CJ Chen 陈静

Chen Jing, Ph.D., Associate Professor of the School of Arts at Nanjing University; Founding Member of the Innovation Center for Digital Humanities Research at the Institute of Advanced Studies of Social Science and Humanities of Nanjing University; Secretary-General of the Digital Humanities Committee of the Chinese Society of Literary Theory.

She received her Ph.D. in Literature from Nanjing University in 2009. From 2007 to 2008, she was a visiting scholar at Duke University, USA. Between 2009 and 2013, she served as an Assistant Researcher at the School of Humanities and Arts, Shanghai Jiao Tong University. From 2012 to 2014, she conducted postdoctoral research at the Chao Center for Asian Studies, Rice University, USA. She has been a faculty member of the School of Arts, Nanjing University since 2014.

Her primary research areas include digital art and digital humanities, digital heritage, and culture and media studies. Over the past decade, her work has focused on the transformation of artistic production and cultural cognition in the digital age. She has published 39 peer-reviewed papers in both Chinese and English, including 15 in CSSCI-indexed journals, 4 in SSCI/ESCI-indexed journals, 2 reprinted by Renmin University Copy Center, one in People’s Daily, and 6 in venues such as Chinese Social Sciences Today. She has authored or contributed chapters to 12 books, translated 5 books, and published 4 translated articles. Representative publications include: “Printed Ephemera, Digital Archives, and Visual Knowledge Production” (Print Culture (Chinese-English), No. 2, 2021; reprinted in Renmin University Copy Center: Publishing Industry, No. 10, 2021); “A Study of the Text Generation Mechanism of Electronic Literature from the Perspective of a Medium-Specific Analysis Model” (Foreign Literature Dynamics, No. 2, 2021); “Reflections on Text and Textuality from the Perspective of Digital Humanities” (Journal of Southwest Minzu University (Humanities and Social Sciences Edition), No. 8, 2020; reprinted in Renmin University Copy Center: Literary Theory, No. 11, 2020); “Digital Humanities in the Plural: Chinese Digital Humanities from a Comparative Perspective” (Chinese Comparative Literature, No. 4, 2019); “Generation, Transformation, and Knowledge Production: Three Pathways for the Integration of Digital Technology and Art” (Journal of Art Theory and Art History, Vol. 3); and “Digital Archiving of Advertising Ephemera: A Case Study of the Chinese Commercial Advertisement Archive (1880–1940)” (Jianghai Academic Journal, No. 2, 2017).

She is the Principal Investigator of one general project of the National Social Science Fund of China (Art Studies), two international cooperation projects of the Ministry of Science and Technology, one provincial art fund project, one municipal art fund project, six commissioned projects from cultural heritage institutions, two advisory projects, three university-level research projects, and two university-level teaching reform projects. She has also served as a sub-project lead for one major project of the National Social Science Fund and one major project of the Jiangsu Provincial Social Science Fund, and has participated in three cross-strait/international collaborative projects and one university-level teaching reform project. Major research projects she has recently led include: “A Study of Art Methodologies Based on Digital Technologies” (General Project of the National Social Science Fund of China, Art Studies); “Heritage Today: The Grand Canal of China” (Jiangsu Art Fund); “Virtual Exhibition of Nanjing Traditional Craft Intangible Cultural Heritage” (Nanjing Art Fund); “Information Platform Construction Project of the Literary Capital Geospatial Coordinates” (commissioned by the Publicity Department of Nanjing Municipal Committee and Nanjing Cultural Investment Group); and “Virtual Exhibition Platform System of the Grand Canal of China (Jiangsu Section)” (commissioned by Nanjing Museum). Major collaborative projects she has participated in include: “The Ephemera Project” (funded by the Henry Luce Foundation); “The Chinese Commercial Advertisement Archive (1880–1940)” (funded by the Henry Luce Foundation and Rice University Humanities Fund); a sub-project of the Major Project of the National Social Science Fund “A Comparative Documentary Study of Western Aesthetic Classics and Their Reception in China”; and the Higher Education Sprout Project of the Research Center for Chinese Cultural Subjectivity, National Chengchi University, Taiwan.

She currently serves on several academic boards and committees: Secretary-General of the Digital Humanities Committee of the Chinese Society of Literary Theory; Member of the Editorial Board and Executive Editor of the “Digital Humanities Research” book series (Nanjing University Press); Member of the Editorial Board of the Routledge Companions to Digital Humanities series; Member of the Editorial Board of The Journal of Open Humanities Data; Member of the Editorial Board of Digital Humanities (Tsinghua University and Zhonghua Book Company); Member of the Editorial Board of Digital Humanities (Renmin University of China); Member of the Editorial Board of International Journal of Digital Archives and Digital Humanities (National Taiwan University); Member of the Editorial Board of Reviews in Digital Humanities; Peer Reviewer for positions: asia critique and Cultural Studies.

Recent artistic projects she has curated or organized include: “ZHI Yi: Virtual Exhibition of Nanjing Traditional Craft Intangible Cultural Heritage” (2019); “Augmented Creativity: Decoding AI and Generative Art” (co-curator: Jason Bailey, 2019); “Artificial Intelligence, Interaction, and Future Design” Workshop Series (2018); “Heritage Today: The Grand Canal of China” Exhibition in the United States (2017); “Maurice Benayoun: Just Dig It!”; “Boundary Diggers: A New Media Art Exhibition by Faculty and Students of Nanjing University and City University of Hong Kong” (2017); “Craft Revival · Intangible Heritage” International Master Residency Lecture Series (2016–2017); and “Bridging Boundaries: Sino-Italian Art Exchange Program” (2015).