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Clothing patterns play a dominant role in costume design and have become an important link in the perception of costume art. Conventional clothing patterns design relies on experienced designers. Although the quality of clothing patterns is very high on conventional design, the input time and output amount ratio is relative low for conventional design. In order to break through the bottleneck of conventional clothing patterns design, this paper proposes a novel way based on generative adversarial network (GAN) model for automatic clothing patterns generation, which not only reduces the dependence of experienced designer, but also improve the input-output ratio.

In view of the fact that clothing patterns have high requirements for global artistic perception and local texture details, this paper improves the conventional GAN model from two aspects: a multi-scales discriminators strategy is introduced to deal with the local texture details; and the self-attention mechanism is introduced to improve the global artistic perception. Therefore, the improved GAN called multi-scales self-attention improved generative adversarial network (MS-SA-GAN) model, which is used for high resolution clothing patterns generation.

To verify the feasibility and effectiveness of the proposed MS-SA-GAN model, a crawler is designed to acquire standard clothing patterns dataset from Baidu pictures, and a comparative experiment is conducted on our designed clothing patterns dataset. In experiments, we have adjusted different parameters of the proposed MS-SA-GAN model, and compared the global artistic perception and local texture details of the generated clothing patterns.

Experimental results have shown that the clothing patterns generated by the proposed MS-SA-GAN model are superior to the conventional algorithms in some local texture detail indexes. In addition, a group of clothing design professionals is invited to evaluate the global artistic perception through a valence-arousal scale. The scale results have shown that the proposed MS-SA-GAN model achieves a better global art perception.

The country‐of‐origin literature has focused mainly on tangible products and has neglected largely intangible services and products such as the arts. The objective of this study is to examine the impact that country of origin may have on consumer perceptions of artistic and cultural products and to explore the variables that explain how consumers form their perceptions of countries as producers of cultural products.

A survey was conducted among adult consumers in Australia, Canada, Italy, Switzerland, and the USA that assessed participants' perceptions of 16 countries with respect to their reputation for nine cultural products.

The results indicate that product‐country images in the arts are affected by country and product familiarity as well as consumers' openness to foreign cultures and home country bias. Countries more proximate to the participants' home country were also better evaluated, especially when the proximity factor played a significant role in the consumption of cultural products.

While almost all of the hypotheses were supported, additional research is needed to examine the cultural products of non‐Western and emerging markets as well as product‐country perceptions in these markets.

This study extends our understanding of country‐of‐origin effects in the context of aesthetic, intangible, and complex products that elicit both cognitive and affective responses. It demonstrates that familiarity with a country of origin has a stronger association with positive perceptions of product‐country reputation than does product familiarity, and that openness to foreign cultures, home country bias, and proximity have a positive effect on product‐country evaluations.

European performing arts companies, intrinsically fragile, have been severely hit by the economic crisis. Within the global search for new economic models in the sector, a growing number of initiatives have been taken in the form of establishing collective and participatory firms. Their forms vary from simple interorganization resource pooling to proper registration of a cooperative. Our research aims to understand the motivations of project initiators for collectively organizing their business. We test the influence of instrumental versus ideologically driven motives as well as the influence of the socio-economic context on the decisions of performing arts entrepreneurs (artists, producers, or directors) to establish participatory firms. We relate these results to the success or failure of collective firms and to the degree of cooperation. We use a qualitative method based on semi-directive interviews conducted in 21 performing arts collective organizations, over two years and in six European countries. Interviews were integrally transcripted and processed using qualitative data analysis software (QSR NVivo 10) in order to realize axial coding. We found that while the context, instrumental logic, and ideologically driven motives influence the decision to establish collective organizations in performing arts, it is the ideological dimensions that are predominant and constitute a necessary condition for the success of a participatory organization. We observe that the more collective organizations are ideologically motivated, the more they are likely to be successful in the long run (success being assimilated to economic sustainability). We also find that the greater the importance of the ideological motive, the more integrated the cooperation. Eventually, these results provide significant information regarding the form of collective firms in performing arts. We observe the emergence of new forms of cooperatives that comprise cooperatives of production and projects or companies, establishing participatory and democratic governance, and pooling resources and financial risk while preserving the artistic freedom of artists. We view these emerging types of cooperatives as a promising avenue both for the sector itself and for the development of the cooperative movement beyond its traditional sectors. The findings suggest that public incentives, as they are currently set up, may miss their objective of promoting shared practices in the arts or even be counterproductive; thus, it would be to their advantage to be modified in light of the above results. We also defend the interest of trans-border cooperative organizations inspired by the cooperatives of production and their governance models and organizations. Despite a number of studies highlighting cooperation in the cultural sector, research on cooperatives in this sector remains embryonic. This paper contributes to this literature. We argue that applied research in this sector can be of contributive value to the literature on cooperatives and participatory firms.

The chapter reviews recent evidence of, and debates about, the integration of art, entertainment, and media in media portrayals (e.g., movies, photographs, theater, music, performance art, museums, story-telling, modifications of an environmental space, social media, painting, comics, dance, videogames, etc.) of climate change based on three sources of data: 1) articles listed in academic reference databases and Google Scholar, 2) online sites, and 3) climate change news images. 1) Retrieved articles discuss both the potential and challenges of communicating about climate change through art, entertainment, and media. However, research is inconsistent on and in some cases is critical of the nature and extent of effects of art-based climate communication. 2) The Internet is a rich and diverse source of websites and videos about climate change. We analyzed 49 sites based on the art medium or form discussed, the primary content related to climate change, and the apparent goal of the site or video. The most frequent goals were promote action, collaboration, raise awareness, climate change communication, discussion, empowerment, reshape public perception, and engagement. 3) Based on the major themes and frames identified through content and cluster analysis of 350 images associated with 200 news articles from 11 US newspaper and magazine sources through late 2009, we summarize the theme of art and mass media representations of the environment, and how those are associated with the other major themes. We conclude by suggesting promising areas for future research on the intersection of art and science in communicating about climate change.

In recent years there has been a welcome growth of interest in learning how artists understand, engage with and respond to aspects of business practice such as marketing. In the case of music it has been suggested that artists are by no means universally motivated by commercial success, and in many cases find the practices of mass marketing repellent. However, there is general agreement that the study of attitudes of artists is still in its infancy, not just in terms of identifying the research agenda, but just as pressingly in identifying a range of appropriate methodological tools for understanding the phenomenon. This paper aims to address these issues.

This paper describes a study where the focus was narrowed to a single genre (jazz), a single country (Poland) and a single artistic level (acts which have been successful both commercially and artistically). In total three biographical interviews were completed, involving four jazz musicians.

The research found many points of convergence with earlier studies, in particular the primacy of the artistic ideal over commercial imperatives. The evidence of this study, though, suggests that jazz musicians can engage with markets through a variety of different methods, which are heavily influenced by their desired and actual artistic identities.

This study sought to make a contribution to a growing area of research into musicians' identities outside the USA.

This article explores brand positioning and authenticity within the global-local continuum, utilizing the evolution of the Italian rock band, Måneskin, as a case study.

Employing Greimas’s (1987) semiotic framework, I analyze social media and media articles on Måneskin’s success, unveiling consumer perceptions of global, local and intermediate brand positionings and related authenticity dimensions. I particularly uncover a narrative centered on “global” versus “local” brand positioning and their counterparts (i.e. “not global” and “not local”), forming a semiotic square.

In the “global” perception, the band is evaluated in terms of conforming to global standards, while, in the “local” understanding, the emphasis shifts to connections to local roots. In the “glocalization” perspective (global and local), the band’s activities are assessed concerning an integration between global conformity and local connections. The “glalienation” viewpoint (neither global nor local) is related to consistency, in the sense of being unique and avoiding a commitment to either global or local values. The data also highlight issues of inconsistency regarding brand positioning’s contradictions, such as the band’s incoherently merging local and non-local elements.

The proposed structural semiotics approach enriches previous theories by examining authenticity within global-local dynamics, offering insights into various authenticity dimensions and their interplay. It underlines shifts in authenticity perceptions and challenges binary brand positioning, advocating for strategic placement across the global-local continuum. Moreover, it emphasizes leveraging cultural elements and semiotics to effectively communicate authenticity.

The purpose of this paper is to discuss Deveron Project’s (DP) Walking Institute, the only programme in the UK dedicated to commissioning artists to create walks. The author argues that the Walking Institute offers a model for tourism practices that engage local and international stakeholders in the creation of new global relationships. His research expands current critical discourse around the intersection between walking, tourism and art, and argues for DP’s approach as a way to create community-based, critically reflexive modes of tourism.

This paper is based on research completed for his doctoral thesis and combines practice-based and qualitative methods. The author has visited Huntly on two separate occasions, and have had conversations with project stakeholders, spent time visiting local attractions, and participated in local events and artists’ walks. The analysis draws on theories from performance studies and those being developed within cultural geography and the mobilities paradigm.

The Walking Institute provides a model for a community based approach to global tourism that calls on the artistic medium of walking to create a critical, reflexive mode of engagement. Through this model, the Walking Institute provides an innovative approach to tourism that offers potential tourists with a mode of local engagement beyond the consumption of the picturesque.

There is very little research into DP’s model, or the intersection between tourism and the burgeoning artistic medium of walking. This paper offers original insight into DP’s model and its relationship to a new field: walking art. Additionally, it informs current understandings of tourism through a demonstration of how a rural arts organisation is engaging with the global tourism industry.