Abstract: For a long time, Chinese painting history research has focused on individual painters' artistic styles and influence, neglecting the widespread and significant group phenomena, especially the "equal renown" painter groups who are named together due to similar styles and comparable reputation. This study takes a digital humanities perspective for the first time, systematically sorting out the equal renown phenomena of 633 painters from the Three Kingdoms to modern times in historical literature using quantitative methods, constructing a cross-era, cross-regional social network map of equal renown painters. Based on text mining, Transformer language models, and social network analysis (SNA), the "transmissive equal renown" theory is proposed and systematically verified, revealing the hidden artistic transmission paths formed through indirect connections between painters that lurk beneath traditional literature. At the same time, using D3.js and Three.js technologies, an interactive visualization platform called "Mapping the Universe" was designed and developed, presenting the complex and dynamic equal renown networks in history with rich and intuitive visual interaction methods. This not only bridges the gap in macro-analysis of traditional literature verification methods, but also provides new technical paths and theoretical paradigms for Chinese painting history research in the digital humanities era.

Speaker Bio: Zheng Wang, Professor at the School of Architecture and Arts, Beijing Jiaotong University, Director of the Design Department and Director of the Aesthetic Education Center. Former Director of the Virtual Art Laboratory at Shanghai University's Shanghai Academy of Fine Arts. Committee member of the Visualization and Visual Analytics Committee of the Chinese Society for Image and Graphics, and committee member of the Information and Interaction Design Committee of the Industrial Design Association. His works have been selected for important domestic and international exhibitions multiple times. His information and interaction design work "Mapping the Universe: Network of Chinese Painters of Equal Renown Throughout History" was selected for the 14th National Art Exhibition in 2024, and his interactive installation "Wandering Shadows of Pearl Light" was selected for the 2014 National Mural Exhibition and the 12th National Art Exhibition Mural Exhibition. He collaborated with the Athens School of Fine Arts in Greece on the "No Word" project; collaborated on the "Shang-Pool" virtual reality project for the Liverpool Biennial in the UK. His main creative works have been selected for important domestic and international exhibitions including Shanghai Design Exhibition, Hong Kong Creative and Technology Expo, and Macau Design Biennial. His interactive installation works are permanently displayed at Shanghai Metro Line 7 Houtan Station, 2010 Shanghai World Expo Museum, Shanghai Baoshan Folk Art Museum, and other venues. He led the Ministry of Education Humanities and Social Sciences Fund project "Analysis of the Origins of Ancient Chinese Calligraphers and Painters from a Big Data Perspective" and completed it without evaluation. He has published multiple papers in the field of digital humanities in SCI, "Decoration," "Journal of Nanjing Arts Institute," "Fine Arts," and other CSSCI core journals, winning the 2019 Excellent Submission Paper Award from the authoritative design journal "Decoration" and the Second Prize for Excellent Papers at the 2022 China Digital Humanities Annual Conference. He has published 4 academic monographs including "Like a Petal of Incense: Data Genealogy of Chinese Painting Master-Student Relationships" and "Digital Composition." He has won teaching honors including the Third Prize of Shanghai Teaching Achievement Award, the Second Prize of Beijing Teaching Achievement Award, Outstanding Young Teacher of Shanghai University, and Advanced Individual in "Three Education" at Beijing Jiaotong University.

Abstract: In the current context of the integrated development of artificial intelligence, neuroscience, and new media, perceptual data and interactive data together constitute the most potential media and vocabulary in future artistic creation. This report will focus on how perceptual technologies such as brain-computer interfaces, physiological sensing, and biofeedback are introduced into interactive art design to capture audience emotions, physiological states, and cognitive intentions, thereby shaping artistic experiences with human-machine empathy characteristics. At the same time, combining my research experience in user interface and behavioral data analysis, I will explore the core role of interactive data (such as trigger paths, behavioral rhythms, spatial movement, etc.) in the construction of work generation logic and interactive mechanisms. Through multiple practical cases - including AI-driven immersive environments, generative narrative systems based on EEG and behavioral perception, and data recording and response systems for audience behavioral trajectories in exhibition spaces - this report presents how perceptual and interactive data serve as creative materials and social media, inspiring new forms and expressions at the intersection of art and technology. In the era context of "tide generating myriad phenomena," we hope to use these fusion explorations to promote new media art to more deeply intervene in the scene of human perception and technological evolution.

Speaker Bio: Associate Researcher at the School of Arts, Nanjing University, and Technical Director of the Nanjing University Art and Architecture Intelligence Laboratory, mainly engaged in interdisciplinary research on art and technology based on artificial intelligence. He obtained a PhD in Creative Media from City University of Hong Kong, with research directions mainly in brain-computer interfaces, innovative user interfaces, and user-centered interactive systems in new media art projects. During his postdoctoral research at the School of Architecture and Urban Planning at Nanjing University, he focused on human-environment interaction and spatial experience supported by digital technology, exploring the cross-application of spatial design with computer science and neuroscience. Xiao Wang's research combines AI technology with new media art and human-computer interaction systems, with particular attention to interactive art design and research based on EEG, artificial intelligence, biofeedback, and blockchain. Currently, he is conducting AI-based intelligent interaction exploration, aiming to enhance the interactivity and intelligence of human-computer interaction in the creative media field through artificial intelligence technology, promoting innovative development of art and technology. Xiao Wang formerly served as Associate Researcher and Technical Director of the Neuro-Design Lab at the Applied Computing and Interactive Media Center (ACIM) at City University of Hong Kong, and as a specially appointed technical creative consultant for the Hong Kong Osage Art Foundation. He has led and participated in 20 art and technology research projects, received multiple government grants, published multiple international papers, and participated in 34 international exhibitions as Creative and Technical Director, winning domestic and international awards 4 times, including the International Symposium on Electronic Art (ISEA), Ars Electronica Festival, and Siggraph Asia.

Abstract: The intelligent era is driving profound transformations in human-computer interaction and product experience. Traditional Kansei engineering, based on static and single-dimensional evaluation methods, can no longer meet the complex needs of multimodal intelligent products. Faced with new challenges such as dynamic interaction and emotional response, Kansei engineering urgently needs to introduce multimodal data from neuroscience and psychological science to break through the coarse-grained quantification of users' subjective experiences. This report is based on multimodal neural and emotional data such as neural brain imaging, EEG, and heart rate variability, exploring the use of visualization methods to deeply analyze human complex cognitive and emotional mechanisms. Through cases such as intelligent cabins, VR immersive spaces, and brain-computer interface healing devices, it demonstrates how to integrate brain science and visual analysis methods to transform high-dimensional neural and emotional data into intuitive visualization results, thereby revealing users' hidden emotional and psychological state changes in different intelligent environments.

Speaker Bio: Han Zhang, Lecturer and Master's supervisor. Received a PhD in Kansei Cognitive Brain Science from the University of Tsukuba, Japan in 2022. Research interests include intelligent human-computer interaction design that deeply integrates art, cognitive science, and artificial intelligence technology. In the past five years, has published 15 SCI/SSCI/EI academic papers as first author, participated in 12 international human-computer interaction authoritative conferences and gave reports. Has been a principal researcher on 3 national and provincial-level projects. As an academic supervisor, participated in 1 National Arts Fund talent cultivation funding project. Won 6 domestic and international competition awards including National Art Exhibition, Red Star, and China-Italy Design.

Abstract: As the core foundation of information art design, the importance of interactive information visualization courses is self-evident. The report unfolds around the teaching practice of the "Information Interaction Design Course" in the Information Art Design major at Hubei Institute of Fine Arts, using the three-stage teaching content of information graphics creative ability cultivation, task-driven information visualization human-computer interface design method instruction, and information interaction interface concept prototype generation as clues. It explores the application possibilities of a series of teaching concepts and teaching auxiliary tools, such as graphic visual narrative training oriented by data questioning and information construction, data modeling and visual encoding workshops based on representational mapping, and design practice of data-driven information interaction behavior, attempting to lay the foundation for further information art design teaching in the future.

Speaker Bio: Wei Wang, Bachelor's and Master's degrees from the Academy of Arts and Design, Tsinghua University. Currently Associate Professor at the School of Visual Arts and Design, Hubei Institute of Fine Arts, Director of the Information Design Teaching and Research Office, and member of the Hubei Artists Association. Has long been committed to teaching and research in information visualization design. Has led 1 national first-class undergraduate course, 4 provincial and ministerial research and teaching projects, and 1 high-quality online open course at Hubei Institute of Fine Arts. Published 1 textbook "Information Graphics Design" and over 10 academic papers. Works have been selected for important professional exhibitions over 20 times, including the 13th and 14th National Art Exhibitions (Beijing), the 7th China Visualization and Visual Analytics Conference, and the 6th, 7th, and 9th National Book Design Art Exhibitions. Teaching works have won 65 professional competitions including the Bronze Award at the Kantar Information Is Beautiful Awards (UK), Silver Award at ChinaVis China Visualization and Visual Analytics Conference, Silver Award at China Data Content Competition, and Bronze Award at China Data Journalism Competition.

Abstract: We explored a distributed embodied narrative strategy in our creation. Through three-dimensional reconstruction of public media images and personal archives, we constructed an asynchronous spatiotemporal space that integrates collective memory. Countless electronic islands metaphorize the implicit cyber-geopolitical conditions of the post-artificial intelligence era. The distributed narrative system centered on "electronic wanderers" revolutionizes the collaborative environment of immersive narrative, poetically creating an optimistic future archaeological landscape: electronic orbits connect data islands, becoming a distributed virtual narrative space.

Speaker Bio: PhD in Design, animation director, and multimedia artist. Director of the Super-Vision Studio at the Media Interaction Institute of China Academy of Art, Associate Researcher at the AI Center of China Academy of Art, Researcher at the Digital Art Display Innovation Center of the Ministry of Culture and Tourism, and supported talent of the Youth Research Program of the Ministry of Culture and Tourism. Main research directions include extended animation, scientific data visualization, and neuroimaging. Recent works have been exhibited at Beijing International Film Festival, Ars Electronica Festival, Busan International Film Festival, SIGGRAPH Art Gallery, and others. Served as executive curator for the China Science Fiction Convention "Design·Phantasm" Exhibition (2023) and the First China Digital Art Exhibition (2024).