海峽兩岸暨港澳地區(qū)專家藝術(shù)家共答全媒體時代文藝之問
——記第11屆海峽兩岸暨港澳地區(qū)藝術(shù)論壇

“我們曾生長于農(nóng)業(yè)文明時代，感受到它的溫厚與保守、純樸與恒常，我們卻也在現(xiàn)代化的浪濤之中拼搏奮斗，才在工業(yè)文明中有一席生存之地。然而在我們剛可以喘一口氣的當(dāng)下，資訊時代、網(wǎng)絡(luò)社會、AI世紀(jì)來臨了?！迸_灣作家楊渡所感受的，是經(jīng)歷了農(nóng)業(yè)文明、工業(yè)文明與后工業(yè)全媒體時代的人的“通感”。

截至2018年12月，中國網(wǎng)民達(dá)到8.29億、手機(jī)網(wǎng)民接近8.17億——在“萬物皆媒”的全媒體時代撲面而來的當(dāng)下， 6月11日至12日，由中國文聯(lián)、澳門基金會主辦的第11屆海峽兩岸暨港澳地區(qū)藝術(shù)論壇在澳門舉辦，以“全媒體時代的藝術(shù)與文學(xué)”為題，廣邀海峽兩岸暨港澳地區(qū)專家學(xué)者藝術(shù)家共答全媒體時代文藝之問。

全媒體時代來得猝不及防。仿佛一夜之間，“傳播”便不再是紙媒、廣播和電視的專屬行為?；ヂ?lián)網(wǎng)的強(qiáng)大力量，讓“媒體”的定義失去了邊界，也使“傳播”不再局限于單方面的資訊釋放，而是提供了多種途徑的互動式的交流?！叭襟w給文學(xué)和藝術(shù)帶來的必然是下移?！敝醒朊褡宕髮W(xué)歷史文化學(xué)院教授蒙曼說。

文學(xué)與全媒體的融合極為典型——如今，中國的網(wǎng)絡(luò)文學(xué)已經(jīng)能與美國好萊塢電影、日本動漫與韓國電視劇并稱當(dāng)今世界四大文化現(xiàn)象。“以前我們這一代看韓劇、日本漫畫，現(xiàn)在美國人也開始看我們的網(wǎng)絡(luò)連載文學(xué)，因為載體不一樣了：人人都有手機(jī)，小說上傳到網(wǎng)絡(luò)上一分鐘，可能就有上萬人能看到?！本W(wǎng)絡(luò)作家黃衛(wèi)認(rèn)為，“倉廩實而能看閑書”，也是全媒體時代文藝生態(tài)劇變的物質(zhì)基礎(chǔ)。在海峽兩岸暨港澳地區(qū)多地，電子書、有聲書、電子雜志等新媒介，已與已有的出版模式分庭抗禮，甚至成為華文地區(qū)出版業(yè)界新的紅海。

據(jù)中國作協(xié)會員、澳門文化工作者呂志鵬介紹，澳門于2013年開始推出的“澳門文學(xué)地區(qū)”系列結(jié)合了多種不同藝術(shù)形式：沙畫、影像、音樂和文學(xué)朗讀……組合成多媒體文學(xué)片《青洲舊夢》；2017年，蓮花衛(wèi)視組織的“讀澳門”活動在崗頂劇院等文化建筑中，通過朗誦、詩歌、散文、音樂、美術(shù)、舞蹈、影視等多種藝術(shù)形式，集合音與畫的美感，傳播和展現(xiàn)澳門多元文化特質(zhì)。澳門創(chuàng)作人、澳門筆會理事陸奧雷亦說，澳門筆會成員近十年多次舉辦攝影與詩歌相關(guān)的展覽，作家寂然、李爾、李宇梁等小說改編為《月黑風(fēng)高變蟲記》《異色童話》《亂世童話》等舞臺作品，陸奧雷、懿靈的詩作被引用到葡萄牙南方劇團(tuán)《故事的旅行·澳門篇》中，為澳門文學(xué)在其他藝術(shù)形式上的利用與轉(zhuǎn)化開拓了方向。

文學(xué)借助其他藝術(shù)媒介得到生命的延續(xù)，而全媒體更使文學(xué)得到受眾的拓展——喜馬拉雅等音訊平臺在全媒體時代憑借用戶的碎片化時間、渴望解放感官、低成本高效率、時時伴隨等天然優(yōu)勢，在這個時代得到巨大發(fā)展。據(jù)喜馬拉雅副總裁、總編輯周曉晗介紹，有70 %的用戶會在平臺上聽有聲書，“用戶平均聽書時間由每天兩小時到3小時的時間突破，代表了互聯(lián)網(wǎng)環(huán)境下，用戶也就是讀者對文學(xué)、藝術(shù)的獲取渴望，從這個角度來看，是多么值得振奮人心?！彼f。

“全媒體的最大優(yōu)勢就在于使交互沒有界限，傳播無處不在，交互無處不在。人人都可以成為藝術(shù)家，人人都可以成為接受者和評論家。連環(huán)畫與大眾的關(guān)系極為緊密，也極容易建立和實現(xiàn)交互關(guān)系?！濒斞该佬g(shù)學(xué)院教授、畫家李晨從2010年開始做架上連環(huán)畫。他認(rèn)為，把連環(huán)畫用架上的方式呈現(xiàn)，可以借助畫幅上的優(yōu)勢，更加深入地傳達(dá)出對生活的認(rèn)知和感受，解決藝術(shù)家用來表現(xiàn)物象的精神品格問題?！白哌M(jìn)展廳的連環(huán)畫不僅僅增強(qiáng)了傳播的覆蓋力度，也實現(xiàn)了全媒體時代伴隨傳播而來的交互體驗?！崩畛空f。

呂志鵬認(rèn)為，全媒體時代可以說是由精英走向大眾的時代，文藝難以避免碎片化。因而短小篇幅、語言的直白和生活化將是文學(xué)與藝術(shù)的一種趨勢?！盎ヂ?lián)網(wǎng)與文學(xué)、藝術(shù)，是一對很有意思的朋友，文學(xué)藝術(shù)在人類文明誕生之初便已出現(xiàn)，而互聯(lián)網(wǎng)是人類科技極盛時期的產(chǎn)物，它們一個家學(xué)源長、歷久彌新；一個初生牛犢、勢如破竹。而在今天網(wǎng)絡(luò)發(fā)展至4G，即將邁入5G時代的時候，我們看到它們密不可分，呈現(xiàn)出一種全新的樣態(tài)?！敝軙躁险f。

“我們無意識地參與文藝作品的欣賞過程時，大數(shù)據(jù)就會反饋上去，而讀者/受眾至上的可怕之處在于，缺少思考的人就會被操控——受眾參與變成了被受眾操控”，當(dāng)下許鞍華正在導(dǎo)演創(chuàng)作的電影《第一爐香》，因為男女主角的選角而被網(wǎng)友吐槽為“第一爐鋼”，許鞍華必須在拍攝過程中給演員做更多的心理指導(dǎo)——香港嶺南大學(xué)教授許子?xùn)|以此為例說，當(dāng)文藝工作者還沒有完成作品的時候，可能網(wǎng)絡(luò)群眾就已經(jīng)參與了創(chuàng)作的過程。

何冀平在創(chuàng)作《天下第一樓》的時候，是“人找資訊”：她走遍北京東西南北城的大雜院去訪問三教九流；在北京南城荒僻的小胡同里，她找到正宗掛爐烤鴨的第三代傳人田文寬。田文寬把何冀平帶進(jìn)了全聚德烤鴨店，她便開始在后廚體驗生活?？緺t前的“體驗生活”為何冀平打開了一個迷人的新世界，為了聽懂廚師間的“行話”，她專門去學(xué)習(xí)烹飪，還考下了二級廚師證書。而在如今這個“資訊找人”的時代，創(chuàng)作《明月幾時有》 ，她和許鞍華看了三米厚的資料，“很多人看到電影最后梁家輝那一段都很感動——當(dāng)年的游擊隊多數(shù)不在了，留下的零星幾個人是當(dāng)年十來歲的‘小鬼隊’，現(xiàn)在他們就是開的士、做商販的普通人，住在香港擁擠的窄街舊樓里，當(dāng)年出生入死，如今沒名沒姓，一點(diǎn)不埋怨，一句‘都得吃飯嘛！’就是心態(tài)”——資料太多，何冀平最終還是要回到人物、被人物吸引，選取一些真實事件和人物，集中、變化、添加、突顯，重組人物關(guān)系，重塑人物性格。“我創(chuàng)作的黃金時期，正是出版業(yè)蓬勃發(fā)展、繪本產(chǎn)業(yè)方興未艾的時期，是全媒體到來之前的預(yù)熱期?！崩畛空J(rèn)為，在由經(jīng)濟(jì)全球化帶來的藝術(shù)全球化、視覺藝術(shù)圖像多元化時代，手繪連環(huán)畫所涉及對現(xiàn)實主義的新認(rèn)知，將傳統(tǒng)連環(huán)畫的創(chuàng)作精神融入對新的社會生活的切入和轉(zhuǎn)換，使手繪連環(huán)畫這一有著傳統(tǒng)形態(tài)的畫種，因為保留了天然、無法復(fù)制的手工塑痕而能夠持續(xù)刷新視覺經(jīng)驗，進(jìn)而保持鮮活溫暖的藝術(shù)生命力。它來自于慢生活時代，也來自最真切的生活，所以在今天，仍然可以觸碰到人們內(nèi)心最溫柔的角落，也因此顯得彌足珍貴。

“在全媒體時代，文字的跨越傳播已不是什么難以克服的技術(shù)難題，影響的廣度可以靠標(biāo)題黨式的嘩眾取寵輕易獲得，然而創(chuàng)作的深度，最終決定作品的持久度?！敝袊鲄f(xié)會員、澳門筆會理事袁紹珊說。周曉晗認(rèn)為，內(nèi)容為王的時代，文藝工作者不必排斥、也不必懼怕互聯(lián)網(wǎng)的到來，雙方都需要“三心二意”：良心、匠心、敬畏心，以及誠意與善意?！盎蛟S藝術(shù)家在創(chuàng)作中越不考慮讀者，才越有可能從歷史上下來?！痹S子?xùn)|說。

“不斷變動，是我們的恒常。漂泊流浪，是我們的居所?！睏疃烧f，因為生活于巨變的時代，我們得以比較農(nóng)業(yè)文明與工業(yè)文明的差異、網(wǎng)絡(luò)時代與傳統(tǒng)文明的關(guān)系，我們得以感受那變遷時的疼痛與歡欣、孤獨(dú)與喧嘩、勇氣與脆弱、人性與人心的幽微。

"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 11thto 12th,the 11thCross-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 times in 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,opening the 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.