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嘉华教改课程成果 || 21级数媒：艺术理解与实践 Art Understanding and Practice

大学作者：北京工商大学嘉华学院 2021-12-23 21:32:54

创意艺术学院课程

国际化教学改革试点

写在前面

“变”是设计的一般性现象

设计一直主动积极地回应世界的变化

为提高国际化人才培养质量，北京工商大学嘉华学院实施一系列教育教学综合改革，取得卓越成效，目前改革进入到更深层次课程教学改革。本次改革借鉴国际合作院校的课程设置和教学方式，使学生在嘉华能体验到国际先进的教学理念、内容和方法，同步提升学生专业能力与综合素养，以及自主学习能力。

创意艺术学院在学校整体部署下，选择与前沿技术联系更为紧密的数字媒体艺术专业开展试点改革。组建了全海归教师团队，以2021级学生为对象，国际班双语教学，提交英文作业，国内班中文教学，提交中文作业，教学内容保持一致。

本次试点改革在教学内容、教学模式、考核方式上，尽可能复刻英国大学的数媒专业课程，同时，充分考虑到学生的接受度和适应能力，打破原有课程内容逻辑和结构，以更高融合度、互动性、探究式方式重构课堂教学。改革课程大纲，通过 Lecture+ Seminar+ Tutorial环节，结合学习方法、资讯收集整理、解读与表达、设计思维方法和工具应用、团队合作、软件运用与创意表达等多个环节整合到课程教学中，课程结果有论文、创作、影像……异彩纷呈。

现将课程改革的初步成果一一呈现，请大家多提宝贵意见和建议。

《艺术理论与实践》

授课教师：王祁

毕业于伦敦艺术大学切尔西学院

艺术的本质是对存在的祝福、肯定和神化。

--- 尼采《权力意志》 1901

Art is essentially the affirmation, the blessing, the deification of existence.

--- Friedrich Nietzsche The Will to Power 1901

在我们还在尝试摆脱后现代主义的某种疗愈性语言或意义游戏时，孩子们已经不自觉的构建了一套属于他们的后-后现代话语体系，他们在无意义的重复中切实地在想象界完成了什么，一些只能对他们互相作用的东西；它在产生影响，让你能感受到空气中的孢子。

When we are still trying to move on from postmodernism's therapeutic language/ meaning games, kids have already constructed a set of their own post-postmodern discourse systems unconsciously. They have done something in the imaginary during their meaningless repetitions, something can only interact with them; It is influencing the environment, there are spores in the air that you can feel.

艺术理解与实践课程是嘉华创意艺术学院第一次对于融合艺术史论课程和创意思维课程的实验。在课程设计中，艺术史论部分采用了英美两国的现代艺术史和现代设计史教材，以引导为主的方式鼓励学生进行自学和整理；创意实践部分我尝试引入了伦敦艺术大学CCW的纯艺术专业预科的部分课程和评分标准。

Art Understanding and Practice is the first experiment that the Creative Art School of Canvard to integrate art & Design history and creative thinking. On curriculum design, the art history part adopts the history of modern art and the history of modern design textbooks of the United Kingdom and the United States. We encourage students to conduct self-study and collation mainly by means of the tutor's guidance; Then we have introduced the Fine Art foundation teaching arrangement and the standards of evaluation of the University of the Arts London-CCW for the creative practice side.

本课程在课程设置中偏向对于学生自我学习能力的培养和创造性思维能力的开发；尝试消解传统艺术史论课程的枯燥与乏味，鼓励学生发掘艺术设计史中有趣的叙事，与之建立联系，这样身处于文脉之中与艺术直接对话，引发自身的好奇与通感；同时通过创意思维训练，解放学生因各类应试教育僵化的思维，熟悉从文字到视觉“语言”的表达方式。所以本课程对于学生的作品要求几乎是开放性的，希望他们可以找到最适合自己的路径加入到艺术世界。

This course tends to cultivate students' self-learning ability and develop their creative thinking skills. We tried to dissipate the boringness and tediousness of traditional art history class, encourage students to explore the interesting narratives behind art&design history, and make their own connection within the context at the same time, have conversations with the Art directly to rouse their curious & synaesthesia. At the same time, let student liberate their rigid thinking system, get used to the way of visual expression than language. Therefore, this course has almost open requirements for students' works, hoping that they can find the most suitable path to join the art world.

让我们来看看学生们的成果。

Let‘s take a look at students' outcomes.

Part 1

小组项目 · Group Project

现代设计史和现代艺术史时间轴，数媒国际211-2组

History of modern design timeline and history of modern art timeline, Class Digital Media Art (International) 211 - Group №2

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对于大一新生来说，小组作业一般是最令他们头痛的部分，如何进行分工、交流、协作并在意见分歧时能说服对方，最后拿出成品；这种协同工作和互相启发的模式经常会以一人完成或者是“三个和尚没水喝”失败告终，（这在国外学生的小组合作中也是较为常见的，这也是在大一就要让学生开始熟悉小组合作模式的原因）数媒国际211二组在这项作业的表现中十分亮眼，小组能在研讨课上一同进行调研讨论和任务分配，课后组员能将自己的任务及时完成并每周定时碰面向教师寻求指导，在小组作业期间他们适应了小组学习的模式、找到了高效的方法、表现出了很高的学习积极性，互相也加深了私人友谊。

For freshmen, group work is generally the most troublesome part of them. How to divide, communicate, collaborate and persuade each other when they disagree, and finally come up with the finished product; this collaborative work and mutual inspiration model often It ended in one person or the failure of "the three monks had no water to drink", (this is also common in group cooperation with foreign students, which is also the reason why students should be familiar with the group cooperation mode in the freshman year) Digital Media International The 211 group 2 is very eye-catching in the performance of this assignment. The group can conduct research, discussion and task assignment together in the seminar class. After class, group members can complete their tasks in time and meet teachers regularly every week for guidance. During the group work, they adapted to the mode of group learning, found efficient methods, showed high learning enthusiasm, and deepened their personal friendship with each other.

从头脑风暴到图像拼贴练习，数媒国际211 -1组

From Brainstorming to Photo Collage Practice, Class Digital Media Art (International) 211 - Group №1

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Slide for more photos

现在艺术领域的狭义概念中的图像拼贴是一个和现代艺术起源息息相关的概念，艺术界权威组织古根海姆基金会认为“既严肃又诙谐”的能指并置是拼贴背后灵感的基础：“强调概念和过程而不是最终结果，拼贴将不协调的事物与平凡的事物进行了有意义的交流。今日的图像拼贴已经成为全世界艺术教育都在采用的教学步骤，它在当代不光可以单独作为一种艺术形式存在，也可以成为设计师和艺术家记录灵感和想法的工具；同时也是让学生习惯从文字性思维向图像化思维快速过渡的一个重要途径，为此在进行图像拼贴之前，我在课程中前置了小组的头脑风暴环节，再让学生们尝试以思维导图形式为头脑风暴的结果进行梳理归类，最后再有所准备的开始进行图像拼贴练习。数媒国际211一组的同学在这部分的小组作业中脑洞大开，基本完美的达到了课程要求。

The Photo Collage in the narrow concept of the art field is a concept closely related to the origin of modern art. The Guggenheim Foundation, an authoritative organization in the art world, believes that the juxtaposition of the signifiers of "serious and witty" is the basis for the inspiration behind the collage. : "Emphasis on concepts and processes rather than final results, collage makes meaningful communication between uncoordinated things and ordinary things. Today’s image collage has become a teaching step adopted by art education all over the world. Not only can it exist as an art form alone, but it can also be a tool for designers and artists to record inspiration and ideas. It is also an important way for students to get used to the rapid transition from textual thinking to graphical thinking. Before collage, I preceded the group brainstorming session in the course, and then let the students try to sort out the results of the brainstorming in the form of mind map, and finally start the image collage exercise with preparation. The students in the 211 group of Digital Media International have had their brains open in this part of the group assignments, and they have basically met the course requirements perfectly.

英国战后设计发展研究，虞晨曦

The Study of the development of British Design after WWII, YU Chenxi (Constantine)

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在学习了英国工业革命后的设计发展之后，我了解到了从哥特式复兴到工艺美术运动的英国设计改革对世界现代设计的影响，但在之后的数十年里，英国的现代设计便很少再被书本提起。我对此产生了疑问，在导师的鼓励下我开始查找英国战后设计的资料，一个名为“英国可以做到”的展览浮出水面，这个在1946年V&A博物馆举办的展览对于英国战后重建信念、恢复经济和英国工业产品设计的发展都具有里程碑性的意义。我在期中在班级里进行了研究汇报。（本段文字：虞晨曦）

After studying the development of design after the British Industrial Revolution, I learned about the influence of British design reforms from the Gothic Revival to the Arts and Crafts Movement on the world's modern design. However, in the following decades, British modern design has become very important. Less mentioned by books. I had doubts about this. With the encouragement of my mentor, I started to search for materials on British post-war design. An exhibition called "Britain Can Make It" surfaced. This exhibition held at the V&A Museum in 1946 was very important Rebuilding faith, restoring the economy, and developing British industrial product design are all landmarks. I conducted a research report in the class in the midterm. (Text by: YU Chenxi Constantine)

Part 2

二次创作 · Recreation

对于新艺术运动时期设计作品的学习与再设计，梁骏

The Study and Re-Design of the works from the Art Nouveau Period

, Mr. LIANG Jun (@Shepherd Doremy)

关于将二次创作作为课程实践作业，其实是一次“如何让艺术设计史论学习变得有趣”的尝试，对于很多艺考生来说，史论课程是一个老大难的问题，与其让他们死记硬背各项知识点，不如我给他们一个大的框架和背景，让他们自己从中挑选出一些自己感兴趣的人物和作品自己进行学习，而我只负责引导，最后让他们通过自己的创意，对这些作品进行改编，这样一个简易的设计流程也就此产生。梁骏同学选择了美国和法国的新艺术运动的几位重要人物和工艺美术运动后期的代表人物之一的安布罗斯·黑尔爵士进行了学习，虽然在二次创作手法上还较为稚嫩，但是作品充分的反映了他良好的学习态度和这项尝试的可行性。ps：右上图梁骏同学将赫克特·吉玛德设计的边几改造成的洗手池我很喜欢。

Regarding the re-creation as a course practice assignment, it is actually an attempt to "how to make the study of art design history theory interesting". For many art candidates, the history theory course is a difficult problem, rather than letting them learn by rote. To memorize various knowledge points, it is better for me to give them a big frame and background, and let them choose some characters and works they are interested in to learn by themselves, and I am only responsible for guiding, and finally let them through their own creativity, These works were adapted, and such a simple design process was born. Classmate Liang Jun chose several important figures in the Art Nouveau movement in the United States and France and Sir Ambrose Hale, one of the representative figures of the late arts and crafts movement, to study, although the secondary creation technique is still relatively immature, But the work fully reflects his good learning attitude and the feasibility of this attempt. Ps: In the upper right picture, Mr. Liang Jun transformed the side table designed by Hecht Guimard into a sink that I like very much.

服装设计练习，平行世界梵高的房间，于若溪

Fashion Design Practice, Van Gogh Room in Parallel World.

Created by Ms. YU Ruoxi

面部彩绘与风景创作，李妍

Face Painting and landscape painting, Ms. LI Yan

（左）Elena Rossato 是一位自学成才的意大利艺术家，她擅长用丰富而有趣的色彩绘制肖像插画，探讨每个人内心情感表达的方式；人们在欢乐与笑声背后可能潜藏的着的是另一幅画面；Elena使用活泼的色彩和唯美的笔法却能呈现出和卢西安·弗洛伊德画作中相似的情感意境，在缤纷的画作上呈现出了一种独属于这个时代的悲伤，我尝试以我自己的面孔作为画布来再现Elena的作品，希望能通过这种方法来进入Elena分析出的情感世界 (本段文字：李妍)

（右）受宫崎骏电影启发尝试的两幅动画场景绘画

(Left) Elena Rossato is a self-taught Italian artist. She is good at drawing portrait illustrations with rich and interesting colors and discussing the ways in which each person’s inner emotions are expressed; behind the joy and laughter, there may be another hidden thing. A picture; Elena's use of lively colors and beautiful brushwork can present an emotional mood similar to Lucian Freud's paintings. The colorful paintings present a kind of sadness that belongs to this era. I try to use my own face as a canvas to reproduce Elena's work, hoping to use this method to enter the emotional world analyzed by Elena. (Text by: LI Yan)

(Right) Two animated scene paintings inspired by Hayao Miyazaki's films

二次创作，赵书艺

Re-Creation, Ms. ZHAO Shuyi

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波普艺术学习与二次创作，邵天泽

Pop Art Study and Recreation, Mr. SHAO Tianze

安迪·沃霍尔的作品在今天早就已经为人们所熟知，但是在真正学习了波普艺术的历史后才感受到了在上个世纪六十年代它们出现时的那种先锋性和反精英主义内核，波普艺术的出现成功的模糊了高雅艺术和大众艺术的边界，这种艺术是属于人民的。

我们这门课程的导师和我在一个时间来到嘉华，我们也成为了他的第一批学生，我希望在向安迪·沃霍尔致敬的同时以这种特殊的方式来纪念我们的课程。 (本段文字：邵天泽)

Andy Warhol’s works are already well known today, but only after really learning the history of Pop Art did they feel the avant-garde and avant-garde they represented when they appeared in the 1960s. The emergence of anti-elitism and pop art has successfully blurred the boundary between high art and popular art. This kind of art belongs to the people.

Our tutor of this course and I came to Canvard at the same time, and we also became his first batch of students. I hope to pay tribute to Andy Warhol while commemorating our course in this special way. (Text by: SHAO Tianze)

Part 2

个人作品 · Personal Works

莉莉的卡通画，邢莉莉

Lily's Cartoon drawings, Ms. XING Lili

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蒸汽朋克风格南洋大兜虫，倪丁

Steampunk Australopithecus, Mr. NI Ding

实验舞蹈-东京杀人事件，白雨鹭

Experimental Dancing —— Tokyo Killings, Ms. BAI Yulu

(视频包含刺激性声音和频闪，请调小音量观看，14岁以下儿童请在家长陪同下观看)

这个实验舞蹈是我在聆听音乐《东京杀人事件》时获得灵感进行的编舞和表演：伴随着枪声的开场，据说是一位父亲开枪杀死了自己的女儿，接着是妻子撕心裂肺的尖叫；这首歌曲伴随着诡异而恐惧的氛围，质问着每个人心底最深处最黑暗的灵魂；忽明忽暗的灯光、枪火、恐惧、歇斯底里、疯狂、脑浆、诡异、颤抖、死亡、灵魂，这是开放的牡丹。这世界再也没有真实的感觉，它充斥着痛苦和难过。东野圭吾说：“这个世界上有两种东西不敢直视，一是太阳，二是人心，闭眼是王朝盛世，睁眼时地狱熔炉，地狱空荡荡，恶魔在人间，生而为人，务必善良。” (本段文字：白雨鹭)

This experimental dance was choreographed and performed by me when I listened to the music "Murder in Tokyo". This song is accompanied by the eerie and fearful atmosphere, questioning each of the deepest and darkest souls; Flickering lights, gunfire, fear, hysteria, madness, brains, eerie, trembling, death, soul, this is the opening peony. The world no longer feels real, it's full of pain and sadness. Higashino Keigo said: "There are two things in the world dare not look at, one is the sun, the other is the heart, closed eyes is the dynasty, open eyes hell furnace, hell empty, the devil in the world, born human, be good." （Text by：BAI Yulu）

《厌食症》，李梦彤

<Anorexia>, Ms. LI Mengtong

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厌食症是一种心理疾病，也包括了贪食症，患有厌食症的患者基本上也患有抑郁症。很多人并不了解这个疾病，所以我想通过我的作品让大家可以了解到这个病症，不再戴有色眼镜去看他们，并可以帮助你身边患有此类疾病的人。

本作品采用了三联画的形式，第一幅是由贪食症外衣包裹的厌食症，事物围绕着他们，厌食症患者挣扎着想爬出来，但痛苦和荆棘阻拦着他；第二幅是患者表面上有时看起来世界充满了色彩，渴望融入，但实际上背后只剩下了骨头，和药物为伴，但仍将手伸向光明；第三幅是有时食物是他们生存下去的希望，甜甜圈和药物制成的救生圈维持着被病魔腐蚀的躯壳不坠入深渊。（本段文字：李梦彤）

Anorexia is a mental illness that also includes bulimia. Patients suffering from anorexia basically also suffer from depression. Many people don't understand this disease, so I want to let everyone know about this disease through my work, stop wearing colored glasses to see them, and help people around you who suffer from this disease.

This work takes the form of a triptych. The first one is anorexia wrapped in a bulimia coat. Things surround them. The anorexic patient struggles to crawl out, but pain and thorns hinder him. The second one is the patient. On the surface, it sometimes seems that the world is full of colors and eager to blend in, but in fact, there are only bones left behind, accompanied by medicines, but still stretch their hands to the light; the third picture is that sometimes food is their hope for survival. The lifebuoy made of donuts and medicines keeps the body corroded by the disease from falling into the abyss. （Text by Ms. LI Mengtong）

数字绘画，孔众

Digital Drawing, Mr. KONG Zhong