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Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper studies the mechanism and function of artificial intelligence (AI) technology in public art creation, display and dissemination. Focusing on the three characteristics of public art, public and local, this paper puts forward some suggestions on the breakthrough and development of artificial intelligence in public art by exploring new directions. [ABSTRACT FROM AUTHOR]

From the perspective of " the process" of design anthropology, this paper focuses on the local creativity of villagers, pointing out that villagers' creativity is a kind of "everyday creativity", which is no longer the unique ability of professional elites, but the phenomenon of emergence and generation involving people, objects and environment in the process of "making". On this basis, this paper puts forward three characteristics of villagers' everyday creativity, and claims that the "in-between-objects" with materiality may become an important medium to promote knowledge sharing and new knowledge generation between designers and local villagers in artistic rural construction. [ABSTRACT FROM AUTHOR]

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The booming development of the Internet and extended reality technology has changed the way communities transmit information. Individual needs and emotions can get the possibility of multi-dimensional display in virtual space, which makes the boundary between virtual and real space tend to blur, and motivates people to participate in public things. This paper focuses on the topic of publicity in virtual space, studying how to build a user content generation platform based on virtual space, guiding users to spontaneously form communities in their creation, constructing a virtual community, and solving the problems and demands they encounter. At the same time, the factors that attract the establishment of communities are explored from the perspective of publicity, namely the desired goal of wider public participation, the inclusiveness of the host content, and the support services of the platform. It tries to provide a different perspective for thinking about the relationship between designers and communities. [ABSTRACT FROM AUTHOR]

Virtual Reality (VR) technology, as a new digital technology, has gradually been introduced into the art field and provided a new way of presenting traditional art exhibitions as the technology matures and becomes more popular. This paper introduces the main characteristics, different forms, impact, and future prospects of VR exhibitions around the theme of VR exhibitions, exploring how art intervenes in virtual space. The application of virtual reality technology in art exhibitions will become more and more extensive, which has an important driving role in promoting innovation and development of art exhibitions. [ABSTRACT FROM AUTHOR]

The "place spirit" contained in the monument bears the narrative attribute. In the digital age, the real place bearing the "place spirit" is facing digital transformation, with the real place being transformed into a virtual place, and the space for communication and display being changed from offline to online. This change has directly changed the narrative nature of the place held by the monument sculpture for more than a hundred years, even with the reflection of the digital monument sculpture from "narration" to "loss of narration". This paper expounds the process of monument sculpture from "narration" to "loss of narration", and from the perspective of place transformation in the digital age, analyzes the narration and its transformation of digital monument sculpture, reflects on the risks it faces, and constructs two paths for the benign development of monument. [ABSTRACT FROM AUTHOR]

The iteration of digital technology is driving a systematic shift in public art. Through new carriers and new media, digitalization has revolutionized the scope of public art expression and the logic of art production, which re-established a "decentralized" system of communication and evaluation for public art. At the same time, the platformisation and digitisation of public art and consumer culture under capital hostage have gradually formed a deep binding trend. Digitalization has put the contradiction between economic needs and artistic aesthetic needs in front of the stage. This paper attempts to summarize the characteristics of public art under digital iteration by exploring the above latitudes, and to study the controversies and trends under the contradiction between artistic aesthetics and technological trends. [ABSTRACT FROM AUTHOR]

Pandemic lockdowns both accelerated digital trends and further blurred already unstable boundaries between public and private. The development of an evolving "new normal" invites a broader examination of the intersection of digital public space and public art in the context of personal digital devices. This paper provides a foundation for analysis by outlining related areas of practice, highlighting resonances between digital art and public art, and scrutinizing the public nature of spaces accessible via digital devices. As digital spaces become ever more entwined with personal daily life--at home and through devices worn and carried--inquiry into the ways that these devices shift notions of public space and public art becomes increasingly timely. Artists are at the forefront of such considerations, experimenting with digital commons and "many-to-many" formats, crafting hybrid experiences, and exploring modes of embodiment in technological landscapes. [ABSTRACT FROM AUTHOR]

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Artistic rural construction has become an important social and cultural phenomenon as well as a branch of contemporary art. This paper introduces the work of the Ruan Yisan Uran Heritage Protection Foundation in rural heritage protection and artistic practice, and takes a performance art work by artist Xu Zhifeng in the Yanping Rural Art Season as an example to discuss the role and significance of artists in rural revitalization, and points out the need to deeply understand and analyze the social and discursive structure behind artistic rural construction. The article also introduces the research and criticism of participatory art and site-specific art by two scholars, Claire Bishop and Miwon Kwon, by quoting the views of Professor Zhang Hui, pointing out that when artists intervene in the countryside, they should challenge a series of problems about participants, methods, and purposes to avoid romanticizing the countryside, enface the actual difficulties and cultural resources of the countryside, and stimulate the subjectivity and consciousness of the villagers to promote their participation in the process of rural change and sense shaping. [ABSTRACT FROM AUTHOR]

The construction of a teaching system for public art creation curriculum group is to organize a collective curriculum for units with relevant tendencies and build a common teaching system for basic, practical, and theoretical courses with a public art creation orientation. Focusing on the core direction of public art creation, the construction of a teaching system with the joint effects of a curriculum group addresses a series of issues faced by the current development of art education. Through analyzing and discussing the background and motivation of the reform of the teaching system of the public art creation curriculum group, the paper explores the goals and strategies of the teaching reform, and helps cultivate theoretical and practical talents in public art creation. [ABSTRACT FROM AUTHOR]

The 4th China Design Exhibition and Public Art Thematic Exhibition Seminar, focusing on the theme of 'New Starting Point, New Fashion', was held at the Shenzhen Contemporary Art and Urban Planning Museum. Experts and scholars from the national design and public fields were invited to conduct discussions and academic exchanges online and offline. Through the introduction of the excellent achievements of Chinese design and public art in economic construction, political construction, cultural construction, social construction and ecological civilization construction, this paper expounds on the professionalism and frontier of Chinese contemporary design, as well as the achievements made in design innovation, transformation and upgrading of manufacturing industry, improvement of people's lives, integration of arts and sciences, green ecology and so on. [ABSTRACT FROM AUTHOR]

Rural art museum is a spiritual public space with unique local characteristics and traditional culture. It undertakes the function of connecting the countryside and the city, showing the reality of the countryside, and satisfying the needs of the villagers' literary and artistic life. Adhering to the development concept of cultural equality and aesthetic freedom, the art museum's grounding in the countryside and its social practice emphasizes the participation, communication and negotiation of local residents and encourages local villagers to re-understand their local culture, which is of great significance to shaping collective memory and enhancing local cultural identity. This paper mainly discusses the development and different types of rural art galleries, as well as a series of participatory art practices in rural communities, deeply excavates and analyzes the narrative characteristics of rural art galleries that are different from urban art galleries and reflects on the positive role of the construction of rural art galleries in exploring the governance of rural communities. [ABSTRACT FROM AUTHOR]

This study explores the emergence of the concepts of 'art islands' and 'art archipelagos' through the lens of creative geography, using cases of artistic rural revitalization in several island settlements around the world to further discuss the diverse impacts and complex social phenomena that the artistic and creative aura of the art islands and art archipelagos brings to the inherently rural communities. Starting from Naoshima, the most influential art island in Japan, this paper also explores the diverse artistic islands of the "non-Naoshima" type and reflects on the creative revitalization under the archipelago effect. Art can reinforce the insularity of the original community with reterritorialization and then create the island as a relational social space against insularity through cultural and creative means. [ABSTRACT FROM AUTHOR]

In the 21st century, the strategy of rural rejuvenation has become a basic national policy in China, and rural construction has accelerated everywhere as well, from north to south. Artistic rural construction has become one of the forces to be reckoned with. In terms of either depth or breadth, artistic rural construction has rapidly expanded the geographical pattern and the cultural space. From prairie to borderland, from plateau to plain, from land to island, artists have rushed to the countryside. With site-specific practices in different regions, they adopt multi-subject cultural interaction and multi-angle relation embedding, rapidly influencing and shaping rural landscapes and cultural ecology. At the same time, the artists have explored different fields through art from the continental hinterland to remote islands, evolving the changing and different "land-island" culture into a rural landscape with its own characteristics. This paper puts forward a thinking framework for rural construction "from land to island", demonstrating an open route that can be reversed and jumped, and breaking the built-in characteristics and isolation properties of rural space under the modernist schema. Undoubtedly, this is not a denial of the earthy temperament and local nature of the countryside in the sense of binary confrontation. On the contrary, it is based on the sense of "amphibian". It is, in the relation between "sea-land" and "residencetravel", to promote our ability to understand the rural world and its cultural practices, so that the countryside has the potential to get out of the economic metaphor of agricultural culture and the logic of developmentalist governance. [ABSTRACT FROM AUTHOR]

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper focuses on the role and transitions of urban waterfronts in Shanghai during the last decade when their mainly industrial functions made place for leisure and real estate. An analysis is made how promises and ambitions behind this massive urban regeneration project are translated into realities on the ground, while focusing on the new relationship to the water. The paper explains how in the context of extreme urban pressure well-manicured new urban watersides offer attraction but also sometimes clash with their usability and ambitions. The paper concludes with some recommendations to create more sustainable attractive watersides. [ABSTRACT FROM AUTHOR]

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Public Art is the property of Shanghai Fine Arts Publisher Ltd. co. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)