在这场演讲中，艺术家杨放分享了与自闭症孩子相处的感人故事，探讨了艺术如何成为他们表达内心的“母语”，以及如何通过画笔发现他们隐藏的天赋与情感密码。 同时，她呼吁用爱与理解为每颗孤独的星星找到属于自己的轨道。 艺术家，EveryArt联合创始人。 This talk was given at a TEDx event using the TED conference format but independently organized by a local community. Learn more at https://www.ted.com/tedx ...

中国美术学院教授刘健的动画电影新作《艺术学院1994》官宣定档6月21日上映。6月16日晚，该片 路演首站来到杭州，在浙影时代影城西湖文化广场店与观众见面。 "这部动画电影并不会给出答案，而是留下一个开放式的提问，相信每个人看了之后内心会自有答 案。"刘健说。 "艺术没有标准答案" 刘健的另一个身份是中国美术学院动画与游戏学院的院长，在制作名单中也出现了大量美院学生和 老师的名字，整个学院的师生团队深度参与创作。 在观影后的见面会前，导演刘健接受了记者的专访，他说这部动画电影不只是自己的"半自传"，也 是留给当下年轻人的开放式问题。 "留下一个开放式的提问" 影片讲述了"南方艺术学院"一群美术生和音乐生的故事。在那个缓慢的年代，青春有别样的色彩， 这群年轻人感受着单纯的爱情和友情，懵懂地探寻着艺术和理想。所有的问题还没来得及找到答案，毕 业时节已匆匆而至，喧闹不再，离别上演。在青春的尾巴上，谁也无法选择停在原地，夹在传统与现代 之间的他们，必须去决定自己要成为怎样的人。 《教父》、《洛丽塔》、崔健、涅槃乐队……传统与先锋的碰撞、哲学与艺术的交锋，整部片子呈 现出了20世纪90年代艺术生的生活日常，折射出当时国 ...

Core Viewpoint - The article discusses a groundbreaking method developed by Alex Kachkine for restoring damaged paintings using AI algorithms, significantly reducing the time required for restoration from months or years to just a few hours [1][7]. Group 1: Restoration Method - Kachkine's method allows for the physical restoration of paintings rather than just digital repairs, breaking the traditional approach of merely patching up digital scans [2][5]. - The restoration process involves applying a thin plastic film as a "mask" on the original painting, which allows for repairs without damaging the original artwork [6][18]. - The AI algorithm identifies 5612 damaged areas requiring 57314 different colors, completing the restoration in 3.5 hours, which is approximately 66 times faster than traditional methods [7][20]. Group 2: Restoration Process - The restoration process includes cleaning the original painting, scanning and analyzing it to create a digital version, and then using proprietary software to identify repair areas and colors [9][24]. - A dual-layer "mask" is created, consisting of a colored layer and a white layer, which must be perfectly aligned for effective restoration [13][14]. - After applying the mask, a thin layer of traditional varnish is sprayed to secure the repairs, and the mask can later be removed to restore the painting to its original state [17][18]. Group 3: Background of Alex Kachkine - Alex Kachkine has a strong engineering background, coming from a family of engineers and pursuing degrees in mechanical engineering and economics [27][32]. - His early interest in art was sparked by a school visit to an art museum, leading him to explore efficient methods for restoring damaged artworks [38][41]. - Kachkine aims to make more damaged artworks accessible to the public through his innovative restoration techniques [44].

Group 1 - The article discusses the ambiguous distinction between "pornography" and "obscenity," highlighting the challenges in defining what constitutes artistic expression versus illegal dissemination [1][2][4] - It emphasizes that the historical context of Chinese literature has always included writings on desire, with texts like "The Art of the Bedroom" being viewed as educational rather than taboo [2][4] - The rise of "erotic novels" during the Ming and Qing dynasties reflects a tension between moral concerns and the depiction of societal norms, as seen in critiques of works like "Water Margin" and "Jin Ping Mei" [4][5] Group 2 - The legal framework in China began regulating pornography in the late 1980s, with laws categorizing "obscene publications" as criminal offenses, leading to a more structured control system [5][6] - The definition of "obscene materials" includes explicit depictions of sexual acts, but there is ongoing debate about what qualifies as "valuable literature or art," raising questions about who determines this value [6][9] - The case of "Faded City" illustrates the shifting perception of a work from being labeled as "obscene" to being recognized as a significant literary piece, showcasing the tension between societal morals and artistic expression [9][10] Group 3 - The article critiques the tendency to apply a singular evaluation standard to both serious literature and online literature, which often reflects different cultural contexts and audience engagement [11][13] - It discusses the genre of "danmei" literature as a space for female sexual fantasy, arguing that such works should not be held to the same societal value assessments as traditional literature [13][14] - The discourse surrounding "obscenity" is framed as subjective, suggesting that the definitions of "pornography" and "obscenity" require a nuanced understanding that involves multiple academic perspectives [14][15]