“致用的途径”

 致用的意识，源自我们内在对艺术责任的深刻思考，当代艺术的核心从纯粹审美向人文的多种维度纵深，而无论经由何种途径，我们期待的是，通过艺术，去完成生命中的诸多可能。

论广告的正能量

姚政邑

摘 要
现代社会对于广告的印象沉湎于其负面功能的批评上，但要减弱或消除广告的负面影响，需要站在另一个角度重新思考和评估广告传播的能量，从而建立一套客观公正的广告社会功能评价体系来解决该问题。此文首先指出，在消费社会中广告受到“物欲”与“消费”的双重驱动，产生和发挥了越来越巨大的能量，不仅促进了人类的物质和精神生产，同时也对人类的思想道德和审美文化产生了深远的导向作用。然后，此文从广告的符号价值生产功能入手，认为广告正能量中包含着正确的价值观和人生态度，能够左右着消费者现实的购买行为和长远的价值取向，同时其独有的文化气息还影响着整个社会的审美时尚。总体来说，广告正能量的核心精髓是“诚信”与“关爱”，广告正能量的核心魅力体现在增进国家和集体的凝聚力、以温馨的情感感化人心、树立正确的人生观等几方面，正能量广告是消费社会自我修复的成熟需求，是中国社会转型的合理需要。此文最后呼吁社会各界都要肩负起正能量广告决策、创作、传播的责任。

关键词 广告；正能量；消费社会

On Advertising Positive Energy

Yao Zhengyi
(Academy of Arts & Design, Tsinghua University, Beijing, 100084)

Abstract
Modern society indulge in negative criticism for the ad impression, but to weaken or eliminate the negative impact of advertising, we need to stand another angle to rethink energy transmission and evaluation of advertising in order to establish a set of objective and fair advertising social function evaluation system to solve the problem. This article first noted that the advertising in the consumer society driven by "materialism" and "consumption", produced and played an increasingly enormous energy, not only to promote the people's material and spiritual production, but also the ideological and moral human had a profound role in guiding and aesthetic culture. Then, this article start from the symbolic value of advertising production function that advertising is energy contains the correct values and attitudes can influence the reality of consumers buying behavior and long-term value orientation, and its unique culture impact on society as a whole aesthetic fashion. Overall, the ads positive energy core essence of "good faith" and "love", the ads positive energy core charm reflected in foster greater national and collective cohesion soften the hearts, and establish a correct outlook on life, a warm emotional aspects, the positive energy ads mature self-repair needs of the consumer society, the reasonable needs of China's social transformation. This article concludes with a call to the community should take up the positive energy advertising decisions, creation, spread the responsibility.

Key words: Advertising; Positive Energy; Consumer Society
 

致用的灵感
- 以面向基层的小众文化巡展为例
Pratical Inspiration
Based on the culture rollshow of Specific populations in pubilc space
范寅良

摘要：
无论作为当今世界的发展，还是中国本身的发展需要，设计业都肩负着重要的责任。这个行业的实力与质量直接关系到社会的发展，所以设计必须与时俱进，随着社会进步而进步！

本论文主要力图探究设计灵感的来源，这些灵感是如何变成设计产品，而最终服务于人的。而这种灵感就是我们设计师所需要的灵感，就是致用的，实用的灵感。灵感的获得一直是设计师最大的乐趣。大多数设计的成果取决于它一开始的灵感质量。而它既不是“天上掉下来”的，也不是逻辑“推导”出来的，它就像一个万能的精灵，游离于我们的生活与工作之间，如何抓住灵感，获得灵感，或者说获得具有实用性的灵感，就是设计师需要解决的至关重要的问题；之后又而如何控制灵感，使其性质既不是“痴心妄想”，也不是“穷途末路”，是本篇论文主要探讨的议题。

可以致用的“灵感”必然来源于我们设计所要为之服务的生活本身，以及致用的环境和条件。正所谓“来于生活，高于生活”，而最终“服务与生活”！这才是落地的设计，这才是能使用的灵感，这才是具有职业特征和质量的设计源泉。我们中国的展示设计的作品也绝不仅仅是为那些面子工程，高端客户或者高投入的层面服务的。也需要更加亲民的，满足本国人民日常需要的展示设计作品。

针对我国基层的特定群体的展示设计更要遵循设计的规律，从生活中汲取经验和灵感。针对特定群体，一方面注重他们的生活工作的特点，另一方面注重设计的变通性和灵活性，使展示活动围绕着他们的生活展开，并达到“零距离“的感觉。使展示内容既具有专业性，创新性和审美特征，也同时具有灵活性，针对性和低消耗的特点。

设计师可以参照当今设计领先的国家和设计团队的成功经验，去不断培养和加强一种创作者应有的观察力，就会更有把握去面对不断涌现的设计中的挑战。作为中国的一名设计师对自己文化有了足够的了解和认知之后，那源源不断的，实用性强的灵感就会更具有民族的光芒和永久的质量！

Abstract

Whether as the world’s development, or the own develop needs of China, design industry is holding important responsibilities. The strength and quality of this industry is directly related to the development of society. So design should develop with the social progress.
This paper is focusing on exploring the origin of design inspiration and how the ideas come to a designed product, which ultimately serves the people. The designers will get the greatest pleasure when they gained an inspiration. The quality of the results are mostly depends on its design inspiration at the beginning. The inspiration are neither “come from nowhere”, nor “derived out” by logic. It is like a universal spirit, free from our daily life and work. Thus, how to seize inspiration, get inspired, and obtain a practical inspiration will be seen as the most critical issue that a designer should consider about. Controlling the inspiration is neither a “wishful thinking” nor a “dead end”. So “How to control the inspiration” is another topic discussed in this paper.
Practical “inspiration” are come from not only our life, which our design are served for, but also the practical environment and conditions. As a saying goes, “Design comes from life and develops from life”. Since design have the goal of “serve the life”, only the practical inspiration be the one that can be used, which is both professional and with good quality. The exhibition design in China is neither for showcase nor for the high-end customers or high level of investment services. It needs to be more down-to-earth and meet the daily needs of our people.
Targeting on the life of grassroots level, the design should on the one hand focus on the characteristics of their life and work, on the other hand focus on design modifications and flexibility, so that the contents of display can combine the profession, innovation, aesthetic with flexibility, relevance and low consumption.
Designers can develop their observation skill from comparing with the successful experience in leading countries. Thus they will be more confident to face the emerging challenges of the design. A Chinese designer should have an understanding and cognition of Chinese culture so that their inspiration will gain a national culture and a permanent quality.
 

试析督陶官唐英《陶冶图说》的内容价值

陈宁
摘要
唐英是雍乾时期的著名督陶官，不仅在督陶制瓷方面取得了杰出成就，而且在文献编撰方面留下了丰硕成果。《陶冶图说》的编撰，就是其最突出的文献编撰成果之一。本文就其内容价值进行深入探讨，以期丰富我国古代陶瓷文献编撰理论，并给当前的制瓷工艺实践及其理论总结提供一些借鉴和参考。
关键词 《陶冶图说》；内容价值；唐英；督陶官
Abstract
As a famous ceramic production supervisor during the period of Yongzheng and Qianlong Rein of Qing Dynasty, Tang Ying has not only made outstanding achievement in supervising the ceramic production, but was also fruitful in compiling ceramic literature, among which Illustrations and Explanations of Ceramic Production stands out. This paper, by exploring the value of its content, aims to enrich the theory of compilation of ancient ceramic literature and providing references for contemporary ceramic production practices and their theoreticalization.
Key-Words Illustrations and Explanations of Ceramic Production; the value of content; Tang Ying; supervisor of ceramic production
 

欧洲博物馆的公共美术教育
——以荷兰国家博物馆为例
熊瑛
摘 要： 荷兰国家博物馆的公共美术教育活动是欧洲博物馆中较为成功的案例，通过对该馆服务项目、藏品数据库、教育产品、宣传手段的实地调查和分析，可窥见欧洲博物馆公共美术教育的现状，为中国博物馆教育的发展提供参考。欧洲博物馆公共美术教育关注人的发展，重视教育科技的进步，致力于国际间的交流与合作，已形成相当完备的体系，并在传播文化、提高民众素养方面发挥着无可替代的作用。中国博物馆美术教育事业应借鉴先进经验，坚持以人为本的原则，用自身的优势资源服务大众，为构建和谐社会助力。
关键词： 欧洲；博物馆；公共美术教育
The public art education of European museums——taking Netherlands National Museum for example
Xiong Ying
Abstract: The public art education activity of Netherlands National Museum is a successful case in European museums. Through field surveys and analysis of service items, collection databases, education products and publicity means, a glimpse of present state of European Museums’ public art education could be get and the references to development of China museum education could be provided. Public art education of European museums focuses on people’s development, puts emphasis on the advancement of education technology, is committed to international exchanges and cooperation, forms a fairly complete system, and plays an irreplaceable role in improving public accomplishment . Art and education of China Museum should learn from the advanced experiences, adhere to the people-oriented principle, take advantage of its superior resources to serve the public, and help to build a harmonious society.
key words: Europe; Museum; Public Art Education

中国传统环境营造技术在当代设计中的传承
华亦雄，周浩明
摘 要： 传统环境营造技术所蕴含的可持续观念以及技术的经济性、适应性都是其价值所在，更重要的是其映射出的文化维度，这使得传统环境营造技术的传承具有了保护自然环境与保护文化延续的双重意义。但是传统环境营造技术也存在着传承范围日益狭窄，逐渐淡出当代设计的问题，需要通过建立完善的分类系统和推进技术的科学化进程来促成技术产品的最终转化，从而应用于当代设计中。
关键词： 传统环境；营造技术；当代设计；传承
The Inheritance Mode of Chinese Traditional Technology of Constructing for Using in Contemporary Design
Hua Yixiong, Zhou Haoming

Abstract: The value of Chinese traditional technology of constructing life-world lies in its low cost and flexible for a range of environment, but the most important value is the cultural dimension mapping in it, so the inheritance of traditional technology will be helpful of protecting the nature environment and the cultural ecology. The problem of inheritance of traditional technology is the diminishing of range of application, and these technologies are falling into oblivion. The feasible method to promote the transformation of technical result is established complete classification system and the scientific process.
key words: Chinese traditional technology of constructing life-world; design; life-space; science of technology; inheritance and innovation

 

用户体验的致用性

黎 凤 霞

摘 要
在信息艺术设计过程中,用户体验的致用性是其中重要的一部份。

在日常生活中,人们会或多或少使用不同的产品及服务信息。例如手机、互联网设备、机场和地铁系统、导视信息等。在使用这些产品及服务的过程中，人们也曾遇到当中的满意或不快的经验。无论是什么经验，这好与坏的感受也正反映了用户对使用这些产品及服务，以及有关的产品及服务信息系统是好是坏的致用性真实体验。

用户或受众者来自不同行业及阶层,如公众、投资者、决策者等。整体来说，用户体验的致用性是着重质素、功效、价值、满意度。这致用性不单只对个人有互动作用，也牵引着整体受众者的互惠关系。虽然现今的信息表达形式已改变了整个世界人类的交互活动及模式, 但对人、物、事而言, 最基要的是从人性、从心和从细微的观察角度出发, 并且要合情合理。而设计师在提供设计产品或服务过程中,也需从使用者的角度及真正需要出发，来提供专业知识及有效之设计方案。将用户体验的致用性能发挥效用，使其实用、运用适宜和恰到好处。

关键词: 用户体验,信息艺术设计, 信息系统, 致用性, 受众者, 互动

Abstract
User experience (UX) is one of the important parts in the discipline of information art and design.

In everyday life, people will more or less use different types of product and service information, such as mobile phones, Internet devices, airports and subway information systems, and other information guides. In the process of using these products and services, people will encounter satisfactory or unpleasant experience. Whatever is their experience, it also reflects their feelings or the facts of how good or how bad products and services as well as the related information systems are.

The user experience of different users coming from different industries and sectors, such as the public, investors, policy makers and so on, is the emphasis of quality, efficacy, value and satisfaction. The emphasis is not on only the individual interaction, but also drawing the audience's overall mutually beneficial relationship. While today's information forms of expression have changed the world of human interaction and modes, the most fundamental issues are humanity, from the heart, subtle observation and reasonableness. In the process of providing design products or services, the designers must also consider the user's point of view and their real needs, in order to ensure that their designs are effective, practical, suitable for use and just right.

Keywords: User Experience (UX), Information Design, Arts, Humanity, Interaction

试论艺术史与艺术实践教学
的交互式授课
Interactive Teaching of
Art history and Practical art
安小博
摘 要
我们所处的时代呈现出的当代艺术现象，更加深了美术学院教学与社会艺术实践的矛盾。其中，艺术和学科建设科学性的矛盾，在于学院体制对艺术中不可规范的因素继续提出质疑，从而持续着学院体制内部的争论。再有，现代艺术运动从19世纪80年代开始，已经进行了四次重大的艺术观念革命。对艺术的认知，和相应的美学观念对已经有了翻天覆地的变化。现在我们所说的“当代艺术”中的“艺术”是一种美术学院史上从未遭遇、处理和研究过的人类精神新领域。学院教育当中面对面的、精准的指示，强制性的模式，以及关于风格的限制，这些都在艺术实践的领域被消解。由此，美术学院造型艺术专业应该如何应对种种矛盾的讨论在美术学院教师、艺术家、批评家和学生等各个人群当中展开了。是将美术学院整体转向为视觉设计学院，通过明确视觉心理科学与工程训练的可教授流程，来一劳永逸的化解这些问题？还是在继续传统的基础上做应变式的调整？目前我国各个美术学院在造型艺术的课程中，总体上趋向于后者。
笔者认为，如果将艺术史理论的学习与艺术实践课程结合起来，可以在现有的学院资源当中开发出应对以上问题的有效办法。当下我国众多开设造型艺术的高校，与各个美术学院都有针对该专业的学生的艺术史理论课程。但是，往往着重艺术历史知识的累积，而这些历史知识对于学生的成长有无帮助，却只能依靠学生个体的积极感悟、主动思考与否。实践课程与理论课程只是在学年范围内的时间上重叠，没有能真正产生交互影响。反而，艺术史理论、艺术实践和当代艺术，使身处这三个各自言说自我的信息来源的艺术专业学生面临认知混乱的危险。更加不利于其艺术生命的成长。帮助学生整合信息，赋予其历史和批评的视角，似乎比分别进行课程训练的需要更加迫切。
本文提出的艺术史与艺术实践的交互式授课，是指经由将艺术史理论课程与艺术实践课程（即艺术技能训练）有机结合。以期借理想的艺术教育效果，应对于历史上与当今美术学院普遍面临的艺术教学与同时期的艺术趋向难以协调的局面。。

关键词：交互式授课；艺术史教学；艺术实践教学；美术学院

Abstract
The contradictions between the art academy and current art practice are punctuated by the phenomenon of contemporary art nowadays. Among them, the question about criterion between art and science subject construction, lies in the school system of art are debated within the system constantly. The modern art movement beginning in the 1880 s, has four majors concepts of art revolution. The cognition to the arts, and the corresponding aesthetic concepts on has had changed. Now what we call "art" in the "contemporary art" is a kind of fine arts which we never encountered, keep processing and research on new areas of the human spirit. College education modes of face to face, precise instructions, mandatory mode, as well as about the limitation of style, these are in the field of artistic practice be eliminated. As a result, what the academy of fine arts professional plastic should be dealing with is arguing among academy of fine arts teachers, artists, critics and students and other people openly. Institute of academy of fine arts as a whole is to for the visual design, by defining the visual psychology is professor of science and engineering training process, to resolve these problems once for all? Or continue to do strain on the basis of the traditional type of adjustment? At present our country over the course of plastic arts, the academy of fine arts, on the whole, tend to the latter.
If the study of the theory of art history and art practice course together, could be the effective solution to the problem of response to the above by using the existing resources of school system. Now many plastic arts of colleges and universities in our country, and the academy of fine arts has the theory of art history courses , however, tend to focus on the accumulation of knowledge of art history, but if the knowledge of history are helping the students can only rely on individual's positive feeling and students' initiative thinking. Practice and theory, of course, just within the scope of the academic year on time overlap, cannot really interaction effects. Instead, history of art and contemporary art theory, art practice, makes in the three respective word information about sources of arts students at risk of cognitive disorder. More conducive to the art life's growth. Help students to integrate information, give them history and critical perspective, it seems to be more urgent than the skills training, respectively.

Keywords: Interactive teaching Teaching of art history Art practice teaching
Academy of fine arts

中国室内设计师资格认证问题研究
任艺林
摘要：历经三十多年的蓬勃发展，中国室内设计行业“繁荣”景象的背后不断暴露出种种问题，其中，中国室内设计师的“身份”问题备受关注。本文从室内设计行业从业人员资格认证体系缘起的背景出发，对国内主要认证体系的管理与考核办法进行梳理比较，针对多条行业认证体系并行、权威与合法性缺失等现状，从市场与政治环境、行业概念界定、从业人员组成等方面重点分析问题的历史成因。室内设计师的资格认证问题是行业发展的侧面写照，由此也可窥见中国设计行业发展面临的挑战。
After about thirty years of development, lots of flaws are revealed even though the interior design in China have experienced high level of prosperity. The qualifications of interior designers have attracted many attentions. This essay started from the background of qualifications of interior designers in China, then made comparisons among the different management systems of qualification, and finally analyzed the causes of the chaos of the multiple qualification systems and the deficiency of the authorities and validity based on the perspectives of market and politic environment, definitions or demarcations of inside design industry and the structures of employees in China. The problems of qualification of interior designers is the reflections of China’s interior design development, which could probably reveal the challenges of the industry.
关键词：室内设计 室内设计师 资格认证