征集 | 这正是数字艺术需要提出更富有想象力解决方案的时刻，2022亚洲数字艺术展全球作品征集启动
WHEN MORE IMAGINATIVE SOLUTIONS ARE REQUESTED OF DIGITAL ART
START OF GLOBAL SOLICITATION OF WORK CONTRIBUTIONS TO THE DASA 2022
亚洲数字艺术展已成功举办三届，在海内外数字艺术领域影响力广泛。“亚数展”以数字艺术为媒介，云集全球数字艺术家作品，引领科技艺术的前沿探索。以科技创新、数字艺术家创作、产业促进等多领域深层耦合，搭建科技+文化的产业创新与引导平台，致力于数字经济蓝图擘画与数字文明构建。
A digital art event concentrating the works of global digital artists and pioneering the field of technological art, the Digital Art Show Asia (DASA) has achieved a broad international influence in the domain over three consecutive years. The DASA works of art integrate many functions, like technological innovation, digital art exhibition and industry promotion, onto a technological and cultural platform conducive to industry innovation and development. The curators intends the DASA to develop digital civilization and present the blueprint of the digital economy.
亚洲数字艺术展自2019年举行以来，吸引了25个国家、地区的超120位艺术家参与，展出120余件数字艺术作品，其中包括有邵志飞、邱志杰等数字艺术大咖，线下展览累计接待现场观众逾15万，线上传播达人群1.5亿。
Since 2019, the DASA has attracted 120+ digital artists from 25 countries who have put on show 120+ works, including those by such masters as Shao Zhifei and Qiu Zhijie. Visitors have totaled 150,000 online and 150 million offline.
策展人邱志杰在2021亚洲数字艺术展上导览
Curator Qiu Zhijie explicated a work of at the DASA 2021
"2021亚洲数字艺术展"采用特邀+征稿的模式，结果令人欣喜。从地域上看，DASA吸引了全球众多一线数字艺术名家的目光，投稿来源遍布全球各地;从年龄上看，投稿者上至享有盛誉的老艺术家，下至智识敏锐的翘楚少年，老幼偕力，皆踊跃参与;从界别上看，众参与者其教育背景溢出了艺术领域，各行业有识之士蹈厉奋发，以全行业的底蕴傍铸DASA,以迎接壮丽的数字文明。
The DASA 2021, combining invitational exhibition and work solicitation, was encouraging. Geographically, it attracted countless top-notch digital artists from the globe took part. By age, contributors ranged from well-accomplished old artists to acutely talented young people. A diversity of age groups took an active part. By composition, gifted participants came from numerous education backgrounds — not just fine art — assembled, shoulder to shoulder, welcoming the grandeur of digital civilization at the DASA.
2021亚洲数字艺术展开展活动上，策展人、艺术家、嘉宾合影
The curators, artists and distinguished guests posed for a photo at the DASA 2021
《机器人天空》、《星球城市》、《首尔城市机器》Liam Young（澳大利亚）
The Sky of Robots, Star City, and Seoul as a Machine, Liam Young from Australia
《进化》白小墨
Evolution, Bai Xiaomo
《熵》郭耀先（中国）
Entropy, Guo Yaoxian from China
《琴与人的交互1号》魏冰（中国香港）
Interaction between Qin and Human No. 1, Wei Bing from Hong Kong
《孪·声》卢思屹（中国）
The Twin and Sound, Lu Siyi from China
《当代艺术驱动器》佘璐芸（中国）
Contemporary Art Drives, She Luyun from China
《重返桃花源》黄钺 骆煜超 彭浩旻（中国）
Back to the Paradise of Peach Blossoms, Huang Yue, Luo Yuchao, and Peng Haomin from China
“2022亚洲数字艺术展”全球作品征集正式启动
OFFICIAL START OF GLOBAL SOLICITATION OF WORK CONTRIBUTIONS TO THE DASA 2022
即日起向全球创作者征集优秀数字艺术作品，通过海选、评审、展览、颁奖、奖金支持形式，挖掘全领域创作人在数字艺术领域更多可能性。
Beginning this day we solicit global contributions of excellent digital artworks to the DASA 2022. Upon receipt the works will be put through a process consisting of selection, appraisal, exhibition, prize presentation and prize money offering, for the purpose of developing more possibilities for digital artists.
1984 年，商人和亿万富翁慈善家艾德·巴斯（Ed Bass）和系统生态学家约翰·艾伦（John Allen）发起“生物圈2号”计划。这是一个位于亚利桑那州的占地3英亩多的高性能玻璃和钢框架建筑。这个生物圈内有海洋、草原、沙漠、雨林等生态环境。8位研究人员入住这个与地球的“生物圈1号”完全隔绝的环境，带入了种子、昆虫和牲畜，开展建筑、农业等活动，并设法维持生态平衡。实验在1991-1994年持续了两年后失败。随之在1994年3月到9月之间又进行了第二次实验，再次失败。失败的原因既是技术上的，也是心理上的。是“受限环境心理学”条件下人类之间的合作的失败。
In 1984, businessman and billionaire philanthropist Ed Bass and systems ecologist John Allen launched the Biosphere 2 project, housed in a structure built of high-performance glass and steel frame on an over three-acre plot in Arizona. Biosphere 2 housed multiple ecosystems, including the sea, the grassland, the desert and the rainforest. Eight researchers settled on the land completely isolated from Biosphere 1 of the earth, bringing with them seeds, insects and livestock and carrying out such activities as construction and agriculture while trying to maintain ecological balance. Initiated in 1991, the experiment failed roughly two years later in 1994, and this was followed by a second unsuccessful experiment between March and September 1994. The reasons for the failures were both technical and psychological, including the inability of human beings to cooperate among themselves in an environmentally-constrained psychological context.
生物圈2号 Biosphere 2
经济学家肯尼斯·E·博尔丁将材料、能源和信息系统视为开放或封闭系统的输入和输出的三个基本类别，而信息系统是三个系统中最重要的。尽管1966年的博尔丁尚未能够完全意料到数字革命为这个信息系统带来的巨大创新---互联网、云技术、区块链，机器学习和人工智能极大地改变了我们的通讯技术，并渗透进能量和材料的生产、分配、消耗的吞吐过程中。
Economist Kenneth Ewart Boulding regarded material, energy and the information system as three basic categories of input/output in an open or closed system, with the information system being the most important of all. Although it was not possible for Boulding to fully anticipate in 1966 the tremendous innovations the digital revolutions — the Internet, cloud technology, the blockchain, machine learning and AI — would bring to the information system, there have indeed been great changes to our communications technology, penetrating the entire process of production, distribution and consumption of energy and material. 毫无疑问，今天的地球比以往任何时候都更加接近于“生物圈2号”这间实验室，无论是疫情还是战争、通讯与谈判、分裂与合作，都发生在这艘一边旋转一边航行在茫茫宇宙中的太空船内部。
There is no doubt that the earth today resembles the Biosphere 2 laboratory than ever before. Be it the COVID-19 pandemic, war, communications, negotiation, split or cooperation, everything occurs in this “spaceship” rotating and traveling in the vast universe.
“地球太空船”正是人类命运共同体的喻体：我们可以设法建立博尔丁和富勒想象过的循环经济学，以及芭芭拉·沃德的全球意识的政治，也可以放任发生在“生物圈2号”实验室的失败的故事在“生物圈1号”重演。这正是数字艺术需要提出更富有想象力解决方案的时刻。
“Spaceship Earth” is a metaphor for the community of common destiny for mankind. We can try experimenting with the circular economy conceived by Boulding and Fuller, or the political philosophy of global awareness put forth by Barbara Ward. We can just let the failure of Biosphere 2 repeat in Biosphere 1. Right now it’s high time for digital artists to come up with more imaginative solutions.
因此，我们向大家征集：
Therefore, we welcome global submission of:
1，来自艺术家或艺术家小组的科技艺术作品：包括但不限于媒体艺术、数据艺术、人工智能艺术、互动艺术、生物艺术、生态艺术、新材料艺术等。
1. technological artworks by (teams of) artists, including but not limited to media art, data art, AI art, interactive art, biological art, ecological art and/or new material art;
2，我们征集一批科普艺术作品：包括科普视频、科普出版物、科普装置等。创作主体可以是艺术家，也可以是制作公司、科学和技术博物馆、自然博物馆的内容生产团队。
2. sci-fi works and artworks, including videos, publications and gadgets of a sci-fi nature, created by individual artists or content production teams of production companies, science museums and natural museums;
3，我们征集一批科技论文的海报和可视化Demo样品：我们向科研院所研究团队、科技类院校的师生征集科技论文的摘要式海报及其可视化演示内容。
3. academic posters and visual demos of a scientific nature, including poster abstracts of scientific papers and accompanying visual demos, by teams from science institutes and faculty and students from technological institutions of higher education; and
4，我们征集一批少儿科技艺术作品及教学方案：我们向学前及中小学校、各类研学基地、教学机构的老师们征集少儿科技艺术教育的课程方案及同学们的创作成果。并将为此设置奖项。
4. children-created technological artworks and accompanying syllabuses, including syllabuses of the technological art courses prepared by preschools, primary schools, secondary schools, education research institutes and educational organizations as well as creations of students. There will be prizes.
奖项设置
PRIZE DESCRIPTION
“2022亚洲数字艺术展”全球作品征集将设立“亚洲数字艺术大奖”，参选作品将以匿名的方式呈现给评审团，经评审投票后评出。入围作品将在“2022年亚洲数字艺术展”中进行展出。
The DASA 2022 involves global solicitation of digital artworks to compete for the Digital Art Asia Prize. Upon receipt, the works will be submitted to the appraisal of the jury with the creators’ names made secret. A work that wins out will have a place in the DASA 2022.
提报要求
NOTES
1. 每位参与者可提交不超过3件参选作品。
1. A Participant can submit at most three works.
2. 参选作品材料以PDF格式提交；影像文件可在PDF中内嵌url链接。参选作品材料必须包含参与者文字介绍（不超过300字）及作品图文介绍。
2. The work must be submitted in PDF format. If it is an image, a URL link can be provided in PDF file. A work must contain an at most 300-character introduction to the Participant as well as an explication of the work.
3. 报名及材料接收时间：北京时间2022年4月2日0点至5月31日24点。
3. The Participant must enter for the competition and submit the work between April 2, 2022, 0:00 CST to May 31, 2022, 24:00 CST.
4. 请以电子邮件的形式将作品电子材料发送至邮箱：info@miceht.com，名称按照“姓名+作品名称”规范提交。
4. Please e-mail your work in electronic format to info@miceht.com. Use the filename “participant name + work name”.
5. 报名及材料接收截止后，不得进行作品电子材料的修改。
5. No moderation to or resubmission of the electronic work is effective after the deadline.
6. 活动不收取报名费。
6. No fee is charged for submission.
7. 所有参与者必须严格遵守中华人民共和国法律。所有参与者必须保证参选作品不会触及政治、宗教、民族独立、战争等敏感内容，保证参选作品不含有任何暴力、色情、恐怖、极端势力等禁忌内容。所有参与者必须保证对参选作品拥有排他性且完整著作权，保证参选作品未涉及任何诉讼，未侵犯他人任何合法权益，包括但不限于肖像权、姓名权、名称权、著作权、商标权等合法权益。
7. All the Participants must abide strictly by the Chinese laws and ensure the works contain no politically and religiously sensitive information or taboo implications, including but not limited to racial independence, war, violence, pornography, terrorism and extremism. All the works must have exclusive and complete copyrights and none must involve any suit or third-party legal interest, including but not limited to the portrait rights, personality rights, personal name rights, copyrights and trademark rights.
8. 参选作品获奖后，参与者应以文件、照片等形式免费提供展览主办方与参选作品相关的信息，展览主办方有权将参选作品用于展览出版、宣传等用途。
8. The Winner must provide, free of charge, the information on the Organizer and the prizewinning work in file or photo format. The Organizer may use such information for shows, publication or publicity purposes.
9. 咨询：微信公众号“亚洲数字艺术展”后台留言，或发送邮件至info@miceht.com。
9. To know more, please leave a message through our WeChat (“DASA”) or e-mail to info@miceht.com.
默认条款
IMPLIED CONSENT
1. 原创性声明
1. Declaration of Originality
所有参与者提交参选作品即默认遵守：
By submitting the work a Participant agrees to the following implied terms:
（1）所有参与者严格遵守中华人民共和国法律法规，保证参选作品的原创性，保证对参选作品拥有排他性且完整的著作权。
1.1 A Participant shall comply strictly with the Chinese laws and legislation by ensuring the originality of and exclusive complete rights to the work.
（2）参选作品未涉及任何诉讼，未侵犯他人任何合法权益，包括但不限于肖像权、姓名权、名称权、著作权、商标权等合法权益。
1.2 No work shall involve any suit, nor involve any violation of any third-party legal rights, including but limited to any portrait rights, personality rights, personal name rights, copyrights, trademark rights and similar legal rights.
（3）若参与者违反上述条款，则：展览主办方有权立即取消参与者参选资格，收回已经给予参与者的任何奖项和权益，由此引发的任何法律诉讼、法律责任和财产损失均与展览展览主办方无关，由参与者承担。
1.3 If a Participant violates either of the above conditions, the Organizer may immediately disqualify him or her from participation and revoke any prize or rights. Any consequent suit, legal liability and property loss shall be borne solely by the Participant and the Organizer is not responsible for any liability for any such consequence.
2. 免责声明
2. Disclaimer
由于病毒、黑客攻击，以及其它人为干扰、突发事件或者一些展览主办方无法控制的因素，严重影响到活动的管理、安全、评审、公正性等情况下，展览主办方有权单方面推迟或取消部分和全部活动。参与者提交的参选作品在公开展览过程中可能发生设计元素、图案、版式等自主知识产权被侵犯并对参与主体造成损失的，展览主办方不承担任何责任，仅配合、协助参与者进行维权。
In view of the fact that any computer virus, hacking attempt, manipulated interference, unforeseen incident or any other happening can be serious threats to the management, security, appraisal and fairness of the pre-DASA process, the Organizer may, as deemed appropriate, put off or cancel all or part of the solicitation effort unilaterally. In case any work submitted by a Participant supposedly constitutes any violation of any copyrighted design, image and work layout during the public show, the Organizer is not responsible for any liability arising thereof and only offers assistance in rights protection.
3. 参选作品知识产权归属
3. Copyright Matters
参与者保证享有参选作品的全部知识产权。评选结束后至“2022亚洲数字艺术展”开展前10天内，获奖作品的参与者须与展览主办方签订版权使用协议，许可展览主办方对获奖作品享有三年的展览权、发行权、信息网络传播权、汇编权、表演权、广播权以及出版权等版权权利，逾期不同意签订的，视为自动放弃获奖资格及奖励。
The Participant guarantees complete copyrights of the work. Within 10 days from the conclusion of the appraisal to the beginning of the Show, a Winner shall enter into a copyright license agreement with the Organizer, providing the latter with a three-year license covering such rights as the public exhibition right, publication right, information network transmission right, compilation right, performance right, broadcasting right, copyright, etc. A Participant who refuses to provide such rights by the deadline is deemed to automatically give up the qualification for the DASA and the prize.
4. 展览主办方权利
4. The Organizer’s Rights
（1）每位参与者在其作品参选（展）或被告知获奖的同时，即被视为已明确同意展览主办方有权将该参选作品用于“2022亚洲数字艺术展”的系列展览、公益传播、出版等，并不再另付稿酬。
4.1 Upon getting a place in the DASA or being informed of a win and a prize, a Participant shall be deemed to have explicitly provided the Organizer with the right to use the work for any DASA-related exhibition, public interest-intended distribution and publication without paying extra.
（2）为鼓励青年艺术家的创作和参与热情，也为每位参与者提供作品展示机会，在其参选作品被公布或被告知在本次活动中获奖同时，即被视为已明确同意展览主办方，有权将该参选作品推荐到国内、外合作组织和团体，进行相应的参评或参展，所获荣誉归属原参与者；如不同意推荐者，请在参选时明确注明。
4.2 In order to encourage young artists to create and participate and provide participants with exhibition opportunities, the Organizer and the winning Participant agree that by receiving the notice of a win or a prize, the Participant shall be deemed to have explicitly permitted the Organizer to recommend the work to a Chinese, foreign or jointly-run entity for a place in any appraisal or show. Any honor, if won, belongs to the Participant. The Participant can clearly specify whether he or she chooses such a recommendation.
（3）经展览主办方判定为违反“规则说明”及不符合活动主题的作品将被取消参选资格。
4.3 A work deemed by the Organizer to have violated the relevant laws, legislation and rules or is not relevant to the theme of the show shall be disqualified.
（4）展览主办方不对参选作品排名；展览主办方不承诺参选作品必定获奖或必定被展览和展出。
4.4 The Organizer does not rank the works or guarantee any prize or any entry into any exhibition or show.
注：所有参与“2022亚洲数字艺术展”作品征集的参与者，均被视为认同以上条款。本活动的最终解释权归“2022亚洲数字艺术展”主办方所有。
NOTE: All the Participants who take part in the DASA 2020 shall be deemed to have accepted the above articles. The Organizer solely reserves the final right to interpret all the matters thereunder.