黄孙权博士 教授兼所長| 网络社会实验室
Prof. Huang Sun Quan /Laboratory for Network Society

以资讯技术，流动空间与实体空间的生产力分析为主，专注新技术带来的社会动员，文化认同，经济模式与城市创新的转变。包含了两个领域的深入，对于社会创新（游戏科幻，黑客与创客文化，众筹与众包的社会性网络，云计算，大数据）与城市发展（创意工业，另类经济，城乡发展，社区营造，地方创生、平台合作主義等），培养学生掌握空间生产意义上的社会性都市论（societal urbanism）。

The laboratory for network society is focused on information technology, flowing space, and spatial entity as a means of production analysis. The advent of new technology has brought about shifts in social mobilization, cultural identity, economic models, and urban innovation. This research is invested in two main fields: 1. Social innovation, Sci-fi gaming, hacker and maker culture, crowdfunding and crowd sourcing, Cloud computing, big data. 2.Urban development, innovative industry, alternative economics, urban -rural development, social mobilization, as well as cooperative systematics. With the hope that through the extensive reading and practicing in these vast fields, students may grasp the meaning of production of space holds in the societal urbanism and platform cooperativism in  China context.

许煜博士 客座研究員 | 器道﹕批判技术与哲学实验室
Dr. Yuk Hui / Qi Tao: Laboratory for critical technology and philosophy

实验室主要的研究在於从哲学丶美学来理解当前的技术发展，重时重新思考科技在中国当前的意义。除了会培养学生对技术问题的兴趣以及研究之外，同时促进中国美术学院与国际学术界的交流，举办工作坊丶研讨会丶出版计划，与世界各地的新媒体实验室以及院内其他实验室在技术开放和应用上进行合作，例如软件研究丶算法研究丶社交网络研究丶影像逻辑研究等。

实验室内现进行的具体项目﹕重新定向非物质（Re-orienting Les Immatériaux）。这个项目希望以法国哲学家李欧塔（Jean-François Lyotard）一九八五年在法国蓬皮度中心的展覧非物质（Les Immatériaux）为切入点来思考美学、数码技术与后现代在中国的历史意义，以及如何系统性地回应这个重要问题。“非物质”展覧宣告了数码技术的来临（虽然当时“数码”一词还不流行），这种新物质李欧塔称之为“非物质”，它同时具体地从展示了李欧塔在一九七九年写的“后现代状况”，以及欧洲已经做好准备告别漫长的现代性。三十年之后这个由数码通讯所摧生的“非物质”带了甚么新的状况，特别是在欧洲以外被认为没有经历现代性但已进了后现代的国家，如中国？二千年在北京有一个回应展题为“后物质-当代艺术家解读日常生活”，二零零二年在巴黎的卡地亚当代艺术基金会（Fondation Cartier），理论家Paul Virilio也许策略了“发生了甚么？”（ ce qui arrive?）作为回应。非物质展不单是个美学（例如李欧塔对康德的第三批判的阅读）、策展史的问题，而且更重要的是如何消化与数码技术同时发生的“后现代性”的问题。“重新定向非物质”里的定向﹣英文的Orientation，来自Orient（东方）的意思，Re-orienting非物质，也是重新审视东方的传统技术问题以及如何重新定向。这个项目已得到巴黎蓬皮度中心、法国的INHA（法国国家艺术史研究所）的支持。

The Laboratory’s main area of research revolves around understanding modern technological development via aesthetics, while simultaneously re-evaluating the significance of technology in China’s present context. Apart from cultivating students’ interest in technology and encouraging further research, the Laboratory also promotes exchanges between The China Academy of Art and the International Academic world by conducting workshops, discussions, project publications, and collaborations between new media labs from both in and outside of the school. Fields of research range from the studying programs and algorithms to dynamic image making.

Projects currently taking place at the laboratory :The re-orientation of immateriality（Re-orienting Les Immatériaux）This project hopes to utilize French philosopher Jean-François Lyotard’s exhibition Les Immatériaux as a means of evaluating aesthetics, digital techniques, and postmodernism’s historical significance in China as well as finding ways to systematically address these issues. The exhibition of Les Immatériaux announced the arrival of digital technology(Though at the time the term “digital” was not a household term). A new form of material Leotard referred to as Les Immatériaux which was revealed in 1979 when Lyotard wrote “The Condition of Postmodernity” , showing that Europe was ready to leave behind modernity. What has occurred in the past thirty years after the induced birth of Les Immatériaux? A term originally brought about by digital communication. What does it mean for countries outside of Europe such as China? Countries who have yet to experience modernity, but find themselves in a post-modern state.

In the year 2000 there was an exhibition titled “Post-material: Interpretations of everyday life by contemporary Chinese artists” In 2002 at the Foundation Cartier pour l’art contemporain in Paris, theoretician Paul Virillio perhaps utilized “What happened?”（ ce qui arrive?） as a way to respond to the exhibition in Beijing. The exhibition “Immateriality” did not only touch on an issue of aesthetics (i.e. Lyotard’s reading of Kant’s Third Critique) and curatorial history, but more importantly so raised the subject of how to approach understanding the changes in digital technology during the Post-modern period.“The re-orientation of immateriality”. The word Re-orientation in this context emphasizes the oriental aspect , and the re-evaluation of the role critical technology and philosophy play in the east. This project has gained the approval of the Centre Georges Pompidou in paris, and France’s INHA (institut national de recherche en informatique et en automatique).

范凌博士 客座研究員| 数位人文理论实践室
Dr. Fang Ling / Theory Lab for Digital Humanities

数字人文一方面研究新媒体和信息技术对文化、社会和人的影响；另一方面运用这些技术研究和追问文化、社会、历史和人的问题。与传统人文学科的工作方式不同，“实验室”的模式强调把每个研究问题落实到具体的项目计划（Project），并通过实验的方式来建构人文和数字的关联，这个关联既可以是发现（已有的），也可以是设计（未来的）。

Digital Humanities studies the cultural and social impact of new media and information technologies, as well as creates and applies these technologies to interrogate cultural, social, historical questions. Different from traditional humanities research approach, a lab format attempts to conduct research based on project, in which the connection between digital and humanities can be discovered, tested, or even designed.

李士杰 客座研究員| 物件社会与自然实验室
Le Shih Chieh / Laboratory of Objects, the Social and the Nature Experiment

本实验室关注从数位典藏（digital archives）以降，于汇整物件、社会（the Social）与自然（the Natural）的三重构现实之创新方法。重新检视网络社会现象，佐以物件、社会与自然的创新观点，并且寻求媒介与呈现的新互动模式。透过全球数位文化社群与数位人文学、数位典藏学科暨实践领域的对话，策划一系列的黑客松与工作坊，来建立新的行动模型。

The Laboratory of Objects, the Social and the Nature Experiment is focused on the arrival of Digital archives, and the creative method which incorporates the object, the social and the natural together forming the “Tri-structured reality”. Utilizing the object, the social and the natural innovative perspective to reevaluate the phenomena of social networking. As well as searching for a new interactive model that combines medium and presentation. Establishing dialogues through the Global community of digital culture between digital humanities and digital archival studies by organizing a series of hackathons and workshops in the hopes developing a new operative model.

李振华 客座研究員| 北京媒体艺术实验室
Li Zhenhua / Laboratory Art Beijing

北京艺术实验室成立于2006年，主旨发生了几次位移，第一次出现在2008年前后，北京艺术实验室，将针对整合媒体艺术和科学领域的愿望转化为，更贴近媒体作为一个大范围文化动向的研究工作，如翻译和整理了一些国际文本，后委托高飞、翁志娟、管盛盛进行的杭州调查、上海调查和纪录片调查，这些工作通过具体访问这些地区的艺术家，和基于媒体艺术领域的个体，试图发现媒体艺术在中国，关于教育、地区情况和媒介地缘的关系。北京艺术实验室，将在2015年10月再次正式对外开放，展出自2006年以来收集的媒体艺术作品，和基于媒体艺术思考的工作。

Laboratory Art Beijing was set up in 2006. Changes in the general tenor have happened since the lab’s formation. The first took place around 2008, when the lab changed its direction from “combining fields of media art and science” to “Media as means of researching trends in popular culture”. The lab contacted translation and edition of foreign texts, and entrusted Gao Fei, Weng Zhijuan, Guan Shengsheng to conduct investigations and film documentaries in the HangZhou and ShangHai area. The Lab hopes that by interviewing local artists to gain an overview of the multi-media art domain in China and establish a connection between education and the local situation along with its regional characteristics. The Laboratory Art Beijing will have another exhibition that will be open to the public in October 2015, exhibiting intermedia art works collected since the foundation of the lab in 2006, as well as reflections on intermedia based artwork.

助理研究员 Assistant Reachers

卢瑞洋｜中国美术学院跨媒体艺术学院 当代社会思想与策展研究 硕士
叶薇 ｜中国美术学院跨媒体艺术学院 当代社会思想与策展研究 硕士
張騁｜东南大学建筑学院 建筑历史与理论专业 博士生
王杜若｜Dutch Art Institute（DAI Roaming Academy）, ArtEz University of the Arts 碩士