ABSTRACT Although some significant contributions to early filmmaking production and exhibition involve strong entrepreneurial female figures, very few women’s names appear in the histories of Balkan cinemas. Based on original archival research and press of the time, this article foregrounds the filmmaking activities of the Romanian theatre director and actress Marioara Voiculescu (1885–1976) and the role of her star persona and theatrical experience in the making of early fiction films produced by Leon M. Popescu’s Filmul de Artă company. Voiculescu achieved considerable success during her lifetime, a prolific stage career, founding her own theatre company in 1912, and playing a key role in the production of early films in 1913, yet she has received scant attention in film scholarship thus far. By shifting the focus to Voiculescu’s contribution to early cinema in Romania, I reflect more broadly on the spaces and roles that women occupied in popular culture within the ongoing process of modernisation of Romanian society.
人工智能与人脑的差异意味着人工智能主体性的缺失:计算的本质和机械的一级同构信息处理方式意味着人工智能只有一个信息输出端口,而人类的信息加工却同时具有机体端口和意识端口的输出,且两者具有原型同构关系.意识端口是与机体端口相伴随的认识或评价,指向自我.人工智能计算的本质决定了其艺术创作是机械的.因此,从传统的艺术本质论来看,人工智能的作品并不是艺术;但从艺术体制论来看,它又可成为艺术.然而,这种表达的主体并非人工智能,而是它背后的推动者.从这个意义上说,人工智能只是媒介.人工智能可以作为一种技术媒介表达主体性,但这需要人工智能正视主体性问题,才能发挥作为媒介的长处从而进行艺术创新.
对艺术中触觉问题的研究具有源远流长的传统.在视觉文化批判性理论中,触感理论成为新晋的、具有普遍影响力的新知识.一方面,它倡导当代艺术特别是跨媒介艺术要充分利用视觉之外的触觉,完善多维度的审美与意义构建,相关研究受到了现象学的广泛支持.另一方面,在电影这种较为特殊的视觉艺术中,触感研究不再致力于审美与意义构建,而是试图建立一种以触觉为导向的电影本体论.受惠于现象学理论,电影触感理论借助电影身体、电影皮肤、触感视觉等概念,试图颠倒并发展出完全不同于主体/语言理论的新本体论,这种尝试与整体性的反理性/反形而上学潮流密切相关,对推进视觉批判具有一定的认识论价值.但这一理论中的谬误、媒介分析的缺陷及阐释力的局限,使得其难以肩负电影本体论重构的任务.艺术中并不存在普遍而一致的触感现象,触感理论也难以跨越艺术门类和媒介,难以发展为具备理论同一性的艺术本体论.
城市社区治理共同体如何构建是当前的研究热点之一,既有研究呈现出"治理共同体"与"社区共同体"两种思考路径.前者较多关注治理主体之间的结构关系、功能匹配,侧重分析治理主体间的有效合作何以达成,主要体现了"结构—合作取向"的分析思路;后者则延续了有关社区本质属性探讨的悠久传统,聚焦社区特征与居民主体,着重从社区心理、精神层面探讨城市社区治理共同体何以形成的问题,体现了"心理—团结取向"的分析思路.国外研究围绕社区意识、社区依恋等彼此含义交织的不同概念形成了各自的研究脉络,也直接影响了国内相关研究,但有将作为整体的社区精神生活碎片化之嫌.在城市治理日益精细化的背景下,有必要重新接续费孝通所倡导的"心态"研究脉络,基于扎实细致的田野调查,探讨超越社区、扎根传统、更为隐秘且不可分割的居民"心态"样貌及其对构建城市社区治理共同体的影响.借助"心态"视角的此类研究已经出现,但无论是对"心态"的深入理解,还是对不同城市、社区、群体的比较,均需深化与拓展.值得提出的是,特大城市因具有特殊的学理意涵与战略地位,对其社区治理共同体构建问题,尤其需要加以特别关注.
对于视觉艺术史来说,从古典绘画到机械复制的图像,风景不仅是贯穿性的图像主题,也以物质性和象征性的方式,界定了自身作为自然意识的观看模态.数码时代的风景更多表现为一种跨媒介的图像或影像,并不断融合与改造现实,在媒体的介质和传播上超越了一种"再现"或"造型"的功能与性质,成为一种新的视觉和空间形态.此外,奇观化的数码风景侧重于追求"感觉真实",破坏了机械复制时代的索引性,将真假的杂糅和拼贴以"感觉现实主义"的样貌呈现,并不断重塑人们的认知与审美经验.
以ChatGPT为代表的生成式预训练转化语言模型展现出了初步模拟人类心智的能力,并有可能经过持续优化和技术迭代演化成人们日常工作和生活中不可或缺的通用技术.当GPT语言模型开始具有类人心智并且获得产业化运用之后,将带来远超之前时代的新增生产力,乃至能重塑人类社会基本格局.然而,GPT语言模型在推动生产力发展的同时也会带来岗位替代等问题,进而引发技术发展过快而带来的衍生风险.GPT语言模型及其衍生应用融入社会生产生活应当是一个渐进式的稳健过程,从而避免因为缺少缓冲时间对社会造成过大冲击.
数字技术正在令现实消失,这或许是当今时代的一个典型趋势.面对这种绝对而被动的消失,维利里奥和鲍德里亚不约而同地以相对而内在的主动消失的策略来对抗.但这些策略最终皆陷入僵局,尤其难以回应主体之消失这个根本困境.由此,他们文本中暗示出的第三种消失即绝对否定似乎显示出某种解脱的可能.从计算主义到内在批判,从融合视效到分离影像,数字电影的种种手法似乎也展现出这三种消失的面向.经由对数字电影的数字性的深入剖析,不仅得以对数字技术和数字社会的本性获得更深入的认识,还能够探寻在一个数字宇宙之中重建主体性的途径和希望.
《服务贸易总协定》(GATS)将服务贸易按提供方式分为跨境交付、境外消费、商业存在、自然人流动四种模式.跨境交付主要以数字技术为支撑促进服务贸易扩围提效;境外消费主要通过需求效应、制度供给效应和企业创新效应促进服务贸易扩规模,优结构;商业存在主要通过要素优化效应提升服务贸易竞争力;自然人流动主要通过信息效应和技术外溢效应促进服务贸易降本提效.从国际成功自由贸易港的经验看,跨境交付下数据自由便利有序流动;境外消费下跨境资金自由便利流动;商业存在下投资自由便利;自然人流动下人员进出相对自由,这给我国海南自由贸易港服务贸易发展提供了重要借鉴.
随着人工智能在各个经验领域的运用,智能决策正在作为一个显著现象被关注,这种关注使得增强智能的实现成为可能.然而,如果仅仅在经验领域内理解增强智能,则会低估其对于人工智能伦理而言所具有的意义与价值.对增强智能范畴哲学化和道德化处理之后则会发现其能够为人工智能伦理提供一种双重意义的可能性支撑:表层的辅助关系触及人与机器的关系,但这一层仅仅是工具论思维的延续;而深层的共生关系则触及人类与智能机器不同物种之间的生存关系.
数字经济成为中国经济发展的加速器,它能否缩小收入差距是中国发展中需要关注的问题.如果数字技术进步具有技能偏向性,数字经济的发展也会存在技能偏向性特征,从而影响收入差距.基于《企研数据:数字经济产业专题数据库》构建的城市数字经济综合指标和中国劳动力动态调查(CLDS)个体微观数据,采用再中心化影响函数(RIF)分位回归模型研究数字经济对收入差距的影响,可以发现:(1)中国数字经济发展总体上扩大了收入差距;(2)数字经济通过技能偏向型技术进步提高中高技能工人技能溢价而扩大收入差距;(3)数字经济在低收入人群中的技能偏向型特征不明显,甚至存在偏向低技能劳动力的倾向;(4)数字经济对女性、农村和资本密集型行业收入差距影响较大,技能偏向性特征更加明显.
格雷马斯符号学长期被视作忽略主体问题的客体符号学.20世纪80年代以来,激情符号学成为以格雷马斯为代表的符号学巴黎学派的主要研究领域之一,与激情现象密切相关的主体问题因而被纳入研究视野.在激情符号学的研究中,格雷马斯使用主体的"符号性存在方式"描写主体在叙事中存在状态的动态变化过程,并进一步界定了激情主体"潜能化"的存在方式.符号性存在实质上是一种关系性存在.行为符号学视野下的符号性存在方式用来描写行动元类型间"在场"的功能关系;激情主体"潜能化"的存在方式则表现了激情主体与"目标映象"之间"缺席"的意向关系.激情主体与"目标映象"都是一种心理实体,二者之间的关系只取决于主体意向性,而与外部现实无关.因此,不同于作为功能载体的行为主体,激情主体本质上是具有前摄意向性和本体感受能力的身体本体.对主体的符号性存在方式以及激情主体"潜能化"存在方式的探讨构成了格雷马斯符号学进入叙事主体研究的独特进路.
宫崎骏的文明轮回史观赓续史学家斯宾格勒的历史悲观论和阿诺德·汤因比的文化形态史观,青蓝相继,更上层楼;他秉承技术批判史观,与科学家爱因斯坦,思想家和哲学家马克思、恩格斯、海德格尔、哈贝马斯等对技术批判的主张异曲同工.他认为高科技战争是人类毁灭、文明轮回的推手和元凶巨恶;他的英雄史观与史学家汤因比和梁启超的英雄史观、卡莱尔的伟人史观及思想家尼采的超人史观等可谓同调.宫崎骏犀燃烛照,感慨颇深,一变"杂耍"娱乐商业动画而为史学家和思想家动画,其醒世警世救世之思,足可与当代伟大的思想家们相颉颃,对中国动画的科技史观、英雄史观、文明史观及生态动画创作极具启示意义.
China attaches great importance to the development of digital creative industry and has included it into national strategic emerging industries. How to optimally distribute the digital creative industry so as to achieve coordinated development is an urgent issue to be addressed. Location theory aims at finding the best production location for enterprises by analyzing and optimizing regional spatial organization of different industries. Based on the evolution logic of location theory and combined with the characteristics of digital creative industry, the study extracts the location factors in terms of production cost, market scale,industrial structure and public environment. The extraction is conducive to clarifying the endogenous impetus of regional concentration of China’s digital creative industry from the standpoint of digital creative enterprises, and providing theoretical rational for formulating policies to promote the coordinated development of regional digital creative industries. In this regard, relevant suggestions are put forward for enterprise, local governments and the central government.
In China, leading question is not only controversial in theory, but also interpreted with negative definition, thus being prohibited in legal norms. By analyzing 215 criminal judgment documents related to leading questions, the study finds that in practice, leading question is endowed with multiple connotations,resulting in the dilemma that in the process of investigation, prosecution and even trial, the identification and exclusion of leading questions is a real challenge. Leading question is legally prohibited, but practiced in reality. The inconsistency makes an obvious gap between legislation and practice. An discriminate prohibition of leading questions aggravates the illegality of judicial case handlers suspecting of asking leading questions.Therefore, it is essential to recognize the technical neutrality attribute of leading question in a rational manner,discern its positive and negative mode, and set up justified rules for leading questions in pre-trial and whiletrial stages while improving the mechanism of identifying improper leading questions and making redemptive measures.
The development of film industry aesthetics should not only follow the aesthetic pattern of a specific paradigm, as is embodied in transcendental subjective thinking and Chinese film experience, but also adopt an open perspective to reach the technical landmark of “poetic state”. In this sense, one natural way of expanding film industry aesthetics is to exploit “moral imagination” to reflect on technology, which is the core of technology ethics— “responsible morality for goodness”. A possible new development of film industry aesthetics, technical ethics may rethink a series of ethical propositions such as the relationship between film technology and the alienation of people, landscape experience, and moral materialization, and re-bridge the gap between film industry aesthetics and technological ethics, so as to truly realize the qualitative leap in the theoretical construction of film industry aesthetics and achieve its ethical concern of “people being the goal” in a pluralistic, tolerant, inclusive and integrated manner.
The comprehensive application of artificial intelligence（AI） technologies in the film industry boosts the emergence of AI screenwriters, AI actors/actresses, AI script doctors, AI photography, AI editing and AI marketing system, leading to great changes in the production process of each link of the film industrial chain and the development of film industry. The intervention of “algorithm” has dramatically transformed the film productive thinking, mainly embodied in the decentralization of “human logic” in the films created by “algorithm authors” as the “human logic” weakens and the “algorithm logic” strengthens. On the level of aesthetic principles, the contradiction between “technicality” boosted by “algorithm-driven” film production and “artistry” becomes increasingly prominent. Therefore, how to properly balance the advantages of “technicality” while retaining “artistry” is a prospective issue worth discussing. In addition, the “algorithm author” has the dual ethical attributes of “human” and “machine” not in the sense of binary opposition, but in the mixed zone of the two. “Moral subjectivity” of the “algorithm author” is presented from the aspects of autonomy, interaction, and adaptability so that its moral responsibility in film production is clarified. Finally,given that ethical problems in film production driven by “algorithmic logic”, such as the deviation of value orientation, lack of emotions, and “algorithmic discrimination”, aggravate discrimination and loss of privacy autonomy in reality, they are the inevitable topics for “further elaboration” by the film industry aesthetics which is also the turn of the film ethics.
Film industry aesthetics, an important concept of film aesthetics widely mentioned in China at present, explores related ethical propositions and has produced an enlightening significance in expanding theories of film industry aesthetics. Based on the three categories of production ethics, technology ethics and communication ethics, the paper encompasses three themes: the appeal for production ethics from “good means” to “good morality”, warning against the consumption trap of “extreme experience” caused by technical image manufacturing, and respecting “self-altruism” moral principle of market economy in publicity. By discussing the ethical norms and ethical anomie in the film industry system, the paper aims at constructing the value concept of film industry ethics in the overall sense.
With the promoted status of artificial intelligence（AI） strategic technologies and their enriched application scenarios, the ethical risks of AI have drawn wide attention from all social circles, who have gradually agreed to develop trustworthy AI（TAI） with enterprises acting as the principals of the practice. Based on Proceduralised Grounded Theory, the study investigates the deep-seated factors influencing enterprises’ trustworthy AI practice through in-depth interviews and supplementary secondary data. The results show that four main categories of TAI practice-willingness, TAI practice mission, TAI practice institutional environment,and TAI practice capability, have statistically significant effects on enterprises’ trustworthy AI practice; TAI practice willingness and practical capability are internal driving factors; the institutional environment of TAI practice serves as an indirect factor to regulate the relationship between an enterprise’s willingness to practice trustworthy AI and its actual behavior; the mission of trustworthy AI practice serves as an indirect factor to regulate the relationship between an enterprise’s ability to practice trustworthy AI and its actual behavior; and the constituent factors under each category have different ways of influence on variables with different functions. The study shows that the“Two Factor Driven model”（TFD model） is of critical importance for building a multi-agent and full-process TAI practice ecosystem.
In the context of the rapid development of the digital economy, artificial intelligence（AI） has emerged as a revolutionary and transformative application technology in recent years. AI and the digital creative industries were identified as key emerging industries during China’s 13th Five-Year Plan period. The technology-driven industrial integration has led to the upgrading of traditional cultural industries. The integrated development of AI and the digital creative industry has transformed the latter in terms of production content, cultural dissemination, and consumption patterns. Against this backdrop of great opportunities, the integration of AI and the digital creative industry represents an important pathway for breaking down structural barriers among industries. On the one hand, digital creative industry, primarily focusing on cultural content,empowers technologies with core content. On the other hand, AI technologies enrich the implementation means of cultural content and enhance its communicability, interactivity, and virtuality. In the trend of global value chain reconstruction, the deepening integration and development of AI in the digital creative industry carries important significance. By examining domestic and international cases, insights can be drawn to optimize China’s development path of technological innovation and achieve a people-oriented, interactive, and beneficial vision.
The innovative integration of digital technology and creative practice begets a new business form: digital creative industry. With the development of artificial intelligence（AI）, virtual reality and 5G technology, digital technologies have been widely applied to the creative industry. The convergence of digital technologies and creative practice brings new changes for the creative industry in the US in terms of content creation, distribution channels and consumption patterns, which provide significant implications for China’s digital creative industries. Facilitated by digital technology, the media and entertainment industries have become an important part of the digital creative industry in the US. Digital technologies have advanced American global network of cultural exports, presenting the US media and entertainment industries both opportunities of development and new challenges regarding global extension, copyright protection and personal data security.
