厦门大学创意与创新学院课程成果｜实验媒体 Experimental Media

实验媒体

二年级 第二学期数字媒体艺术专业

2024级

Semester 2 – Year 2Digital Media Arts2024 Cohort

教学团队

Teaching Team

Ben Thompson, David Strang, Grace Brennan, 潘菲菲 PAN Feifei, Daniel Ruiz Bustos, 延鸣 YAN Ming, 杨灿赫 YANG Canhe, Dominica Harrison, Olutomi Kassim

课程简介

《实验媒体》课程旨在引导数字媒体艺术专业二年级学生发展以研究为驱动、过程为导向的创作实践。课程围绕实验动态影像、序列艺术、网络媒介、声音艺术、扩展电影、概念电子游戏、装置艺术、交互实践以及混合媒介等多个领域展开，鼓励学生进一步思考媒介如何作为材料、系统、空间、过程而发挥作用，以及如何塑造观众与作品之间的关系。课程将“实验”视为一种通过创作展开思考的实践方法，鼓励学生在实践中主动尝试陌生的工具与技术，结合多样化的模拟与数字创作流程，记录实验、失败与迭代修正的过程，并发展具有扩展性的作品，从而重新思考声音、影像、空间与观众之间既有的关系。本学期课程的共同主题为 “混沌”。这一主题并非作为一个需要被直接表现或诠释的固定命题，而是作为一个开放性的研究起点。学生围绕崩解、不确定性、记忆、社会压力、身体经验、数字碎片化、生态、监控、语言以及不稳定系统等议题展开探索。通过这些探索，学生逐渐认识到，混沌并不仅仅意味着无序或混乱，而是一种具有生成性的条件：在这种状态中，不确定性得以被探索，概念、创作过程与形式不断发展，意义、系统以及身份认同也在实验过程中被重新组织与建构。

INTRO

The Experimental Media module supports Year 2 Digital Media Arts students to develop a research-led, process-driven creative practice. The module introduces experimental moving image, sequential art, online media, sonic art, expanded cinema, conceptual videogames, installation, interaction, and hybrid media, while encouraging students to explore how media can operate as material, system, space, process, and audience encounter.

The module takes experimentation seriously as a way of thinking through making. Students are encouraged to test unfamiliar tools, combine varied analogue and digital processes, document experimentation, failure and revision, and develop expanded works that challenge conventional relationships between sound, image, space, and audience.The shared theme, Chaos, provided an open starting point rather than a fixed subject to illustrate. Students explored chaos through breakdown, uncertainty, memory, social pressure, bodily experience, digital fragmentation, ecology, surveillance, language, and unstable systems. Through these investigations, students came to understand chaos not simply as disorder, but as a generative condition in which uncertainty could be explored, ideas, processes, and forms could develop, and meanings, systems, and identities could be reconfigured.

教学方法

本课程采用以学生为中心、以实践为导向、以研究为基础的教学模式。课程并不预设单一的媒介形式或创作结果，而是通过研究、实验与反思，引导学生发展属于自己的研究问题、创作方法以及个人创作语言。整体教学围绕三个相互关联的核心维度展开：物质性、混合性与互动性。课程鼓励学生关注媒介的感官特性、物理属性与技术特征，探索不同媒介与创作过程之间基于创作意图的关联与融合，并进一步思考观众如何作为观看者、参与者、使用者、聆听者，乃至意义的共同建构者，参与作品意义的生成。课程通过项目辅导、实践工作坊以及小组讨论，帮助学生建立技术决策与概念目标之间的关联。课程关注的不仅是“创作什么”，更重要的是“为什么”——为何选择某一种媒介、系统、材料或互动方式来回应自己的研究问题，使创作方法与作品概念保持一致，并相互支撑。

TEACHING APPROACH

The module is student-centred, practice-led and research-informed. Rather than prescribing a single medium or outcome, it encourages students to develop their own questions, methods and creative voice through research, experimentation, and reflection.

The teaching approach is structured around three interconnected dimensions: Materiality, Hybridity and Interactivity. Students are encouraged to consider the sensory, physical, and technical qualities of media, explore the purposeful combination of different media and creative processes, and reflect on the role of the audience as viewer, participant, user, listener, or co-producer of meaning.Through tutorials, practical workshops, and group discussions, students are encouraged to connect technical decisions with conceptual intentions. The module asks not only what students are making, but also why a particular medium, system, material, or mode of interaction is the most appropriate response to their research question, and how these choices contribute to the conceptual coherence of the work.

教学活动

课程通过讲座、放映与研讨，向学生介绍丰富的历史与当代艺术实践及混合媒介。这些教学活动帮助学生建立共同的理论语汇，使其能够围绕惯例、创作过程、观众、空间、系统以及实验等核心概念展开思考与讨论。

课程将实验媒体置于纯艺术、扩展电影、声音艺术、行为艺术、出版实践以及交互系统等相关领域之中，引导学生从更广阔的当代艺术语境理解数字媒体实践，而非仅仅将其视为一门以技术或屏幕为中心的学科。实践工作坊则为学生提供概念生成的方法与工具，并引导学生围绕动态影像、声音、投影、实体材料、网络平台、传感器、软件、行为表演以及交互系统等不同媒介展开探索与实践。课程强调，技术探索并非独立于创作之外的技能训练，而应作为概念发展的重要组成部分。在课程后半阶段，项目辅导主要围绕学生项目的发展、实验与完善展开。学生通过项目辅导不断讨论逐渐形成的创作构想，分享实验过程，识别实践中遇到的问题，并反思所选择的媒介如何塑造观众的体验。教师则根据每个项目的发展方向，提供针对性的反馈与指导，帮助学生进一步明确创作意图，优化工作方法，并围绕作品的形式、材料、互动方式、空间关系以及最终呈现层面作出明晰的创作决策，同时始终保持学生对自身创作实践的自主性。

TEACHING ACTIVITIES

Lectures, screenings, and seminars introduced students to a broad range of contemporary and historical practice and hybrid media. These sessions gave students a shared conceptual vocabulary for thinking about convention, process, audience, space, system, and experimentation.

By positioning experimental media in relation to fine art, expanded cinema, sound art, performance, publishing, and interactive systems, the module encouraged students to understand digital media practice as part of a wider contemporary art context rather than as a purely technical or screen-based discipline.Practical workshops supported students in developing tools for ideation and in testing moving image, sound, projection, physical materials, web platforms, sensors, software, performance, and interactive systems. These activities positioned technical exploration as part of conceptual development rather than as a separate skill.In the second half of the module, tutorials focused on project development, testing, and refinement. Students used these sessions to discuss emerging ideas, share experiments, identify practical challenges, and reflect on how their chosen media shaped audience experience. Staff feedback was responsive to the direction of each project, supporting students to clarify their intentions, refine their working methods, and make informed decisions about form, material, interaction, space, and presentation while maintaining ownership of their individual practice.

学习成果

本课程最终呈现的项目充分展现了学生对实验媒体实践的多元理解与探索。创作成果涵盖了交互装置、网络作品、实验出版物、视听系统、扩展电影、实验电子游戏、参与式环境、投影装置、声音实验、雕塑化交互界面，以及融合模拟与数字媒介的混合媒介作品等形式。在创作过程中，学生围绕身体、疼痛、性别、记忆、语言、残障、社会压力、生态、后人类系统、监控、仪式、档案以及集体经验等主题展开探索与实践。纵观全年级的作品，学生逐渐拓展了对数字媒体艺术的理解，进一步认识到它不仅是一种以屏幕或数字技术为中心的实践，更是一个开放的领域，涵盖出版实践、网络系统、实体材料、行为表演、装置艺术、研究驱动的创作实践以及观众参与等多种创作形式与研究路径。面对创作过程中的不确定性、技术挑战、概念复杂性以及持续迭代的发展过程，学生展现出良好的韧性与积极的探索精神。从学生提交的作品集可以看出，他们逐渐能够通过持续的研究、实验、反馈与修正，将概念、材料选择、互动方式以及观众体验有机地联系起来。这表明学生对实验性实践的自信心日益增强，并将其视为一种创造性的创作方法和批判性探究的手段。

OUTCOMES

The final projects demonstrated a broad understanding of experimental media practice. Outcomes included interactive installations, web-based works, experimental publications, audiovisual systems, expanded cinema pieces, experimental videogames, participatory environments, projection works, sound-based experiments, sculptural interfaces, and hybrid analogue-digital encounters.

Students explored themes including the body, pain, gender, memory, language, disability, social pressure, ecology, posthuman systems, surveillance, ritual, archives, and collective experience. Across the cohort, students showed an expanded understanding of digital media art as a field that can include publishing, web systems, physical materials, performance, installation, research-led practice, and audience participation.The cohort demonstrated resilience and ambition in working through uncertainty, technical difficulty, conceptual complexity, and iterative development. Across the submitted portfolios, students were increasingly able to connect concept, material choice, interaction, and audience encounter through sustained research, testing, feedback, and revision. This showed a growing confidence in experimental practice as both a creative method and a form of critical enquiry.

学生反思

“这门课程拓展了我的专业视角。数字媒体艺术不仅仅是设计界面或制作视觉效果，更重要的是运用技术去探索人类的感知、身体以及语言。”“实验媒体并不是为了掌握某一种工具，或创作出精致完美的作品，而是通过实践不断提出问题，并将实验、失败与不断修正的过程本身转化为作品的一部分。”“本课程的主题‘混沌’既是一项挑战，也为我的创作带来了启发。它让我将不确定性视为实验发生的条件，而不是一种失败。”“总体而言，这门课程帮助我建立起一套属于自己的创作过程：从研究、实验、创作，到失败、调整，再到反思。”

STUDENT REFLECTIONS

“This course expanded my professional perspective. Digital media art is not just about making interfaces and effects, it is about using technology to explore human perception, the body, and language.”

“Experimental media is not about mastering tools or producing polished outcomes, but rather about posing questions through practice and making the process of testing, failure, and revision itself into the artwork.”

“The theme of this module ‘chaos’ was both a challenge and a source of inspiration. It encouraged me to embrace uncertainty not as failure, but as a condition for experimentation.”

“Overall, this course helped me develop a process of researching, testing, making, failing, adjusting, and reflecting.”

部分学生作品｜

SELECTED STUDENT WORKS

谢訸《我的大脑就要爆炸》 行为表演与互动装置

XIE He,My Head Is About to Explode, Performance and Interactive Installation, 2026

《我的大脑就要爆炸》是一件结合行为表演与互动装置的作品，探讨外界声音对个体自我的影响。表演者置身于一个透明球体内部，在镜面围合的空间中缓慢移动。随着表演的推进，纸片逐渐附着于球体表面，遮蔽视线并限制身体行动。每一张纸片都承载着他人留下的文字、图像或符号，隐喻社会期待、他人观点、个人记忆以及生命中偶然相遇的不断累积。观众受邀对着麦克风发声，他们的声音经过数字声音系统的实时录制、变形与循环播放，逐渐成为表演者所处环境的一部分。随着身体、声音与空间之间不断发生互动，作品呈现了个体在社会环境中成长过程中的不稳定状态：吸收外界影响、抵抗他人评判，并在噪音、压力与混沌之中持续寻找自我认同。

A live performance and interactive installation exploring the pressure of external voices on the individual self. Inside a transparent sphere, the performer moved through a mirrored enclosure as fragments of paper gradually attached to the surface, obscuring vision and restricting movement. Each fragment carried words, images or marks contributed by others, suggesting the accumulation of social expectations, opinions, memories and passing encounters.

Audience members were invited to speak into microphones. Their voices were recorded, distorted and looped through a digital sound system, becoming part of the performer’s environment. As body, sound and space interacted, the work reflected the unstable process of growing up within society: absorbing influence, resisting judgement, and searching for a sense of self amid noise, pressure and chaos.

徐翌杰《未来自我实验室》 交互式数字媒体装置

XU Yijie,Future Self Generation Lab, Interactive Digital Media Installation, 2026

《未来自我实验室》是一件交互式数字媒体装置，围绕人工智能推荐、身份预测、选择焦虑以及信息过载等议题展开探索。作品构建了一个虚构的人工智能系统，通过一系列选择、扫描、标签分类与系统输出的流程，试图为每位参与者生成一个关于“未来自我”的预测模型。观众坐在桌面交互终端前，从与风险、控制、可见性、延迟和不确定性相关的身份特征中作出选择。系统对这些有限的信息进行分析，并将其转化为预测结果、身份分类以及未来发展建议。与此同时，墙面的投影持续呈现一个不稳定的数字化自我模型。随着系统不断分析参与者的数据，这一数字化自我模型不断发生偏移、碎裂与复制。现场的打印设备还会输出一份实体版《未来自我报告》，将系统生成的分析结果转化为一份具有档案属性的记录。作品被置于一个安静、冷静且具有实验室氛围的空间之中，通过模拟人工智能系统的运行逻辑，反思算法系统如何将个体的不确定性不断转译为数据、预测与分类。

Future Self Generation Labis an interactive installation exploring AI recommendation, identity prediction, choice anxiety and information overload. The work presents a fictional AI system that attempts to generate a participant’s “future self” through a sequence of choices, scans, labels and system outputs.Audience members sit at a tabletop screen and select identity fragments connected to risk, control, visibility, delay and uncertainty. These limited choices are processed by the system and transformed into predictions, classifications and future recommendations. A wall projection displays an unstable digital self-model, which shifts, fragments and duplicates as the system continues to analyse the participant. A printer produces a physical Future Self Report, turning the system’s interpretation into an archive-like document.Set within a quiet, clinical, laboratory-style space, the work reflects how algorithmic systems translate personal uncertainty into data, prediction and categorisation.

戚艺凡《最后的目击者》 三屏交互影像装置

QI Yifan,The Last Observer, Three-screen Interactive Video Installation, 2026

《最后的目击者》是一件三屏交互影像装置，构想了一个由动物与非人类系统共同主导的后人类生态。在这个思辨性的世界中，动物不再是等待人类观察、研究或分类的被动对象，而是转变为观察者、规则制定者以及控制机制的执行者；与此同时，人类则被置于被观看、被记录与被分析的位置。作品结合动物面具、人体模型、实时监控系统与显微影像等媒介元素，探讨人与动物、机器以及生物生命之间日益模糊的边界。混合的身体形态、变化的行为方式，以及非人类的感知模式，共同构建出一个身份持续流动与不断变化的世界。作品进一步反思了“进化”所蕴含的悖论，以及以人为中心思维的瓦解。《最后的目击者》并未将进化理解为一种不断迈向更高阶段的发展，而是想象了一个边界逐渐消融、物种彼此融合、人类仅作为众多生命形态之一而存在的未来图景。

A three-screen installation that imagines a posthuman ecosystem governed by animals and non-human systems. In this speculative world, animals are no longer passive subjects to be observed, studied or classified. Instead, they become observers, rule-makers and agents of control, while humans are placed in the position of being watched, recorded and analysed.The installation combines animal masks, mannequins, real-time surveillance systems and microscopic imagery to explore the increasingly blurred boundaries between human, animal, machine and biological life. Hybrid bodies, altered behaviours and non-human modes of perception create a world in which identity is unstable and continually transforming.The work reflects on the paradox of "evolution" and the collapse of human-centred thinking. Rather than presenting evolution as continual advancement,The Last Observerimagines a future in which boundaries dissolve, species merge, and humans become only one form of life among many.

蒋欣桐《存在之痕》 交互媒介装置JIANG Xintong, What Remains, Interactive Media Installation, 2026

《存在之痕》是一件交互媒介装置，探讨人类存在的痕迹如何在当代数字系统中被记录、留存或逐渐消解。作品将观众置于一个模拟工作站中，使其扮演匿名内容审核员的角色，不断面对“接受”或“拒绝”的二元判断。摄像头实时捕捉参与者的面部影像，并将其转化为像素化图像，将原本具有个体特征的身份被压缩为一种数字化形式。参与者的每一次判断都会影响周围投影的变化：被“接受”的内容不断累积形成书法般的痕迹，而被“拒绝”的内容则逐渐消失。工作站旁的热敏打印机持续输出碎片化文本，这些文本既像收据、档案记录，又如同机器生成的痕迹。多层投影穿透印有水墨纹理的半透明织物，在空间中交叠，形成一个由手写痕迹、数字劳动与身体存在彼此重叠的感知场域。作品追问：当系统不断记录结果，却不断抹去结果背后的个体时，人类的情感、犹豫以及个体性，最终还剩下什么？

An interactive installation examining how traces of human presence survive within contemporary digital systems. The work places participants at a workstation where they take on the role of an anonymous content reviewer, repeatedly making binary decisions: “accept” or “reject”.A camera captures the participant’s face and translates it into a pixelated image, reducing personal identity into a compressed digital form. Each decision affects the surrounding projection: accepted content allows calligraphic traces to accumulate, while rejected content causes them to disappear. Alongside the workstation, a thermal printer produces fragmented text outputs that resemble receipts, records or machine-generated traces.Layered projections pass through semi-transparent fabric screens marked with ink-like imagery, creating a space where handwriting, digital labour and bodily presence overlap. The work asks what remains of human emotion, hesitation and individuality when systems record outcomes but erase the person behind them.

韩家欣《记忆余烬》 互动装置HAN Jiaxin,Embers of Memory, Interactive Installation, 2026

《记忆余烬》是一件融合数字与实体媒介的互动装置，围绕阿尔茨海默病、记忆衰退，以及个人身份、家庭记忆与时间之间脆弱而复杂的关系展开探索。作品结合网页互动游戏、实体桌面装置、声音、手绘图像及家庭照片等多种媒介，将观众带入一个不断变化的家庭空间。参与者坐在一张木桌前，面对显示器、耳机及由家庭照片构成的图像墙。在屏幕中，他们操作一款极简黑白风格的互动游戏。游戏以手绘的家庭空间与承载记忆的日常物件为基础构建，包括相框、毛线、药瓶、蜡笔和戒指等。随着互动不断推进，系统开始重复、重置并打乱原本已经完成的任务，逐渐形成一种循环往复的不确定性、遗忘与认知负荷，使参与者体验记忆不断流失所带来的混乱与困惑。实体物件与隐藏式声音装置进一步将数字体验延伸至真实空间。模糊的家庭对话、日常环境声及地方方言录音，共同营造出一个安静却隐隐令人不安的声音场域。《记忆余烬》探讨，当辨识能力、时间感以及自我认同逐渐瓦解时，记忆如何仍能通过物件、声音与影像得以延续。

A hybrid interactive installation exploring Alzheimer’s disease, memory loss and the fragile relationship between personal identity, family history and time. The work combines a web-based puzzle game, a physical desk installation, sound, hand-drawn imagery and personal family photographs to place the audience inside a shifting domestic environment.Participants sit at a wooden desk facing a monitor, headphones and a wall of family images. On screen, they navigate a minimalist black-and-white game built from hand-drawn domestic spaces and memory objects, including a photo frame, yarn, medicine jar, crayons and a ring. As the interaction continues, the system begins to repeat, refresh and disrupt completed tasks, creating a loop of uncertainty, forgetting and cognitive overload.Physical objects and hidden audio devices extend the digital experience into the room. Blurred family voices, domestic sounds and regional dialect recordings create a quiet but unsettling soundscape.Embers of Memoryreflects on how memory can persist through objects, voices and images, even as recognition, time and selfhood begin to fragment.

李春天《乌兰察布的雨》 混合媒介装置LI Chuntian,Rain in Ulanqab, Mixed-media Installation, 2026

《乌兰察布的雨》是一件混合媒介装置，将内蒙古乌兰察布地区的降雨数据转译为声音、振动、水体运动及光影投影。作品以雨在不同生活语境中的意义差异为出发点：在城市中，降雨往往意味着出行不便、交通延误，或仅仅是一组天气数据；而在农业地区，雨水则与土地、劳作、作物、生计以及风险紧密相连。作品利用 Python 将当地降水记录转换为声音频率，并通过振动激励器（Exciter）将这些频率传递至玻璃培养皿，使水面产生涟漪与法拉第波（Faraday Waves）等动态纹理。一束点光源将这些细微的水面变化投射到周围墙面，将原本抽象的降雨数据被放大并转化为不断流动的光影形态。与此同时，作品融入了来自乌兰察布的田野录音，包括雨声、农田环境声、土壤声响以及农业机械运作的声音，与水面的投影共同构成作品的感知体验。《乌兰察布的雨》构建了一个短暂而沉浸的感知场域，使原本抽象的气候数据获得物质性的呈现，让观众得以听见、看见，并感受到那些塑造农业生活的自然条件。

A mixed-media installation translating rainfall data from Ulanqab, Inner Mongolia, into sound, vibration, water movement and projected light. The work begins with the different meanings that rain holds in urban and agricultural contexts. In the city, rain may appear as inconvenience, delay or weather data. In farming communities, rain is connected to soil, labour, crops, livelihood and risk.The installation uses Python to convert regional precipitation records into sound frequencies. These frequencies are transmitted through exciters into glass Petri dishes, creating ripples and Faraday wave patterns on the surface of the water. A point light source projects these small movements onto the surrounding wall, enlarging rainfall data into shifting patterns of light and shadow.Field recordings from Ulanqab, including rain, farmland, soil and agricultural machinery, accompany the water projections.Rain in Ulanqabcreates a temporary sensory field in which abstract climate data becomes physical, allowing visitors to hear, see and feel the distant environmental conditions that shape agricultural life.

以上作品仅供教学与交流使用。部分课程作品中的图像及声音素材来源于网络或使用 AI 生成。

The above works are for educational purposes only. Some image and sound materials used in the student works are sourced from the internet or generated using AI.