Future Tense Class 


China Academy of Art 2020 Young to Young Innovative Curriculum Program


主讲教授:傅韵雪教授(纽约大学)
助理教师:俞同舟教授(中国美术学院)、王志鹏教授(中国美术学院)
班长:陈芷欣、陈许源、王雨露、严必信


Course Professor: Professor Snow Yunxue Fu (NYU Tisch)
Assistant Professors: Professor Tongzhou Yu (CAA) & Professor Zhipeng Wang (CAA)
Teaching Assistants: Zhixin Chen, Xuyuan Chen, Yulu Wang, and Bixin Yan





课程介绍:
摩天大楼和工厂,原子弹和电视;机器人,无人机,互联网,人工智能;新的成像技术以及它们所代表和促成的变化一直吸引着艺术家。 一些人将近期发生的技术革新视作为最终能够实现人类潜力的征兆而庆祝。其他人则对大规模生产,调解和消费主义的疏远感到绝望。本课程着眼于人类,机器,环境和艺术之间不断发展的关系,以及图像参与其中的介导性为主题进行探索。借助未来主义者和技术空想主义者及其批评者的讨论,我们将研究媒体和技术变革对社会,身体,尤其是视觉文化的影响。我们将审查从第一次机器时代到第四次工业革命初期的艺术家和创作者的作品,包括Hito Steyerl,David O’Reily,和Tale of Tales等。通过课堂练习,阅读,报告和项目来帮助学生发展与这些问题相关的重要理论基础和方法,并掌握数字成像工具的基本技能,介绍学生如何使用3D软件成像,学生将主要运用3D软件Maya创作与课堂主题相关的新媒体概念艺术作品。

Course Description:
Skyscrapers & factories, atomic bombs & TV; robots, drones, the internet, AI; new imaging technologies and the changes they both represent and precipitate have long fascinated artists. Some celebrate the latest innovations as a means to finally realize human potential. Others despair the alienation of mass production, mediation and consumerism. This course looks at the evolving relationship between humans, machines, environments, and art and how the images relating to them are mediated. With writings by futurists and techno utopians and their critics, we will examine the impact of media and technological change on society, the human body, and especially on the visual culture. We will examine works from artists and creatives from the first Machine Age to now, the start of the fourth industrial revolution, including Hito Steyerl, David O’Reily, and Tale of Tales. Class exercises, readings, visits, and projects will be designed to help students to develop critical theoretical foundation and approaches relating to those matters, as well as to build technical skills in digital imaging tools such as basic intro to using post-photographic 3D software such as Maya. Students will create self-driven works that address the course themes.



主要方向:3D软件Maya,新媒体概念艺术

Course Goals: 3D Imaging Software Maya, Concept




————————————








Work


Final Project


7.8


MAN IN THE BOTTLE


Video credit:张书宁




Description

瓶中的小人啊,祂的整个世界,对他而言只是瓶中之芥。

The little man in the bottle, its whole world is just a mustard in the bottle for him.



此动画可分为三个场景,瓶子,屏幕,信息坟场。瓶子代表人类对于世界的初始认知,通过自己的肉眼观测目标;屏幕象征人类目前的主流认知手段,即通过数字媒体认知世界;而最后的信息坟场则是我对于未来人类认知手段的遐想——以虚拟的信息化身于虚拟中窥探真实。然而最后一切又回归于瓶子,未来的未来,人类终于失去了对电子信息的信任。 我想通过屏幕和镜面的转场,制造循环往复的世界,带给观者以“世界之外”的沉思。结合使用lamert与白灼度贴图,初始场景采用镜面反射地面,最终场景使用迷雾效果,使简单的场景更富有景深,并通过摄像头的调度,使场景产生由微小到宏大的视觉变化。

This animation can be divided into three scenes, Bottle, Screen, and Information Cemetery. Bottle represents human's initial cognition of the world, and observes the target through his own naked eyes; Screen symbolizes the current mainstream cognitive means of mankind, that is, the world through digital media; and the final Information Cemetery is my cognitive means of the future human The reverie of ——Incarnate into the virtual reality with virtual information. However, in the end everything returned to the bottle. In the future, humanity finally lost its trust in electronic information. I want to create a world that goes back and forth through the transition of screens and mirrors, bringing viewers to contemplation "outside the world". Using a combination of lamert and whiteness maps, the initial scene uses a specular reflection on the ground, and the final scene uses a fog effect to make a simple scene richer in depth of field, and through the scheduling of the camera, the scene changes from tiny to magnificent.



使用软件:MAYA,Premiere,Cubase。

Software used: MAYA, Premiere, Cubase.



特别感谢独立音乐人“篝火人︎”参与制作。

Special thanks to the independent musician "CampfireMan︎" for his production.







Hanging Tree


Video credit:史雯瑞




Description

这次课程中我通过Maya不断尝试塑造一个荒诞的世界。

In this course, I continuously tried to shape an absurd world through Maya.



在人脑高度发达的时代,人们在墓地发现了一种能结出像裹着人体的茧一般果实的树,并给它取名为"倒吊树",生长条件苛刻且产量稀少,这些极少数的果实只有皇室权贵,这些世界上最聪明的人才能吃到。通过场景颜色的对比和突出主题的人物塑造,我希望观众可以感受出动画中的意趣。

In the era when the human brain was highly developed, people found a tree in the cemetery that can produce fruits like cocoons that wrap the human body, and named it "hanging tree". The growth conditions are harsh and the yield is scarce. These extremes A handful of fruits can only be eaten by the royal dignitaries—the smartest people in the world. Through the contrast of the scene colors and the characterization of the theme, I hope the audience can feel the interest in the animation.






I’m home.


Video credit:梁家瑄




Description

In the future people will be able to save the world of a certain moment in a storage device and purchase the world of a certain moment that they can Enter this world at the time. This act became the fashion of the day, just like video games are today. In this world, everything is frozen at the time, and people can use this service to achieve the same effect as time travel. The production process was advanced by an outline split screen, animated by maya and camera movement and rendered in arnold renderer. Through the story of a home-coming, the work aims to show the emptiness in the heart of people in a high-tech world and the longing for the emotions they once felt. I hope to present a sense of loneliness and eschatology, and a little nostalgia for the past.

在未来人们将曾经某一时刻的世界保存在储存设备中,购买自己想要的某一时刻的世界,就可以随时进入这个世界。这个行为成为了当时的风尚,就像现在的电子游戏一样。在这个世界中,一切都定格在所选的这一秒,人们可以借由这个服务达到时间旅行同等的效果。制作过程由大纲分镜推进制作,通过maya的动画以及镜头运动制作并在arnold渲染器调整材质来渲染。作品主要想要通过一个回家的故事来展现在高科技世界下人们心中的空虚以及对于曾经情感的渴望,希望呈现一种孤独的末世感,和一点点对于过去的怀念。






MASK


Video credit:徐逸帆





Description

在这次的final project中,我希望能通过一种比较阴暗的基调来叙述一个悲伤的故事或者说是一种现象,所以在整体的色调上选择了黑白灰的颜色。相较于场景,我更希望观众能有一定代入性的去体会这个故事,于是侧重点可能更多的在人物的动作背后的情感表达,在演绎的过程中也加入了一些第一视角,加上声音的辅佐,可能会让人在某一瞬间能代入主人公的情感困境,从而进一步思考背后的含义。还有就是在这个作品中所尝试的光影与本体之间在图像呈现上的融合,通过调整光源、物体和镜头,尝试去实现类似2.5D的效果,烘托一下作品整体沉重的氛围。



In this final project, I hope to narrate a sad story or a phenomenon through a dark tone, so I choose the color of black, white and grey in the overall tone. Compared to the scene, I more hope that the audience can have certain substitution to feel this story, so may be more emphasis on characters of the emotions behind the action, in the process of interpretation has joined some first perspective, combined with a sound, may let a person in a certain moment can plug in the hero's emotional difficulties, thus further thinking about the meaning behind. In addition, the fusion of light and shadow and the object in the image presentation is attempted in this work. By adjusting the light source, objects and lens, the effect similar to 2.5D is attempted to highlight the overall heavy atmosphere of the work.






Gears-零件


Video credit:许桄溢




Description

The film expresses a mechanical sense of parts in a repetitive, percussive behavior. The "gears" can be white men repeatedly at the beginning or black men at the end. The white villain is both the leading role and the supporting role of the black villain.

影片以一种重复的带有冲击力的行为来表达一种零件式的机械感,“零件”既可以是开始阶段的反复的白色小人,也可以是最后出现的黑色小人。白色小人既为主角也是组成黑色小人的配角。



Maybe when people are working hard, there is a person who is getting something for nothing. Every action of the "gears" is setting the stage for others to increase their value.

也许人们在卖力做事时,下面会有一个不劳而获的人,“零件”的每一个行为都是在为他人的价值提升做铺垫。






To freedom - 敬自由


Video credit:陈芷欣





Description

这是一个基于《美丽新世界》的乌托邦未来社会,它像一个牢笼,像一把锁,永远的把你困在这里。你的反抗,你的浪漫,你的思想,都会被扼杀在这里。所以我敬自由,我可以在我的世界里舞蹈,可以表达自我,可以逃离高秩序的生活。但是你知道的,这里谁都逃不掉。

This is a future society of utopia based on 《Brave New World》 . It is to have you stuck here forever just as a cage or a lock does. All of your stubbornness, romance and thoughts are going to be suffocated here. In my own mental world, I am totally free to dance, to express myself and to escape from the life of rules. But in the reality, no one is ever able to escape.



这是我经历了一个月maya学习后,在一周时间里创作的maya动画。在色块和材质上弱化,重点突出人物动作。把传统元素当做是对高度发展的现实社会的抗争。

So this is my final work after a month of learning maya. I had the color blocks and materials weakened and instead focused on the movements of characters. Here traditional elements are used to symbolize fighting against the real society.






乐园Paradise


Video credit:吕洁雅




Description

首先根据故事需要选择、收集、创建我所需要的场景物件和人物,然后设计场景和动作以及镜头的移动轨迹,在不断的调整中最后呈现一个充气沙滩玩具世界发生的小事件。通过这个作业我学会了用一个长镜头的叙事方法。

First of all, I selected, collected and created the scene objects and characters I needed according to the story needs. Then, I designed the scene and action as well as the moving track of the lens, and finally presented a small event in the inflatable beach toy world in constant adjustment. Through this assignment, I learned to tell a story with a long shot.



我的作品名称叫做乐园,画面描述一个儿童充气沙滩里的玩具乐园,一反寻常乐园的天真可爱的风格以表现有时候小孩子们对待玩具并不温柔,希望孩子们能善待身边的事物,美好的成长。

My work is called "Paradise". The picture depicts a toy park in an inflatable beach for children, which deviates from the naive and lovely style of ordinary amusement parks to show that sometimes children are not gentle with toys and hope that children can be kind to things around them and grow up beautifully.



在作品中我主要使用Lambert这个材质来建造玩具物件和人物,再以发光材质配合镜头的移动引导故事发展,作为叙事线索。

In this work, I mainly use the material of Lambert to build toy objects and characters, and then use the luminous material to guide the development of the story with the movement of the lens as the narrative clue.



我希望观众通过我所呈现的画面感受到玩具乐园的美好。

I hope the audience can feel the beauty of the toy land through the pictures I present.






The joy of robots is simple


Video credit:魏薇




Description

视频中,机器人清洁工将自己与主人进行比较。当你在追求完美中迷失自我时,你很难快乐。

The video uses a robot cleaner to compare itself to its owner.



表达了人们在日常生活中体验简单乐趣的需要。以及对纯洁和简单的思考。

It's hard to be happy when you lose yourself in human pursuit of perfection.
Conveys the need for people to experience simple pleasures in their daily lives.
And thoughts on purity and simplicity.






Happy Factor


Video credit:周宇琦




Description

这个作品启发于小说《洞穴奇案》,和一个真实案例,讨论了在极限环境中“人吃了人”应当如何法律判决的问题。从字面意思上,我认为它引导我联想到了鲁迅先生的《狂人日记》,我感到“吃人”所有的现实意义和抽象意义上都紧密联系着人本性的黑暗。人一切的追寻都是为了更好的生存,我将“更好的生存”用“更快乐”来代名。并且我认为“快乐”,即人的追寻,本身也是活的,是同人的生命一样发展的,出身即带有灿烂的理想色彩和肮脏的黑暗本性的存在。

This work is inspired by the novel cave case and a real case, which discusses the legal judgment of "man eating man" in extreme environment. Literally, I think it leads me to associate Lu Xun's Diary of a madman. I feel that all the practical and abstract meanings of "cannibalism" are closely related to the darkness of human nature. All human pursuits are for better survival. I will use "better survival" as "more happiness" instead. And I think that "happiness", that is, the pursuit of human beings, is also alive and develops like human life. Birth means the existence of brilliant ideal color and dirty dark nature.



所以,假如有一天幸福的情绪变成了可见物质 ,“想要快乐”又是人欲望的本源,这些“快乐因子”,就会成为人之本性的物化。

Therefore, if one day the mood of happiness becomes visible material, and "want to be happy" is the source of human desire, these "happiness factors" will become materialization of human nature.







Chase The Green


Video credit:卢钧炟




Description

创作这个作品的念头最早是来源于一个融合东方元素和机器仿生人的念头,然后再落实到场景和人物和动画。做动画时我总是边做边想分镜头,总是这样做,因而效率也不高。在作品中我想通过运镜和音乐让整个节奏慢下来,突出一种孤寂感和禅意。虽然从开始到最后作品都妥协了很多,但我尽力做了能做的部分,如果能引发你的一点思考,再好不过。

The idea of creating this work originated from the idea of blending oriental elements and machine bionics, and then implemented into the scene and characters and animation. When doing animation, I always want to divide the shot while doing it. I always do this, so it is not very efficient. In my work, I want to slow down the whole rhythm by using mirrors and music to highlight a sense of loneliness and Zen. Although the work has been compromised a lot from the beginning to the end, I did my best to do what I can. If it can cause you a little thinking, it would be great.






甜蜜事件将如何结束


Video credit:刘陈婧




Description

The work uses Maya  and Premiere for production, the theme of the work comes from the process of making the work . The work is aimed at the exhaustion and loneliness in every high-speed operation situation. We have fragile rights above board. It is hoped that viewers can feel and face their negative emotions from the works, and make the next choice as soon as possible, which is also the important harvest of the author in the course.

作品使用maya软件和premiere进行制作,作者在制作和学习过程中引发了作品的主题。作品针对的是每一个高速运转场合里的疲惫和孤独。我们有光明正大的脆弱的权利。希望观看者可以从作品中感受并正视自己的负面情绪,尽快作出下一步的选择,而这也是作者在课程中的重要收获。






Loop


Video credit:梁子琳




Description

这是一个循环的世界。在某个时间点的某个人发生死亡后,他将会再次回到原点。人们无法逃离这个空间,这里的时间是循环的,也是前进的,像是咬尾蛇。整个画面采用了一个比较梦幻美好的色调,与这个诡异的故事和世界运行方式形成对比。整个视频的只要声音是钟表秒针的声音,也是为了强调了时间这个东西。

It's a circular world. After a death occurs to someone at a certain point in time, they will return to the same point again. There is no escape from this space, where time is cyclical and forward, like a snake biting its tail. The whole picture takes on a dreamy and beautiful tone, which contrasts with the strange story and the way the world works. The sound of the second hand of a clock throughout the video also serves to emphasize the importance of time.






Daydreaming


Video credit:谢丝琪




Description

我在工作中使用了Maya, Fcpx, Ps, AE。故事讲述了主人公Hoo在看到一个虚拟梦想机的广告后,开始尝试在虚拟世界约会一个幻想的女朋友,并沉迷其中。当他从虚拟世界中醒来时,现实世界已经变成了一片废墟。在这个课程中,我不仅学会了如何使用Maya,还学会了用艺术家的思维去思考问题,去看待虚拟与现实的关系。我希望你能享受Hoo的梦想!

I used Maya, Fcpx, Ps, AE in my work.
The story tells that the protagonist Hoo began to try to date a fantasy girlfriend in a virtual world after seeing an advertisement for a virtual dream machine, and indulged in it. When he wakes up from the virtual world, the real world has become a ruin.
In this course, I not only learned how to use Maya, but also learned to use the artist's thinking to think about problems and view the relationship between virtuality and reality.
I hope you can enjoy Hoo's dream!







FLY TO THE CHURCH


Video credit:章吉雅




Description

由这次巴黎圣母院的火灾以及其在《刺客信条》中对其的数字化保留,我联想到了宗教数字化的未来概念,格雷戈里·汉塞尔(Gregory Hansell)在《宇宙基督与复活技术》中也提到:“在化身的基督教学框架内,机器人可能是最有意义的。基督是‘被非人造的’,他在创造中构造了宇宙。”我将数字化的教堂置于概念性的近未来太空中。我试着去构想,在近未来的空间站,人类移居宇宙,心灵的实体依托——教堂、寺庙...将会何去何从?宗教除了自己的信物和传统,将会失去他们特殊的评判标准,统一被数字化。

From the fire of Notre Dame de Paris and its digital preservation in Assassin's Creed, I think about the future concept of the digitalization of our religion, Gregory Hansell also mentioned in "The Cosmic Christ and Resurrection Technology" that : "In the framework of incarnation of Christianity, robots may be the most meaningful. Christ is 'non-artificial', he constructed the universe in creation." I put the digital church in a conceptual in near future space. I try to conceive that, after humans migrate to the universe, where will the physical support of the soul( like churches and temples) go in the near future space station?In addition to their own tokens and traditions, religions will lose their special judging standards and be unified in digitization.



我将作品分为三个场景:全景、祭坛和灵魂审查。教堂会以一个大型空间站的形态存在,不同宗教的人们通过全息投影进行日夜不息的弥撒、吟唱和祷告;祭坛上摆着各式宗教的代表形象,身着太空服的人们来此祭拜;在告解室中通过光纤和数据线上传自己的信息功德,由计算机AI统一代替神父、阎王或是佛祖来进行审查,进而进入不同的数字天堂或是地狱。

I divided the work into three scenes: panorama, altar and soul review. The church will exist in the form of a large space station. People of different religions will perform masses, chants and prayers day and night through holographic projections; representatives of various religions are placed on the altar, and people in space suits come to worship; In the confession room, upload your own information merits through thousands of optical fibers and data lines, and use computer AI to replace priests, kings or Buddhas for review, and then enter different digital heavens or hells.



我试着将电子乐和古老的宗教吟唱来表达我的总体概念,希望通过宇宙的空旷感来营造宗教的空灵和庄严性,加入了呼吸声和波纹声来模仿太空空间宽阔、漂浮的质感。

I tried to express my overall concept with electronic music and ancient religious singing, hoping to create the ethereal and solemnity of religion through the openness of the universe, adding breathing and ripple sounds to imitate the wide, floating texture of space.






BLINDSPOT盲点


Video credit:贺佳妮




Description

BLINDSPOT这个项目的创作初衷是偶然间对盲点这一现象引发的深入思考,把我所认为的观点植入了这个世界观中。在制作的过程中,我更注重的是整体感觉和细节的安排,减少了人物的动作部分,增加了不同的拍摄角度。在后期剪辑的过程中,也想让一些看不见的东西(音频)来传达内容,更好地贴合BLINDSPOT这个题。最终作品想传达给观众对于社会的思考,是否我们存在的真实世界中,也有一个像盲点一样吞噬我们的东西存在。

The original intention of the creation of BLINDSPOT project is to think deeply about the phenomenon of blind spot occasionally, and to implant my point of view into this world view. In the process of making, I pay more attention to the arrangement of the overall feeling and details, which reduces the movement part of the characters and increases different shooting angles. In the process of post-editing, I also want something invisible (audio) to convey the content so as to better fit BLINDSPOT this question. The final work wants to convey the audience's thinking about the society, whether there is something devouring us like a blind spot in the real world we exist or not.






phantom of universe


Video credit:郑毅恒




Description

想表达一种宇宙之中虚幻无物的感觉,一切所视皆为幻影,一切所感皆为虚无。希望通过类似于万花镜的视觉效果来展现一种万物都是虚幻飘渺的感觉,一切都在不断地变化,而又找不到什么规律。图像相互交织而又相互转化,仿佛有人和物经过你的身旁,但仔细去感受却又是一片虚无。距离失去了它的意义,物体远离你的同时却又在接近你。



I want to express a feeling that there is nothing in the universe. Everything I see is a phantom and everything I feel is nothing. I hope to show a kind of illusory and ethereal feeling through the visual effect similar to the universal mirror, and everything is constantly changing without finding any rules. Images interweave and transform each other, as if someone and something passed by your side, but carefully to feel is a nothingness. Distance loses its meaning. Objects move away from you but also come closer to you.






Lonely Planet


Video credit:祖颖异




Description

没有边界的星谷,废弃的空间站,飞船坠毁的爆炸声,荒无人烟的遗迹,损坏的安全舱,寒冷的夜晚,绝望的哭声,被六个存有少许电量的监控摄像头记录下来的,还有这个女人坚强的心。

The Borderless Valley of Stars, the deserted space station, the crash of the spaceship, the desolate ruins, the damaged safety capsule, the cold night, the desperate cries, recorded by six surveillance cameras with a small charge on them, and the strength of this woman's heart.






Inorganic Biology


Video credit:章哲钧