Special Feature

■ How the Canal Can Remain So Clear and Pure Since There Is a Source of Living Water:Keynote Speech at the Opening Ceremony of the World Art and Technology Dialogue （PP. 4–9）Zhang Zheng

Special Topics • The Era Scenario and Knowledge Construction of New Forms of Literature and Art for the General Public

■ The "New Public" and New Forms of Literature and Art for the General Public:Mutual Construction and Value Reconstruction （PP. 10–23）Huang Zhongshan

Abstract: The deep restructuring of the cultural ecology by the digital internet has given rise to a "new public" characterized by intersecting identities, stratified relational patterns, and heightened cultural consciousness. In the internet age, the "new public" has moved to the center of the literary and artistic stage as both creators and recipients, constituting the defining feature of the rise of new forms of literature and art for the general public. The relationship between the "new public" and new forms of literature and art for the general public is not one of unidirectional construction but rather a dynamic, two-way mutual construction that unfolds through openly co-creative modes of production, community-driven mechanisms of dissemination, and community-empowered literary and artistic evaluation system. At a deeper level, this process of mutual construction is driving the value reconstruction of literary and artistic critical discourse, aesthetic standards, and cultural order. To advance the future development of ‌new forms of literature and art for the general public, it is essential to proceed from respecting and serving the cultural needs of the "new public," build a benign literary and artistic ecosystem characterized by plurality and inclusiveness, unimpeded circulation across different strata, and a technology-for-good orientation, thereby stimulating higher-level cultural creativity and nurturing new literary and artistic classics that embody the spirit of the new era.

Keywords: new public, new forms of literature and art for the general public, digital internet, mutual construction, value reconstruction

■ Beyond Aesthetic Tension:A Preliminary Reflection on New Forms of Literature and Art for the General Public （PP. 24–35）Zhou Yanni

Abstract: Reflecting on the aesthetic tension as a new symptom of the literary field in the digital-intelligence era is essential to researching new forms of literature and art for the general public. Beneath the prosperity of techno-driven, market-expanded production, a structural tension emerges in which aesthetic openness and closure coexist. The order of simulation and the smooth spectacle erode art’s real-world referents and tame critical perception, giving rise to an aesthetic tension marked by label-based judgment and absence of rational dialogue. This tension manifests as layered symptoms, from perceptual inertia to the disorder of the public sphere. Overcoming this global predicament requires following the principle of people-centeredness intrinsic to the new general public. This means, on the one hand, activating the authentic potentials of these new literary and art forms by sustaining a direct, unadorned connection with people's concrete circumstances, social relations, and lived experience. On the other hand, it demands an institutional reconfiguration of the sensory community and the technological infrastructure that underpin this production: an adjustment, in essence, of the relations of literary and artistic production. This approach offers a Chinese path toward the healthy development of literary and artistic production in the digital-intelligence era and a potential reference for global digital culture.

Keywords: new forms of literature and art for the general public, aesthetic tension, simulated order, smooth spectacle

■ The Hand That Writes, the Heart It Stands for: Methods, Dilemmas, and Strategies of Writing about Labor from the Perspective of New Forms of Literature and Art for the General Public （PP. 36–47）Cheng Huizi

Abstract: This article examines the methodology of writing about labor experience in non-fictional works produced in recent years. From the perspective of new forms of literature and art for the general public, digital technology has restructured the relationship between artistic production and reception, leading to a diversification of the subjects who write about labor. Based on the identity of the creators, relevant works can be divided into two categories: self-narratives by laborers themselves and cross-disciplinary accounts by professional writers. Regarding the former, this article explores how laborers acquire literary competence in the process of writing, analyzing the ways in which they connect material production with cultural production to become a new type of "mental-manual laborer". Regarding the latter, this article analyzes the "gaze" dilemma faced by professional writers when engaging with labor themes and its causes, and proposes a writing strategy aimed at establishing an "affective community". On this basis, the article further interrogates how the act of writing itself constitutes a mechanism of identity transformation, and how it stirs, transforms, and even reconstructs the mental-manual divide.

Keywords: laborers, labor experience, gaze, community, new forms of literature and art for the general public

■ Traveling to a City for a Play:How Is the "Eventful Scene" of New Forms of Literature and Art for the General Public Formed? （PP. 48–53）Li Yawei

Abstract: Taking the phenomenon of "traveling to a city for a play" sparked by the Yue Opera My Grand View Garden as a point of departure, this article analyzes the cultural motivations behind the public's proactive journeys to authentic live venues in the context of "mobile spectatorship." This article proposes the original paradigm of the "eventful scene," defining it as a dynamic meaning-generating process composed of media invitation, audience convergence, on-site co-presence, and post-performance resonance. Rooted in the eventful tradition of indigenous Chinese arts, this concept reflects upon and transcends discourses related to the "consumption scene" and "traffic determinism." Featuring three core characteristics: a holistic perspective, a dynamic process, and an indigenous discourse, it contributes to innovating the evaluation system of Xiqu (traditional Chinese opera) and enriching the discourse of literary and art criticism. As an academic practice responding to the proposition of "the epochal scene and knowledge construction of new forms of literature and art for the general public," the "eventful scene" centers on collective public participation. It serves as a new interpretive paradigm that deeply integrates media and reality, contributing to the knowledge construction of art communication grounded in indigenous Chinese practices to comprehend and guide the healthy development of new forms of literature and art for the general public.

Keywords: eventful scene, mobile spectatorship, new forms of literature and art for the general public, art communication, Xiqu communication

Hot Spots Observation • Aesthetic Education in Scenarios

■ The Scene Generation and Field Evolution of Public Aesthetic Education in New Forms of Literature and Art for the General Public （PP. 54–66）Xu Wang

Abstract: The new forms of literature and art for the general public have become a new cultural phenomenon. This is a paradigm revolution of cultural production and aesthetic practice with technology as the medium, life as the soil and people as the main body, which plays a strong role in aesthetic education. The new public is the main body of creativity, and the new forms of literature and art for the general public are the people's subjective literature and art. The public aesthetic education realized by this is the aesthetic education that breaks through the cultural barriers of the circle. It should be noted that technology and life are not only two driving forces, but also bring the risk of aesthetic alienation. The generation of public aesthetic education scenes in new forms of literature and art for the general public has phenomenological significance, which can be summarized into three types of situations: the generation of multi-centered platform scenes under technological empowerment, the scene of the integration of culture and tourism, the integration of arts and sciences, and the integration of urban and rural areas, the new scene of Chinese aesthetics of "two creations" of excellent traditional Chinese culture is born. The evolution of the field of public aesthetic education in new forms of literature and art for the general public phenomenalizes the pulsation of social culture and links the four connotations of aesthetic education: aesthetics, beauty transmission, beauty creation and beauty establishment. In-depth analysis of this phenomenon should reflect on the existing problems and challenges.

Keywords: new forms of literature and art for the general public, public aesthetic education, the scene of the times, cultural field, phenomenology

■ Circle Dance: The Scenario-Based Practice and Pathways of Ethnic Aesthetic Education in the New Era （PP. 67–71）Tang Baijing

Abstract: Against the backdrop of a new era in which aesthetic education emphasizes "immersion" and "scenarios," the circle dance tradition shared by multiple ethnic groups in the Tibetan-Yi Corridor has become a composite aesthetic educational scenario due to its integration of space, bodily movement, and ritual. Focusing on "aesthetic education within scenarios," this article analyzes the scenario-based practice of ethnic aesthetic education through Yunnan circle dances, explaining how they construct an aesthetic educational field characterized by equality, centripetal cohesion, and the unity of body and mind through "circular space" and "bodily practice." On this basis, the article proposes developmental pathways centered on the integration of teaching and research, teacher development, and cultural inheritance. As a scenario-based practice of ethnic aesthetic education in the new era, circle dance transforms the spirit of Chinese aesthetics and the cultural memory of multiple ethnic groups into embodied experiences that young people can perceive, understand, and participate in, thereby providing a "scenario-based" paradigm of aesthetic education for strengthening the consciousness of the Chinese national community.

Keywords: circle dance, ethnic aesthetic education, scenario-based practice, Chinese national community consciousness

■ Reflections on Rural Aesthetic Education in the Context of Artistic Rural Revival:A Case Study of Rural Aesthetic Education in Guizhou （PP. 72–79）Zhang Yong

Abstract: In current rural revitalization practices, artistic rural revival and rural aesthetic education are often conceptually conflated, resulting in aesthetic education activities being reduced to mere accessories of spatial transformation and villagers becoming marginalized amidst the wave of landscape commercialization. Grounded in the rural context, the scene construction of rural aesthetic education must reject the visual logic of consumerism and return to the life foundations that carry labor and social interaction. This article takes Guizhou's Yangdeng Art Cooperative and the Yubulu—Banwan Renovation as comparative cases to analyze the distinction between the logics of "subject immersion" and "scene construction". The study argues that the sustainable development of rural aesthetic education cannot rely merely on the external input of landscapes. Instead, it requires reconstructing space through daily life, activating experiences through participation, and ensuring continuity through local agency. Such an approach shifts artistic rural revival from visual spectacle to life-oriented scenes with educational functions, ultimately rooting it in the villagers' everyday experiences.

Keywords: rural aesthetic education, artistic rural revival, Scene Theory, life aesthetics, aesthetic experience

Criticism and Contention

■ What Posture of "Presence" Should Literary and Art Criticism Adopt in the New Era within Scenarios? （PP. 80–86）Qiao Yanbing

Abstract: Against the dual backdrop of the deep advancement of Chinese-style modernization and the rapid development of digital technology, the "age of context" and the "scenes of the new era" have become deeply intertwined, forming a new context for literary and artistic production and reception in the "new era within scenarios," which requires literary and art criticism to adapt to the logic of media communication and respond to the spiritual demands of the times. Particularly for stage arts that rely heavily on "presence," literary and art criticism urgently needs to re-clarify its own posture of presence and value orientation. Beginning with the practical confusions and professional concerns of dance practitioners, this article focuses on such current shortcomings in literary and art criticism as functional absence, technological "prefabrication," and professional silence. It explores how, within the context of the new era, critics can strengthen their humanistic foundation, innovate modes of presence, and reinforce their humanistic responsibility. The article advocates that critics should excavate the deeper value of artistic works from within the context of the times, break free from the constraints of technologization, preserve the vitality of thought and the spirit of independent criticism, contribute to the construction of an autonomous discourse system for Chinese literary and art criticism, and better convey the value of Chinese literature and art to the world.

Keywords: age of context, scenes of the new era, the new era within scenarios, ecological presence

Theoretical Explorations

■ From Art Types to Practical Methods:The Epistemological Structure of Dance Theatre and the Performative Turn （PP. 87–99）Liu Guicheng

Abstract: Since the mid-twentieth century, the term dance theatre has been employed in diverse geographical contexts, traditions, and aesthetic lineages. It serves as a pivotal concept for revealing the mechanisms through which dance and theatre mutually permeate one another. By tracing the reciprocal interactions between dance and theatre since the advent of modernism, dance theatre draws upon the ontologies of both drama and dance, thereby dismantling the conventional boundaries between these two art forms. However, within contemporary theoretical discourse, dance theatre has been incorporated into theatre studies rather than dance studies. This trend stems from the openness of theatre ontology, the institutionalizing force of performance studies, and theatre's dominant position within capitalist and artistic institutions. Simultaneously, the performativity and cultural studies within theatre research have provided dance theatre with critical methodological expansions, shifting its focus from formal analysis towards interpretations of body politics, social structures, and critiques of modernity. Ultimately, while dance theatre gains access to interdisciplinary theoretical resources, it also risks having its dance-specific historical and practical foundations obscured by theatrical discourse.

Keywords: dance theater, dance, theatre, performative, performance studies

■ How "Anti-Logic" Reshapes the Aesthetic Boundaries of Contemporary Sketch Comedy: A Case Study of the Defection of Laughter Triggered by "Jineng Wuziqi" （Gomoku with Skills） （PP. 100–111）Zhang Xu

Abstract: Focusing on "anti-logic" sketch comedies represented by works such as Gomoku with Skills, this article examines the defection of laughter they trigger as an avant-garde aesthetic practice. Diverging from mainstream sociological analyses, this study adopts the research approach of art criticism, arguing that "anti-logic" is not an absence of content, but rather a systematic strategy aimed at emancipating the ontology of comedy. Through close reading, the article reveals how this strategy shifts the focus of comedy from meaning transmission to formal performativity by suspending narrative causality, employing de-psychologized characterization, and gamifying linguistic functions. The culmination of this defection, on the one hand, enables comedy creation to achieve an ontological turn from a meaning-bearing core to a form-oriented paradigm. And on the other hand, it traps the genre in a media paradox where its avant-garde nature is rapidly consumed. At the level of aesthetic relations, it reconstructs the aesthetic contract, prompting audiences to transition from an interpretive community seeking mutual understanding into a play community that acquiesces to absurd rules and shares in an in-the-moment carnival. This pleasure-oriented artistic practice remains a tension-filled, unfinished journey. While expanding the aesthetic boundaries of comedy, it also provides a crucial paradigm for understanding artistic transmutation and community construction in the digital age.

Keywords: "anti-logic", sketch comedy, avant-garde aesthetics, Gomoku with Skills

Interview with Renowned Experts

■ Writing the Grasslands into Chinese Oil Painting:An Interview with Oil Painter Tuomusi （PP. 112–123）Interviewed by Lao Zhengchao

Inside Front Cover 

Chinese Literary and Art Critics: Tang Dongping

Inside Back Cover 

Recommendation of Literary and Art Critics Associations in Sub-Provincial Cities: Nanjing Literary and Art Critics Association

Back Cover 

Poster for the "Global Dialogue on Art & Technology" Event