳大利亚
《 90’s Retro Lounge》 Taliana Appadoo / Australia
2020 | 40英寸
数字屏幕 | Digital Screen
视频网站 | Video Website
纺织品：植绒、五金、转印、数码印花和改变质地｜用于品牌和营销目的的实体艺术品的数码拷贝。当崇尚风格美学的小众群体在表达这些概念时，并不限制身份、性别，挑战和解构传统经典的时尚概念。活在当下。每天当你穿上衣服时，你都在重塑自己。这是一件不可思议的事情。
flocking, hardware, transfers, digital prints and changing textures｜Digital copies of physical artwork for branding and marketing purposes.Aesthetics of Style. This niche group expresses these concepts without limiting identity, gender, challenging and deconstructing traditional and classic notions of 'manhood'. Fashion". It's about living in the now. Every day when you put on your clothes, you are reinventing yourself. It's an incredible thing.
《纹理》 Arthur Passos Samico/巴西
《Textory》Arthur Passos Samico /Brazil
2020 | 20英寸
数字屏幕 | Digital Screen
App应用
这款应用的主要目标是教育人们了解不同的历史事件和文化.它的目标也不仅是呈现过去的历史事件，也是为了保护由于全球化而被改变的文化。用户将能够沉浸在历史中，用手势来感知物体的感觉。屏幕将把文物或物体的物理特征转化为触摸的感觉。
The app’s primary goal is to educate people about different historical events and cultures.Its objective is also to not only present past historical events but also to preserve cultures that are being transformed due to globalization. The user will be able to immerse in history, using gestures to perceive how objects feel like. The screen will translate the physical characteristics of an artefact or object feel to touch.
科廷大学 设计与建筑环境学院
科廷大学设计与建筑环境学院承担着重视设计、可持续性和社区发展的教学和研究工作；鼓励以个人的方式来实现视觉理念；并展望未来的可能性。学院在数字和创意设计、建筑和室内建筑、城市和区域规划政策、建筑和建筑信息模型、项目管理、地理和空间分析等领域，引领着高质量和具有全球意义的研究。教职员工和学生们的研究针对了社会高需求、关键技术、产业转型和循证政策。
科廷大学的主校区位于西澳大利亚州的珀斯市。科廷大学建立了卓越的国际研究声誉，95%的研究达到世界水平或以上。在2020年世界大学学术排名中，位列全球大学前1%，在2021年QS世界大学排名中，排名上升13位，位居世界第217位。
School of Design and the Built Environment，Curtin University
Curtin University’s School of Design and the Built Environment undertakes teaching and research that values design, sustainability and community development; encourages individual approaches to visual ideas; and celebrates future possibilities. The school Leads in high-quality and globally significant research across the fields of digital and creative design, architecture and interior architecture, urban and regional planning and policy, construction and building information modelling, project management, geography and spatial analysis. Staff and Students conduct research that addresses high-impact societal needs, critical technologies, the transformation of industry and evidence-based policy.
Curtin University’s main campus is located in Perth, Western Australia. The University has successfully built an international reputation for research excellence, with 95 per cent of research ranked at world standard or above. We are ranked in the top one per cent of universities worldwide in the Academic Ranking of World Universities 2020 and have risen 13 places to 217th in the world in the QS World University Ranking 2021.
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