海峡两岸暨港澳地区专家艺术家共答全媒体时代文艺之问
——记第11届海峡两岸暨港澳地区艺术论坛

“我们曾生长于农业文明时代，感受到它的温厚与保守、纯朴与恒常，我们却也在现代化的浪涛之中拼搏奋斗，才在工业文明中有一席生存之地。然而在我们刚可以喘一口气的当下，资讯时代、网络社会、AI世纪来临了。”台湾作家杨渡所感受的，是经历了农业文明、工业文明与后工业全媒体时代的人的“通感”。

截至2018年12月，中国网民达到8.29亿、手机网民接近8.17亿——在“万物皆媒”的全媒体时代扑面而来的当下， 6月11日至12日，由中国文联、澳门基金会主办的第11届海峡两岸暨港澳地区艺术论坛在澳门举办，以“全媒体时代的艺术与文学”为题，广邀海峡两岸暨港澳地区专家学者艺术家共答全媒体时代文艺之问。

全媒体时代来得猝不及防。仿佛一夜之间，“传播”便不再是纸媒、广播和电视的专属行为。互联网的强大力量，让“媒体”的定义失去了边界，也使“传播”不再局限于单方面的资讯释放，而是提供了多种途径的互动式的交流。“全媒体给文学和艺术带来的必然是下移。”中央民族大学历史文化学院教授蒙曼说。

文学与全媒体的融合极为典型——如今，中国的网络文学已经能与美国好莱坞电影、日本动漫与韩国电视剧并称当今世界四大文化现象。“以前我们这一代看韩剧、日本漫画，现在美国人也开始看我们的网络连载文学，因为载体不一样了：人人都有手机，小说上传到网络上一分钟，可能就有上万人能看到。”网络作家黄卫认为，“仓廪实而能看闲书”，也是全媒体时代文艺生态剧变的物质基础。在海峡两岸暨港澳地区多地，电子书、有声书、电子杂志等新媒介，已与已有的出版模式分庭抗礼，甚至成为华文地区出版业界新的红海。

据中国作协会员、澳门文化工作者吕志鹏介绍，澳门于2013年开始推出的“澳门文学地区”系列结合了多种不同艺术形式：沙画、影像、音乐和文学朗读……组合成多媒体文学片《青洲旧梦》；2017年，莲花卫视组织的“读澳门”活动在岗顶剧院等文化建筑中，通过朗诵、诗歌、散文、音乐、美术、舞蹈、影视等多种艺术形式，集合音与画的美感，传播和展现澳门多元文化特质。澳门创作人、澳门笔会理事陆奥雷亦说，澳门笔会成员近十年多次举办摄影与诗歌相关的展览，作家寂然、李尔、李宇梁等小说改编为《月黑风高变虫记》《异色童话》《乱世童话》等舞台作品，陆奥雷、懿灵的诗作被引用到葡萄牙南方剧团《故事的旅行·澳门篇》中，为澳门文学在其他艺术形式上的利用与转化开拓了方向。

文学借助其他艺术媒介得到生命的延续，而全媒体更使文学得到受众的拓展——喜马拉雅等音讯平台在全媒体时代凭借用户的碎片化时间、渴望解放感官、低成本高效率、时时伴随等天然优势，在这个时代得到巨大发展。据喜马拉雅副总裁、总编辑周晓晗介绍，有70 %的用户会在平台上听有声书，“用户平均听书时间由每天两小时到3小时的时间突破，代表了互联网环境下，用户也就是读者对文学、艺术的获取渴望，从这个角度来看，是多么值得振奋人心。”她说。

“全媒体的最大优势就在于使交互没有界限，传播无处不在，交互无处不在。人人都可以成为艺术家，人人都可以成为接受者和评论家。连环画与大众的关系极为紧密，也极容易建立和实现交互关系。”鲁迅美术学院教授、画家李晨从2010年开始做架上连环画。他认为，把连环画用架上的方式呈现，可以借助画幅上的优势，更加深入地传达出对生活的认知和感受，解决艺术家用来表现物象的精神品格问题。“走进展厅的连环画不仅仅增强了传播的覆盖力度，也实现了全媒体时代伴随传播而来的交互体验。”李晨说。

吕志鹏认为，全媒体时代可以说是由精英走向大众的时代，文艺难以避免碎片化。因而短小篇幅、语言的直白和生活化将是文学与艺术的一种趋势。“互联网与文学、艺术，是一对很有意思的朋友，文学艺术在人类文明诞生之初便已出现，而互联网是人类科技极盛时期的产物，它们一个家学源长、历久弥新；一个初生牛犊、势如破竹。而在今天网络发展至4G，即将迈入5G时代的时候，我们看到它们密不可分，呈现出一种全新的样态。”周晓晗说。

“我们无意识地参与文艺作品的欣赏过程时，大数据就会反馈上去，而读者/受众至上的可怕之处在于，缺少思考的人就会被操控——受众参与变成了被受众操控”，当下许鞍华正在导演创作的电影《第一炉香》，因为男女主角的选角而被网友吐槽为“第一炉钢”，许鞍华必须在拍摄过程中给演员做更多的心理指导——香港岭南大学教授许子东以此为例说，当文艺工作者还没有完成作品的时候，可能网络群众就已经参与了创作的过程。

何冀平在创作《天下第一楼》的时候，是“人找资讯”：她走遍北京东西南北城的大杂院去访问三教九流；在北京南城荒僻的小胡同里，她找到正宗挂炉烤鸭的第三代传人田文宽。田文宽把何冀平带进了全聚德烤鸭店，她便开始在后厨体验生活。烤炉前的“体验生活”为何冀平打开了一个迷人的新世界，为了听懂厨师间的“行话”，她专门去学习烹饪，还考下了二级厨师证书。而在如今这个“资讯找人”的时代，创作《明月几时有》 ，她和许鞍华看了三米厚的资料，“很多人看到电影最后梁家辉那一段都很感动——当年的游击队多数不在了，留下的零星几个人是当年十来岁的‘小鬼队’，现在他们就是开的士、做商贩的普通人，住在香港拥挤的窄街旧楼里，当年出生入死，如今没名没姓，一点不埋怨，一句‘都得吃饭嘛！’就是心态”——资料太多，何冀平最终还是要回到人物、被人物吸引，选取一些真实事件和人物，集中、变化、添加、突显，重组人物关系，重塑人物性格。“我创作的黄金时期，正是出版业蓬勃发展、绘本产业方兴未艾的时期，是全媒体到来之前的预热期。”李晨认为，在由经济全球化带来的艺术全球化、视觉艺术图像多元化时代，手绘连环画所涉及对现实主义的新认知，将传统连环画的创作精神融入对新的社会生活的切入和转换，使手绘连环画这一有着传统形态的画种，因为保留了天然、无法复制的手工塑痕而能够持续刷新视觉经验，进而保持鲜活温暖的艺术生命力。它来自于慢生活时代，也来自最真切的生活，所以在今天，仍然可以触碰到人们内心最温柔的角落，也因此显得弥足珍贵。

“在全媒体时代，文字的跨越传播已不是什么难以克服的技术难题，影响的广度可以靠标题党式的哗众取宠轻易获得，然而创作的深度，最终决定作品的持久度。”中国作协会员、澳门笔会理事袁绍珊说。周晓晗认为，内容为王的时代，文艺工作者不必排斥、也不必惧怕互联网的到来，双方都需要“三心二意”：良心、匠心、敬畏心，以及诚意与善意。“或许艺术家在创作中越不考虑读者，才越有可能从历史上下来。”许子东说。

“不断变动，是我们的恒常。漂泊流浪，是我们的居所。”杨渡说，因为生活于巨变的时代，我们得以比较农业文明与工业文明的差异、网络时代与传统文明的关系，我们得以感受那变迁时的疼痛与欢欣、孤独与喧哗、勇气与脆弱、人性与人心的幽微。

"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.