On December 28th, the first "China Digital Culture Industry Summit" and "Launching Ceremony of digital culture industry ecological alliance" hosted by China Cultural Industry Association, supported by the Publicity Department of Chengdu Municipal Party Committee, cooperated by Chengdu Media Group and Kuaishou, and hosted by Beijing Youshi Network Technology Co., Ltd. and Digital Domain (Beijing) Culture Communication Co., Ltd. closed in Chengdu. The summit gathered industry leaders to discuss how the digital culture industry can empower cultural innovation.
Trace the roots
Exploring Chinese Numeral Culture
Promoting the integration and innovation of digital culture technology and museum fields and promoting the high-quality development of Chinese museums is the main content expressed by Liu Shuguang, chairman of the China Association of Museums, at the summit.
According to Liu Shuguang, in 1984, the Shanghai Museum established the "Information Center" compiled by the first department in the field of Chinese museums, and started the construction of the collection database in the early 1990s; in the late 1990s, the digitization of the collections of the Palace Museum was not only ahead of the domestic museums at that time, but also could keep pace with some internationally renowned museums. Since entering the new century, the State Administration of Cultural Heritage has launched the first census of state-owned movable cultural relics, and by 2016, it has basically realized the construction of a system of digital identity cards for Chinese cultural relics collections, laying the foundation for the construction of new assets for the museum's digital collections.
At present, the collection databases of some "head" museums have developed from two-dimensional to three-dimensional, from text images to metadata integrated systems. "It is no exaggeration to say that the informatization and digitization of chinese museums' collections have made substantial progress."
Indeed, whether through the museum's website, WeChat public account, or exquisite cloud display, there are many ways to visit museums today. China's museums are also undergoing iterative changes from collection databases to collection knowledge resource libraries, and the forms of expression and dissemination are also developing from the digital and diversified interpretation of cultural relics knowledge to the digital immersive interactive experience of cultural relics stories. "We are always in sync with the trends of the world." Liu Shuguang said.
However, in the face of the emergence of new concepts such as VR, AR, and NTF, museums should also stick to their positions, study the motivation and experience of museum audiences, and use digital means to exert the cultural power of museums under the premise of "knowing oneself and knowing the other".
Wang Su, the initiator of the China Digital Culture Ecological Industry Alliance, has great feelings for Chengdu, and the establishment of the first "Digital Culture Industry Ecological Alliance" in Chengdu is not a personal feeling, but a unique condition in Chengdu itself.
Chengdu has a deep historical heritage and cultural heritage, at the same time, since ancient times, there has been the soil of leisure city, "For example, I have a lot of friends who make music around me, in recent years, I have slowly changed from north drift to Rong drift, the atmosphere here is very good, life is leisure, and there is a series of policy support." Wang Su said. Chengdu has very good conditions, and China is a global leader in the application of digital culture technology, so he believes that the combination of the two will have a good future.
"Recently, many friends in My circle of friends in Beijing are posting the Van Gogh digital show, and I am thinking, who is China's Van Gogh? What kind of work can we make similar to the Van Gogh Digital Show? Wang Su said that in China, there are actually many Van Gogh, such as Li Bai, Du Fu, Su Dongpo, etc., but the most important thing is what kind of show we can make, how to let everyone take the initiative to watch and share, is the most important issue. Wang Su believes that this is also the next step for them to do, how to tell the Chinese story well and create cultural IP.
Build digital technology for museums
Improve the quality of the exhibition
As a city of museums, checking in museums on weekends has become a trend for Chengdu citizens. In recent years, museum visitors have also noticed a change.
As far as the Sichuan Museum is concerned, the cultural relics in the temporary exhibition "Mountains, High Waters, Wide Horizons - Special Exhibition of Bronze Civilization in the Yangtze River Basin" were unified from the Shang Dynasty to the Qin Dynasty, mainly bronze. "I didn't expect that such a thick exhibition as the bronze civilization would attract many young people and children to enter." Xie Dan, vice president of the Sichuan Museum, said that in the exhibition, elements of digital culture, such as projection, two-dimensional scanning, etc., are used to put static images on mobile phones and screens, and interpret the situation in contemporary language, which can allow tourists to understand bronze civilization more intuitively and clearly, vividly let tourists chase back to that era, and let people take the initiative to understand China's excellent traditional culture.
In the future, Shedan believes that museums should open up virtual spaces. "Online, we first conduct an in-depth interpretation of the cultural relics exhibition, and then watch the physical cultural relics offline, so that we can have a deeper sense of intimacy." She said that especially in the post-epidemic era, the construction of online lectures in the museum and online cultural and creative sales platforms have made the cultural relics and culture in the museum active in the lives of the citizens.
The Grand Canal Museum of China is a very young museum, and the director Zheng Jing has worked the exhibition of cultural relics in the museum. Based on the audience's experiential perspective, the Grand Canal Museum has set up 14 permanent exhibitions with diversified display means, bringing special experiences to the audience through 14 space designs with distinct themes and different styles and rich digital display effects.
Zheng Jing takes the Grand Canal Museum's multimedia interactive experience exhibition - Boats on the Canal as an example, which uses the virtual experience of physical experience + digital multimedia to tell the evolution of boats on the Grand Canal, the types of boats and other related knowledge and stories. The interior of the exhibition hall is divided into two different floors of reserved space, of which there is a height of 17 meters, with the sand spaceship as the medium carrier, the physical sand spaceship builds an immersive virtual experience space, through the gap on both sides of the bed cabin, you can see the virtual Hangzhou to Suzhou, Yangzhou to Huai'an, Tianjin to beijing along the canal, and can feel as if the real ship is moving, appreciate the real boat swaying feeling.
"Stepping out of this sand spaceship and onto deck, the combination of 16 ring projections and 6 water projections creates a huge digital virtual space and brings a very good immersive experience to the audience." Zheng Jing believes that the museum is based on historical relics and physical objects, even if it is a digital display, his core should also be based on the content itself. If you ignore the "object" characteristics of the museum and only emphasize the advantages of digital technology, all options will become the case of "waterless source".
According to | Chengdu Media Group
Edit | Mauri
Review | Bi Yongqiang, Jiang Linxiu, Zhou Ping
Producer | Zhang et al