第八届网络社会年会｜“Counter-Culture” ？重置技术的一切（不）可能性

第八届网络社会年会

“Counter-Culture”？

重置技术的一切（不）可能性

主办单位

中国美术学院

跨媒体艺术学院

网络社会研究所

总召集人

黄孙权

工作团队

崔雨、刘怿斯、朱颜、郑叶颖、张铎瀚、蔡泽锐、徐雨姗、汤秋语、袁孟如、边子晟、王思云、

马雅、张钰彬、仝昭祥、姜奕竹、韩佳欣、阮璐欣、李程锦、许可、江子祎、陈苏元、任柄霖、李宜

视觉设计

韩佳欣、郑叶颖

引言

AI 与 ChatGPT 的兴起，自然语言的历史（语料库）与使用自然语言的能力 （/prompt 提示）成为人与 AI 最亲密的互为主体世界。AI是人类普遍智能（马克思意义上）的表现，也是个人与普遍文化的对话训练。文化不外于技术发展史，（普遍）文化有自身的历史地域的抗争。这是“Counter-Culture”的意义，不是另类的，而是对立存在曾有一切的可能性。

自从文字的载体印刷术，声学储存的留声机的发明，光学成为双眼外映射的现实，历史就不再能成为单一的大叙事。历史分流于声学（留声机）、光学 （电影）与文学（打字机），就媒介角度而言，现代主义之后以自然语言为基础的文字印刷不再成为历史延续，人类总体记忆的储藏库，因为已经没有连续、可通译的阐释学了，而是不可通译、只能换位（transpose）的密码学，这是跨媒体的高光时刻，换位、借位、装配、相互转译成为市场上的宠儿，（好的）当代艺术只不过以独特美学来展示技术演进交付给人类的文明任务而已（自带政治觉醒成为反此文明任务的形式）。

电学开始了，信息理论出现，数位技术终结了媒介的历史。因为所有的一切都可以成为数字─文学、数字─电影、数字─ 绘画、数字─艺术…就这点意义而言，计算机是“终结了一切媒介的媒介”，也终结了“历史”。如同Friedrich Kittle说的：“数字技术带来了某种弥赛亚式的终点”。数位革命之后再没有革命了。

然而，文化是人文学科的志业，不取决于个人意向，而是取决于基于自然语言所可能的所有媒体。每一种技术发展都镶嵌于特定的文化中，“Counter-Culture”不仅反对技术发展论的单一思考，也是扩充、改变、宣传技术环境的媒介。人文学科曾经快要拜倒在能阅读字母和数字的现代机器（计算机）的光线照射下，由是，我们需要建立“Counter-Culture”的新阵地，不仅仅是反抗的，嬉皮式的，或逃逸路线，而是对立的基地。这基地应该包含更广泛的政治经济批判、性/别批判、媒介批判、阶级批判、技术哲学思考、全球南方观点等等。换句话说，要挑战单一技术线性发展史观，使得人文学科再度成为维系人类思想高度但不惧于思辨技术发展之一切可能的堡垒。今年会议，我们邀请了中国台湾、法国、巴西、葡萄牙、美国、俄罗斯等国家及地区的学者、艺术家、工程师一同，开启新的“反抗基地”！

历年由INS主办的网络社会年会，已经有超过百位的学者发表过主题演讲，五百多位的艺术家、策展人、青年学者在公开征稿下发表自己的想法，结合黑客松、科幻写作松活动汇集全世界极富创意与批判的头脑进行共同生产。今年网络社会年会将以AIathon开始，随后举行郑淑丽影片的大陆首映会，以及年会会议、思想实验等活动，最终以一部影像论文的发布结尾！欢迎各位！

（相关系列活动见文末）

时间

11月8日-11月9日

（详细议程稍后公告）

地点

上海｜张江科学园区

张江科学会堂 六层MIP空间

入场报名方式

👇扫描二维码 / 报名链接：

https://form.typeform.com/to/QXbPeJLr

年会全程开放

报名现场参与者可在会场领取同传耳机

线上直播与未报名者则无同传

直播地址

👇b站直播

https://live.bilibili.com/1802589

👇Youtube直播

https://www.youtube.com/@inetworksociety

👇Slido提问箱

http://app.sli.do/event/dljb7wURiCj98o TsrtbaLx

议程安排

11月8日

11月9日

每位嘉宾发言时间约为30分钟，之后将预留20分钟的观众互动时间。

正式议程以会议当天为准

主题演讲嘉宾（按演讲顺序排列）

西格弗里德·齐林斯基

Siegfried Zielinski

西格弗里德·齐林斯基是柏林艺术大学的媒体理论名誉教授，欧洲研究生学院（EGS）米歇尔·福柯媒体考古学与技术文化教授，以及上海同济大学客座教授。他曾是科隆媒体艺术学院创校校长（1994–2000），维兰·傅拉瑟档案馆主任（1998–2016），以及卡尔斯鲁厄艺术与设计大学校长（2016–2018）。齐林斯基在艺术和媒体的考古学和变体学领域发表了大量著作。他还与卡尔斯鲁厄艺术媒体中心主席彼得·韦伯尔合作，策划有关维兰·傅拉瑟的展览、“阿拉的自动机”，以及“思想机器：拉蒙·卢利与组合艺术”等展览。最近，他与音乐家和作曲家F.M. Einheit 合作，为Teodor Currentzi的musicAeterna平台以及多家德国广播电台制作了带有批判性诗意的音频作品。齐林斯基是柏林艺术学院和北莱茵-威斯特法伦科学与艺术学院的会员。

郑淑丽

Shu Lea Cheang

郑淑丽是一位艺术家与电影制作者，从事跨类型的性别骇客艺术实践。她以作品《BRANDON》（1998-99）成为网络艺术先驱，这是纽约古根海姆博物馆委托制作和收藏的首件网络艺术作品，并以多媒体装置作品《3x3x6》参展2019年威尼斯双年展。自1994年起，郑淑丽完成《鲜杀》（1994）、《I.K.U.》（2000）、《体液Ø》（2017）、《UKI》（2013）等长篇电影，以多元形式实验持续拓展酷儿科幻电影的想像。目前其作品《UKI》正在柏林LAS艺术基金会、巴黎蓬皮杜中心、纽约现代艺术博物馆以及伦敦现代艺术协会等多个场馆巡回展出。

陈界仁

Chen Chieh-jen

1960年生于台湾桃园，目前生活和工作于台湾台北。陈界仁长期和失业劳工、临时工、移工、外籍配偶、无业青年、社会运动者等进行合作，并通过占据资方厂房、潜入法律禁区、运用废弃物搭建虚构场景等行动，对已被新自由主义层层遮蔽的“人民”历史与当代现实，提出另一种“再-想像”、“再-叙事”、“再-书写”与“再-连结”的拍摄计划，他将相关拍摄计划，称为“创噪”与“生产第二层运动”。

2010年起，陈界仁更积极关注在公司王国的“全域式操控技术”下，全球越来越多人沦为泛临时工与丧失自身存在感的现实，他将这个全球普遍现象，简称为“全球监禁、在地流放”，并试图通过源于佛法的“以欲化欲”与“以幻解幻”的思辨路径，借此思考如何质变“全域式操控技术”的可能性。

列夫·马诺维奇

Lev Manovich

艺术家、作家，也是全球最有影响力的数字文化理论家之一。在学习绘画、建筑和电影制作之后，马诺维奇于1984年开始使用计算机创作数字艺术。他的作品已在许多著名机构中展出，包括12次个展和120次国际群展，例如当代艺术学院（伦敦）、蓬皮杜中心、上海双年展和德国艺术与媒体中心。马诺维奇目前是纽约城市大学研究生中心计算机科学系的校长教授和文化分析实验室主任。马诺维奇在四个新研究领域的创建方面发挥了关键作用：新媒体研究（1991年-）、软件研究（2001年-）、文化分析（2007年-）和人工智能美学（2018年-）。自1991年以来，他已发表文章190篇，被翻译成35种不同语言，转载800多次。他撰写编辑了15本书，包括《人工美学》、《文化分析》、《Instagram和当代图像》、《软件占主导地位》和《新媒体语言》，这本书被称为“自马歇尔·麦克卢汉以来最具争议性和最全面的媒体史”。

弗兰科·比弗·布兰迪

Franco “Bifo” Berardi

1949年出生于博洛尼亚，是哲学、媒体和数字文化领域的重要人物。他积极投身于1968年学生运动，直到1972年都是“工人权力”组织的一员，于1975年创办杂志《A/traverso》。于1976年联合创办意大利第一家自由电台“RADIO ALICE”。1980年至1983年间，他在纽约担任音乐作家，并于1987年开始在博洛尼亚的阿尔迪尼·瓦莱里亚尼成人学校任教。从2004年到2017年，他在米兰布雷拉艺术学院教授媒体社会史，并于2016年获得芬兰奥尔托大学博士学位。比弗有出版著作二十余本，被翻译成多国语言，代表作包括：《终结的现象学》（2014）、《英雄、大屠杀与自杀》（2015）、《未来性：无能的时代与可能的视野》（2017）和《第三无意识》（2022）。他长期与《都市》（自1978年起）、《群岛》（自1998年起）和《e-flux》（自2008年起）等杂志合作。

安娜·特谢拉·平托

Ana Teixeira Pinto

居住在柏林的作家和文化理论家。她是HBK布伦瑞克艺术学院的艺术理论教授和荷兰艺术学院的理论导师。她的作品出现在Third Text, Afterall, e-flux, Artforum和Texte zur Kunst等出版物中。同时，她也是斯腾伯格出版社《论反政治》系列丛书的编辑，以及即将出版的《熵与时间政治寓言》的作者。

李·费尔森斯坦

Lee Felsenstein

1945年生于费城，是电子和计算机领域的先驱人物。他在加利福尼亚大学伯克利分校学习，在个人电脑发展中发挥了关键作用，包括发明电脑Osborne-1。他还发起了“社区记忆”系统，一种早期的社交媒体形式。

李·费尔森斯坦毕生致力于使技术变得更加易于接触，他甚至试图为老挝的难民村庄提供无线通信。他曾获包括计算机历史博物馆会员（2016年）和电子前沿先驱（1994年）等著名奖项。费尔森斯坦居住在加利福尼亚州红木城，还著有一本即将出版的书。

马克·韦伯

Marc Weber

计算机历史博物馆互联网历史项目的策展总监。互联网历史项目依托博物馆领先的网络历史资料收藏，通过出版书籍和举办活动来探索互联世界。韦伯于1995年开始将网页历史作为一个研究主题，得到了网页的主要发明者蒂姆·伯纳斯·李爵士以及其他先驱人士的重要支持。他共同创立了该领域两个最早的组织，并在十多个画廊策划了与网络、移动和人工智能相关的展览。韦伯也在主流媒体、专利公司和电影制作方面就相关主题发表演讲并提供建议咨询。他曾在硅谷和瑞士日内瓦附近担任软件和生物医学顾问长达十多年。他曾在加利福尼亚大学任教，拥有布朗大学神经生物学和创意写作双学士学位。

罗德里戈·奥奇加姆

Rodrigo Ochigame

研究计算机和人工智能的人类学家，现任莱顿大学助理教授。他的研究关注计算理性的非正统模型，例如巴西的非经典逻辑、印度的非二进制图灵机以及古巴的信息科学框架。

他的教学专长包括当代社会和人类学理论、科技史和科技人类学，以及数字技术的社会维度。奥奇加姆在加利福尼亚大学伯克利分校获得学士学位，并在麻省理工学院获得博士学位。

The 8th Annual Conference of Network Society

Counter-Culture?

Resetting all (im)possibilities of Technology

Organizer

China Academy of Art (CAA)

School of Intermedia Art (SIMA)

Institute of Network Society (INS)

Convener

Prof. Huang Sunquan

Team

Cui Yu, Liu Yisi, Zhu Yan, Zheng Yeying, Zhang Duohan, Cai Zerui, Xu Yushan, Tang Qiuyu, Yuan Mengru, Bian Zicheng, Wang Siyun, Ma Ya, Zhang Yubin, Tong Zhaoxiang, Jiang Yizhu, Han Jiaxin, Ruan Luxin, Li Chengjin, Xu Ke, Jiang Ziyi, Chen Suyuan, Ren Binglin, Li Yi

Visual Design

Han Jiaxin, Zheng Yeying

Introduction

The emergence of AI and ChatGPT has marked a significant milestone in the history of natural language, both in terms of linguistic corpora and the utilization of natural language through prompts. AI stands as a manifestation of human general intelligence（particularly in the Marxist sense）and serves as a means for individuals to engage in a dialogue with the broader cultural milieu. Culture is inherently intertwined with the history and geographical struggles of technology’s development. This holds the significance of “counter-culture,” not as an alternative, but as a contrasting existence that once harbored the full spectrum of possibilities.

Ever since the advent of the printing press as a means of textual transmission, the invention of phonographic devices for sound storage, and the realization of optical representation through cinema, history can no longer be encapsulated within a single grand narrative. History has diverged into the realms of acoustics (phonograph), optics (film), and literature (typewriter). From a media perspective, after modernism, text printed on paper, grounded in natural language, no longer serves as a continuum, a repository for the collective human memory. There is no longer a continuous and translatable hermeneutics. Instead, it has become a cryptology of displacement, one that can only be transposed. This marks a zenith of inter-media dynamics, where transposition, borrowing, assemblage, and mutual translation have become darlings in the marketplace.Contemporary art, distinguished by its unique aesthetics, merely showcases the technological evolution delivered to humanity’s civilizational mission. It inherently carries a form of political awakening, serving as a counterforce to this civilizational mission.

The advent of electronics marked a new era in history, as information theory emerged, and digital technology brought an end to the history of media. This is because everything can be digitized, from literature to digital film, digital painting, digital art, and more. In this sense, the computer becomes the “medium of all media,” ending not only the history of media but also “history” itself. As Friedrich Kittler said, “Digital technology has brought a kind of messianic endpoint.” After the digital revolution, there was no revolution left to be had.

Nonetheless, culture remains the pursuit of the humanities, not determined by individual intentions but by the possibilities offered by all media based on natural language. Each technological development is embedded within a specific culture. “Counter-culture” not only opposes the singular perspective of technological development but also serves as a medium for expanding, transforming, and propagating the technological environment. The humanities were once on the verge of surrendering to modern machines (computers) that could read letters and numbers. Therefore, we need to establish a new “counter-cultural” site that goes beyond mere resistance, alternative, hippy or escape routes; it should be a foundation of opposition.This site should encompass broader political-economic critiques, gender critiques, media critiques, class critiques, philosophical reflections on technology, and perspectives from the Global South. In other words, it aims to challenge the monolithic linear perspective of technological development, allowing the humanities to once again become a fortress that upholds the heights of human thought while embracing all the possibilities of speculative technological development. In this year’s conference, we have invited scholars, artists, and engineers from Taiwan, France, Brazil, Portugal, the United States, and Russia to jointly embark on a new “counter-cultural” endeavor!

Over the years, the Institue of Network Society (INS) has hosted Annual Conferences, featuring over a hundred scholars who have delivered keynote speeches. More than five hundred artists, curators, and young scholars have shared their ideas through open submissions, creating a platform that amalgamates creativity and critical thinking from around the world. This year’s Conference will commence with an AI hackathon, followed by the China premiere of Zheng Shuli’s film, the annual conference itself, a thought experiment workshop, and the release of a film essay. All are welcome to participate!

(See the end of the article for related series of activities)

Time

Nov 08-09 2023

(Detailed agenda will be announced later!)

Place

Shanghai｜Zhangjiang Hi-Tech Park

Zhangjiang Science Hall  6F MIP Space

Admission Registration Method

👇Scan the QR Code / Registration Link:

https://form.typeform.com/to/QXbPeJLr

The annual meeting is open to the public.

Participants who sign up can receive simultaneous interpretation

headsets at the venue.

There will be no simultaneous interpretation for online live

broadcasts and those who have not registered.

Live Streaming Address

👇bilibili Live Streaming

https://live.bilibili.com/1802589

👇Youtube Live Streaming

https://www.youtube.com/@inetworksociety

👇Slido Question Box

http://app.sli.do/event/dljb7wURiCj98o TsrtbaLx

Agenda

Nov 08 2023

Nov 09 2023

Each guest will speak for approximately 30 minutes, followed by 20 minutes of audience interaction time.

The official agenda is based on the day of the meeting.

Speakers(Arranged in order of the speeches)

Siegfried Zielinski

University of the Arts, Michel Foucault Professor of Media Archaeology & Techno-Culture at the European Graduate School (EGS) and visiting Professor at Tongji University Shanghai. He was founding rector(1994–2000) of the Academy of Media Arts Cologne, director of the Vilém Flusser Archive (1998–2016), and rector of the Karlsruhe University of Arts & Design (2016–2018). Zielinski has published extensively on the archaeology and variantology of the arts and media. In cooperation with Peter Weibel, head of the ZKM Karlsruhe, he also worked as a curator for exhibitions on Vilém Flusser, “Allah’s Automata” and “Thinking Machines: Ramon Llull and the ars combinatoria”. Together with musician and composer F.M. Einheit he recently produced critical-poetical sound pieces for Teodor Currentzi’s platform musicAeterna and diverse German radio stations. Zielinski is elected member of the Berlin Academy of Arts and the Northrhine- Westfalian Academy of Sciences and Arts.

Shu Lea Cheang

Shu Lea Cheang is an artist and filmmaker who engages in genre bending gender hacking art practices. Celebrated as a net art pioneer with BRANDON (1998 – 99), the first web art commissioned and collected by Guggenheim Museum, New York, Cheang represented Taiwan with 3x3x6, a mixed media installation at Venice Biennale 2019. Crafting her own genre of Scifi New Queer Cinema, she made 4 feature length films, FRESH KILL(1994), I.K.U. (2000), FLUIDø (2017) and UKI (2023). In 2023, she is touring UKI at festivals and museums including LAS Art Foundation (Berlin), Centre Pompidou (Paris) , MoMA (New York) and ICA (London) among other venues.

Chen Chieh-jen

Born in 1960 in Taoyuan, Taiwan, Chen Chieh-jen currently lives and works in Taipei, Taiwan. Since 1996, he has collaborated with unemployed laborers, day workers, migrant workers, foreign spouses, unemployed youth and social activists. Together, they have occupied capitalist-owned factories, slipped into areas cordoned off by the law, and utilized discarded materials to build sets for his video productions. In order to visualize contemporary reality and a people’s history obscured by neoliberalism, Chen embarked on a series of video projects in which he used strategies he calls “re-imagining, re-narrating, re-writing and re-connecting” to further his goal of generating dissent and starting a second wave movement.

Starting in 2010, Chen began actively focusing on the fact that many people around the world have been reduced to working temporary jobs and lost sense of existence due to and lost sense of existence due to the corporatocracy’s pervasive control technology. Chen calls this universal situation “global imprisonment” or “at-home exile.” Based on these ruminations, Chen has considered how pervasive control technology can be qualitatively changed by transforming desire with alternative forms of desire and detoxifying illusion with māyā.

Lev Manovich

Lev Manovich is an artist, writer, and one of the most influential theorists of digital culture worldwide. After studying painting, architecture, and filmmaking, Manovich began using computers to create digital art in 1984. His projects have been exhibited in 12 solo and 120 international group exhibitions at many prestigious institutions, such as the Institute of Contemporary Art (London), the Centre Pompidou, The Shanghai Biennale, and The ZKM | Center for Art and Media. Manovich is currently a Presidential Professor of Computer Science at the City University of New York’s Graduate Center and the Director of the Cultural Analytics Lab. Manovich played a key role in creating four new research fields: new media studies (1991-), software studies (2001-), cultural analytics (2007-) and AI aesthetics (2018-). Since 1991, he has published 190 articles that have been translated into 35 different languages and reprinted over 800 times. He authored and edited 15 books, including Artificial Aesthetics, Cultural Analytics, Instagram and Contemporary Image, Software Takes Command, and The Language of New Media, which has been called “the most provocative and comprehensive media history since Marshall McLuhan.”

Franco “Bifo” Berardi

Franco “Bifo” Berardi was born in Bologna in 1949. He is a leading figure in philosophy, media, and digital culture. He played an active role in the ’68 student movement, was part of the Potere Operaio (Worker’s Power) group until 1972, and founded A/traverso magazine in 1975. In 1976, he co-founded Italy’s first free radio, RADIO ALICE. He worked as a music writer in New York City from 1980 to 1983 and began teaching at the School for Adults Aldini Valeriani in Bologna in 1987. From 2004 to 2017, he taught Social History of the Media at the Art Academy of Brera in Milan and obtained a PhD from Aalto University in Helsinki in 2016. He is an accomplished author with around twenty books translated into multiple languages. His notable works include Phenomenology of the End (2014), Heroes, Mass Murder, and Suicide (2015), Futurability: The Age of Impotence and the Horizon of Possibility (2017), and The Third Unconscious (2022). He has been a longtime collaborator with magazines such as Metropoli (since 1978), Archipelago (since 1998), and e-flux (since 2008).

Ana Teixeira Pinto

Ana Teixeira Pinto is a writer and cultural theorist based in Berlin. She is a professor of art theory at the HBK Braunschweig and a theory tutor at the Dutch Art Institute. Her writings have appeared in publications such as Third Text, Afterall, e-flux journal, Artforum and Texte zur Kunst. She is the editor of the book series On The Antipolitical, published by Sternberg Press and the author of the forthcoming publication Entropy and Chronopolitical Allegory.

Lee Felsenstein

Lee Felsenstein, born in 1945 in Philadelphia, is an electronics and computer pioneer. He studied at the University of California, Berkeley, and played a key role in the development of personal computers, including the Osborne-1. He also initiated the “Community Memory” system, an early form of social media.

Throughout his career, he focused on making technology accessible and even attempted to provide wireless communication to refugee villages in Laos. He has received prestigious awards, including the Computer History Museum Fellow (2016) and Pioneer of the Electronic Frontier (1994). Felsenstein resides in Redwood City, California, and has authored a forthcoming book.

Marc Weber

Marc Weber is curatorial director of the Internet History Program at the Computer History Museum (CHM). The program explores our connected world through publications and events, and builds on the Museum’s leading collection of networking history materials. He pioneered Web history as a topic starting in 1995, with crucial help from the Web’s main inventor Sir Tim Berners Lee and other pioneers. He co-founded two of the first organizations in the field, and has curated over a dozen galleries or exhibits on networking, mobile, and AI. Weber speaks and consults on related topics to major media, patent firms, and filmmakers. He was a software and biomedical consultant for over a decade in Silicon Valley and near Geneva, Switzerland. He has taught at the University of California and holds bachelors degrees in Neurobiology and in Creative Writing from Brown University.

Rodrigo Ochigame

Rodrigo Ochigame is an anthropologist who writes about computing and artificial intelligence, and an assistant professor at Leiden University. Their research examines unorthodox models of computational rationality, such as nonclassical logics from Brazil, nonbinary Turing machines from India, and frameworks of information science from Cuba.

Their teaching specialties include contemporary social and anthropological theory, the history and anthropology of science and technology, and the social dimensions of digital technologies. Ochigame received a BA from the University of California, Berkeley, and a PhD from MIT.

第八届网络社会年会系列活动

The 8th Annual Conference of Network Society Series Activities

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向达·芬奇提案

上海科技艺术大展暨第七届国际跨媒体艺术节

Proposal to Leonardo da Vinci

Shanghai Science and Art Exhibition & The 7th International Intermedia Art Festival

公众开放时间

2023年10月29日-11月13日 9:00-17:30

活动地点

张江科学会堂二层 张江厅 (上海市浦东新区海科路1393号)

主办单位

中国美术学院 上海张江（集团）有限公司

承办单位

中国美术学院跨媒体艺术学院 张江科学会堂

总顾问：许江
总策划：高世名

展览总监：李凯生 管怀宾

策展人：闵罕

联合策展：高世强 姚大钧 牟森 武子杨

展览统筹：孙晓宇

展览执行：孙晓宇 蔡宇潇 信阁 梅悦子 林灿文 倪华夏 刘呗宁 袁孟如 张诺馨 陈思帆 胡亦杨

行政统筹：许颖 张佳乐 张晨 韩媛 朱沈珏 杜润凡

宣传推广：邹萍 刘杨

视觉设计：周浙慧 韩润泽 黎俊洋 邓文进 梁景尧

空间设计：罗晓楠

展览支持：陆晓炜 杨辉

跨媒体艺术学院是中国美术学院最新锐的学科集群，也是中国第一所真正意义上的实验艺术学院，聚集了一批具有国际影响力的艺术家与学者，拥有一支高水平的国际化教学团队，2010年被美国《亚太艺术》杂志评为“亚洲最值得期待的当代艺术教育机构”。

跨媒体艺术学院的学术宗旨在于：促进媒体技术开发，推动当代艺术实验，从媒体中发掘创意，从技术中发显人文；以媒体实验、艺术创作、社会思想、策展实践四维互动的格局，在国际平合上推动当代艺术的跨学科研究和跨领域实践。学院专业一方面提供最前沿的新媒体艺术创作与媒体设计的训练，另一方面，强调社会思想与艺术策划的智识培养；注重媒体手段与思想方法的综合训练，致力于培养掌握新媒体技术、具有实验精神和创新能力的当代艺术与媒体创意人才。