Email: 871562868@qq.com

Academic Title

Tenured Professor

Education

·2007: PhD in Fine Arts, Academy of Arts & Design, Tsinghua University (retained as faculty member)

Professional Experience

·2015–Present: Deputy Director, New Media Art Committee, China Stage Art Association

·2016–Present: Founding Director, Tsinghua Academy of New Media Performance Innovation

·Current: Chair and PhD Supervisor, Department of Information Art & Design, Academy of Arts & Design, Tsinghua University

Professional Affiliations

·Editorial Board Member, Theatre Technology

·Member, Higher Education Teaching Steering Committee

·Visiting Professor: Jilin Animation Institute, Huazhong University of Science and Technology, Beijing Institute of Fashion Technology

·Senior Advisor, Virtual Space Committee, Beijing Film Art Association

Research Focus

Digital Experience Design for Cultural and Artistic Contexts

1.Technological Innovation in Cultural Tourism Performance

oIntegrates animation, interactive media, spatial design, and stagecraft to advance cross-disciplinary theories in China’s cultural tourism and urban creative industries.

2.Creative Transformation of Traditional Chinese Culture via New Media

oDevelops multimedia, VR, and interactive methodologies to reinterpret classical Chinese aesthetics.

3.Spatial Narratives in New Media Art

oExplores hybrid physical-digital public spaces (e.g., museums, commercial hubs) to establish design frameworks for immersive storytelling.

Academic Philosophy

1.Art-Technology Synergy: Pioneers interdisciplinary performance formats blending animation, interactive systems, and stage design to align with national policies on cultural tourism and urban innovation.

2.Cultural Reinterpretation: Leverages digital tools to create novel educational and experiential interfaces for traditional Chinese art.

3.Hybrid Space Theory: Addresses the media-saturated urban environment by formalizing narrative design principles for augmented public spaces.

Academic Achievements

Research Projects

·30+ Projects Led, Including:

oCreative Reinterpretation of Song Dynasty Painting through New Media (National Social Science Fund, Arts).

oDigital Ecology Design for Shougang Winter Olympics Zone (National Key R&D Program, Subproject: 5G+8K Immersive Live Broadcasting).

oUrban Space in Song Dynasty Paintings: New Media Transformation (Tsinghua Independent Research).

oVirtual Avatar Development (Collaboration with Sogou).

oThe Spirit of All Things: Tsinghua Cultural Heritage Exhibition (National Art Fund, 2017).

Artistic Directorship

·Multimedia Design for National Events:

o2014 APEC Summit Cultural Performance

o2016 China-Egypt Cultural Year Opening Ceremony

o2019 Beijing World Horticultural Expo China Pavilion (Harmonious Dwelling)

o2022 Winter Paralympics Opening/Closing Ceremonies

Curatorial Work

·The Spirit of All Things (Ars Electronica Campus 2016, Austria).

·Boundary of Mirrors: Sci-Tech Art Exhibition (2019).

·Sci-Fi World: Tech-Art Exhibition (2021 Beijing Sci-Tech Week).

Theater Productions

·Teahouse, To Live, Letter from an Unknown Woman, Don Quixote (National Theater of China).

·Operas: Chu Zhuangwang, La Traviata, White Deer Plain.

Museum Digital Projects

·Confucius Museum, Palace Museum Meridian Gate Digital Gallery, Qingdao Film Museum.

Awards

·2019: Urban Memory – Tsinghua Wu Guanzhong Art & Science Innovation Award.

·2017: Luxor in Reflection – WSD Gold Medal (Multimedia & Projection Design).

·2015: Top 10 Outstanding Young Designers, China Design Awards.

Design Practices

Themed Light Show: The Great Masters

Staged in Tsinghua University’s historic auditorium, this multimedia production brings to life the institution’s iconic architecture and legendary scholars, Liang Sicheng, Zhu Ziqing, Ma Yuehan, Ye Qisun, Gu Yuxiu, and others, who shaped China’s academic legacy. Through interwoven narratives spanning literature, science, engineering, sports, and the arts, the show explores the essence of academia. Audiences trace the footsteps of these luminaries, absorbing their pedagogical wisdom and discovering pearls of insight hidden in everyday details. Young figures, students, athletes, children—appear throughout, either directly mentored by these masters or inspired by Tsinghua’s century-old traditions in a temporal leap to the present.

Fulldome Film: Origin

An abstract meditation on human civilization’s evolution, Origin transitions from art, tools, and technology to futuristic mathematical spaces. Projected across a colossal dome, the work immerses viewers in a sensory journey that provokes reflection on humanity’s agency amid self-engineered technological extensions.

Interactive Installation: Skeleton Puppet Play

Inspired by a Song Dynasty painting’s exploration of life, death, and Taoist philosophy, this work invites audiences into a surreal realm via handheld fan interfaces. Participants manipulate skeletal puppets suspended by strings—a large skeleton controls the threads while a smaller one dances to ethereal music. Through real-time interaction, viewers confront the duality of control and submission, unraveling the artwork’s existential wit and metaphysical paradoxes.

Architectural Projection: Luxor in Reflection

Using Egypt’s ancient Luxor Temple as a canvas, this projection collides antiquity with modernity. Geometric light forms ascend temple columns to rhythmic electronic music, while hieroglyphs pulse to drumbeats. Overlapping visuals—galloping horses, crowds, and abstract patterns—reanimate the ruins, juxtaposing classical grandeur with avant-garde dynamism to redefine architectural projection art.

New Media Art Installation: Shooting Game

This VR-powered critique of virtual violence unfolds across dual perspectives:

·VR View: Participants shoot human-shaped targets in a gamified arena.

·External Screen: Children scatter and fall with each trigger pull.

When players remove their headsets after “winning,” they find themselves surrounded by names of the “killed” children—a silent reckoning with technology’s ethical ambiguities.

VR Experience: Roman Colosseum

Set in a reconstructed Colosseum, this project merges martial arts choreography, motion capture, and real-time chroma keying. Participants toggle between two perspectives:

1.Spectator: Immersed in VR as an arena viewer.

2.Emperor: Judging gladiatorial combat from Caesar’s vantage point.

A third-person screen projection allows bystanders to witness the hybrid physical-digital performance.

Large-Scale Spectacle: ECHO

Staged 88 meters below ground at Shanghai’s InterContinental Wonderland, ECHO employs water screens, lasers, and drones to evoke humanity’s cyclical dance between primal forces and technological order. Fractal animations and freeform visuals collide, symbolizing nature’s untamed energy against civilization’s structured rhythms.

Public Art: Urban Memory

A multisensory exploration of Beijing’s urban identity, this installation combines 3D-scanned cityscapes, literary fragments, and spatial audio. Viewers navigate digitized memories of the capital’s evolution, bridging physical spaces with emotional narratives to interrogate human-technology symbiosis.

Digital Exhibition: Harmonious Dwelling

A centerpiece of the 2019 Beijing International Horticultural Exhibition’s China Pavilion, this immersive space reimagines classical Chinese gardens through dual themes:

·Eco-Literati Lifestyle: Digital projections of scholars in bamboo groves.

·Imperial Horticulture: Grandiose renderings of royal landscapes.

Advanced holographic gauze screens and synchronized AV systems transport audiences into a poetic realm where “blossoms sway in the breeze, and minds find serenity”—embodying China’s ecological philosophy that “a thriving environment is the people’s greatest welfare.”

Theater Production: Don Quixote (National Theatre of China)

Theater Production: Don Quixote (National Theatre of China)
The multimedia design for Don Quixote posed monumental challenges in cinematic stylistic coherence. As the stage performance, set design, costumes, and lighting traversed realism and avant-garde aesthetics across the narrative arc, the six multimedia sequences—though stylistically divergent—maintained rigorous integration with the play’s holistic presentation, achieving brilliance without ostentation. Each multimedia concept emerged from intensive collaborative ideation with the director and scenography team, refined through iterative experimentation. The final sequence, synchronized with ethereal music, materialized a kinetic "paradoxical space" that modernistly recontextualized Don Quixote’s absurdist yet idealistically luminous life. Serving as the production’s conceptual keystone, this segment orchestrated flawless synergy with stage machinery and lighting to architect the theatrical denouement, projecting the 400-year-old epic heroism into the collective psyche of the audience.

Teaching Portfolio

1. New Media Art Creation (32 contact hours, Graduate Course)

Course Objective:
Through case studies, this course aims to provide students with a comprehensive understanding of digital technology applications in contemporary art and design, as well as their societal and cultural impacts on modern media.

Methodology:

·Employs art criticism methodologies to analyze works spanning avant-garde movements of the 20th century to contemporary digital media art.

·Defines "new media art" as a broad artistic discipline unified by its use of emerging digital technologies.

Key Competencies:

·Mastery of essential imaging technologies, electronic control systems, and visual installation art creation methods.

·Collaborative thematic art projects to apply theoretical knowledge.

2. 3D Animation Design (48 contact hours)

Course Focus:
Technical skill development in 3D animation modeling, material rendering, and animation fundamentals, with emphasis on industry-standard software proficiency.

Curriculum Structure:

·In-depth study of a widely-used animation software (e.g., Maya, Blender).

·Explores artistic principles, technical workflows, and software/hardware integration.

Learning Outcomes:

·Proficiency in digital animation techniques for design expression.

·Understanding of 3D animation trends and foundational technical theories.

3. Virtual Reality Animation Design (48 contact hours)

Core Objectives:

·Familiarize students with VR spatial object implementation principles and key technologies.

·Master VR production software fundamentals, including:

oData organization

oData input, storage, and editing methods

oVR simulation techniques

Applied Contexts:

·Prepares students to analyze and solve problems in immersive museum experiences, science center installations, and cultural heritage digitization.

Technical Emphasis:

·3D modeling best practices for VR integration.

·Foundational knowledge of VR concepts, theories, and industry trends.

4. Animation Production I (128 contact hours)

Capstone Requirement:

·Independently produce a 30+ second animated short film integrating prior coursework.

Pedagogical Goals:

·Identify and resolve challenges in translating design concepts to production workflows.

·Build foundational experience for graduation projects and professional practice.

Skill Integration:

·Synthesizes knowledge in animation techniques, software tools, and artistic expression.

Pedagogical Approach

Undergraduate Teaching:
Over the past three years, my annual teaching workload for undergraduate courses, including 3D Animation Design, Virtual Reality Animation Design, and Animation Production I, has consistently remained around 330 contact hours. In the classroom, I emphasize the integration of theory and practice, sparking student engagement and critical thinking through case studies while honing their creative skills via hands-on experimentation. I provide comprehensive guidance to help students apply technical expertise to artistic creation.

As Teaching Director of the Department of Information Art & Design and Academic Leader of the Animation program, I have spearheaded multiple initiatives to meet evolving disciplinary demands:

·Organized faculty workshops to revise teaching plans, syllabi, and curriculum frameworks.

·Oversaw departmental teaching evaluations and major administrative tasks.

·Successfully led the application, implementation, and reporting for the 2011 Animation Specialization Project with departmental support.

·Secured national accreditation for the Animation Design course as a National Excellence Course and completed phased reporting.

·Actively participated in curriculum reform and program development.

·Coordinated the 2010 Beijing International Conference on Animation Art Education as lead organizer.

·Authored the textbook Virtual Reality Animation Design for a newly launched course (completed March 2020, published June 2020).

Student Mentorship:

·Guided undergraduate thesis project Circle to win the 2015 Outstanding Graduation Project Award.

Graduate Teaching:
As instructor of the graduate course New Media Art Creation, I have supervised 7 current MA students, 12 graduates, and 1 PhD candidate. My mentorship emphasizes interdisciplinary, compound talent development through tailored approaches aligned with my research expertise. I frequently involve students in:

·National key research projects and grant applications.

·International conferences, competitions, and art festivals (e.g., curation and exhibition design).

·Practical training through high-profile events like the 2016 Ars Electronica Campus Exhibition (Linz, Austria) and the 2017 National Arts Fund project The Spirit of All Things: Tsinghua’s Cultural Heritage Preservation and Innovation Achievements Exhibition.

Student Achievements:

·Luo Wei’s Roman Colosseum: 2017 ICEVE China Advanced Imaging Award.

·Ye Dong’s A Journey: Grand Prize in Animation, Japan Phoenix International Youth Film Festival.