清末民初镖局推动武术发展之历史审视

审视中国古代镖局中镖师武术的技术特征、传承传播、发展演变,能够再现早期武术发展状况,丰富武术历史研究内容,还可总结历史经验,为新时代推广武术、弘扬武术文化提供借鉴。运用文献资料法和历史分析法,就镖局对清末民初武术发展之推动作用进行分析。认为,镖局是实现武术功能职业化转型的重要组织,推动了武术的顺时代创新演变,开辟了多元的武术传播途径,稳固了师徒传承方式,推动了武术价值的多元化发展,促进了暗器、轻功等罕见武技的深造与传承,为“以武报国”提供了重要的物力支撑。     

文旅融合下山西红色旅游演艺优化发展

红色旅游演艺是文旅融合的重要形式。本文从红色旅游与文旅结合的角度,分析了山西省红色旅游演艺现状,指出了在其发展中存在的问题,认为山西红色旅游演艺主要的问题是:总接待量不高、演艺产品转化率低、不同演艺产品接待量差异较大的结论。并提出从5个方面进行山西红色旅游演艺产品的提升:做好顶层设计、产品开发设计、客源市场拓展、营销宣传策略和人员管理。     

基于网络教学平台的艺术类高职院校信息化教学实践的研究

高速发展的互联网给我国高等职业教育的信息化教学模式改革带来了极大的发展契机。文章以网络教学平台为载体,在艺术类高职院校中应用信息化教学,打破了以往艺术类高职院校传统的教学模式,实现现代课堂教学的完全翻转,充分调动了艺术类高职学生学习的积极性和创造性,提高了艺术类高职教育教学质量,创新了艺术类高职教学模式,使艺术类高职课堂教学充满了活力和吸引力。     

体育教育专业武术专业课程评价指标体系创新研究

基于大学专业课程评价的本来意义和民族文化承传的根本目的,对我国高校体育教育专业武术专业课程的评价体系展开分析,认为偏颇的武术观所导致的"过于追求课程学习评价结果的数量化,忽视课程学习评价的有效性"是影响武术专业课程目标达成的直接原因.根据专业教育需求所赋予的武术课程目标,提出了以知识、能力、素质并重来构建新的武术专业课程评价指标体系,并对此进行了论证.     

基于贝叶斯网络的验证激励向量生成研究

为了解决传统数字芯片验证环节中基于仿真的验证（或动态验证）功能覆盖率收敛速度慢的缺点,提出一种新的以功能覆盖为导向的测试用例生成方法,该方法基于贝叶斯网络和机器学习技术,可实现从覆盖模型到测试用例生成器反馈回路的自动关闭,在 DUT 的验证过程中,使用该方法为所测试的设计生成新的激励。实验结果表明,基于贝叶斯网络的 CDG 技术测试用例使用较少,覆盖率收敛更快,与传统基于仿真的验证技术相比,测试用例数量减少了 43%。基于贝叶斯网络的 比于传统动态验证技术而言其芯片功能验证更完善。     

“冯派”花鼓灯艺术探论

花鼓灯是一种综合性的表演艺术,它不仅整合了歌、舞、戏等多种艺术形式,还揉合了武术与杂技等特殊的技巧性肢体动作。从其艺术形式和表演风格上集聚了我国民间艺术的特点与特色。花鼓灯的起源、发展、流传以淮河流域为主,由于地区性差异形成了具有不同风格的流派。以冯国佩为代表的“冯派”花鼓灯艺术是花鼓灯舞蹈中的一枝奇葩,其形成、发展都具有重要的典型意义。     

Cultural plan implementation and outcomes in Ontario,Canada

Since 2005 there has been a surge of cultural planning initiatives in Canada, especially in the Province of Ontario. However, very little research has been conducted in the more established cultural planning contexts of Australia, Great Britain and the United States let alone in Canada to support the assertions that underlie much of the movement's continued success. In particular, there has been an absence of research on the actual outcomes of the cultural planning strategy. This article examines whether the wide range of strategic goals presented in most cultural plans are being met. The method for assessing the effectiveness of cultural plans involved analyzing which strategic objectives were implemented as recorded in progress reports and as reported on by cultural planners. The research findings show that cultural plans are being effectively implemented and the majority of strategic goals contained within most cultural plans are being achieved. In addition, it is observed that the strategic objectives being implemented are not limited to traditional arts sector concerns.     

武术文化的主体间性辨释

"主体间性"通过对美学、文学等领域的考察,为我们分析武术文化提供了经验。从身体与精神、人与人、人与物、人与社会、人与自然等关系中认定了主体间性的存在,表现在"身心之和""人我之和""师徒之和""人与器和""武与政和""门派之和""天人之和"等多个层面。正是因为主体间性的存在, 才使辨证智慧的"和"思想在中国武术中得以实现。     

Culture without “world”: Australian cultural policy in the age of stupid

In March 2013, after six years of consultation, an Australian Labor government launched the national cultural policy document, Creative Australia. In July 2013, a Coalition government was elected, Senator George Brandis became Minister for the Arts, and the policy was dumped. With it went cross-party consensus about funding rationales and measurement strategies, with disastrous consequences for the cultural sector. This cautionary tale of gaffes, pay-back and abrupt changes of direction, highlights the fragility of policy memory that condemns artists and arts managers to a never-ending reinvention of the evidentiary wheel. Our paper examines the problem of collective understanding (“world”) in cultural policy-making in Australia, exacerbated not only by the short-term electoral cycles which undermine long-term cultural outcome timescales, but by a fixation on what Hannah Arendt calls “the peculiar and ingenious replacement of common sense with strict logicality”. Evidence of value is only meaningful when it occurs in a policy memory that can fully avow it and respond in appropriate ways. Measurement methods are over-determined by epistemology and by experience. We argue that the balance between these determinants of effective cultural policy-making has been lost. An emphasis on numerical data – especially economic data – has forced arguments for culture into a decontextualised register of quantitative proof. Recent events in Australia suggest that different, more direct ways of engaging with cultural policy-making are required for the problem of collective understanding to be successfully assayed.     

Accounting for quality: arts evaluation,public value and the case of “Culture counts”

Arts policy has a longstanding relationship with the concept of “quality” and the ways in which organisations measure, evaluate and account for it. Culture Counts, an evaluation system and digital platform, compiles data from standardised evaluation surveys of different stakeholder groups – organisations, audiences, critics, funders and peers – and provides the means to compare and triangulate data in an accessible format. As a result, it claims to provide a more effective, democratic tool for quality measurement of art, which demonstrates the public value of funding [Department of Culture and the Arts, & Knell, J. (2014). Public value measurement framework: Measuring the quality of the arts. Perth: Department of Culture and the Arts.]. Through qualitative research with two consortia of organisations involved in Culture Counts pilot projects in Manchester, England and Victoria, Australia, we explore these claims, comparing the reception and promotion of the system in both countries and considering its potential incorporation into policy assessment frameworks and adoption within arts organisations’ existing evaluation capacities.