重在引发--建筑学专业素描课程教改之我见

文章分析了当前建筑学专业素描的现状,结合我国入世后的实际情况,对建筑学专业素描的教学思想、教学手段、教学组织、教学内容、课程结构等方面提出了一系列的改革建议.     

Establishing a new scopic regime: the new landscape painting of Mao’s era

ABSTRACT

After 1949, with ‘serving the people’ established as the basic guideline of art, the reform of traditional landscape painting, which had been appropriated by the cultural elites for thousands of years, was put on the agenda as well. Beginning from the early of 1950s, there were continual debates on the reform of traditional Chinese painting within the art field, through which many artists gradually reached a consensus on the development direction of Chinese painting. At the same time, stimulated by the large-scale xiesheng movement sponsored by the government, Chinese landscape painting changed dramatically in subject, theme, and brushstroke technique, and developed a new style which has its own signifying system. Blending both Chinese and western drawing skills, the new landscape painting successfully created a unique scopic regime, which can establish an organic relationship between personal aesthetic experience and collective historical experience. As a prominent cultural achievement of Mao’s era, the new landscape painting embodies the cultural politics and the technologies of the self at that time.     

Comic revisions? Motherhood and women’s comedy in contemporary Germany

Maternal stereotypes and the realities of mothering are prominent themes in Anke Engelke’s Ladykracher and Martina Hill’s Knallerfrauen, two of the most popular sketch shows in twenty-first-century Germany. This article relates their success to social anxieties about motherhood, which Engelke and Hill illuminate through the theme of their sketches as well as through their very use of comedy to do so. I begin by using close-readings of Ladykracher and Knallerfrauen to illuminate the political potential of the sketch form to challenge maternal myths and articulate taboo feelings such as maternal ambivalence. I then consider the innovation of these maternal sketches in view of traditional theories of comedy, which paradoxically draw their imagery from the realm of the maternal even though they discount real women and mothers as comic agents. I argue that the maternal sketches of Engelke and Hill are thus doubly subversive, challenging maternal taboos as well as the discursive and generic norms they sustain.     

叶麟思想和著作面面观

叶麟，法国里昂大学博士。曾参加四川辛亥革命。对无政府主义有过简明扼要的介绍。其治学，以心理学为专攻，并翻译《阿朵耳夫》等多种心理小说。教育教学方面，亦有精彩的论说。叶麟好文，其人物特写，形神具备；其诗词创作，情深语妙。     

基于动画前期创作的大脑图像库的建立探索

动画前期创作是整个动画创作过程中具有决定意义的重要阶段,当前动画前期创作的困境在于创造者的大脑中缺乏可转化的图像素材以及右脑思维发挥不足。如果想要切实提高创作的质量,必须对赖以工作的大脑进行充分的认识,了解左脑和右脑各自的功能和运作特点。基于动画前期创作建立大脑图像库是一个新课题,通过该课题研究可以提升动画创作者的创造力,进而提升国产动画的创作水平。     

河南动漫产业发展研究

国际国内动漫产业发展迅猛,河南动漫产业发展相对滞后。制约河南动漫产业发展的主要因素是人才培养机制不健全、政府主导相对缺失、生产技术落后、市场机制没有建立,等等。应加强政府主导,建立统一的人才培养基地,推进校企合作,培养市场意识,充分利用河南历史文化资源和人力资源的优势,促进河南动漫产业的发展。     

素描教学的价值和意义

在素描教学中,由于对其体系的意义和价值缺乏基本认识,仍存在着单纯追求技法的倾向。素描教学方法说到底就是不断引导、启发学生进行观察实践和作画实践的过程,也是不断提高学生审美修养和悟性的过程。     

Techno-Wizardry and movie magic: the trace of labour (or lack thereof) in 3D digital animation

ABSTRACT

This paper will argue that 3D digital animation, unlike its 2D and stop-motion counterparts, currently lacks recognisable self-reflexive aesthetic devices through which the trace of animators’ labour can be made visible. It will open with a brief history of how animation has previously shown its workings; from the pencil-wielding hand of Émile Cohl to the opening seconds of South Park, plus the intentional and unintentional smears and multiples visible on animation cells. These devices will then be discussed in relation to Marx’s analysis of the commodity in Capital Vol. 1, and how the process of fetishisation is momentarily disrupted by imperfections in the object which have been caused by production errors. These faults reconnect the object to its producer through the trace of (imperfect) labour which remains visible on the surface. In animation, similar (albeit consciously made) ‘errors’ connect the perceptive viewer directly to the work of 2D or stop-motion animators. This paper will argue the need for an equivalent to emerge in 3D digital animation, as well as highlighting some contemporary animators testing and subverting the limits of 3D and sketching some possible ways these might encourage further formal innovations.     

观照·体悟·迹化——略论贾科梅蒂的素描艺术观

贾科梅蒂无论在素描的构思或表现上都可谓独树一帜 ,不同凡响。在素描对象的观照与把握上 ,强调采用直观的方式 ,摆脱一切先入之见 ,以便寻找出最接近自然视觉的形象     

论书法与动画的美学交融

各艺术门类间存在个性与共性特点。书法与动画也不例外，书法为静态的视觉艺术，动画则是动态的时空艺术。尽管二者在表现形态和风格上存在较大差异，但其间也有一些共同的美学规律。如果在较为成熟的书法艺术和新兴的动画艺术之间，在艺术语言形式、叙事方式和创作法则等方面探寻出共同的美学元素，找出创作的共同道理，就会从中国传统的书法艺术中得到许多值得动画艺术创作的可资借鉴之处，从而推动中国动画的民族化进程。