The Significance of New Media Art

Multimedia means a comprehensive revival for art. People know that modernism is a platform for self-purification of various art categories. Painting should reject literariness and even objects become a certain color on canvas, and finally it comes to abstract painting. Music should be the pure tone of surfing school, and photography has appeared the pure shadow school. In ancient art, such as cathedral, mural, sculpture, organ and architectural space, it seems that the working mode of "field" rendering psychological atmosphere may be reproduced in multimedia. Just as the altar paintings in the church are no longer mysterious when they are moved to the spotlight of the museum, multimedia will re-bind all kinds of arts together and create a comprehensive experience that cannot be reduced to combined elements.

Multimedia art is much richer than the linear evolution of film narration. Hypertext, which integrates video, sound and text, can not only link to endless other texts, but also enter through various paths. This makes hypertext a maze, and the interactivity it provides is almost endless. Today's multimedia art is just a rough embryo, and people have more possibilities to explore and develop. As far as multimedia creative ability is concerned, the traditional professional art training in different disciplines is far from enough. This makes creation a collaboration of multi-disciplinary talents. In addition, people have realized that digital works have been reprocessed many times in communication, and multimedia has also intensified the anonymity of individual authors, just as Homer's epic is not Homer's personal writing. People see the power of collective creation in the long subtitles at the end of the film. On the other hand, it may also provide space for the emergence of Da Vinci-style generalists. Multimedia art is a new kind of digital art, which absorbs the advantages of many previous art forms, integrates pictures, characters, images, sounds and interactivity, can be described in a single line, laid out in a straight line and deepened in a straight line, and has extremely rich possibilities. Today, people are only exposed to the tip of the iceberg, and its potential needs to be developed through more imaginative practice. Once interactive digital multimedia works are put on the Internet and become network art, it will greatly improve the audience's sense of participation and greatly change people's traditional artistic concepts. The vast majority of works of art appearing on the Internet today are still behind the Internet itself. When you open art-related websites and homepages on the Internet, you still see oil paintings, Chinese paintings and sculptures. But these things are not really art that matches the network. Of course, network art needs multimedia, interaction and endless things.

BENJAMIN WEIL, director of the new media department of the British Center for Contemporary Art Research, planned the 1998 Shanghai Digital Art New Media Exhibition. He believes that works of art need to put forward the artist's ideas first, and then the most ingenious and ingenious solutions are put forward by technology to complete them. Works of art are related to everyone's way of thinking. The creation driven by ideas is artistic creation, but the creation realized only by technology cannot be called artistic creation. This just shows the relationship between artistic creation and technical application in new media art. ETIME magazine discussed the conceptual difference between NETART and NET in 1996. Firstly, it depends on the concept of technology or art to effectively determine and influence artistic creation. The former is technical, while the latter emphasizes the humanistic concept of creation, just as there was a similar argument in the early days of video art, whether to use technology by concept or to use technology as the pure standard of art classification. It is human nature to like the new and hate the old. It is inevitable for human society to create and use new technologies. With the inevitable trend of globalization, since the reform and opening up in China, the cultural communication mode of the whole society has also accelerated to visual development. Under the double impact of China's IT industry and new media art in Europe and America, the new media art in China started in an almost hazy state.

The development of new media art in China began in the late 1980s, and by the mid-1990s, a number of outstanding works and mature artists began to appear. Video art was born in1990s, mainly referring to video art. The appearance of video art is the main sign that art in the 1990s is different from that in the 1960s. In the mid-1990s, the real avant-garde experiment of new media art was the rise of video art. In the late 1990s, with the popularization of computer vision technology, interactive technology, network technology, Flash animation technology, electronic game technology, three-dimensional vision technology and computer digital editing technology, video art began to be produced ... An important change in the late 1990s was that video art was no longer an experiment of simple technical media and conceptual art., It is a cultural reflection of China's social transformation in the form of video art, expressing social and cultural critical themes, such as women's art and youth art. In addition, in the late 1990s, video art began to be combined with multimedia avant-garde drama, clay sculpture animation and video games.

In September, 1996, the first video art exhibition in China was held in the Art Museum of China Academy of Fine Arts. This exhibition includes more than a dozen pieces of video equipment and several pieces of video works, focusing on the pioneers of the first generation of video art in China. The exhibition received a great response at home and abroad, and the local media reported it in a large space. Moreover, Wenyi Bao rated this event as the top ten news of China fine arts in that year. This exhibition is regarded by many critics as an important milestone of contemporary art in China. From 65438 to 0997, several solo exhibitions composed entirely of video art appeared in Beijing, such as Wang's solo exhibition, his video art exhibition and Luo Ji: Five Video Installations. This indicates that China new media artists not only become the focus as a creative group, but also begin to collide with the contemporary China art market in a personal way. More artists affected by this began to devote themselves to the creation of video art, and their achievements were reflected in "97 China Video Art Exhibition". At this point, the image art has become a hot spot in China art world. In 1990s, China Art Yearbook had a special chapter to describe the rise of video art. The activity of video art in China attracted the attention of international art circles, and the works of China new media artists began to appear frequently in important media art festivals around the world. With the development of IT industry, editing equipment on personal computers is cheap and popular, not only video art is further prosperous, but also more artists are exploring interactive multimedia art and network art. ..

In China, the new media art has a history of only 20 years, but IT has developed at an amazing speed, just like new media, including sound, light, electricity and IT industries. Barbara Langdon, director of MOMA's video department, said: "The activity of video art in China is the starting point of a new circle drawn after the closure of western new media art circles."

Cui Junchao, CEO of Dayu Business Network, said: "Newspapers were the new media 400 years ago, because they were spread naturally at that time. 93 years ago, the new media was broadcasting, 73 years ago, the new media was television, and 23 years ago, the new media was the Internet. Four years ago, new media became a social networking site. Three years ago, the new media was Weibo. Now in my opinion, the new media is WeChat. "