此次人文学研究大会9月18日下午拉开序幕。人文艺术与自然动物的连结或许在自然之初早已谱写完毕，生命之树从远古的有机体中发芽、生枝、蔓延，人类是其中微小的分叉，但与一切存在过的生命互通，就像Carlos Rojas教授在开幕式上所提到的“成为人类究竟意味着什么，人在某种程度上有变成动物的能力”。世界的概念、人类的起源，科学技术的发展一直在指引我们探寻着人类存在的根本。大会中令我印象最深刻的是在IB1056教室开展的小组讨论会，Oran Catts教授将人文艺术与生命联结，用生命组织书写故事，“当生物学成为工程上的追求，生命成为原材料。在未来我们将见证可以自我组装，自我修复并执行不同功能的智能材料。它们中的部分会脱离我们的管束，蜕变为杂草或是害虫。这就是新型生态学的世界。”当生物变为新材料、构建工程，semi-living（半活状态）裹挟着神秘与新奇冲撞着人类对生命控制的欲望。但人类并不能自私地认为自己站立于食物链的顶端，企图掌握一切自然生灵的命运舵轮。Oran Catts教授用独特而永恒的艺术方式引导人们关注人与自然的关系，这种关系不是控制，而是和谐尊重。用生命创造艺术，并用艺术来强调生命的力量。我们需要去理解生命，而非控制生命。
郭一柯（2024）：在听演讲之前，我认为所谓生命仅仅是动物植物微生物，然而这次演讲让我开始重新思考生命的定义：我们究竟应不应该像对待生命一样对待extended body（广延物体），以及如何处理生命与非生命的关系。作为biology art（生物艺术）的“鼻祖”，Catts教授对于extended body有着非凡的见解。在讨论中，他非常耐心地倾听我们的提问，并且给予详细的回答。Catts的讲座为我打开了一扇通向biology art的大门， 通过艺术来展现生物的魅力，也是一种精神的愉悦与享受。
Continue reading “2020秋季学期人文学研究大会小结”
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Learn how you can participate in research programs led by the Humanities Research Center. These include our Kunshan Digital Humanities program, our Planetary Ethics and Artificial Intelligence Lab, and other labs and activities. The Humanities Research Center is open to students in all disciplines across the university. Students will gain valuable research experience, work closely with faculty mentors, and can receive funding to carry out projects related to their signature works.
Recently, the three co-directors of the Third Space Lab presented at SIETAR USA to discuss the adaptations of their lab (its research agenda, workshops, training of research assistants, etc.) to the online context, in a session entitled Fostering Perspective Transformation in Third Spaces in Virtual Settings.
International education took an undeniable hit with Covid-19 and its consequences on mobility. While many institutions contemplate the possibility of offering in-person courses, others are reflecting on hybrid models or fully online programs to welcome their students this fall. A consequence of the situation is that pre-departure programs for study abroad sojourns and orientation for international freshmen, when not simply canceled, saw themselves reduced to the bare minimum. Rooted in the interventionist paradigm, which challenges the “immersion myth” that simply being abroad leads to positive intercultural growth and other deep changes, this Ned Talk addresses the virtual adaptations to interventions developed by a humanities research lab, the Third Space Lab(TSL) at a Sino-American higher education institution.
In light of uncertainty regarding study abroad semester for Chinese and international juniors to go to the US, as well as the arrival of incoming freshmen on campus in China, the Third Space Lab moved online to optimize students’ intercultural experiences by offering a series of online workshops, a series of online guest lectures, cultural events, and other resources for various cohorts of students. The virtual workshops address a series of topics including (1) learning about the host culture by creating their own research projects abroad, (2) learning how to reflect, (3) learning strategies for meaningful intercultural encounters, and (4) learning strategies for managing conflict experienced in their intercultural encounters. Guest lectures and cultural events showcase translingual and multicultural Third Spaces stories and encourage students to reflect on their own international education experience in cultural hybridity.
Showcasing TSL’s various virtual events, this Ned Talk addressed the conceptual and practical applications of Transformative Learning via intercultural sensitivity and Third Space personae development principles, as well as via conflict resolution.
For more information about these adaptations, you can watch the recording here:
By Hao Yongbo
Water Pavilion（湖心亭）, 2020/10/13, 8PM
- SELF-PORTRAIT: WINDOW IN 47KM
By Zhang Mengqi
Water Pavilion（湖心亭）, 2020/10/14, 8PM
PERFORMATIVE SCREENING EVENT
Water Pavilion（湖心亭）, 2020/10/15, 8:30PM
Background – The Memory Project
Chinese Documentary filmmaker Wu Wenguang launched The Memory Project in 2010 to collect oral histories from survivors of the Great Famine (1958-1961) in rural China. Since 2010, several young filmmakers have joined the project. They have been to 246 villages in 20 provinces and interviewed more than 1,220 elderly villagers. The Memory Project aims to shine light on one of modern China’s most traumatic episodes, the Great Famine of 1958-1961. The project also covers Great Leap Forward of 1958-1960, Land Reform and Collectivization of 1949-1953, the Four Cleanups Movement in 1964 and the Cultural Revolution of 1966-1976. The amateur filmmakers from Wu’s studio discovered their family histories and identities in the process of interviewing the villagers, reconciling the official history taught in schools with each family’s experience.