Expert Artists from Both Sides of the Taiwan Straits, Hong Kong and Macao Answering the Questions of Literature and Art in the Era of the Omnimedia
Art Exchange VOL.Art Exchange|Zhang Yameng, Yang Yang

Expert Artists from Both Sides of the Taiwan Straits, Hong Kong and Macao Answering the Questions of Literature and Art in the Era of the Omnimedia
——Record the 11th Cross-Straits and Hong Kong and Macao Regional Art Forum
The photo of guests and experts on ceremony

The site of opening ceremony

The site of panel discussion

  The Vice President of CFLAC Li Yi and Wu Zhiliang,Wang Yingwei,Wang Jilong open the crystal ball, unveiling forum.

The site of panel disalssion
  "We have grown up in agricultural civilization, feeling its warmth and conservatism, simplicity and perseverance. We are also struggling in the waves of modernization, resulting in winning a place to live in industrial civilization. However, as we can just take a breath at the moment of the tone, the information age, the network society, and the AI century are coming." Taiwan writer Yang Du feels the "sensation" of people who have lived through the era of agricultural, industrial and post-industrial times of omnimedia.
  By December 2018, the number of Chinese netizens reached 829 million, and mobile Internet users approached 817 million – at the presence of the omnimedia era of "everything is media", from June 11th to 12th, the 11th Cross-Straits, Hong Kong and Macao Regional Art Forum, theming "Art and Literature in the Age of Omnimedia", hosted by CFLAC and Macao Foundation, invited experts and scholars from both sides of the Straits, Hong Kong and Macao to answer questions about literature and art in this particular era.
  The era of the omnimedia has been unprepared. As if in an overnight, "communication" is no longer exclusive to paper, radio and television. The great power of the Internet has made the definition of "media" lose its borders, and also unlimited to unilateral information release, but provided interactive communication in multiple ways. "The omnimedia will definitely bring downwards to literature and art," said Meng Man, professor at the School of History and Culture of the Minzu University of China.
  The integration of literature and the omnimedia is very typical. Today, the Chinese online literature has been able to compete with American Hollywood, Japanese anime and Korean TV dramas as the four major cultural phenomena in the world today. "In the past, we watched Korean dramas and Japanese comics. Now Americans are beginning to watch our online serial literature, because the carriers are different: everyone has a mobile phone, and the novel is uploaded to the Internet for one minute, resulting in, perhaps, tens of thousands of readers."Huang Wei, a network writer, believes that "one could read books when there are plenty of food", it is also the material basis for the dramatic changes in the literary and artistic ecology of the omnimedia era. In the two sides of the Straits, Hong Kong and Macao, the use of e-books, e-magazines and other new media has been battling with the existing publishing model, and even become an independent publication incubation base in the Chinese region.
  According to Lv Zhipeng, a Macao cultural worker, the "Macao Literature" series launched by the city in 2013 combines a variety of different art forms: sand painting, video, music and literature reading... forming a multimedia literary film "Emerald Dream"; In 2017, Lotus TV organized "Reading Macao" in the cultural buildings, such as Dom Pedro V Theatre. Through the various art forms, like reading, poetry, prose, music, art, dance, film and television, it combines the beauty of sound and painting to spread and display Macao's multicultural traits. Rai Mutsu, a Macao writer also said that the members of the Macao PEN Club have held exhibitions related to photography and poetry for many timesin the past ten years. The novels of the writers, such as Ji Ran, Li Er and Li Yuliang, "Metamorphosis in the Darkness" "Colorful Fairy Tales" "Fairy Tale of the Chaotic World" have been adapted into the stage works. Rai Mutsu and Cheang Mio San's poems were quoted in the "Travel of the Story · Macao" of Portuguese Southern Theatre Company, openingthe way for the use and transformation of Macao literature in other art forms.
  Literature uses other art media to obtain the continuation of life, and the omnimedia realizes the expansion of literature for the audience. The audio information platform, such as Himalayan relies on the fragmentation time, eagerness to liberate the five senses, low cost and high efficiency, and concomitance of users in such era, has been greatly developed in this era. According to Zhou Xiaohan, vice president and editor-in-chief of Himalayan, 70% of users will listen to audio books on this platform. "From two hours to three hours, it represents, in such Internet environment, that users, the readers' desire for literature and art. From this perspective, it is so exciting," she said.
  "The largest advantage of the omnimedia is that there is no limit to interaction, communication and interaction are everywhere. Everyone can become an artist, recipient and critic. The relationship between comics and the public is very close. It's easy to establish and implement interactions." Li Chen, a professor and painter of Lu Xun Academy of Fine Arts, began to make shelf comic strips in 2010 as he presented the comic strips on the shelf. With the advantages of the frame, it could more deeply convey the perception and feeling of life and solve the artist's use to express the spiritual character of the object. "The comic strip stepping into the exhibiting hall not only enhances the coverage of communication, but also realizes the interactive experience that comes with the spread of the omnimedia." Li Chen said.
  Lv Zhipeng believes that the era of the omnimedia can be regarded as an era in which the recipients change from elites to the masses, which is difficult to avoid fragmentation in literature and art. Therefore, short space, straightforward language and life-orientation will be the trend. "Internet, and literature and art are a very interesting pair of friends. Literature and art have appeared at the beginning of human civilization. The Internet is the product of the great period of human science and technology. One is everlasting new, the other is newly-appeared with dynamic strength. And when the network develops to 4G today, as we are about to enter the 5G era, we preserve that they are inseparable, presenting a brand-new look." Zhou Xiaohan said.
  "When we unconsciously participate in the appreciation process of literary and artistic works, big data will be fed back, and the horrible phenomena about absolute readers/audience orientation is that people who lack thinking will be manipulated – audience participation becomes the manipulation of the audience." At the moment, Xu Anhua is directing the film "First Incense", but it was called the "First Furnace Steel" by the netizens due to the male and female protagonists selection, Xu Anhua must give the performers more psychological guidance during the shooting process. Xu Zidong, a professor at Lingnan University in Hong Kong, takes this example to show that when literary and art workers have not yet completed their work, the online masses may have participated in the creative process.
  When composing "The First Building of the World", He Jiping was" the people looking for information": she went to the courtyards located to Beijing's east, west, north and south to visit different people; in the deserted small alley of Beijing's southern city, she found the authentic three-generation descendant of Roast Duck, Tian Wenkuan, who brought He Jiping into the Quanjude Roast Duck Restaurant, and she began to experience life in the kitchen. The "life experience" in front of the oven has opened a fascinating new world for her. In order to understand the "spoken words" amongst chefs, she went to study cooking and also claimed the second-class chef certificate. In today's era of "information targeting people", she and Xu Anhua read the three-meter-thick materials to create "The Moonlight", "Many people was most moved by Tony Leung Ka Fai in the movie and - most of the guerrillas of the year are gone, the few sporadic people left were the 'little ones' who were in their teens. Now they are ordinary people who drive taxis or do trade. They live in the crowded narrow streets of Hong Kong. They used to be great icons in the past, but they hid their identities without any complaints, one sentence 'we all have to eat!' is the exact mentality" - too much material, He Jiping eventually has to return to the characters, and be attracted by them to select some real events and characters, focusing, changing, adding, highlighting and re-organizing the relationship between characters and reshaping their characters. "The golden age of my creation is precisely the period when publishing is booming and the picturemaking industry is in the ascendant. It is the warm-up period before the arrival of the omnimedia." Li Chen believes that the hand-painted comic strip involves a new cognition of realism, integrating the creative spirit of traditional comic strips into the cutting and transformation of new social life, and making handpainted comic strips, a traditional form of painting, as it retains the natural, unrepeatable hand-made plastic marks, continuously refresh the visual experience, and thus maintain the vivid and lively artistic vitality in the era of art globalization and diversity of visual art image brought by economic globalization. It comes from the slow life era, but also from the most real life, so it can still touch the softest corners of people's hearts nowadays, and therefore it is most precious.
  "In the era of omnimedia, the spread of words is not an insurmountable technical problem. The breadth of influence can be easily obtained by the sensational headline writings. However, the depth of creation ultimately determines the durability of the work." Yuan Shaoshan, director of the Macau PEN Association said. Zhou Xiaohan believes, in the era of content domination, the literary and art workers do not have to reject or fear the arrival of the Internet. Both sides need "Two Minds": conscience, ingenuity, awe, and sincerity and goodwill. "Perhaps as the artists tend to not consider readers in their creations, the more likely they are forgotten in history." Xu Zidong said.
"The constant change is our normality. Wandering is our residence." Yang Du said that because of living in the age of great changes, we can compare the difference between agricultural and industrial civilizations, the relationship between the network age and traditional civilization, we can experience the pain and joy, loneliness and jealousy, courage and fragility, human nature and profoundness of human heart.
  Experts' Opinions

Meng Man (Professor, School of History and Culture, Minzu University of China)
A Poet Standing under Each Plum Tree
  When I was a child, behind all the literary and artistic creations stand important people. They created great works, thoughts, feelings, aesthetics, and everythings. 
  At that time, we couldn't imagine that there would be Internet literature that everyone can participate in, a self-media that everyone can post, comments like a barrage, and authors changing the literary creation of the work according to the reader's real-time comments. Therefore, literary and artistic art is indeed "moving down" - from the creation and appreciation of the original elite to that of the masses, "moving down" can broaden horizons and emotions.
  Omnimedia may make literature and art lose the power of purity, imagination and abstraction. The aesthetics of the Chinese tend to be left-blank, so the aesthetics of literature and art must be left blank, which is the space of imagination. Now the problem of the omnimedia is to fill all the blanks. Does it mean a stronger expression? Sometimes it is not true, and even weakens the expressive power, because the original abstract subjects become concrete, and the virtual become real. This is a very interesting issue. It is an issue worth thinking about as how to leave an imaginary space in the era of omnimedia.
  When literature and art belong to the elite, it has the moral pursuit and value of self-contained " heart for the world and the people", "writings are for conveying truth", but now everyone can speak in this era, resulting in declining of such attributes, it will become a catharsis of pure personal feelings and values.
  The media can cover all, but the individual's heart must be unique, just as Lu You said in the Plum Blossoms , "I want to turn into countless me, a poet standing under each plum tree."

He Jiping (Member of CFLAC National Committee, Council member of China Theatre Association)
Creation in Era of Omnimedia
  The arrival of the omnimedia era is imperative, generating great impact on literature and art, especially film and television. It is crucial to evaluate the development and influence of omnimedia to the film and television industry. As a comprehensive creator involving in film, television, stage and literature, I must adapt to the new trend and make good use of the favorable element for the expansion of literature and art by the omnimedia, and how to comply with the negative impact of the omnimedia on the creation of art and literature.
  Deeply understanding the challenges and opportunities in the era of the omnimedia, comprehensively grasping the trends and laws of the development of media integration, promoting the development of media integration, and make the mainstream public opinion larger and stronger. As a creator of art and literature, I am shouldering a heavy responsibility while wondering what can I do to become a creator who adapts to the new era with spiritual strength.

Lv Zhipeng (Member of China Writers Association, Cultural Worker of Macao)
Development of Macao literature in the era of omnimedia
  The rapid development of the economy, improvement of the life quality, holding a book, sipping a cup of tea, such life is not a petty bourgeoisie, but has actually fallen to the lives of ordinary people. Mobile phones, computers, iPads, movies, video games, TV shows, Facebook, Wechat, and some of the patterns we already know are disintegrating the patterns of learning in the past. How many more people are reading on paper today? We should know that this does not represent the decline of literature, but rather the adjustment of the form of literary communication. Just as the human literature changed from language communication to text communication in the past, the creators of the future cannot avoid from being related to the omnimedia, which is a step that must be experienced by the new generation of writers.

Yang Du (Chairman of the Taiwan" China New Culture Development Association", Writer)
There are still many stories in our time waiting to be said
  Modernization has two main characteristics: industrialization and urbanization. If in a hundred years, the population is slowly concentrated in the city, a modernization may be able to build. But in a dozen or twenty years, the population has doubled or tripled. How can urban traffic, medical care, education, housing and food supply be loaded? Traffic congestion, medical disputes, real estate bubbles, social conflicts and etc. in Taipei in the 1980s all originated from this.
  However, it is through the reflection of writing that I have found the power of redemption, as our generation is witnessing the pain of the transition from agricultural civilization to industrial civilization. In this process, the changes in human nature are so detailed, the pain of the human heart is so quiet, the distortion of value is so fierce, the migration of the population is so large, the structure of society is so drastically changed and the construction of the city is so fast that the old has disappeared and the new has evolved continuously.

Rai Mutsu (Macau Writer, Members of the Macao PEN Club)
Some basic situations of Macao literature communication in the era of omnimedia
  Literature and communication have always been inseparable. How to attract people to read a good book is often a matter that needs to be dealt with in a timely manner after a good book is created and a good author appears. It is difficult for us to employ reading to promote itself. It is impossible to ask anyone who does not read the text to see any publicity that you use in the form of words and literature. To promote writing and literature, what is most needed is always a cross-border and time-interactive approach. Only by attracting those who do not read, the stereotype of literature can be gradually broken.

Zhou Xiaohan (Hiramala Vice President, Editor-in-Chief)
Literature and art in the Internet age
  Many people think that the Internet has fragmented the creation of literature. I think this view is not comprehensive enough. It is not Internet technology that fragments the creation of literature, but returning to the source, people's reading habits nowadays have entered the rhythm of fragmented demand. The current creative production of literature is the same as that of all commodities, shifting from the buyer's market to the seller's, indicating that it is no longer in short supply, but supply exceeding demand. Such an environment also requires literary creators to consider the needs of readers more. As the social rhythm is getting faster and faster, some having no way to conduct deep or long-time reading turn to fragmentation to continue their reading habits.

Gong Gang (Educational Director, Professor of Chinese Department, Nanguo Humanities Research Center, University of Macao)
Development and Innovation of Literature and Art in the Age of Omnimedia——Taking the Formation of New Spiritual Poetry School as an Example
  Since Hu Shi published the On the Improvement of Literature in early 1917, the Chinese modern poetry has passed its 100th birthday. The road that has passed in the past century is both rugged and fruitful. The new poetry generations have been unremittingly exploring, making modern poetry with achievement step by step on the ancient Chinese land, from scratch to existing, and weak to strong. We respect the efforts of our predecessors and draw nutrition from their poetry. Meanwhile, we are also reflecting on the predicament of modern Chinese poetry. Some 100 years have passed, modern poetry has not yet matured due to various historical reasons. There are still such shortcomings with a lot of room for development. Especially in the contemporary era, online poetry flourishes, almost everyone can write poem, also leading to various problems concerning diverse quality, skills and ideas. In this context, the author seeks theoretical support from the poetry theories of ancient and modern China and foreign countries, proposing a new spiritual poetics while seeking practical support from the creation of the "Seven-Swordsmen" poetry.

Winsome Chow (Chief Executive Officer of HKADC)
Current Ecology and Future Orientation: Hong Kong ADC's Role Positioning and Art Promotion Strategy
  The Hong Kong Arts Development Council (HKAD C) was established in 1995. It is the statutory body for the government to formulate a comprehensive development of Hong Kong arts. The role of the ADC includes funding, policy and planning, initiatives, promotion and development, and planning activities.
  The organization is committed to supporting potential arts groups, and besides providing funding for activities to support its operations in terms of 1, 2 or 3 year(s), the "Excellent Artists Group Scheme" will be set up on an independent platform to further enable local professional arts groups and artists to grow brilliantly this year through 5 years of funding. There are also program grants for artists to carry out different types of projects. The recent years witness the growing opportunities for our artists to engage in overseas exchange proograms. The government has also strongly supported the cultural exchanges with the funding of this Council to allow more artists to go out. In order to link the community and encourage private participation, this Council has set up a matching funding scheme to attract more corporate sponsorships and private donations. It will sponsor the arts group with the maximum ratio of "one to one-and-a-half", so as to further promote the development of art.

Li Chen (Painter and professor from Luxun Academy of Fine Arts)
Comic creation in era of omnimedia
  In the omnimedia era, the development opportunities of any art category are equal, and because of this, whether active or passive self-renewal or replacement is promoted by the universal law of art development, comic strips are no exception. The omnimedia offers the possibility of unlimited development and also the risks of being submerged in the vast ocean of art. Therefore, how to make good use of new modes of communication and gain a foothold in the tide of the times are more important than ever.

Yuan Shaoshan (Member of the China Writers Association, Member of the Macau PEN Association)
Border of Migration: Cross-domain Communication of Macao Literature in the Age of Omnimedia
  The uniqueness of Macao literature is not to provide a marginal position to reflect the center of Chinese literature history; it is a delta of multiculturalism--we stand on it and clearly see the winds and flows of the mainland and Hong Kong and Taiwan literature, the collision, aggregation, fusion, precipitation of fertile soil for creation.
  Another unique aspect of Macao literature is that pure literature may develop to such high leval: low draft fees, zero royalties, a small book market, and lack of distribution channels make fulltime writing a fantasy; as there is no sales pressure, independent publishing, with funding from the government in the name of an individual or a community, is very popular and speech is relatively free. Macao writers have excellent conditions and perspectives to take the pure literary approach that does not consider the market, so as to touch on topics or taboos that other Chinese writers pay less attention to.

Pan Lusheng (CFLAC Vice-President, President of China Folk Literature and Art Association, President of shandong University of Art & Design)
Creation of Guangdong, Hong Kong and Macao Greater Bay Area Design Alliance
  In March 2017, the State Council's Government Work Report first proposed: research and develop the urban agglomeration advancement plan of Guangdong, Hong Kong and Macao Greater Bay Area. In July 2017, General Secretary Xi Jinping attended the signing ceremony of the Deepening the Guangdong-Hong Kong-Macao Cooperation and Promoting the Construction of the Greater Bay Area Framework Agreement. In February 2019, the Central Committee of the Communist Party of China and the General Office of the State Council issued the "Outline of the Development Plan for the Greater Bay Area of Guangdong, Hong Kong and Macao".
  Guangdong, Hong Kong and Macao Greater Bay Area enjoys the same cultural roots. Enhancing Chinese cultural identity and creating a sense of Chinese cultural community are the source of innovative development. The complementary needs belong to the whole Greater Bay Area, promoting the sharing of industrial resources and economic and social integration are the foundation of innovative development. The establishment of the Art and Design Alliance of Guangdong, Hong Kong and Macao Greater Bay Area promotes the integration of design with related industries, and the collaborative innovation and development of this area.
  Art design leads innovative development. We strive to build Guangdong, Hong Kong, Macao Greater Bay Area into a more dynamic economic zone, a high-quality life circle fit for living, business and touring and a demonstration area of in-depth cooperation among the three parts, to create a world-class bay area and the world-level city group.
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