作品征集｜2025年第四屆CDSA國(guó)際媒體藝術(shù)創(chuàng)意大賽
1
何為CDSA（城市數(shù)字表皮藝術(shù)）？
“城市數(shù)字表皮藝術(shù)”（City Digital Skin Art,CDSA）是基于公共空間中的屏幕與建筑外立面等城市表皮，關(guān)注數(shù)字時(shí)代的基本狀況，并以公共藝術(shù)的數(shù)字化表達(dá)為訴求的藝術(shù)形式。它具有結(jié)合城市公共空間與數(shù)字公共空間的特征，希望通過(guò)公共藝術(shù)促進(jìn)公眾有關(guān)技術(shù)、空間與城市生活共生的社會(huì)想象力。
"City Digital Skin Art"(City Digital Skin Art,CDSA,)is an art form based on urban skins such as screens and building facades in public spaces,focusing on the basic conditions of the digital age,and seeking the digital expression of public art.It has the characteristics of combining urban public space and digital public space,and hopes to promote the public's social imagination about the symbiosis of technology,space and urban life through public art.
城市數(shù)字表皮是城市環(huán)境的一部分。城市環(huán)境在不同程度上塑造了城市的外觀面貌，是城市的形象表達(dá)、生活方式的體現(xiàn)，也影響著城市中的社會(huì)關(guān)系。數(shù)字表皮是數(shù)字界面的一部分，它位于私人的生活空間與更寬泛的社會(huì)空間之間，具有轉(zhuǎn)化、連接，最終溝通二者的潛力。結(jié)合二者的數(shù)字表皮藝術(shù)，是以藝術(shù)激發(fā)并實(shí)現(xiàn)這種潛力。
The urban digital skin is part of the urban environment.The urban environment shapes the appearance of the city to varying degrees,is the image expression of the city,the embodiment of the way of life,and also affects the social relations in the city.The digital skin is the part of the digital interface that sits between the private living space and the wider social space,with the potential to transform,connect,and ultimately communicate the two.The digital skin art that combines the two is to inspire and realize this potential with art.
2
關(guān)于大賽
“CDSA國(guó)際媒體藝術(shù)創(chuàng)意大賽”是由中國(guó)美術(shù)學(xué)院雕塑與公共藝術(shù)學(xué)院公共空間藝術(shù)系發(fā)起的新型公共空間藝術(shù)創(chuàng)作大賽。CDSA國(guó)際媒體藝術(shù)創(chuàng)意大賽的創(chuàng)辦是為了發(fā)現(xiàn)和支持優(yōu)秀的藝術(shù)新秀和創(chuàng)意學(xué)員以及新銳從業(yè)者，助力藝術(shù)的專(zhuān)業(yè)與學(xué)術(shù)發(fā)展，構(gòu)建跨專(zhuān)業(yè)、跨行業(yè)、跨空間的創(chuàng)意交流。旨在搭建城市公共的媒體藝術(shù)展播平臺(tái)；推動(dòng)優(yōu)秀、創(chuàng)新、時(shí)尚的當(dāng)代多媒體藝術(shù)創(chuàng)作積極介入公共空間與公眾社會(huì)生活?！八囆g(shù)與商業(yè)結(jié)合，創(chuàng)意與實(shí)踐結(jié)合”。
"CDSA International Media Art Creativity Competition"is a new public space art creation competition initiated by the School of Sculpture and Public Art of China Academy of Art.The CDSA International Media Art Creativity Competition was founded to discover and support outstanding rookies,creative students,and cutting-edge practitioners,to help the professional and academic development of art,and to build creative exchanges across majors,industries,and spaces.It aims to build an urban public media art exhibition platform;promote excellent,innovative and fashionable contemporary multimedia art creation to actively participate in public space and public social life."The combination of art and business,the combination of creativity and practice”.
3
賽事主題
主題：
記憶共存：當(dāng)過(guò)去遇見(jiàn)當(dāng)下與未來(lái)
Memory Coexistence：
When Past Meets Presence and Future
數(shù)字遺產(chǎn)不僅是對(duì)過(guò)去的記錄，更孕育了未來(lái)的新文化形態(tài)。在以“記憶共存”為主題的數(shù)字藝術(shù)展中，城市的LED屏幕被轉(zhuǎn)化為巨大的公共藝術(shù)畫(huà)布，探索在科技與創(chuàng)意的交匯點(diǎn)上，記憶如何得以保存與再生。
LED屏幕作為時(shí)間的窗口，以新的公共形式映射我們非物質(zhì)文化遺產(chǎn)中的傳統(tǒng)與儀式、表演藝術(shù)與節(jié)慶活動(dòng)、傳統(tǒng)手工藝、有關(guān)自然與宇宙的知識(shí)與實(shí)踐。我們?nèi)绾芜\(yùn)用數(shù)字技術(shù)增強(qiáng)這些文化遺產(chǎn)形態(tài)，使其成為塑造未來(lái)的在場(chǎng)“活檔案”？我們又如何保護(hù)那些具有文化意義的物品、遺址、實(shí)踐與記憶，并確保它們對(duì)后代可見(jiàn)、可用？
從更廣闊的視角看，“記憶共存”反映出一個(gè)持續(xù)進(jìn)行的文化交流過(guò)程——這一過(guò)程早在數(shù)百年前的絲綢之路時(shí)代便已開(kāi)啟。絲路促進(jìn)了東西方之間觀念與藝術(shù)表達(dá)的交流融合，而此次展覽則借助數(shù)字技術(shù)，在時(shí)間與空間的維度上推動(dòng)文化遺產(chǎn)的流動(dòng)與再生。正如絲綢之路曾連接起城市、文化與人們，展覽也試圖在數(shù)字領(lǐng)域中感知空間、連接地理。
在城市巨型LED屏幕上，記憶不再是靜態(tài)的檔案，而成為參與公共對(duì)話的“活畫(huà)布”。數(shù)字藝術(shù)展“記憶共存”將城市的過(guò)去、現(xiàn)在與未來(lái)融合為不斷演化的藝術(shù)作品。LED屏幕變?yōu)椤皵?shù)字地標(biāo)”，承載著個(gè)人記憶的碎片與集體敘事，持續(xù)展示人與城市空間間深層的情感紐帶和時(shí)間的層疊痕跡。
它像一個(gè)“數(shù)字重寫(xiě)本”（digital palimpsest），將過(guò)去、現(xiàn)在與未來(lái)的記憶疊加成一部復(fù)雜而不斷演變的人類(lèi)經(jīng)驗(yàn)記錄。這一理念受到Refik Anadol的作品如《數(shù)據(jù)之境的大自然模型》（Large Nature Model of Dataland）與《文藝復(fù)興之夢(mèng)》（Renaissance Dreams）的啟發(fā)。在《數(shù)據(jù)之境》中，Anadol利用大規(guī)模數(shù)據(jù)驅(qū)動(dòng)藝術(shù)創(chuàng)作出沉浸式數(shù)字自然環(huán)境，提供對(duì)自然世界的不斷演化的詮釋?zhuān)瑢⑵滢D(zhuǎn)化為一種新的文化遺產(chǎn)形態(tài)。《大自然模型》重新構(gòu)想了人與自然的關(guān)系，通過(guò)龐大的數(shù)據(jù)集構(gòu)建出一個(gè)不斷更新、自動(dòng)校準(zhǔn)的“活自然”數(shù)字模型；而在《文藝復(fù)興之夢(mèng)》中，機(jī)器學(xué)習(xí)算法被用來(lái)重新詮釋古典繪畫(huà)，為歷史作品注入新生命，挑戰(zhàn)我們與過(guò)去互動(dòng)的方式。這種通過(guò)數(shù)字媒介進(jìn)行記憶疊加與再詮釋的理念，與聯(lián)合國(guó)教科文組織關(guān)于文化與自然遺產(chǎn)“動(dòng)態(tài)、互聯(lián)”的觀點(diǎn)高度契合。數(shù)字重寫(xiě)本這一概念揭示了數(shù)字技術(shù)如何讓我們“重寫(xiě)”或再詮釋記憶，在保留原始痕跡的同時(shí)添加新的意義層級(jí)。如同古代手稿被反復(fù)擦除與重寫(xiě)，這些LED屏幕構(gòu)成了一個(gè)活態(tài)的記憶與身份文檔。
展覽通過(guò)公眾參與與先進(jìn)科技，重新定義了“數(shù)字遺產(chǎn)”的概念：它是一種動(dòng)態(tài)創(chuàng)作，激發(fā)文化再發(fā)現(xiàn)與共享歸屬感。展覽基于開(kāi)放式互動(dòng)平臺(tái)，鼓勵(lì)公眾上傳與城市相關(guān)的個(gè)人記憶，如家庭照片、語(yǔ)音片段或視頻剪輯。這些數(shù)據(jù)通過(guò)AI處理后轉(zhuǎn)化為可視化的藝術(shù)作品，并實(shí)時(shí)投影于LED屏幕上，使數(shù)字遺產(chǎn)成為流動(dòng)的、感官化的體驗(yàn)。
展覽的核心理念是“動(dòng)態(tài)記憶拼圖”。觀眾上傳的圖像、聲音與文本碎片，經(jīng)由AI技術(shù)與城市歷史檔案及文化符號(hào)進(jìn)行算法鏈接，轉(zhuǎn)化為流動(dòng)的數(shù)字?jǐn)⑹?。這些可視化敘事不僅呈現(xiàn)重大歷史事件，也展現(xiàn)城市居民的日常瞬間，在公共空間中形成一首“記憶交響曲”。白日里，屏幕與城市景觀融合，映照其真實(shí)風(fēng)貌；入夜后，光影律動(dòng)如同城市的脈搏，回響其鮮活記憶。展覽強(qiáng)調(diào)：記憶不僅是個(gè)人的私產(chǎn)，更是集體的文化資產(chǎn)，每一個(gè)碎片都是城市獨(dú)特記憶生態(tài)的一部分。通過(guò)這一方式，“記憶共存”邀請(qǐng)觀眾共同編織城市記憶的肌理，在沉浸式互動(dòng)體驗(yàn)中與城市產(chǎn)生共鳴，也與自我產(chǎn)生對(duì)話。
觀眾不僅是旁觀者，更是共創(chuàng)者。他們提交的記憶與既有文化資產(chǎn)產(chǎn)生對(duì)話，構(gòu)建出集體性的數(shù)字藝術(shù)作品。此外，展覽還融合AR互動(dòng)技術(shù)，使參觀者可通過(guò)手機(jī)探索屏幕之外的數(shù)字場(chǎng)景，沉浸式地與建筑、聲音與歷史人物的虛擬記憶進(jìn)行互動(dòng)。這一公眾協(xié)作與沉浸體驗(yàn)的維度，體現(xiàn)了文化融合的持續(xù)過(guò)程，科技不僅是保存工具，更是連接過(guò)去與現(xiàn)在、地方與全球的橋梁。
通過(guò)城市LED屏的廣泛覆蓋，“記憶共存”重新定義了城市記憶的傳播方式，使每一段記憶碎片都在廣場(chǎng)與街角被看見(jiàn)、討論與銘記。它不僅是視覺(jué)盛宴，更是一場(chǎng)深刻的公眾共創(chuàng)實(shí)踐，激發(fā)人們對(duì)記憶價(jià)值、意義與保存的思考。展覽將數(shù)字藝術(shù)定位為塑造文化身份的重要力量，并在為未來(lái)世代更新城市遺產(chǎn)價(jià)值的過(guò)程中發(fā)揮作用。
因此，數(shù)字遺產(chǎn)成為一座橋梁，正如古代文化交流曾連接人類(lèi)歷史的不同片段，如今則借助技術(shù)開(kāi)啟全新的文化對(duì)話與再詮釋的旅程。
Memory Coexistence:When Past Meets Presence and Future
Digital heritage is not just a record of the past but generates new cultural forms of the future.In the digital art exhibition themed"Memory Coexistence"urban LED screens transform into immense canvases of public art,exploring how memories can be preserved and regenerated at the intersection of technology and creativity.
LED screens provide a time window and reflect as new public format the past of our intangible cultural heritage of traditions and rituals,performing arts and festive events,traditional craftsmanship,knowledge and practices concerning nature and the universe.How can we enhance these forms of cultural heritage with digital technologies to become a living archive of the presence by shaping the future?How can we safeguard objects,sites,practices,and memories that hold cultural significance,ensuring they are accessible to future generations?
In a broader context,''Memory Coexistence''reflects the ongoing process of cultural exchange that has occurred for centuries,such as through the historical networks like the Silk Road where the fusion of different cultural practices generated new forms of understanding and creativity.Just as the Silk Road facilitated the sharing of ideas and artistic expressions between the East and West,this exhibition leverages digital technology to enable the flow of cultural heritage across geographies and time periods.Furthermore,as the Silk Road connected cities,cultures,and people across vast distances,so too does this exhibition aim to sensing places and connecting geographies in the digital realm.
On the massive LED screens of the city,memory is no longer a static archive but a living canvas and participant in public dialogue.The digital art exhibition''Memory Coexistence''visualizes the fusion of the past,present,and future of the city into ever-evolving works of art.The LED screens become"digital landmarks"carrying fragments of individual memories and collective narratives continuously showcasing the profound emotional bond between people and the urban space with its layers of times.
By operating as a'digital palimpsest'where the layering of past,present,and future memories,creates a complex and ever-evolving record of human experience.This approach draws inspiration from projects like Refik Anadol's Large Nature Model of Dataland,,and Renaissance Dreams.In Dataland,Anadol utilizes large-scale data-driven art to create immersive digital environments inspired by nature,providing an evolving interpretation of the natural world that transforms into a new form of cultural heritage.Large Nature Model reimagines our relationship with nature,using vast data sets to create a living digital model of nature,constantly evolving and recalibrating,while in Renaissance Dreams,machine learning algorithms are used to reinterpret classical paintings,breathing new life into historical works and challenging how we interact with the past.This concept of layered memory and reinterpretation through digital media aligns closely with UNESCO’s perspective on preserving both cultural and natural heritage as dynamic,interconnected entities.This concept of a palimpsest reflects how digital technologies allow us to"rewrite"or reinterpret memories,adding new layers of meaning while preserving the original traces.As with ancient manuscripts erased and rewritten over time,these LED screens create a living document of evolving memory and identity.
By inviting public participation and leveraging advanced technology,the exhibition reimagines“digital heritage”as a dynamic creation,fostering cultural rediscovery and shared ownership.The exhibition operates on an open interactive platform,encouraging the public to upload personal memories related to the city,such as family photos,voice recordings,or video snippets.These data inputs are processed by AI to generate visualized art pieces,projected onto the LED screens in real time,presenting digital heritage as a flowing,sensory experience.
At the heart of the exhibition is the concept of a“dynamic memory mosaic.”Images,sounds,and text fragments uploaded by viewers are algorithmically linked with the city’s historical archives and cultural symbols through AI technology,transforming into fluid digital storytelling.These visual narratives present not only major historical events but also the everyday moments of city residents,creating a symphony of memories in public spaces.By day,the screens integrate with the cityscape,reflecting its authentic character;by night,dynamic light and shadows pulse like the city’s heartbeat,echoing its vibrant memory.The exhibition seeks to highlight that memories are not merely personal possessions but shared cultural assets,with each fragment contributing to the unique memory ecosystem of the city.Through this approach,“Memory Coexistence”invites viewers to participate in weaving the fabric of urban memory,finding resonance with both the city and themselves in an immersive,interactive experience.
They are not only spectators but also co-creators,as their submitted memories engage in dialogue with existing cultural assets,forming collective works of digital art.Additionally,the exhibition integrates AR interaction technology,allowing visitors to explore digital scenes beyond the screen via their smartphones,interacting with virtualized memories of architecture,sounds,and historical figures.This aspect of public collaboration and immersive interaction reflects the ongoing process of cultural blending,where technology enables not just preservation but an ongoing dialogue between past and present,local and global.
Through the expansive reach of LED screens,''Memory Coexistence''redefines how urban memories are disseminated,making every fragment of memory visible,discussed,and remembered in the plazas and corners of the city.It is not merely a visual spectacle but also a profound practice of public co-creation,inspiring reflection on the value,meaning,and preservation of memory.The exhibition positions digital art as a powerful force in shaping cultural identity and renewing the value of urban heritage for future generations.
In this way,digital heritage serves as a bridge,allowing for new cultural exchanges and reinterpretations of our shared human history,just as the ancient cultural exchanges once did.
可保存主題內(nèi)容，以供查閱
4
征集對(duì)象
國(guó)內(nèi)外公共藝術(shù)與數(shù)字藝術(shù)設(shè)計(jì)創(chuàng)作者、藝術(shù)與設(shè)計(jì)院校的學(xué)生，以及所有采用數(shù)字工具繪畫(huà)的作者（包括新銳插畫(huà)師、獨(dú)立藝術(shù)家、視覺(jué)藝術(shù)家、專(zhuān)業(yè)建模師、新媒體設(shè)計(jì)師，以及創(chuàng)業(yè)團(tuán)隊(duì)與相關(guān)領(lǐng)域的企業(yè)、機(jī)構(gòu)和院校）。
5
賽制安排
?。ㄒ唬┵惓虝r(shí)間
初評(píng)—終評(píng)—最終修改
Initial review-Final review-Final revision
?。ǘ┕_(kāi)展示（展覽）
經(jīng)過(guò)評(píng)委會(huì)兩輪評(píng)選，最終入選的40件優(yōu)秀作品，將在中國(guó)、法國(guó)、新加坡、德國(guó)、意大利、西班牙、馬來(lái)西亞的城市核心區(qū)域的14塊LED大屏上，為期1周的展示。
?。ㄈ┆?jiǎng)金
6
展覽地點(diǎn)
7
報(bào)名資料
細(xì)資料及屏幕具體參數(shù)在以下鏈接內(nèi)，
請(qǐng)自行下載查閱
The detailed registration information and specific screen
parameters are provided in the following link,
Please download and review it yourself
鏈接:https://pan.baidu.com/s/1jMSDt-9WH0ho5W0haEqByg?pwd=2024
提取碼:2024
8
國(guó)際評(píng)委會(huì)陣容
9
啟動(dòng)儀式
欲知更多活動(dòng)信息，敬請(qǐng)關(guān)注：
微信公眾號(hào)：
抖音：
CDSA城市數(shù)字表皮藝術(shù)
抖音號(hào)：21790039885
小紅書(shū)：
城市數(shù)字表皮藝術(shù)
小紅書(shū)號(hào)：4766152457
大賽報(bào)名及相關(guān)信息請(qǐng)關(guān)注官網(wǎng)發(fā)布的內(nèi)容：
https://cdsaawards.com
主辦單位：
中國(guó)美術(shù)學(xué)院雕塑與公共藝術(shù)學(xué)院
公共空間藝術(shù)系
承辦單位：
城市數(shù)字表皮國(guó)際媒體藝術(shù)創(chuàng)意大賽
組委會(huì)
協(xié)辦單位:
Public art Lab德國(guó)公共藝術(shù)實(shí)驗(yàn)室
德國(guó)魏瑪包豪斯大學(xué)
新加坡南洋理工大學(xué)藝術(shù)設(shè)計(jì)媒體學(xué)院
中國(guó)美術(shù)學(xué)院媒體城市研發(fā)中心
media art nexus
FML纖維媒介實(shí)驗(yàn)室
SPINOR空介數(shù)字媒體實(shí)驗(yàn)室
LIMPIDART澄澈藝術(shù)
浙江未來(lái)合谷文旅
E-ART法國(guó)藝術(shù)學(xué)院聯(lián)盟
https://mp.weixin.qq.com/s/0h_coIpMsaVYgYlHIAAFFQ
蘇公網(wǎng)安備32021402002843