“融合的边界”

多学科的交叉与融合——信息设计
杨茂林

摘要：进入信息社会以来，有关信息化的各种话题层出不穷，而且逐渐成为人们讨论的热点问题。现今，信息技术的广泛渗透性，使各行各业的信息化进程正在加速进行，设计作为社会进步的推动力量之一，也必然受到信息技术的影响。信息技术与设计的结合与互动成为了时代发展的主题与必然。信息技术正在从根本上影响着设计的思维模式、创意方式、执行过程和最终呈现的结果及效果。因此，信息社会下的设计创新可以表现为以各种信息技术为支撑，以计算机、网络和移动互联网为媒介，力求使环境、媒体及各种信息获取和接收渠道变得更加智能化、情感化、合理化、系统化、集成化，从而更加快捷、方便、合理地为用户提供服务和帮助，增强用户与媒体、信息、产品、环境的交互性，从而达到改变或影响人们的生产、生活方式，进而促进社会进步和发展的目的。

鉴于时代的主题（信息化）、产业的发展方向（高科技与文化创意产业并重）、教育的发展趋势（学科交叉）以及艺术设计的特点，未来有关信息的设计以及信息技术对于设计行为的影响，必然成为文化界、设计界讨论的核心主题。信息设计的大发展事在必行、在所难免。有关信息设计的研究内容目前尚无具体定论，也缺乏权威指导和论证，笔者根据个人理解，对于信息设计的研究内容、涉及领域做一个大胆分析总结：信息设计应致力于以下三个方面内容的研究：艺术与科学的融合、面向未来的设计创新、服务于产业链的内容设计。这三个部分相辅相成，共同构成了整个信息设计的基本框架。

The Intersectional and Integrated of Multi-discipline——Information Design
YANGMAOLIN
（Academy of Art and Design, Tsinghua University, Beijing, China）

Abstract: When the information society comes, many topics about informationization come too and become the heated debate people discuss gradually. The widespread permeability of the information technology make the informationized process of all walks of life quicken them speed. As the impetus of social development, Design is no exception and has influenced by information technology. The combination and interaction of information technology and design are inevitable. Information technology influenced the thinking model, idea, implementation, results and effects of design. So the design innovation under the information society manifests that depends on the diversified information technology and uses the computer, network and mobile network as the medium and so as to make the environment, media and diversified channel information gets or receives become more intelligent, emotional, reasonable, systematic and integrated, so that it can be more quickly, conveniently and reasonably offer the help and service to the users, enhance the interaction become the users and the media, information, products and the environment and chance or influence the life style of human beings and reach the goal of development of the society.
Because the theme of times (informationization), the development of the industry (the same important of high-tech and the cultural and creative industry), development direction of education (integrated discipline) and the characteristics of art and design, the influence of information technology on design and the information design must becomes the core theme of culture and design education field in the future. The development of information design is inevitable. Nowadays the research content of information design has no the last word and lack standard direction and argumentation, so the writer get a bold summarization of the information design research content and fields base on personal understanding：Information design should commit itself to the following three research content: The Integration of Art and Science, Design Innovation in the face of the Future and Content Design Serves the Industry Chain. These three parts assist each other and make up of the whole basic framework of information design

 

Key words: information technology; information design; Integrated discipline

美术馆叙事空间

陈碧如

摘要
数字技术的发展对我们的影响已然明显可见。它除了改变了我们的生活及行为，也以各式各样的方式，进入了美术馆不同层次、不同范畴的工作，对美术馆在运营和展示方面都有很大的影响。作为收藏保护文化遗产的美术馆，作为存在於数字时代中文化生态中的一个知识生产系统，美术馆对技术带来的改变不能无动于衷,引入数字技术已经成为国内外美术馆的重要发展策略。本文检视现今数字技术介入美术馆的成效，探讨新技术在展示及叙事方面所起的作用，窥探美术馆叙事空间延伸的各种可能性，及数字技术在美术馆未来的发展空间。

关键字：美术馆；数字技术；跨媒体叙事

Abstract
The development of digital technology has influenced our daily life in numerous ways. The impact of the emergence of digital technology in art museum is found in many aspects, including the management, archiving, planning and organizing exhibitions. Art museum as a protector and archive of cultural heritage, it is one of the knowledge producer in the cultural ecology. In this paper, the intervention of digital technology in art museum is scrutinized, and the role of new technologies in terms of presentation and narrative is discussed, in order to take a closer look at the extension of space for narrative, and the future development of digital technology in the museum.

Keywords: Museum; Digital Technology; Transmedia Narrative

三田村有芳
在古代，人类还没有发现并使用天然漆。原始人在田野里采摘野果、狩猎时偶尔会有天然漆沾染在他们用来裹体的毛皮衣服上。在这些漆变干变硬后，他们才发现漆的存在。
目前所考证的世界最早出土的漆器是距今约九千年的物品。这一时期，东亚人已经开始用天然漆做出拢子（梳子）等生活用具。在九千多年的历史长河中，人类创新出了很多新的工艺技法，然而，在传承中，这其中的许多工艺技法流失了。
在每个时代，那些技艺精湛的漆艺作品使人着迷。在古代，贸易的流通非常有局限性，人们还没有认识到漆的魅力。然而，随着《马可?波罗游记》（“La Description du Monde”）在欧洲的出版并且流行，中国所发明的指南针的广泛应用，欧洲人对于香料的渴求，促进了东西方的贸易往来，随之漆艺产品也开始传播到世界。
最初，这些贸易往来最频繁的是在欧洲的贵族阶层间，王族发现了东方漆艺品的魅力。到后来，收藏漆艺品成为他们的一种时尚。起初，人们不能统一命名这些漆器的名称。因为当时贸易的集散地主要在科罗曼德尔海岸(Coromandel Coast)，于是人们就以“科罗曼德尔”(Coromandel)作为这些漆器的名称。
本文将叙述以下几方面内容：科罗曼德尔海岸出口的漆艺产品、在欧洲宫殿使用的科罗曼德尔漆器以及“桟留革”(santome-gawa)这种漆艺技法的溯源以及其在日本的传承创新。
科罗曼德尔的技法，中文名字是叫“刻灰”，又名“刻漆”，“大雕填”。其灰地工艺具有特殊要求，灰层略厚且刚韧相济。在木板上髹了最少5层漆后，在漆胎之上以勾、刺、片、起、铲、剔、刮、推等技法，刻出和谐精细的凹陷花纹等纹样，最后施粉、搭彩、固色。
这些用科罗曼德尔技法做的科罗曼德尔作品，从当时到现在，获得了人们的喜欢。例如嘉布丽叶儿•波纳•“可可”•香奈尔（Gabrielle Bonheur “Coco”Chanel，1883年8月19日－1971年1月10日）。她非常喜爱科罗曼德尔的屏风。2007年，在“可可”•香奈尔去世后的36年，为了纪念这位时尚大师以及她所钟爱的科罗曼德尔，一位香奈尔的香水师调配出科罗曼德尔风味的香水。到现在，这款香水仍然受到人们追捧。
作为贸易之地的科罗曼德尔，因为承担了中国最精美的漆器的集散与贸易，它的名字和中国的漆器一样在艺术史上熠熠生辉。
关键词：天然漆 科罗曼德尔 刻灰 桟留革 贸易

Abstract
In ancient times, people have not found and the use of natural lacquer. Primitive man picking wild fruit, hunting in the fields when the occasional natural paint contamination in they used to wrap the body fur coat. Dry and hard in the paint, they found that the presence of paint.
At present, the research of the world the earliest unearthed lacquerware is about nine thousand years ago things. During this period, the people of East Asia has begun to make use of natural paint a fine-toothed comb (comb) and other living utensils. In nine thousand years of history, human innovation, a lot of new techniques, however, in the process of inheritance, many techniques which lost.
In every age, the superb art works fascinate. In ancient times, trade circulation is there are limitations, people don't realize how paint charm. However, with the "Marco Polo's travels." ("La Description Du Monde") in the European press and popular, widely used Chinese invented the compass, Europeans spice craving, promoted the East and West trade, then lacquer products began to spread to the world.
First, the trade is the most frequent in the European aristocracy, the Royal found Oriental lacquer art charm. Later, collection of lacquer art become a kind of fashion their. At first, people not uniform naming these lacquer. Because distributed when trade mainly in the Coromandel Coast, so people "Coromandel" as the name of the lacquer.
This paper describes the following aspects: the Coromandel coast export lacquer products, in European Palace used by Coromandel ware and "stack with leather" (santome-gawa) the lacquer techniques traceability and its inheritance and innovation in japan.
The techniques of Coromandel, Chinese name is called "moment ash", also known as "carved lacquer", "big fill". The ash process has special requirements, the ash layer slightly thick and tough with leniency. In the wood painted at least 5 coats of paint, in painting foetus to hook, thorn, film, play, shovel, tick, scraping, pushing techniques, carving out harmonious fine depression pattern and other patterns, the powder, a color, solid color.
The Coromandel technique to do the works of Coromandel, from then to now, won the people's love. For example, a Liye son, boner, "cocoa" Chanel (Gabrielle Bonheur "Coco" Chanel, August 19, 1883 - January 10, 1971). She is very fond of Coromandel 's screen. In 2007, in the "cocoa" Chanel died after 36 years, in order to commemorate the vogue and Coromandel with her beloved, a Chanel perfume division mixes Coromandel flavor perfume. Up to now, the fragrance is still been pursued.
As the trade of Coromandel, because the assumed distribution and trade of China's most exquisite lacquer, its name and Chinese lacquer in art history splendid.
Keywords: natural lacquer Coromandel kehui leather trade

禁锢内移与经济主义生成：中国新艺术线索

王胜利
内容摘要：对于80中后期至90年代中国当代艺术发生、发展的基本功力，以往多归结为“压抑——反叛”模式，将艺术创作的动力指向单一的、社会体制的“禁锢”。问题在于这一结论忽视了当代艺术创作动力是随着社会和艺术体制自身的发展而不断演进的过程，即“禁锢”是从外显的社会制度向隐性的艺术体制关系、艺术家自身反应逐渐转换的过程。因此，面对新的创作动向，已不足以给出令人信服的合理解释，更为有害的是其隐性的暗示、引导、规定着艺术创作内容和方向。本文试图通过对新艺术体制及艺术家在新体制下应对的梳理，解释中国当代艺术创作所面临的新问题及其成因。

关键词：艺术体制；禁锢；创作动力

The internal shift of suppression and the rise of economism:
the new clues of Chinese Art
Abstract: Regarding the origins of Chinese contemporary art from the mid 1980 to 1990s, the usual explanations follow a suppression-rebellion model, which relegate artistic creations to a singular social system analysis. The problem with these explanations is that they ignore the social processes and institutional forces that shape the expressions of art and treating suppression as a latent institutional force to which art history react. But when faced with new trends of artistic creativity, the suppression and rebellion model of explanations no longer can be very convincing. What is worse is that the model contains a latent function of indication guidance and regulations with regard to the contents and directions of artistic creativity. This paper tries to analyze the institutional forces of new art and how artists respond to such forces so that the new problems and causalities of Chinese contemporary art would be indentified .
Key words: art institutional；suppression；Creative motivation

基于目标驱动的学科交叉
刘凯威
内容摘要：随着科学的发展、技术的进步，许多领域都出现了新的学科，在很多复杂问题的解决上也有很多是来自于新学科的研究成果。 从宏观上看交叉学科是社会经济建设，科学发展的一种研究趋势，但交叉学科的产生是基于某一研究的基础上产生的，是为实现一目标成果的研究手段与研究方法。本文将通过《老龄化交通工具研究》来说明目标是驱动学科交叉的前提，学科交叉不是目的，只是为完成一个目标所提供的研究方法和研究工具，是一个研究成果的体现。一个大胆、创新的想法是依靠想像力驱动的，这种想像力是设计师通过对社会，对生活的观察所产生的，它推动着目标体系的建立与学科之间的合作与交流。

Abstract: With the development of science and progression of technology, many fields have given birth to new subjects. Solution of many complex problems is always through researching achievements of these new subjects. Macroscopically, interdisciplines are one trend of science development and social economy construction. But the emergence of interdisciplines is based on certain research. It is a researching method to achieve certain purpose. Through “vehicle research for senior people”, this paper illustrates that purpose is the precondition to drive different subjects into interdisciplines. Crossing-subjects are not aims, but a method or an instrument to achieve a goal and an incarnation of a researching achievement. An audacious thought needs imagination to drive it. While this kind of imagination comes into being by designers’ observation to the society and life. It pushes forward the construction of aim system as well as collaboration and communication of different subjects.

关键词：弥合、交叉学科、创新、想像力、目标

现代主义的起兴——机械美学之力
The Rise of modernity: The Power of Mechanical Aesthetics
王玥然

摘要：现代所指的是上个世纪初至今，本文所研究的是在一战与二战影响下西方社会针对经济复苏的大趋势，设计界以及其他文化艺术界所做出的反应及其相互的影响，分析其中装饰主义的兴起及其受到机械美学的影响，以期发掘现代化进程中设计观念的现代化转变，以及当时在西方社会不同的社会形态下，机械美学产生的不同影响，从而产生不同的设计风格，以期在侧面证明不同社会形态下的符合大众审美和需求的设计风格是不尽相同的。
关键词：现代性 现代主义 装饰主义运动 机械美学
Abstract
The modern times begin at the beginning of last century. In this paper, the research will focus on the times during the First World War and the Second World War, in order to analyze the contribution of designers, cultural and artistic people to the western economic recovery. Meanwhile, in this paper, the research will analysis the influence of mechanical aesthetics to the rise of the Art Deco style and Modernism. Meanwhile, the design concept has different performances in different social form. This article hopes to demonstrate that phenomenon of modern design concept caused by the different social form, has inevitable different trend of design style.
Keywords：Modernity, Modernism, Deco Style, Mechanical aesthetics

消费时代的“创意”陷阱
——对当代设计生产的一种批评性评注
朱 彦
摘要：本文从消费与设计的关系入手，分析了当代消费社会中设计生产的四种“创意”陷阱，即等级差异、人性化服务、技术理念和审美意义，并指出它们产生的原因乃在于“符号异化消费”的蔚然成风。这种虚假的设计“创意”和不健康的消费观念是我们应该果断抛弃的。
关键词：消费社会、创意陷阱、符号异化消费

“originality” traps in the consuming times
——a critique of contemporary designs and manufactures
Abstract: The thesis mainly discusses the relationship between consumption and design, and studys the four “originality” traps in product design in the consuming times. The traps are the level difference, the personalized service, the idea of technology, and the aesthetic value. In addition, the cause of the traps is that “symbolic consumer alienation” has become the order of the day. The false design “originality” and unhealthy consume idea is what should be discarded.
Keywords: consumer society, originality traps, symbolic consumer alienation