邀请作品
中国可视化与可视分析大会艺术项目(China VISAP) 每年邀请艺术可视化领域创新，独特及有影响力的作品参加艺术展览。目的是向可视化社区推荐具有思想性和启发性的作品，提供不同文化背景和思维理念的各式呈现，激发灵感，推动交流，促进可视化领域艺术设计作品的创作与创新。围绕今年艺术项目的两个主题：新冠状病毒疫情和文化遗产，我们邀请了六位国内外艺术家的作品参加展览。他们的作品形式包括信息海报，交互网页，虚拟现实装置，数字雕塑和机织毯等； 作品理念反应了艺术家设计师在疫情中对社会，人文和生命的思考，以及在文化传承方向的探索和努力。
作者：Weidi Zhang / Donghao Ren
形式：VR Installation
时间：2020
Humans and machines are in constant conversations. Humans start the dialogue by using programming languages that will be compiled to binary digits that machines can interpret. However, Intelligent machines today are not only observers of the world, but they also make their own decisions. If A.I imitates human beings to create a symbolic system to communicate based on their own understandings of the universe and start to actively interact with us, how will this recontextualize and redefine our coexistence in this intertwined reality? This VR project provides an immersive exploration in semantic human-machine reality generated by an intelligent system in real-time through perceiving the real-world via a camera [located in the exhibition space]. Inspired by Cangjie, an ancient Chinese legendary historian (c.2650 BCE), invented Chinese characters based on the characteristics of everything on the earth, we trained a neural network that we call Cangjie, to learn the constructions and principles of over 9000 Chinese characters. It perceives the surroundings and transforms it into a collage of unique symbols made of Chinese strokes. The symbols produced through the lens of Cangjie, tangled with the imagery captured by the camera are visualized algorithmically as abstract pixelated semiotics, continuously evolving and compositing an ever-changing poetic virtual reality. Cangjie is not only a conceptual response to the tension and fragility in the coexistence of humans and machines but also an artistic imagination of our future language in this artificial intelligent era.
作者：龙娟娟 / 朱钧霖 / 周薇 / 何思渊 / 刘俊暐 / 郭宇晨 / 方含 / 王瑞
形式：交互网页http://www.flowingboundary.com/
时间：2020
人口、资源、信息、情感等的“流动”意义，与种族、权利、机制、意识等的“边界”问题，在新冠疫情的特殊语境下，呈现出更为错综复杂的情形。《流动的边界》运用可视化方式记录此次新冠重大疫情的不同维度数据，并用互动叙事的网页形式和隐喻修辞的视觉语言对“流动的边界”进行探讨，包含“尘埃”、“灯火”、“泪雨”、“春华”四个版块。作品尝试用艺术语言对疫情数据进行处理，打破大众对数据冷静、中立、准确的刻板印象，展开对沉浸式数据叙事体验的可视化探索。
作者：吕妍 / 孔家兴 / 陈良贤 / 王亚赛
形式：H5
时间：2020
以三维可视化的表达形式，还原了全球新冠肺炎死亡人数突破100万的历程。结合中国水墨画，以山为意向，但这并不是真的水墨山川，而是死亡叠起的峰峦。将全球200多个国家和地区的每日死亡人数可视化出来。“横看成岭侧成峰”，通过不同角度的切换，使繁多的数据在不同的面向呈现不同的维度。交互体验流畅，紧扣节点，是澎湃新闻三维交互可视化的一次积极突破。
作者：Errea Comunicación
形式：Digital Prints
时间：2020
March 14, 2020 Spain Government declared emergency. Many companies then decided to transform their operations and help. How could we add some value and support from a visual journalistic perspective? Errea Comunicación is a small communication and design studio based in Pamplona, northern Spain, with a long background of 15 years and deep roots in design and infographics fields. We have designed or redesigned more than 100 dailies and magazines (www.erreacomunicacion.com) in the five continents. Among them, The Independent in London, Libération in Paris, Expresso and Jornal i in Lisbon, Dagens Nyheter in Stockholm, La Nación in Buenos Aires, Malayala Manorama in India, Al Bayan in Dubai… I am currently the President of the Society for News Design Spain and SND Director for Mediterranean Europe... We wanted to tell the story, what was going on inside our houses. How we all were living and feeling. How much lives were changing? How we spent time. Etc. We are all Journalism graduates at our studio. Our heart is strongly journalistic. So that we finally decided to offer a daily visual column to the main regional paper in our home city. For free. It was the way to contribute and face the pandemic. It was not an ordinary text column, but a data-viz column. Based on the rigor and clarity of infographics, we created a 2 column wide, 375 cm high, fixed format, column from scratch. It was a collaborative project, five people working under the daily pressure of deadline, including weekends and Easter holidays. No rest during 53 consecutive days. A big challenge for us. Pure journalism. Feedback from readers and colleagues was positive from the very beginning. Staffers in the newsroom were happy. We felt proud. After all, the Quarantine Visual Diary has been awarded as best project of the year in our region and now we want it to be printed in a real size and format book.
作者：Phillip David Stearns
形式：Woven Blankets
时间：2020
This is in response to rising domestic violence resulting from mandatory stay-at-home orders issued during the pandemic’s first wave in the United States and around the globe. Restrictions are easing; however, experts warn of a second wave or multiple waves of infections, with the possibility of lockdowns recurring in the future. Additionally, the record rise in unemployment is keeping many more people at home and in potentially dangerous situations. This collection is meant to raise awareness of the impacts of the pandemic as well as to support and provide hope to those who have been impacted by it. Emblazoning a woven blanket with the DNA of a virus evokes the horrifying association between blankets and acts of genocide committed by North American colonists against Native Americans. The gesture is not one taken lightly as the comparisons between COVID-19 and the smallpox epidemic have already been made. Native American Tribes are suffering disproportionately from COVID-19 and domestic violence, two interlinked crises that stem from a long history of injustice. Designs for the collection are created by visualizing the SARS-CoV-2 virus genome using custom software written by Phillip David Stearns. Researchers racing to develop vaccines and treatments are targeting the sections of genetic code featured in this collection. The nucleotides—A, T, G, C—that make up the virus's genome are mapped to different palettes of 64 colors. Each line and pixel are colored to represent a triplet of nucleotides (i.e. AAG or GTC). Glitch processes are applied to basic linear and mosaic forms to warp, distort, and disrupt the information as a visual metaphor for molecular processes we all hope will yield treatments if not a cure.
作者：Clarissa Ribeiro
形式：Digital Sculpture
时间：2020
The work “If You Hold the Stone Hold It in Your Hand” (2020) consists of a series of 7 (seven) data-driven sculptures algorithmically generated using data from the World Health Organization referring to the number of cases per country of covid19 – selected here the 7 countries with the highest number of cases – United States, Russia, Brazil, United Kingdom, Spain, Italy and France. WHO Coronavirus Disease (COVID-19) Dashboard online data is the numerical entry that generates a cloud of points in Rhino6 environment having as the limiting box the geometry of a human hand. From the points population series of superposed surfaces are generated and converted into meshes that, inflated, emerge as geometric intricate contaminations in the base geometry of the hand, overflowing the numerical skin. The aggressive geometry breaks the subtlety of the gesture – an impossible hands-holding. The impossibility of touching, the invisible danger of the presence of a virus on the hands surface – the need of social distancing; the presence of potentially sick bodies. The work speaks of the fear of the invisible, the unknown, intangible but potentially deadly. The work was presented as a talk and live tour in ARS ELECTRONICA IN KEPLER'S GARDENS 2020 as part of the UCLA Art|Sci Center and Botanical Gardens “Telluric Vibrations” https://ars.electronica.art/keplersgardens/en/tour-if-you-hold-the-stone/ . The work will be presented in a session on Data Visualization at 2020 SIIMI - International Symposium on Innovation in Interactive Media, on October 2020 in Brazil. For ChinaVis 2020 Arts Program, at the China Visualization and Visual Analytics Conference, printed versions of rendered images generated from each one of the 7 data-sculptures will be on show.