Recursive Neural Network-Based Market Demand Forecasting Algorithm for Calligraphy Practice Products

In today’s society, calligraphy, which reflects one’s basic writing skills, is becoming more and more important to people. People are influenced by calligraphy in their studies, work, etc. Improving calligraphy writing skills has become one of the key directions for developing one’s abilities at this stage. As an important means of improving writing skills, calligraphy practice products are attracting more and more attention and purchases. In particular, in recent years, as the market economy has developed in a deeper direction, people’s demand for calligraphy practice products has diversified and calligraphy practice product companies have launched a variety of products to meet the public’s calligraphy practice needs in order to adapt to the reality of consumer demand. However, with the development of the Internet culture industry and influenced by objective factors such as school holidays and seasons, the current market demand for calligraphy practice products is rapidly and dynamically changing, making market changes difficult to grasp and leading to poor sales, which directly affects the profits of calligraphy practice product-related companies. The artificial intelligence neural network method realizes the nonlinear relationship between the input and output of sample data through the self-learning ability of each neuron and has a certain nonlinear mapping ability in prediction, which plays a great role in the market demand prediction of many commercial products. Based on this, this paper proposes a recursive neural network-based algorithm to predict the future demand and development trend of calligraphy practice products through extensive and in-depth research, so as to provide positive and beneficial guidance for enterprises’ future production and sales.

The effect of network convergence on digital culture industry: Model construction of network industrial economics and empirical study on China

This paper constructs the model of network economics to study the effect of different levels of network convergence on the digital culture industry. Then uses regression models and mediating effect models to test the effect mechanism of network convergence on the digital culture industry of China. This paper used panel data to conduct an empirical study. The data in this paper were quarterly. The time range was from the first quarter of 2009 to the third quarter of 2013 for 19 quarters.The three data types in econometrics are time series data, cross-sectional data, and panel data.The main conclusions are as follows. Network convergence brings positive policy effects and adverse capital effects. The impact of network convergence on firm performance of the digital culture industry is not statistically significant, and this effect also has no indirect effects on the test of mediating effect. However, network convergence indirectly leads to the reduction of operating costs of the digital culture industry. The indirect effect is brought by the chain mediating effect of policy effect and capital effect. The study could provide a reference for other countries and regions. Meanwhile, it can be used to analyze the impact of different media convergence on digital industries.

Existentialising existence theory and expanding the sociology of existential milestones

This paper responds to the ‘existence theory’ proposed by Baert, Morgan and Ushiyama. It considers their proposals in light of two main thematics: the general account of human existence, and the more empirical sociology of existential milestones. Both elements are appraised in light of existentialist philosophy and earlier attempts at ‘existentialist sociology’. It is suggested that the authors engage with generational theory, and also give an account of the commodification of significant life-stages by the milestones culture industry.

Knighthoods and Empty Benches: Wilkie Collins’s Armadale and the Late Victorian Culture Industry

In locating Wilkie Collins’s novel Armadale (1866) in the context of its two subsequent dramatic versions, this article considers how the Victorian culture industry contended with an aggressively expanding market economy. It positions Collins’s work amid an ongoing Victorian debate that was especially prevalent in literary and dramatic periodicals concerning the bifurcated development of English drama and novels. Highlighting how Collins flexibly adapted his writing for the stage in the face of legal, commercial, and artistic pressures strengthens emerging links between the ostensibly discrete fields of novelistic and theatrical writing. The adaptation of novels for the stage is one of the primary areas where developing intellectual property law collided with cultural production, opening up, for writers such as Collins, new avenues to write, produce, and entertain. This article aims to expand on recent studies of the evolving nature of copyright law in the nineteenth century by considering the forms of cultural production that context facilitated. Considering the legal context of these adaptations in concert with, however, and not as ancillary to or separate from, their social and political valences highlights the modes of production that arose despite – or perhaps as a result of – the opaque nature of Victorian intellectual property laws. Wilkie Collins the successful dramatist, as opposed to Wilkie Collins the novelist writing for the stage, emerged in his own right partly due to the copyright contests that initially encouraged him to adapt his novels in the first place.

Transnational Soldiers vs Resistance National Accounts: The Legend of la Nueve and the “Spanish” Liberation of Paris

The reconstruction of the History of the Resistance in France, the memories of former combatants and their relatives, and an important culture industry have all been developed within a national context, thereby hiding the transnational character of this resistance over the years. This paper shows first how the French State came to “Frenchify” this Resistance and, decades later, civil society and that culture industry tried to “Spanishise” the Liberation of Paris through the construction of the legend of “la Nueve”. With this in mind, the current paper focuses mainly on a historical and memorial analysis of the French infantry company la Nueve, through the recollections and experiences of numerous transnational soldiers, in order to stress the “a la carte” reconstruction of its history, and highlighting the particular role played by the French-Spanish collective memory over the last twenty years.

The art episteme of national self-identification in the context of postcolonial cultural trauma

At the turn of the millennia, the narrative of the art sciences was enriched by an extensive analytical polylogue: from eschatological forecasts of the end of the crisis of theories and practices to the multicultural utopias of “global art”. A solid sector in this context is made up of trans-disciplinary studies of the problems of national self-identification and the revision of regional art epistemes in the new geocultural realities, in particular, those refracted in the field of postcolonial trauma of national consciousness discourse. This aspect is especially relevant for the countries of the post-Soviet space, because their cultural and artistic development is under the pressure of two equally traumatic paradigms: the Russification one belonging to the past, and the Westernization paradigm that declares itself to be the manifestation of democratic freedoms. However, each of them leads to amnesia in the historical and cultural memory of nations, threatening to collapse. Only a careful study of the causes and consequences of this civilizational phenomenon, as well as the study of the negative impact of the market ideology of the culture industry, will help to avoid depersonalization of national arts and cultures, while preserving the possibility of indigenous flourishing in the future. The article pinpoints the pain points identifies the sensitive issues in solving this problem by contemporary artists and critics from different countries, including Ukraine, leaving open the final effective fixation of the situation, which increases the catastrophic bifurcation by unstable development

Printed Space: Critically Exploring the (Re)production of Meaning in Architecture

<p>This research is an exploration of meaning in architecture, considering architectural meaning as cultural production. My thesis expands the notion of architecture from the mere design and implementation of built forms to include consideration of the cultural context in which they are produced. It considers architecture to encompass not only built forms but the interpretations and cultural representations which are assigned to them. These cultural products – images, artworks, and media discourse – contribute to the wider social meanings people use to make sense of the world around them. Meanings in architecture are social creations. They are placed on artefacts by people situated within specific social contexts, and within their frames of thought and experience. My main premise is that institutions of architectural mass media, to a certain extent, shape the frames of reference for mainstream views of architecture, playing a significant role in influencing the meanings people attribute to the various cultural products that make up the field of architecture. From this premise, this research proposes that the 'media space' of architecture – a space which people abstractly construct as they interpret architectural print media – has potential for architects interested in dealing with the cultural substance of architecture, that is, with architectural meaning. To explore this idea, this thesis uses theoretical discussions on three themes ('Meaning in Architecture', 'Architectural Media and Representation', and 'the Architecture Culture Industry') to develop a particular understanding of the production of meaning in architecture. Parts of this understanding are strengthened and further developed by case studies of particular works of three architects: the journal L'Esprit Nouveau (1920-1925) produced by Le Corbusier; the Sala O exhibit at the Exhibition of the Fascist Revolution (1933) designed by Giuseppe Terragni; and the German Pavilion at the Barcelona International Exposition (1929) designed by Ludwig Mies van der Rohe. The way these architects engaged with architectural print media to develop the meanings of their work is used as the rationale for a series of architectural design explorations, which attempt to create an architecture open to post-structuralist understandings of meaning. This conceptual 'reconstruction' of Mies' much-publicised Barcelona Pavilion and the accompanying self-critique becomes my own contribution to the critical media discourse surrounding (or as I argue, constituting) the pavilion. This research finishes with some conclusions towards a philosophy of meaning in architecture. Its findings critique conventional understandings of the nature of architectural interpretation, and challenge the hegemony of the built form as the site of architectural meaning. Revealing the special focus of the architecture culture industry to be the stimulation of architectural meanings and the spread of particular interpretations in society, my study starts to reassess the role of the architect in contemporary, 'mediatised' culture. Through approaching architectural print media in more astute ways, architects may begin to explore new forms of architectural meaning, beyond the limits of built form and material existence, and create work within the 'media space of architecture'.</p>

Printed Space: Critically Exploring the (Re)production of Meaning in Architecture

<p>This research is an exploration of meaning in architecture, considering architectural meaning as cultural production. My thesis expands the notion of architecture from the mere design and implementation of built forms to include consideration of the cultural context in which they are produced. It considers architecture to encompass not only built forms but the interpretations and cultural representations which are assigned to them. These cultural products – images, artworks, and media discourse – contribute to the wider social meanings people use to make sense of the world around them. Meanings in architecture are social creations. They are placed on artefacts by people situated within specific social contexts, and within their frames of thought and experience. My main premise is that institutions of architectural mass media, to a certain extent, shape the frames of reference for mainstream views of architecture, playing a significant role in influencing the meanings people attribute to the various cultural products that make up the field of architecture. From this premise, this research proposes that the 'media space' of architecture – a space which people abstractly construct as they interpret architectural print media – has potential for architects interested in dealing with the cultural substance of architecture, that is, with architectural meaning. To explore this idea, this thesis uses theoretical discussions on three themes ('Meaning in Architecture', 'Architectural Media and Representation', and 'the Architecture Culture Industry') to develop a particular understanding of the production of meaning in architecture. Parts of this understanding are strengthened and further developed by case studies of particular works of three architects: the journal L'Esprit Nouveau (1920-1925) produced by Le Corbusier; the Sala O exhibit at the Exhibition of the Fascist Revolution (1933) designed by Giuseppe Terragni; and the German Pavilion at the Barcelona International Exposition (1929) designed by Ludwig Mies van der Rohe. The way these architects engaged with architectural print media to develop the meanings of their work is used as the rationale for a series of architectural design explorations, which attempt to create an architecture open to post-structuralist understandings of meaning. This conceptual 'reconstruction' of Mies' much-publicised Barcelona Pavilion and the accompanying self-critique becomes my own contribution to the critical media discourse surrounding (or as I argue, constituting) the pavilion. This research finishes with some conclusions towards a philosophy of meaning in architecture. Its findings critique conventional understandings of the nature of architectural interpretation, and challenge the hegemony of the built form as the site of architectural meaning. Revealing the special focus of the architecture culture industry to be the stimulation of architectural meanings and the spread of particular interpretations in society, my study starts to reassess the role of the architect in contemporary, 'mediatised' culture. Through approaching architectural print media in more astute ways, architects may begin to explore new forms of architectural meaning, beyond the limits of built form and material existence, and create work within the 'media space of architecture'.</p>

A Neoliberal Semi-Public Space in the Era of the JDP: Tango in Istanbul

How has Argentine tango dance, that appears to represent publicly an erotic relationship between the female and the male, found the space to expand in Turkey pioneered by urban Istanbul despite the conservative JDP regime? While the tango dance shifted to a global entertainment and culture industry in the 21st century providing global belongingness, it locally became one neoliberal semi-public space of secular upper and middle class Turkish Muslims to reflect and reproduce their self-identity by distinguishing themselves from new Islamic bourgeoisie as well as lower social classes. This character provided the grounds for its spread even under the conservative government of President Recep Tayyip Erdoğan, and it is still on practice despite such a conservative rule, even existing online during the Covid-19 Pandemic.

Re-visiting The History of Consumerism: The Emergence of Mass Consumer Culture as a Distinctive Feature of Capitalist Societies

The Frankfurt School was the first school to discern the roles of the media in shaping human thought, influencing politics, and increasing the insatiable demand of consumers in capitalist societies. The analysis brought to the fore by Adorno and Horkheimer regarding the ‘Culture Industry’ illustrated a model of media as tools of hegemony and social control advanced by Walter Benjamin, Herbert Marcuse, Erich Fromm, and Jurgen Habermas. The School also examined the repercussions of mass culture and the rise of the consumer society on the proletariat that was aimed to be the instrument of revolution in the classical Marxian scenario. Another thing that was analyzed is how the culture industries and consumer society were considered as stabilizing forces of contemporary capitalism. Therefore, they were among the first to see the expansion of communication and mass media roles in politics, socialization and social life, culture, and the construction of docile subjects as Foucault puts it. In the present article, I review the contributions to media and social theory advanced by the Frankfurt School. The integration of psychoanalysis, aesthetic theory and the critique of mass culture, and the critique of the Enlightenment are the main components discussed in the present article.