Mass Media and Politics

Although Howard Becker defines art worlds as networks of cooperating people and a broad range of studies has applied this idea of the network to art markets, research on fairs remains a neglected issue. This article aims to advance the idea of the network and the art fair with regard to the art fair boom, the differentiation of art fairs and their interlinking, and the role of networks with regard to the participating galleries and their interlinking within art fairs. Quantitative and qualitative data are brought forward to shed some light on these issues, including statistical information, along with interviews.     

论建构低碳数字艺术文本的必要性与可能性

当下数字艺术德性整体呈现负值,主要因为高碳数字艺术文本的盛行对接受者的身心健康造成了严重危害.大力建构低碳数字艺术文本,带给接受者更多强烈而健康的自由情感是遏制高碳数字艺术文本侵蚀、促进人类幸福事业的不二法门.而自然生活的改变阻碍了创作者精神层次的提高和灵感的产生,但如果创作者用心倾听,依然可以从广阔的社会生活中获得素材,抚慰人的创伤,表达人性关怀,构建低碳数字艺术文本.     

S.O.S. or Subsidy for Our Screen and An Examination of Subsidy Abroad

Discourse about the impact of art has been prominent in academic and arts industry discourse over the past two decades. Contention in the discourse has led to the call for new research frameworks that place the experience of the individual as central to understanding the impact of art. The authors present the background of this discourse and outline narrative inquiry as a research method that elicits individual experiences. The authors present the findings of a narrative inquiry and establish that the way individuals experience art and its impact is far broader in scope than previous research suggests.     

陕西省广播影视监管中心全面综合建设简论

我国广播影视正处于模拟与数字、传统媒体与新兴媒体并存发展的关键时期,"三网"融合已在积极推进之中。"十二五"期间,我省建设架构合理、配置合理、功能完善、安全可靠的安全播出调度指挥监测网系统,把模拟的、数字的、卫星的、地面的、以及手机电视监测、移动监测、数字电影机监测等监测内容相涵盖,从科学性、功能性、实用性、未来发展等多方面出发,满足全省广播电视监测监管实际工作的需要,实现对广播电影电视及互联网播出技术和播出内容的全面监管是省监测中心面临的紧迫任务。     

论创先争优与提高领导艺术

创先争优活动从更高境界赋予"领导艺术"以新意义、新内涵,并为领导艺术上台阶开辟了广阔路径。领导干部应以创先争优活动为载体,在严格按要求创造性地开展活动中,与时俱进地提高领导艺术。     

Optimized Development of Sebaceous Fingermarks on Nonporous Substrates with Conformal Columnar Thin Films

A form of physical vapor deposition, called the conformal‐evaporated‐film‐by‐rotation (CEFR) method, was optimized for the conformal deposition of columnar thin films (CTFs) on sebaceous fingermarks. Relying on the surface topology of the fingermark, the CTF development technique is different from traditional development techniques. After the optimization of the development conditions, the CTF development technique was found to be superior to traditional development methods on several nonporous substrates: the smooth side of Scotch^® Multitask, Gorilla^®, and Scotch^® Duct tapes; clear and black soft plastics; stained and sealed walnut and cherry woods; partial bloody fingermarks on stainless steel; and discharged cartridge casings. It was equally as good as other development techniques on other substrates, but worse on a few. The optimization study is expected to assist in designing a mobile CEFR apparatus capable of on‐scene development of fingermarks.     

The realism debate and the politics of modern art in early postwar Japan

This article examines the realism debate (riarizumu ronsō) that took place between 1946 and 1950 as a forum in which ideas on artistic form, the role of the artist in society, and the social relevance of art come into focus in a way that allows us to see how questions such as Japan's modernity, the recent experience of fascism, and the challenges of rebuilding culture during the early cold war were taken up by leading cultural figures in the field of the visual arts. Occurring alongside discussions of how the art world could be reformed to avoid the failures of fascism, the debate served as an occasion to re-examine the history of modern art in Europe and Japan and to consider the question of artistic representation in a way that opened the most fundamental question of art's relationship to the world and promised to begin the process of envisioning it anew. The debate involved three camps which I label social realism (represented by Hayashi Fumio and Nagai Kiyoshi), modernist realism (Hijikata Tei’ichi), and avant-garde realism (Uemura Takachiyo, Okamoto Tarō, and Hanada Kiyoteru). While assessing their points of agreement and disagreement, I argue that the debate set the stage for debates in the 1950s and beyond.     

扩大的权利与扩大的义务——数字艺术行为哲学论要

数字艺术是一种基于人工智能技术创生的新型艺术形态,其本质在于双重互动不确定性机制.在该机制的作用下,数字艺术行为秩序较之原子艺术行为秩序发生了重大而深远的变化.首先,数字艺术开拓出一种人人享有的创作权和传播权,消解了原子艺术秩序中的艺术创作特权和传播特权,数字艺术创作权利的本质是一种艺术发表权.其次,通过艺术发表权,数字艺术衍生出一种原子艺术秩序没有的艺术接触权,接触权也是一种普遍的、平等的、人人共享的艺术权利.另外,数字艺术还抑制了主权者的艺术监管权力.数字艺术上述扩大的权利也相应为数字艺术主体衍生出同等数量的艺术义务.相对于原子艺术秩序中的那些义务,数字艺术义务的履行即尊重各项数字艺术权利的行使、避免生产传播有损于社会大众身心健康的艺术作品在当下人工智能社会遭遇到了巨大的挑战.     

论法律的艺术之维

法律有其艺术之维.关于此点,法律与文学运动略有揭示.法律与文学运动揭示了法律本身的文学特征,打开了通向法之美的一扇窗户.西方有学者认为,虽不能断言法律即是艺术,但可有作为艺术的法律.作为艺术的法律,类似于综合艺术:歌剧.还有些学者力图揭示法与音乐的内在关系.也有学者明确断言,司法就是一门艺术,以利益为媒介,以合度为原则.优秀的法官技进于道,即是艺术家.     

试论艺术在道德教育中的特殊作用

艺术与道德有着内在的亲缘关系 ,艺术作品能反映一定时代和一定社会的伦理道德思想。艺术具有引导作用 ,充分利用艺术审美这一教育形式 ,可以增强道德教育的实效性 ,达到事半功倍的效果