Tri-Engine Structure and Industrial Composition of Cultural Productivity

Cultural industry is an important practical link to cultural productivity.In China,the cultural industry is represented by three patterns due to the reliance upon different means of production during its course of development:traditional cultural industry,modern cultural industry,and eco-tech cultural industry.Different types of cultural industries differ a lot in terms of labor productivity and return on investment.The multi-engine structure and the diverse industrial categories of China’s cultural industry imply that cultural productivity is not developed evenly in the country.Therefore,the future-oriented cultural development should be geared to stimulate and maintain the vitality of culture to the greatest extent,while adhering to the overall development orientation based on the market,science and technology,creativity,and differentiation.

The Value Insistence of the Cultural Production in the Big Data Era

The ultimate value of cultural production should be realizing human's comprehensive and free development,and deconstructing the ultimate value would result in human alienation.In the era of big data,every domain of human's social life,even the mode of thinking,has been transformed significantly.However,when the big data technology entirely penetrates the field of cultural production especially inducts the cultural production depending on the demand forecasting techniques,it would inevitably lead to a worry about value of the cultural production.This paper formulates that the cultural production's essence in the era of big data remains for the purpose of maximizing profit of commercial manipulation based on the modeling analysis of cultural production mechanism in the big data times.If the tendency is not corrected,the two main factors of cultural consumerism prevalence and the instrumental reason dictatorship will gradually deconstruct the ultimate value of cultural production and bring about the alienation of human being.For the sake of avoiding the trend,we should cope with two relationships:one is the people as a means and as a purpose;the other is the instrumental reason and the value rationality,finally giving rise to human's comprehensive and free development rather than human alienation.

Design Method of Cultural Derivative Products of Museums from the Perspective of Regional Culture

To perfect innovative design of cultural derivative products of museums,promote the dissemination of museum collection culture,and enhance product connotation and cultural value,based on the research on regional culture,the relationship between regional culture and cultural derivative products of museums is analyzed,and design method of cultural derivative products of museums is summarized.

Design Strategies of Cultural and Creative Products Based on Regional Culture

Based on the characteristics of regional culture,the application strategies of regional cultural elements in the design of cultural and creative products were analyzed.The aim is to effectively combine cultural and creative design with regional cultural elements to provide contemporary life with regional cultural and creative products,better serve modern needs,and enhance public awareness in the form of aesthetics.Firstly,the research status of regional culture and cultural and creative product design was summarized,and then the relationship between regional culture and product design was discussed from the aspects of appearance,material and craftsmanship.Afterwards,the value of regional cultural and creative product design was proposed,and the general strategies of regional cultural and creative products were further sorted out to make people feel the pleasure brought by the deep and strong regional culture.

Research on the Development of Cultural and Creative Products in Jingzhou Museum

Museum cultural creation meets people’s needs for cultural experience,and has gradually become a hot topic in academic research.To promote the sustainable development of cultural and creative products of Jingzhou Museum,it analyzed the resource advantages of its cultural and creative products,the types of cultural and creative products,and the business methods of cultural and creative products,and discussed the problems in the development of cultural and creative products.Therefore,development strategies such as broadening marketing channels,deep excavation and close integration of Jingchu cultural connotations,enhancing artistic aesthetic value,and enhancing interactive participation experience were proposed.

Application and Research of Huashan Rock Paintings in Cultural and Creative Products

Huashan rock painting is a representative of the rock art complex in Zuojiang River in Guangxi Zhuang Autonomous Region,and it is the largest and the most well preserved rock painting found in China,with a wide distribution of locations and the richest content of images.Due to its grand scale,spectacular scenes,and numerous images,it has become a typical representative of rock painting in Zuojiang River basin of Guangxi and is famous all over the world.In 1988,it was announced as a key cultural relics protection unit by the State Council,and in 2016,“Zuojiang River Huashan Rock Art Cultural Landscape”was successfully applied for the List of World Heritage,which makes it important to the inheritance and protection of Huashan rock paintings.In the past 10 years,with the successful holding of China-ASEAN Expo,the distinctive tourist products of Guangxi Zhuang nationality and the culture creative product industry have been vigorously developed and recognized by domestic and foreign markets.The culture of Guangxi Zuojiang Huashan rock painting can be presented in the form of cultural and creative products,so that Guangxi Zuojiang River Huashan rock art can be known by more people.

Refinement and Drawing Lessons from Traditional Chinese Cultural Elements for Cultural and Creative Product Design

Chinese culture has been continuously developing for 5000 years of historical development.Its traditional culture has had an impact on social development,and this traditional culture is rooted in the development of the society.The traditional Chinese culture also has certain significance for the design of modem cultural and creative works,which does not only inject vitality for cultural and creative products,but it also enhances the artistry of cultural and creative products.Therefore,based on this,this paper expounds the concept of traditional Chinese culture with cultural and creative products,analyzes the value of traditional culture in cultural and creative products,and explores how to refine and draw lessons from traditional Chinese cultural elements in the process of cultural and creative product design.

On the Productive Protection of Intangible Cultural Heritage in Handicrafts and Its Human Values——A Case Study of the“Wuhan Model”

Among the three methods of intangible cultural heritage （ICH） protection--salvage, integrity and productivity^--productive protection is the most complex and controversial one. Through a comprehensive analysis of legal relations, coordination mecha- nisms and modes of operation by the Wuhan Tourism Investment Group in the course of safeguarding intangible cultural heritage in handicrafts, this paper discusses the sustainable ＂Wuhan Model＂ and its human values.

Biological characteristics of marine bacterium S-9801 strain and its culture conditions of pigment production

Strain of Flavobacterium sp.(S-9801),was screened from 207 strains of marine bacteria isolated from the Bohai Sea continental shelf and the Zhujiang Estuary,for its red pigment production.The biological characteristics of strain S-9801 and culture conditions of pigment production have been checked out in this study. The color of the bacterial colony on 2216E medium was from coccineus to rose bengal. Optimum culture conditions were sodium chloride concentration(g/dm3),10～30;pH,3～8;temperature,25～28℃;tryptone and yeast extract as nitrogen sources and glucose as carbon source. Under optimum conditions,pigment accumulation started after 12 h,reaching a maximum rate of synthesis at 36 h.

The environmental prospects of cultured meat in China

To deal with concerns in China about environmental degradation and a growth in population accompanied by increased consumption of livestock products, a meat alternative is required. This study compared the environmental impacts of producing different protein sources for nutrition, including crops, livestock products, and cultured meat. The results showed that cultured meat has the lowest land use per unit of protein and unit of human digestible energy. China＇s crops have the lowest energy use and greenhouse gas（GHG） emissions per unit of energy and protein. The energy use in cultured meat production is slightly higher than that of current pork production in China, whereas GHG emissions are lower. It is concluded that the overall impact of replacing livestock products with cultured meat would be beneficial for China＇s environment and would potentially improve food security because less land is needed to produce the same amount of protein and energy.

Chinese Culture Products in International Culture Mobility

When mobility becomes the new normal for behavior and cognition, it's time to rethink international culture mobility and culture products. Singular thinking on mobility and culture products, staying at the level of economy and trade has affected our decision making with respect to culture product innovation and possible thinking on future value creation. Indian anthropologist Arjun Appadurai divides cross-border culture mobility into five global spaces and Stephen Greenblatt, literature historian with Harvard University, puts forward five dimensions of culture mobility that provide a direction for fully understanding international culture mobility. In the era of globalization, rethinking the concept of a nation's culture products means studies of generational possibilities and the vitality of the Chinese culture products from perspectives of immigration, technology, economy, culture and politics among the new context of international culture mobility.

Culture Dynamics across the World Today:Tourism and the Palette of Imagination

In general,this manuscript critiques the contemporary dynamisms of the formation/deformation of the cultural sphere under the increased mobilisations of globalization.In particular,it inspects the symphysis[□SYMPHYSIS]between'tourism'and'culture',where the latter stands as an immense portmanteau phenomenon embracing many different things(under the vicissitudes of globalisation/glocalisation)across the protean realms of race,gender,entertainment,consumerism,meaning-making,et cetera.Critiquing Jamal and Robinson's recent attempt at panoramic coverage of the geography of tourism/tourism studies),it argues that tourism is regularly implicated in cultural practices relating to power-exercises in/across society.Then,in synthesising Bauman’s vision of contemporary society as that moving from seemingly well-ordered stabilities to a geographic realm where change is the-only-permanence and uncertainty the-only-certainty,the manuscript generates five lead propositions calling for'plural knowability',viz.,for a deeper/richer palette-of-imagination on the teeming multiplicities and throbbing provisionalities of culture as it emerges/unfolds or otherwise gets recast under the destabilising'nomadic logics'of our time.In viewing culture as a vehicle of both'impermanence'and'seduction'nowadays,the paper notes how in so many places and spaces,individuals are less inclined to be engaged locally/regionally/nationally as culture-partly through the volatile iterability of travel/tourism-has become an ever-widening polylogue.

A Socialist Satire： Manhua Magazine and Political Cartoon Production in the PRC, 1950-1960

In June 1950, Manhua magazine published its first issue in Shanghai. Until its closure in 1960, it remained the only national publication dedicated solely to the popularization and discussion of political cartoons. Terse cartoons were needed to promote the numerous mass campaigns initiated by the new government, remind readers of the continuing battle against enemies of the new Communist state, and rally the people in support of a new military conflict developing on the Korean peninsula. This article discusses key moments in the institutional history of Manhua and its artists. The magazine, I argue, played a crucial but often overlooked role in the contest over the form and content of popular cartooning in the first decade of CCP rule. In such, it was the satirical counterpart to the ever more popular lianhuanhua （serial comics）. Cartoonists believed their art might contribute to establishing socialism through well-intentioned and constructive criticism. This, however, did not harmonize with the increasingly fervent control mechanisms of the party-state＇s cultural bureaucracy. The history of Manhua magazine is therefore an example of the expanding political supervision of the popular arts throughout the 1950s. At the same time it is a study of an art that, though popular and political, never won the same political acclaim as its counterpart, lianhuanhua.

A Loaded Label:Intricacies of Being a Fan in Henrik and Sara Linden's Fans and Fan Cultures

In Fans and Fan Cultures,Henrik and Sara Linden examine what it means to be a fan in an increasingly globalized,digitized,and capitalized world.In an age when personal information is easily searchable in the Internet era,people can now become fans immediately with the click of a"like,""follow,"or"subscribe"button.The ideal fan is not an obsessive fanatic who claims ownership of the product,but rather one who is balanced and has a following of their own,thus making them not only a fan,but also an influencer and a brand advocate.As worldwide media is largely controlled by an exclusive number of corporations that determine what kind of media we consume,fandom and fan communities offer a compromise:Though corporations and brands shape and control the majority of media content,fandom serves as an opportunity for people with shared interests to come together,forge connections,and find a sense of value and belonging that exists outside the mundane.My analysis will concentrate on a selection of Linden and Linden's topics and explore how fandom has become a manifestation of the need for authentic,meaningful connections in a time when technological development effectively renders authenticity as a bargaining chip in a much larger marketing ploy.

Delignification of disposable wooden chopsticks waste for fermentative hydrogen production by an enriched culture from a hot spring

Hydrogen （H2） production from lignocellulosic materials may be enhanced by removing lignin and increasing the porosity of the material prior to enzymatic hydrolysis. Alkaline pretreatment conditions, used to delignify disposable wooden chopsticks （DWC） waste, were investigated. The effects of NaOH concentration, temperature and retention time were examined and it was found that retention time had no effect on lignin removal or carbohydrate released in enzymatic hydrolysate. The highest percentage of lignin removal （41%） was obtained with 2% NaOH at 100℃, correlated with the highest carbohydrate released （67 mg/gpretreated DWC） in the hydrolysate. An enriched culture from a hot spring was used as inoculum for fermentative H2 production, and its optimum initial pH and temperature were determined to be 7.0 and 50℃, respectively. Furthermore, enzymatic hydrolysate from pretreated DWC was successfully demonstrated as a substrate for fermentative H2 production by the enriched culture. The maximum H2 yield and production rate were achieved at 195 mL H2/g total sugarsconsumed and 1 16 mL Hz/（L.day）, respectively.