未来提案|厦门大学创意与创新学院2025毕业设计作品③

第101件艺术作品

The 101st Artwork

数字媒体艺术

Digital Media Art

季峻明 Ji Junming

指导老师｜冯莎 FENG Sha  William Sawyerr

作品介绍 Intro

主体性的拥有体现了人类精神活动的亲身性与唯一性。人工智能介入艺术思考，成为主体性更迭的一种潜在呈现。既往关于人工智能介入主体性的研究为本作品提供了广泛的参考与借鉴，同时促使本作品聚焦于未来技术发展时期，人工智能与人类在艺术领域中的关系变化。作品《第101件艺术作品》以“技术”“艺术”“改变”等为关键词，通过被训练的大语言模型生成艺术概念，再由作者将其实现，试图重新定义人类与机器在艺术创作中的关系。上帝造人并非一个科学问题，而是一个隐喻；而当人类造出“上帝”之时，我们或许将不得不重新审视自身存在的意义与边界。

The possession of subjectivity reflects the personal and unique nature of human spiritual activity. The intervention of artificial intelligence in artistic thinking represents a potential manifestation of the change in subjectivity. Previous studies on AI's involvement in subjectivity have provided extensive reference and inspiration for this work, while also prompting a focus on the evolving relationship between AI and humans in the artistic domain during future technological development. The work "The 101st Artwork" revolves around the keywords "technology", "art", and "change". It employs a trained large language model to generate artistic concepts, which are then realized by the author, attempting to redefine the relationship between humans and machines in artistic creation. The idea that God created humans is not a scientific question but a metaphor; yet, when humans create a "God", we may inevitably have to reassess the meaning and boundaries of our own existence.

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导师评语 Mentor's Review

季峻明的作品表面上探讨了人工智能在艺术创作中的可能性问题，然而由于让渡出艺术家的（至少是部分）主体性，作品在更为根本的意义上将当下的热门话题延伸至人与机器/技术的关系这一经典思辨上，并与当代艺术（极简主义）脉络中有关艺术本体的追问产生回响，从而超越了数字时代的语境。在这场实验中我们发现，艺术中真正具有创造力的部分从来都不会消失，而所谓的“替代”只不过是驱魅。这令人兴奋，又令人惶恐。

Ji Junming's work ostensibly interrogates AI's potential in artistic creation, yet by ceding artistic agency (at least partially), it fundamentally extends a contemporary discourse into the timeless dialectic of human-machine/technology relations. This resonates with ontological inquiries in the trajectory of contemporary minimalism, transcending digital-era context. Through this experiment, we observe that art's truly creative core remains indelible—the so-called "replacement" is mere disenchantment. This duality both exhilarates and unsettles.

冯莎 FENG Sha

Ji Junming's The 101st Artwork is a conceptually ambitious and formally innovative inquiry into the evolving relationship between artificial intelligence and human subjectivity. By enlisting a large language model as both tool and co-author, Junming raises timely questions about authorship, agency and the future of artistic production. The resulting installation is not merely a reflection on technological change. It is a subtle provocation that invites us to reconsider where creative intention begins and ends and what it means to share that space with a machine.

季峻明的《第101件艺术品》以概念宏大的立意与形式创新的姿态，深入探究人工智能与人类主体性关系的动态演变。通过采用大型语言模型既作为创作工具又作为合作者，作者及时提出了谁是作者，谁是代理，以及艺术生产的未来的问题。由此创作的这件装置不仅反映了技术的变革。这是一种微妙的挑衅，它敦请我们重新考虑创作的意图什么时候开始和什么时候结束，以及与机器共享这个空间意味着什么。

William Sawyerr

海鸥日记

Seagull Diary

数字媒体艺术

Digital Media Art

杨轩卿 YANG Xuanqing

指导老师｜Stephen Connolly  孙超 SUN Chao

作品介绍 Intro

这是一款以非人类视角展开的实验叙事游戏。玩家将扮演一只海鸥，在钟楼遗迹中穿行，通过“扰动”激活被封存的记忆碎片，揭开一个早己沉没于沉默中的过去。本作探索记忆、身份与非人见证的主题，试图以游戏形式打破遗忘的封闭结构。打破传统以人为中心的叙事局限，通过线索的环境叙事来重构记忆，揭示被尘封的故事。

This is an experimental narrative game told through a non-human perspective. As a seagull, the player traverses a derelict clocktower, disturbing its silence and triggering fragmented memories hidden within. The work explores the themes of memory, identity, and non-human witnessing, offering a quiet intervention into what has long remained unspoken. By breaking through the limitations of traditional human-centered narratives, the work reconstructs memories and reveals dusty stories through environmental narratives with fragmented clues.

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导师评语 Mentor's Review

杨轩卿同学通过后人类的叙事视角，用海鸥作为游戏主角探索记忆中的曾收养它的收藏家生前故事。作者巧妙设计了在钟楼里由下自上进行的故事线，以巨大的时钟停止转动表现记忆空间，以海鸥与三个华丽而怪诞的精美NPC角色对话展开叙事，他们是收藏家人格投射，代表着压抑童年，失败的感情，死亡时精神崩坏。游戏全部采用Unreal Engine5的3D建模渲染技术，达到逼真的视觉体验，并加入高难度的角色动画设计。游戏制作精良，沉浸感十足。

Yang Xuanqing's project adopts a posthuman narrative perspective, employing a seagull as the protagonist to unravel the biography of its deceased adoptive collector through fragmented memories. The ascending narrative structure within a clocktower framework uses a colossal frozen clock to materialize the memory space, while dialogues with three ornate yet uncanny NPC characters—personifications of the collector's fractured psyche—drive the story. They embody repressed childhood trauma, failed relationships, and pre-death mental disintegration, each rendered through symbolic visual motifs. Leveraging Unreal Engine 5's 3D modeling rendering technologies, the game achieves photorealistic textures and realistic visual experience, complemented by sophisticated character animation systems that enhance expressive storytelling. This meticulously crafted work delivers a profoundly immersive experience, balancing technical virtuosity with poignant psychological exploration.

孙超 SUN Chao

You have created a high-quality game from a design perspective. Your project is also well conceptualised: it's not just a game for entertainment, but also a vehicle for meaning and critique. Choosing a seagull as the main character is a bold and experimental decision, and—as you state in your documentation—you use this "non-verbal, non-human entity" to explore posthuman theories.

从设计的角度来看，你创作了一款高质量的游戏作品。项目概念构思颇具深度：这不仅是一款娱乐游戏，也是一个承载着意义传达与批判反思的工具。选用海鸥作为主角是个大胆的实验性决定，正如你在记录中所阐述的——借由这个“非语言、非人类实体”，你探索了后人类理论。

Stephen Connolly

苔藓的低语

The Whispers of the moss

数字媒体艺术

Digital Media Art

王桉澄 WANG Ancheng

指导老师｜林琳 LIN Lin  Francesc Martí Pérez

作品介绍 Intro

本作品通过跷跷板触发苔藓动画与音乐，探讨数字时代人际关系的疏离与重建。

参与者协作互动时，压力传感器将实时生成视听反馈，以生态共生隐喻社会联结。作品融合艺术与科技，以轻松的游戏形式唤醒人们对真实社交的感知，为公共空间提供温暖而富有哲思的互动体验。

This work explores the alienation and reconstruction of interpersonal relationships in the digital age through moss animation and music triggered by a seesaw.

When participants collaborate and interact, the pressure sensor will generate audio-visual feedback in real time, using ecological symbiosis as a metaphor for social connection. The work integrates art and technology, awakening people's perception of real social interaction in a relaxed game form, and providing a warm and philosophical interactive experience for public spaces. Welcome to experience. Cooperation triggers more possibilities.

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导师评语 Mentor's Review

王桉澄同学的毕业设计“苔藓的低语”，是一件具有交互性、游戏性和治愈性的具身交互装置作品。该作品创作了数字自然与儿童剧场的空间，借由跷跷板，让体验者在重回儿时游戏的过程中，感受苔藓这一微生物带给我们的自然生态魅力。期待大家在体验这件作品时，能收获多感官的情感共鸣。

Wang Ancheng's final major project “The Whispers of the Moss” is an embodied interactive installation that masterfully blends interactivity, playfulness, and therapeutic engagement. By constructing a hybrid space merging digital nature with children’s theater, the work invites participants to reconnect with childhood play through a seesaw mechanism—thereby experiencing the ecological wonder embodied by moss as a microbial ecosystem. This immersive encounter encourages multisensory emotional resonance, inviting audience to rediscover nature's subtle poetry through the embodied, generative play.

林琳 LIN Lin

Ancheng's work is a perfect example of good practice in the Digital Media Arts course. She has applied the core principles taught in the course—such as visuals, sound, interactivity, creative computing, and physical computing—to create a deeply personal project, closely linked to her own creative interests. In this work, Ancheng demonstrates strong technical skills, a project built on a solid conceptual foundation, and remarkable originality.

桉澄的作品堪称数字媒体艺术课程良好实践的完美范例。她应用课程教过的核心原理——如视觉、声音、互动性、创意性计算及物理计算——创建了一个与她自己的创作兴趣密切相关的深度个性化的项目。在这部作品中，桉澄展示了扎实的技术功底，严谨的概念架构与卓越的原创性。

Francesc Martí Pérez