Development Strategies for New Media Installation Art in China : A Comparative Study of Chinese and Korean Artworks

다국어 초록 (Multilingual Abstract)

Against the backdrop of the deep integration of globalization and digital technology, new media installation art, as an interdisciplinary, cross-media, and cross-sensory art form, has become an important carrier of national cultural soft power and a frontier field of contemporary artistic expression. Although new media installation art in China started relatively late, it has formed a development path with local characteristics based on technological iteration and cultural innovation after reform and opening up. South Korea, by virtue of its technological advantages and mature industrial ecosystem, has built a complete creation and operation system in the field of new media art. A comparative study of China and South Korea has important theoretical value and practical significance for revealing the underlying causes of development differences and exploring breakthrough paths for new media installation art in China. This study takes Multimodal Theory as the analytical framework and comprehensively uses documentary analysis, longitudinal historical analysis, comparative case study, field research, and questionnaire survey methods to systematically explore the development strategies for new media installation art in China. First, the research systematically sorts out the development trajectory and current landscape of new media installation art in China and Korea. China has experienced four stages of development, from the introduction of video art to AI empowerment, forming an ecology in which multiple creative actors coexist. Relying on the tradition of video art pioneered by Nam June Paik and the advantages of the electronics industry, Korea has constructed a three-dimensional industrial ecosystem coordinated by the government, enterprises, and the public, and on this basis, reveals their respective development models and core characteristics. Second, representative cases from China and Korea are selected, and the five core dimensions of cultural expression, technology application, interactive experience, industrial ecosystem, and access and dissemination are systematically compared to reveal the essential differences between the two countries’ works in terms of creative concepts, technical paths, and communication modes. This refines the core differences between the works of the two countries. On this basis, this paper systematically analyzes the outstanding problems in the development of new media installation art in China: fragmentation of theoretical research and lack of systematization, superficialization of technology application and insufficient deep integration, homogenization of synesthetic experience and insufficient multimodal synergy, and homogeneity of the industrial ecosystem and lagging cross-sector integration. The study finds that new media installation art in China and South Korea shows significant differences in models: China relies on profound traditional cultural resources to form a creative orientation with cultural expression as the core, focusing on the contemporary deconstruction of traditional symbols and the evocation of collective memory; with its technological advantages and industrial ecosystem, South Korea has formed a creative orientation with technological aesthetics as the core, focusing on cultural reflection in a future context and multi- sensory immersive experience. This difference is due to the deep differences in cultural traditions, technological foundation, industrial policy, market environment, and other aspects between the two countries. Based on the above analysis, this study proposes development strategies for new media installation art in China from four dimensions. First, contemporary activation of cultural genes is realized through technology empowerment, including the bidirectional empowerment of technology and culture, the construction of a Chinese discourse system of multimodal theory, spatial reconstruction, and the strengthening of international exchanges. Second, the capacity for technical services should be improved, including introducing advanced technologies, promoting deep collaborative innovation between technology and art, enhancing the technical literacy of art creators, and strengthening market research and audience feedback. Third, synesthetic elements should be rationally used, including balancing sensory experience, streamlining sensory elements to highlight the thematic connotations of the work, improving the integration of technology and art, and paying attention to audience feedback and work adjustment. Fourth, cross-sector collaboration and resource integration should be promoted, including expanding communication platforms, strengthening government guidance, promoting integration with multiple fields, and expanding cross-sector application scenarios of the industrial ecosystem. This study constructs a systematic research framework of interdisciplinary integration from the unique perspective of China–Korea comparison. In terms of research theory, the combination of Multimodal Theory and the perspective of arts management expands the theoretical resources of new media installation art research. In research practice, based on the in-depth analysis of typical cases in the two countries and first-hand data from audience surveys, targeted and actionable development strategies are proposed. It provides academic support for the theoretical construction and practical innovation of new media installation art in China, and has important reference value for promoting the sustainable development of China’s new media art industry, enhancing China’s cultural soft power, and building a Chinese art discourse system. Future research can be further deepened by expanding the scope of cases, deepening longitudinal tracking, expanding comparative dimensions, and carrying out strategy validation.

목차 (Table of Contents)

• CHAPTER 1. Introduction 1
• 1.1 Research Background 1
• 1.2 Purpose of the Study 3
• 1.3 Research Methods 6
• 1.4 Main Content of the Study 7
• 1.5 Review of Domestic and Foreign Prior Research 9
• 1.5.1 Multimodal Theory Dimension 10
• 1.5.2 Reference Dimension of New Media Installation Art in China and South Korea 11
• 1.5.3 Exploration Dimension of the Development of Chinese New Media Installation Art under Multimodal Theory 15
• 1.6 Innovations of the Research 16
• CHAPTER 2. Theoretical Basis and Conceptual Definition 18
• 2.1 Multimodal Theory 18
• 2.1.1 Definition of Multimodal Theory 18
• 2.1.2 Characteristics of Multimodal Theory 22
• 2.1.3 Application of Multimodal Theory in Installation Art 24
• 2.2 Overview of Theories Related to New Media Installation Art 26
• 2.2.1 The Concept and Characteristics of Installation Art 26
• 2.2.2 Definition of New Media Technology 29
• 2.2.3 The Definition and Characteristics of New Media Installation Art 31
• CHAPTER 3. Development Status of New Media Installation Art in China and South Korea 35
• 3.1 Overview of the Development of Chinese New Media Installation Art 35
• 3.1.1 The Development Process of Chinese New Media Installation Art 35
• 3.1.2 The Development Status of Chinese New Media Installation Art 43
• 3.1.3 Analysis of the Development Trends of Chinese New Media Installation Art 46
• 3.2 Overview of the Development of New Media Installation Art in South Korea 48
• 3.2.1 The Development Process of Korean New Media Installation Art 48
• 3.2.2 The Development Status of New Media Installation Art in South Korea 56
• 3.2.3 Analysis of the Development Trends of South Korean New Media Installation Art 61
• CHAPTER 4. Case Analysis of New Media Installation Artworks at Home and Abroad 63
• 4.1 Case Selection and Research Design 63
• 4.1.1 Basis for Case Selection 63
• 4.1.2 Research Process Design 65
• 4.1.3 Descriptive Statistical Analysis of Demographic Variables 66
• 4.2 Analysis of the Chinese New Media Installation Art Exhibition Epic Scroll of China’s Grand Canal 70
• 4.2.1 Theme Selection 70
• 4.2.2 Cultural Expression of the Work 73
• 4.2.3 Analysis of the Use of New Media Technology and Equipment 77
• 4.2.4 Analysis of the Interaction Modes and Synesthetic Experience of the Work 80
• 4.2.5 Analysis of Audience Engagement and Satisfaction Survey 84
• 4.2.6 Analysis of Cross-Sector Resource Integration 86
• 4.3 Analysis of the South Korean New Media Installation Art Exhibition LE SPACE 88
• 4.3.1 Theme Selection of the Work 88
• 4.3.2 Cultural Expression of the Work 91
• 4.3.3 Analysis of the Use of New Media Technology and Equipment 94
• 4.3.4 Analysis of the Interaction Modes and Synesthetic Experience of the Work 98
• 4.3.5 Analysis of Audience Engagement and Satisfaction Survey 104
• 4.3.6 Analysis of Cross-Sector Resource Integration 106
• 4.4 Core Differences Between Chinese and South Korean Exhibitions 107
• 4.4.1 Different Cultural Theme Focuses: Deconstruction of Traditional Symbols and Reconstruction of Future Contexts 108
• 4.4.2 Different Technology Applications: Technology Stacking and Diversified Technology Integration 110
• 4.4.3 Different Interaction Modes and Synesthetic Experiences: Single Interaction Modes and Multimodal Perception 112
• 4.4.4 Differences in Industrial Ecosystem: Homogeneity of the Industrial Ecosystem and Multi-Industry Integration 114
• 4.4.5 Differences in Visitation Rate and Exposure Rate—Local Deep Cultivation and International Breakthrough 115
• 4.5 Problems in the Development of Chinese New Media Installation Art 122
• 4.5.1 Fragmentation of Theoretical Research and Lack of Systematization 122
• 4.5.2 Superficialization of Technology Application and Insufficient Deep Integration 123
• 4.5.3 Homogenization of Synesthetic Experience and Insufficient Multimodal Synergy 124
• 4.5.4 Homogeneity of the Industrial Ecosystem and Lagging Cross-Sector Integration 125
• CHAPTER 5. Development Strategies for New Media Installation Art in China 129
• 5.1 Contemporary Activation of Cultural Genes through Technology Empowerment 129
• 5.1.1 Bidirectional Empowerment of Technology and Culture 130
• 5.1.2 Constructing a Chinese Discourse System of Multimodal Theory 132
• 5.1.3 Spatial Reconstruction 135
• 5.1.4 Strengthening International Exchange 137
• 5.2 Improving Technical Services 140
• 5.2.1 Introducing Advanced Technology 140
• 5.2.2 Promoting Deep Collaborative Innovation Between Technology and Art 142
• 5.2.3 Improving the Technical Literacy of Art Creators 144
• 5.2.4 Strengthening Market Research and Audience Feedback 146
• 5.3 Rational Use of Synesthetic Elements 148
• 5.3.1 Balancing Sensory Experience 148
• 5.3.2 Simplifying Sensory Elements to Highlight the Thematic Connotation of the Work 150
• 5.3.3 Enhancing the Integration of Technology and Art 152
• 5.3.4 Focusing on Audience Feedback and Work Adjustment 154
• 5.4 Cross-Sector Collaboration and Resource Integration 156
• 5.4.1 Expanding Communication Platforms 156
• 5.4.2 Government Guidance 158
• 5.4.3 Promoting Integration with Multiple Fields 161
• 5.4.4 Expanding Cross-Sector Application Scenarios in the Industrial Ecosystem 162
• CHAPTER 6. Conclusion 165
• 6.1 Research Summary 165
• 6.2 Research Limitations 167
• 6.3 Research Outlook 169
• References 171