Research on the Construction of Online Culture Trading Platform Based on Netizens’ Wishes

According to the statistical data of the 44th China statistical report on Internet development, as of June 2019, the number of Internet users in China has reached 854 million, and the penetration rate has reached 61.2%. The number of mobile Internet users reached 8.47 million, accounting for 99.1% of the total Internet users [1]. The number of Internet users in China continued to grow steadily. With the rapid development of high-tech and Internet, the continuous expansion of Internet users, the continuous optimization of the network environment, the gradual formation of the network society, the network life tends to be a regular state, and the network culture is also formed in this environment, which has become an important part of China’s cultural system. This paper takes netizens as the core, studies the construction of network cultural data trading platform based on netizens’ behavior. Through the establishment of netizens influence model and online cultural data trading platform, this paper studies the consumption intention of online cultural products and the characteristics of online cultural data trading platform from the perspective of netizens. Based on the data of strong research results, this paper puts forward suggestions and strategies for the construction of network cultural data trading platform and the innovation of network cultural products in China.

Network infrastructure in the present-day realities

The development of digital technologies, the transformation of the Internet into a “communication medium” leads to the formation of a network society with the large-scale development of network culture and the invasion of network business and network forms of education. Replacement of the face-to-face contact by the network communication, destruction of personal space, openness of personal life, its “inclusion in the network”, simultaneous possibility of anonymity, protection and irresponsibility of users become a reality of modern life. Network systems are becoming the basic infrastructure of modern society.

Virtual laboratory of Andaliman tissue culture integrated with islamic values

Nowadays, the world is being hit by a Corona virus outbreak which has an impact on every line of life including the field of Education which encourages students to take online learning. This study aims to develop a Virtual Laboratory of Andaliman Network Culture integrated with Islamic values as an interactive learning media to overcome problem obstructions in practicum activities as well as to strengthen the internalization of Islamic values and insights into the local potential of students in The State Senior High School 11 Medan, North Sumatera, Indonesia. This research was conducted using Research and Development (R & D) with the ADDIE approach (Analysis, Design, Development, Implementation, Evaluation). The results showed that the percentage of media validity by Material Expert validators was 98.61%, Islamic Values Material Expert validators were 90.62%, Virtual Laboratory Expert validators were 93.96%, and Field Practitioner Expert validators (Biology Teachers) were 93.75% with the category of evaluation of all validators as very good. Meanwhile, the percentage of student responses to the media reached 63.88% in the good category. Thus, it is highly recommended to use the Virtual Laboratory which was developed because it has tested validly to increase understanding about mechanism Plant Tissue Culture with Islamic Values and Local Potential.

“Scary” Folklore on the Web or the Web’s “Scary” Folklore? On the Problem of Defining and Typologizing Scary Narratives on the Internet

С момента наступления эпохи Web 2.0 и по сей день в Интернете востребованы истории о всевозможных ужасах, в обилии представленные на его просторах в виде различных жанров и форм и именуемые самими пользователями крипипастой. Но, как это ни парадоксально, существуя в виде самодостаточной традиции сетевой культуры более пятнадцати лет и продолжая развиваться, данное явление до сих пор остается слабо изученным. Чтобы разобраться в этом обилии присутствующих в Интернете страшных историй и родственных им явлений, мы были вынуждены ввести два интерферирующих понятия: «сетевой “страшный” фольклор» и «“страшный” фольклор в Сети», а также исследовать повсеместно употребляемый интернет-пользователями в отношении содержимого обоих понятий термин «крипипаста». По нашему определению, «“страшный” фольклор в Сети» - это все представленные в Интернете и каким-либо образом ассоциирующиеся со страшным у пользователей и/или исследователей произведения народного творчества как сетевого, так и несетевого происхождения. Сетевым «страшным» фольклором мы назвали пласт собственно интернет-фольклора, к которому относятся подпадающие под его определение произведения, тематически и функционально связанные с переживанием страха, а также все возникшие в Интернете пародии на них, рьяно эксплуатирующие макабрическую стилистику оригиналов, но на деле лишь прикидывающиеся пугающими. Что же касается термина «крипипаста», то, суммируя множество пользовательских трактовок, мы выделили три самых распространенных его понимания: 1) как жанра «страшного» интернет-фольклора; 2) как традиции сетевого «страшного» повествования; 3) как семантической категории, включающей в себя все каким-либо образом связанное со «страшным» в Интернете. From the beginning of the era of Web 2.0 and to this day, stories about all kinds of horrors are in demand on the Internet. They appear in abundance on the World Wide Web in a wide variety of genres and forms, called “creepypasta” by users themselves. But, paradoxically, this phenomenon, which has existed as a self-sufficient tradition of network culture for about fifteen years and continuing to develop, remains insufficiently explored. In this article, we offer two intersecting definitions of this material: “scary” folklore on the Web and the web’s “scary” folklore, and we also explore the term “creepypasta,” which is generally used by Internet users in relation to both phenomena. “‘Scary’ folklore on the Web” indicates all works of folk art, both of web and non-web origin, presented on the Internet and perceived by users and researchers as related to what is frightening. “The web’s ‘scary’ folklore” designates Internet folklore itself that is thematically and functionally related to the experience of fear, as well as Internet parodies which energetically exploit the macabre style of the originals, but in reality only pretend to be frightening. As for the term “creepypasta,” we sum up three of its most common understandings: 1) as a genre of the web’s “scary” folklore; 2) as the web tradition of “scary” narration; 3) as a semantic category including everything in any way connected with the “scary” on the Internet.

From City Space to Cyberspace

The narrative of the birth of internet culture often focuses on the achievements of American entrepreneurs in Silicon Valley, but there is an alternative history of internet pioneers in Europe who developed their own model of network culture in the early 1990s. Drawing from their experiences in the leftist and anarchist movements of the ’80s, they built DIY networks that give us a glimpse into what internet culture could have been if it were in the hands of squatters, hackers, punks, artists, and activists. In the Dutch scene, the early internet was intimately tied to the aesthetics and politics of squatting. Untethered from profit motives, these artists and activists aimed to create a decentralized tool that would democratize culture and promote open and free exchange of information.

Social Entrepreneurship Research: Intellectual Structures and Future Perspectives

Social entrepreneurship (SE) is an emerging research field that has received much scholarly attention in recent years. Given the global scope of this attention, this review explores the existing scientific literature on social entrepreneurship to contribute to a systematization of the research field. Based on the publications in Web of Science and Scopus, a total of 1425 scientific articles were analyzed. We used the bibliometric method to describe the evolution of social entrepreneurship research (e.g., evaluation by years, authors, scientific journal articles, and countries in the SE literature that have had the greatest impact in terms of production). In addition, we used the mapping of knowledge networks through the citations and co-citations analysis to identify schools of thought. A keyword co-occurrence analysis was performed to detect key research topics over the years. The results show that, although the research is still in a nascent phase, it has a multidisciplinary character. Furthermore, social entrepreneurship appears to be a concept closely linked to three schools of thought: commercial entrepreneurship, sustainable entrepreneurship, and social innovation. The keywords analysis allowed us to isolate the constructs that the literature has considered antecedents (e.g., socio-psychological factors) and accelerators (e.g., education, network, culture, and gender) to the development of social entrepreneurial intention. We will further discuss the ways researchers can explore this research field and contribute to the global literature.

‘There Was Modernism. Then There Was Digital:’ Kenneth Goldsmith and the Updating of Literature

The notion of literature as an obsolete form, out of sync with its own time, has been a familiar one ever since modern media displaced the literary from its previous centrality in culture. Expounding on poet Kenneth Goldsmith’s express ambitions of bringing literature up to date with contemporary media culture, this article engages the larger stakes of his work with a view to an ‘updated literature’ – a literature, as it is here considered, 'beyond textuality.' Informed by the theoretical perspectives of Friedrich Kittler and the broader field of media archeology, the article posits literature’s turn toward the generalized ‘informational milieu’ of contemporary network culture and its concomitant break with modernist notions of medium specificity. Although the provocations of both Goldsmith and Kittler have received much previous attention; in seeking here to bring them together in a committed way, this article also moves beyond the limits of their approaches to rethink the problem of literature’s dubious distinctness in our age of networks.