The scene of Rembrandt's Night Watch is actually daytime? Dürer's signature on each painting must be lived? Where did the Mona Lisa's eyebrows go? The girl with the pearl earring wore the earrings that were not made of pearls? Can the people in The School of Athens be matched with real people from the ancient Greek period? Would you rather wait for two years for a painting than use a live photograph for a royal wedding?
Recently, Lu Chen, a humanities science writer, has published a new book on art science popularization, "Stop and Don't Move, Zoom In", which was produced by Yangtze River New Century and published by Hebei Education Publishing House. Using art history as an incision, Lu Chen used witty language to explain in detail more than 100 unknown details in nearly 120 artworks from the perspective of public interest, revealing the creative process and artistic achievements of 15 art masters.
Recently, "high-definition images are a gift to art history in this era - Lu Chen's new book "Stop and Don't Move, Zoom In" Readers' Meeting was held in Beijing. Lu Chen and Ding Yiteng, a leading young theater director, had a dialogue from the cross-border perspective of art and drama.
The scene of the "Stop and Don't Move, Zoom In" readers' meeting
Learn from the short video and then influence the audience who are influenced by the short video
In the information age, we are surrounded by a large number of fragmented videos every day, and most of the knowledge and information we receive are scattered and fleeting, which makes it difficult for us to systematize our knowledge input. Lv Chen and Ding Yiteng, as creators, when the host asked about their respective attitudes towards the prevalence of short videos, Lv Chen said: "When creating short videos, you can go to popular science, but you can't lose the rigor of your own scientific research, it is your passive skill that you have exercised in the field of scientific research, and you can't throw it away." ”
Lu Chen introduced that he recently added a new series to the short video, in order to show everyone the clearest picture and the most first-hand raw materials. Because he believes that in this world, there are barriers to our retrieval, and the cost of learning is very high, and those high-definition pictures are not as searchable on the Internet as everyone thinks. Most of the high-definition images that he can't see in his daily life are obtained by contacting various museums through the resources of his field over the years. Therefore, there is the book "Stop and Don't Move, Zoom In".
"Stop and Don't Move, Zoom In" book cover
Ding Yiteng believes that the theater art he has been committed to is a game with short videos, and on the whole, movies, TV series, including theater are not as influential as short videos, so his point of view is to learn from short videos, analyze it, and then combine their own ways to influence the audience affected by short videos. At the same time, he emphasized that he learned some new ideas and logic in Lu Chen's short videos, such as editing techniques, such as some brisk rhythms, which affect drama and theater art all the time.
"Whether it's art history in the East and the West, or theater, it's more or less difficult for the general public to understand, and our research is to let more people understand what the coterie or the niche has been doing. Therefore, in this era of short videos, we will also speed up the pace of dramatic expression to cater to the needs of the public to a certain extent. Ding Yiteng said.
As an important factor in the Internet era, "traffic" has almost equated with "money". Regarding this phenomenon, Lu Chen said: "When I was the president of the Photography Society at Peking University, my classmates and I always followed the idea that when you create something, you must first know who you are creating for, and if it is for yourself, you can do it however you want. If one day you suddenly find that you are creating for someone else and you need to satisfy someone else, that may be the first step on your way out. And then after you can meet the needs of many people, you can turn back and meet your own needs, which may be a level of 'seeing mountains and mountains, and seeing mountains and mountains'. I think I value myself the most, but 'self' is in quotation marks, because I have made a lot of compromises in the works I am making now, or I am willing to have a good communication with the public and the audience, and my mentality has been adjusted very well, and I think these are very important, and I can't lose myself. ”
Ding Yiteng agreed with Lu Chen's statement, he said: "I think it's more about sticking to it, when there is really big capital pouring towards you, you have to be firm in your own style, don't lose yourself." For example, the 'new program' I proposed is a combination of Chinese and Western, ancient and modern, which is something I like and should do for my generation. I'm more than happy to serve the content, serve the audience, as long as it doesn't infringe on my bottom line. In the face of all kinds of voices and all kinds of capital and market evaluations, our hearts should become more and more tenacious, more rational, and more resilient. ”
Wu-yi-hsien
"I'm a fan of realism"
In the new media era, the concept of realism has become much more than a single style of "critical realism", and both guests have a new interpretation of this concept.
Ding Yiteng believes that the current realism has the charm of surrealism in the concept of aesthetics, but in fact, it is not as realistic as we think, whether it is magical realism, poetic realism, or "new program", the word "realism" is no longer a simple realistic concept.
Lu Chen also used drama as an example, saying: "Before the invention of photography in 1839, when people wanted to convey a dynamic thing, a dynamic thought or an action, they could only let more people know through drama. How we should use this kind of thing to express the world is different from expressing ideals and expressing reality. "I'm not a seeker of realism, but I'm a seeker of realism," he stressed. ”
Lu Chen's analysis of images in "Stop, Don't Move, Zoom In" also involves the artistic expression of surrealism and surrealism. In the chapter "Show Off, I Have to Paint Inside", which is very "waist teacher" style, he shows Gisbretz's famous works. Unlike Dalí's surrealist works, Gisbritz "In the early days, his paintings only depicted something very realistic, looking like real things, which we describe today as 3D." "It is precisely because of talents like him that there is more interesting content in art history. I'm not afraid that the artist will do more, I'm afraid that the artist will have no ideas, no ideas. ”
Speaking of high-definition images, recent netizens have taken recent photos of Princess Kate with "Sherlock Holmes per capita", and they continue to zoom in to see the details, and they also seem to analyze some clues.
Lu Chen pointed out that the cost of image production is a huge gap in our understanding of an era. Photography has made the cost of image production lower once, and AI has made the cost of image production extremely low, but it is still in the dimension of decreasing, it is not the direction of transformation. The importance of AI is much lower than that of the advent of photography, and it is not easy to become an environment that affects the entire field.
Ding Yiteng said that theater is a typical art for living people, but he has been making various attempts. In the past 10 years, the theatrical stage has been prevalent in borrowing multimedia video to express itself, until people find that they use too much, and multimedia does not really serve the essence, so they turn to the style of de-video. As for how to integrate AI or these technologies into the theater to express services, we need to ponder, but also be calm. After all, everything in the theater is to serve the spirit, to serve the expression.