Kind Of Entertainment Research Articles

Японские письменные предсказания в виртуальном пространстве

The article presented to your attention addresses the problem the virtualization of the well-known traditional Japanese divination practice — “omikuji” (translated from Japanese as “divine lot”), and also touches upon more global issues such as how Japanese religious practices are currently developing on the Internet. A significant portion of the research is dedicated to analyzing the transformation process of a religious tradition that used to be practiced exclusively “in person” and examining how contemporary Japanese people of different age groups and social status relate to the phenomenon of web religiosity. The study is based on data collected from an online survey conducted in July 2023. A total of 32 people responded to the survey (almost all informants are either Japanese or long-time foreign expatriates residing in Japan). The article includes screenshots of digital omikuji and their translations made by the author. The results of the study indicate that virtualization has made the practice of omikuji more accessible to laypeople, especially for people with disabilities. The texts of the predictions were significantly simplified during their virtualization. However, as the survey results suggest, the accessibility of the practice has led to a certain degree of loss of trust among believers. While omikuji had previously been perceived by the Japanese as a kind of entertainment within the temple or shrine grounds, the transition of the practice to the online space has further “simplified” it. Moreover, virtualization has turned the practice of traditional divination into another tool of promoting and advertising Japanese commercial companies, which negatively affects the perception of the omikuji tradition among believers.

Entertaining the Royalty. A forgotten tradition of the Vidushaka in Ancient Indian History

This paper provides an overview of the importance of dwarf figures/jesters in Ancient Indian history and society. There are numerous dwarf-like figures depicted in ancient Indian temples. These little figurines would have not only filled the area and add decorative value but also, they have a small but significant place in iconography. A dwarf-like figure, the Vidushaka, who was a brahmin with a tuft on his head and a staff in his hand, was found on the walls of Ajanta and in the Natyashastra text. His occupation is to light the stressful environment by making the court laughing. It goes without saying how valuable the Vidushaka is as a kind of entertainment in ancient India. The objective of this research is to look at how the Vidushaka (jester) had been contributing to the ‘entertainment industry’ of ancient India and how they have been portrayed through out the history (from ancient to medieval times). This would also allow us to discover that jesters were not only adept at entertaining others with amusing jokes, but also able to express himself on the oddities of human life.

Tác động của Product Placement các video âm nhạc đến thái độ về thương hiệu của giới trẻ tại TP.HCM

Young people are becoming more and more interested in music as a kind of entertainment. Music videos are also made with the goal of giving the song the maximum possible visual and auditory impact. Because the music industry is getting more complicated and the public is becoming more demanding, artists must always put more money into their work. This is an opportunity for well-known artists and corporations to work together. Brands will be able to run PR campaigns for their products/brands by being sponsored to feature in artists’ music videos. This study was carried out to pinpoint the influences and explain how they affect young people’s perceptions of the use of product placement. From there, various ways to enhance brand perception are suggested.

Research on pattern recognition of different music types in the context of AI with the help of multimedia information processing

Music is a form of art in which the sounds are timed and organized. Music is a kind of entertainment that mixes sounds in a way that people like, find fascinating, or to which they desire to dance. Most music is created via one or more people's vocal or instrumental efforts. By the dictionary, music is defined as having at least one of the following three elements: rhythm, melody, and harmony. Music is utilized in therapy because of its apparent benefits on behavior. Various physiological circumstances have different metabolite expression patterns that can be studied using pattern recognition in multimedia information processing. Music therapy includes various activities, including singing, playing instruments, dancing, and listening to music. Music-making with artificial intelligence (AI) uses neural networks, which are massive collections of computer bits that aim to stimulate brain activity. The neural network (NN) may be bombarded with music to see if it picks up on patterns the way the human brain does when repeatedly exposed to new stimuli. It will get the hang of them eventually. Experts believed that AI would be unable to generate music unless it first mimics a human-created data collection. By providing a conceptual paradigm for multimedia information processing. The end effect will be entirely different depending on how many hours of music are placed into it. For AI to learn from patterns or features in data on its own, it needs big data (BD), fast, repeated processing, and complex algorithms. The use of technology makes the process of creating analytical models much faster. A new AI-BD tool is an opportunity, not a danger for people currently working as artists. People are beginning to ask what constitutes acceptable work as AI grows more prominent in the music and art industries to gain efficiency of 97.8%. Future music will be heavily impacted by listeners' bodies and emotions all the time. For example, wearable technology may detect a person's mood and play the music that matches it. It is the next step in personalization. The AI-BD methodology improves the efficiency, accuracy, etc., compared to other existing models by gaining 97.8%, performance analysis 97.2%, reliability ratio 95.6%, and survivability analysis 98.2%.

Семантика орнамента свадебных тканых рушников IV–XVIII вв. и их роль в свадебных обрядах

The wedding ceremony is one of the integral stages of a person's life, richly saturated with traditions. A wedding is on a par with such events in a person's life as birth and death. For many centuries, the peculiarities of its conduct, rituals that should be observed, have been formed. Textiles occupied an important place in the wedding tradition. It was not only part of the bride's dowry, but also accompanied the entire procession, being an integral part of it. At the same time, the wedding textiles had to be decorated with a certain ornament bearing a sacred meaning, since pagan beliefs played an important role in the wedding process. With the adoption of Christianity, wedding customs have changed, but the importance of textiles in wedding activities has remained the same. Embroidery and weaving were an ordinary women's needlework and a kind of entertainment, in which the principle of “copying” was preserved, that is, sewing according to the pattern, the canon. When creating a dowry and, in particular, towels, young girls copied the drawing and ornament of an earlier period. That said, Slavic pagan symbols were able to find their place in Orthodoxy and were copied from generation to generation. The original semantic load that the Slavs put into reproducible patterns was eventually forgotten. But the repetition of ancient ornaments continued on wedding textiles, namely on towels. Thus, it was believed that these symbols protect a young family from the evil eye and help to find happiness. An important place in the design of wedding textiles is occupied by such symbols as “orepey” (or “burdock”), “World Tree” (or “Tree of Life”) and “Great Goddess” (or “Great Mother”, “Makosh”), depicted as a female silhouette.

Analysis of Symbolism in Zootopia Movie

Movies permeate every aspect of people's life. Movies are typically viewed as a kind of entertainment or an escape from reality. However, certain films include hidden messages. This study examines the animal symbolism in the movie Zootopia. The film exemplifies how the animal characters are symbolically utilized throughout the film and how it reflects on contemporary situations. Animal qualities described in the movie Zootopia indicate a cultural custom already accepted by civilization. After comparing how the animals in the movie are portrayed to how they are depicted in real life through the culture used by the movie, the authors see that the animals in the movies are portrayed similarly to how they are portrayed in the culture of the United States. Keywords: animal, culture, movie, symbolism

Design and Application of Intelligent Processing Technology for Animation Images Based on Deep Learning

The origins of anime can be traced all the way back to the Homo sapiens period of human civilization. Nowadays, anime is a record of life as well as a popular kind of entertainment and a source of ideal trust for many individuals. Children and individuals of all classes and ages enjoy anime. In the opinion of most people, anime is not simply a form of amusement and pleasure, but it can also express deeper meanings, transmit other cultures, and inspire individuals to pursue their aspirations. Image stylistic migration based on convolutional neural networks has developed as a central research path in recent years, and attempts on style migration have evolved as well. However, there are few studies on style migration. In this paper, we propose a deep learning-based solution to the problem of anime-style migration. Experiments on a relevant database show that our proposed method is effective and accurate and has commercial and academic significance.

STAND-UP COMEDY: THE RELATION BETWEEN LANGUAGE AND CULTURE

Stand-up comedy is a kind of entertainment which presents the art and speech competence. As a single performer on the stage without any supporting properties and partners, a comic is permitted to express any utterances and strived for making audiences laugh. So, language aspect is the most important element of this art in the form of utterances. Based on the theory that language both expresses and embodies cultural identity, concerning stand-up comedy a question then emerged; How are language and culture related by comics’ utterances? This study aims to describe the content and the way of the utterances expressed by comics in stand-up comedy; to reveal how language and culture are closely related. The data were collected from videos of Indonesian Stand-Up Comedy season 4 of the three winner comic performances. Through collecting, analyzing, presenting and interpreting the data as the steps of qualitative method employed, the finding shows that content of the utterances expressed by the comics represent their own culture included ethnicity and community which are related to the problem dealing with their social life. While, the way they express the utterances shows that there are striking differences among the three comics in uttering the sounds, words, sentences and gimmick. The content differences identify their cultural and social background. Stand-up comedy art reveals how the language closely related to the culture. Keywords: comic, culture, language, language identity, stand-up comedy

Slam in the Name of Country: Nationalism in Contemporary Azerbaijani Meykhana

Meykhana is spoken word improvisation, verbal recitatives, and a kind of entertainment that in the last two decades has largely spread across Azerbaijan. Contemporary meykhana, although it retains its characteristic rhythm, increasingly resembles popular songs rather than classical Middle Eastern poetry, and is now often being sung, not read. Thus, in its form and function, it has become an element of mass popular culture. At the same time, meykhana is increasingly considered to be one of the national symbols on a par with other traditional musical genres such as mugham and ashig art. Meykhana's contemporary dual nature, which is understood differently by different constituencies within the Azerbaijani population, with their own politicized agenda, is inherently nationalist in nature. Using such aspects of nationalism as ethnicity, tradition, modernization, and folkloricization I analyze different levels of meykhana and the various actors involved in its implementation. This paper contributes a case study to the rich body of literature on nationalism in musical performances by analyzing the ways in which identities are constructed and mobilized.

The Evolution of Rock Festivals in Greece

There is a steady growth of music festivals that has continuously occurred within the last thirty years, and this has changed the structure of the international cultural market. Nowadays, selling recorded products does not make large profits and music festivals became the vitalsupporters of the music industry. This paper focuses on presenting how the growth of rock festivals introduced to Greek society a new kind of entertainment quite different from the traditional festivities of the region and how this practice supports tourism. Indeed, some great festivals are created with the international market in mind and are based on specialized tourism management practices. This study, after considering some aspects concerning the interaction between global and local music culture, provides a brief historical framework of the rock festivals. It constitutes basically a general review presenting the evolution of this imported type of entertainment in Greece, and it reveals possible commonalities between the traditional and the new forms of festivities. Although there are significant differences between Panygiri which is the old traditional Greek festivity and the rock festival, it seems that some fundamental elements in those social phenomena such as attracting tourism and uniting people always remain the same.

CHRONIC INTOXICATION WITH “LAUGHING GAS” (NITROUS OXIDE) AS A CAUSE OF B12 DEFICIENCY MYELOPOLYNEUROPATHY IN YOUNG ADULTS

The problem of using nitrous oxide (“laughing gas”) is now important because young people often prefer this kind of entertainment. Regular short-term inhalation of nitrous oxide increases the risk of developing vitamin B 12 deficiency, which is an essential cofactor of important metabolic processes. This article describes 2 clinical cases of neurological disorders in young adults who had used nitrous oxide. We demonstrate difficulties in the diagnosis, therapeutic tactics and prognosis.

Fuzzy Comprehensive Evaluation on Chinese Aerobics Sports Industry Future Development

Aerobics is a kind of aerobic exercise, and combine with music and dance, which can improve participants' mind and body as well as moral quality, especially can cultivate person aesthetics and values. Modern aerobics initially was the physical training contents that human designed for astronauts to pedal towards outer space. While in the eighties, 20th century, with the globalization of information, aerobics as a kind of entertainment and fitness event, has rapidly developed in the world and formed into a fitness craze. People's pursuit of beauty and health lets aerobics to go further and further in the advanced scientific society. The paper researches on Chinese aerobics sports industry through fuzzy comprehensive evaluation, by fuzzy comprehensive evaluation value, it can get that Chinese aerobics sports industry development status is good, but there are still some room for improvement, with aerobics sports industry develops, Chinese aerobics undertaking will more rapidly develop.

The Sense of “Pleasure” in Eastern Chant

Abstract Music is by default a key element of every kind of Entertainment. Actually, the two terms (Pleasure and Music) are almost synonymous in the geographical area of the East - especially during the late medieval period - and there is a plethora of relevant evidence in the rescued literature and musicological sources to support this argument. It seems that there is a mutual and interactive “dialogue” between the two terms. This is an ideological and philosophical dialogue, as well as a completely fundamental and practical one: the musicians (the people who actually carry out the musical task) channel in abundance and mainly ensure the pleasure of the people who participate in any type of entertainment; and they do so through both their presence and their performance. However, at the same time, in order to acquire the ability to act in this way, i.e. to bring the “entertaining” dimension of music to the forefront, they themselves have to be in a position to experience music as pleasure, to grasp the multiple gratifications which are hidden at the very core of every kind of music. In both circumstances we can refer to two high level conquests of the Spirit and the Art: the pleasure of Music and music for Pleasure. In the present article Ι will attempt a first approach of the issue and an outline of its twofold dimension.

CITY COMMUNITY CENTRES AS CULTURAL INSTITUTIONS – THEIR PLACE IN CULTURE AND ECONOMY

The object of this article is to define the position of community centres as cultural institutions functioning in boroughs. The author presents the differences in the way community centres are organised, which results from specific legal regulations, and also indicates some legislative deficiencies directly influencing their definition and scope of functions. Moreover, the author is of the opinion that the changes following the transformation processes which spread over our country significantly influenced the change in the perception of community centres as a kind of entertainment, to some extent making it necessary to tailor the offer addressed to the particular groups of culturally active recipients. According to Szlendak in the article, there are 29 main culture recipient groups distinguished in Poland. The acknowledgment of the groups’ needs as well as a proper and precise offer selected by community centre co-ordinators, in the author’s assumption, should be the main factor aiming at eliminating the lack of interest in the pro-gramme’s offer.

Entertainment Architecture: Constructing a framework for the creation of an emerging transmedia form

AbstractThe topic of this research is a novel entertainment form currently emerging from the youngest human communication technology, the Internet. This form, products based on it, and the conceptual framework describing it are all referred to as Entertainment Architecture (‘entarch,’ for short). Entarch is classified as Internet-native transmedia entertainment — it fully utilises the unique communicative characteristics of the Internet and is not based on just one medium. A number of entarch examples are explored through ‘immersive’ textual analysis — a new mode of textual analysis required for research into this kind of entertainment. As a secondary priority, entarch is related to the movie — which is chosen as an exemplary existing entertainment form finding itself in a radically uncertain formal, business, and industrial environment, and accordingly is struggling financially. Throughout, formal, business, and industrial consequences of the emergence of Entertainment Architecture are explored.This research is an example of applied cultural science, as it treats culture as a source of innovation and a complex dynamic system with technological as well as human characteristics. It analyses the dynamics of cultural change in the context of business development, consumer experience, and economic evolution — with an intrinsically transdisciplinary methodology.

불꽃놀이 형상과 OLED를 기반으로 한 패션 액세서리 디자인 제안

This study proposes the use of firework shapes to design fashion accessories in the judgment that they are appropriate for the expression of creative images in consideration of the display of fireworks as a kind of entertainment and a festive symbol. This study promotes the sustainable application of firework shapes to develop the designs of fashion culture items that feature a distinctive personality and uniqueness. In this present study, the proposed fashion accessory design was intended to create an entertaining new atmosphere that uses an Organic Light Emitting Diode (OLED) that draws attention as a futuristic display. In terms of methodology, a literature review of firework shapes and OLED was conducted; in addition, Adobe Illustrator CS2 and Adobe Photoshop CS2 were used to develop six different standard motive designs with formative design elements represented by a variety of firework shapes. Each of the six motifs was further expanded with different color combinations. Rich images are produced with the use of pink, blue, purple, green, yellow, orange, and red, in conjunction with various OLED effects to express the three-dimensional images of fireworks. The motifs are applied to three types of items: bags, bracelets, and necklaces. For the video images, evening and tote bags, pendants, and bangles were used. Shifting images and lights should produce unique images as well as satisfy the consumer desire for entertainment. The Adobe Image Ready software was used to present the motive of fireworks applied to the design of fashion accessories in video images but not in still-cut images due to physical constraints of this paper.

Iranian Painted Dancing Figures Compare to Indian Painted Dancing Figures as Indicator of Early Agricultural Ritual During Chalcolithic Period

Considering the nature of a man, we can see a type of movement in his body in his excessive happiness. The primitives who used to live in the caves in his excessive happiness and exultance has moved, jumped and turned his body. The primitives, whether the hunters or the farmers, considering their needs, the richness of the land which they were living in or the good hunting which they were having, became so much happy that they were holding each other’s hands and unconsciously were dancing, jumping and moving round the thing that they had obtained.According to most of the anthropologists, the thing that today we consider it as a kind of entertainment was once taken as a serious matter for the primitives. In fact the reason that they were dancing was not just the entertainment but they wanted to suggest the nature and the god he fruitful things and wanted to order the land to have rich crops and make the nature to have a magnetic sleep by their dancing.Tracing the signs of the older and ancient time gives us some examples of the type of dancing in fair, three or group and the individual dancing that historically was important. Most of the items such as pots, seals, etc were decorated with dancing figures. Dancing motif as one of the most powerful symbols in the evolution of human societies can be considered. Dancing is the oldest and one of the most persistent themes in Near Eastern prehistoric art, and this theme spreads with agriculture into surrounding regions of the Levant, Mesopotamia, Iran, Anatolia, the Balkans, Greece, the Danube basin, and Egypt. Dancing appears now in every form of human organization: urban, rural, pastoral, or hunter-gatherer communities (Cohen 1998). Human figures painted on the pottery of the chalcolithic cultures were highly decorative, impressionistic, stylized and enormously symbolic. One of the most attractive and aesthetically pleasing set of motifs on the chalcolithic pottery ware is the numerous dancing figures. More than any other motif they give pure joy and good feeling and provide incense into their social and religion beliefs (Rounaghy & Shinde 2007). This paper, is based on the comparative study on the Iranian painted dancing figures and Indian painted dancing figures on the potteries as indicator of early agricultural ritual.

Booktalking for Adult Audiences

More and more, librarians working with adult users are called on to talk to groups of readers about books and reading. Whether it is to a book discussion group seeking guidance in selecting new authors, a class on crime fiction, or a program through the library's outreach services to seniors, booktalking is no longer solely the responsibility of children's librarians. The ability to articulately and succinctly present a program on books is an essential skill for all readers' advisors. In the following piece, Jennifer Baker lays out some guidelines for librarians who are new to booktalking. She discusses choosing titles, preparing for the talk, and shaping the presentation to specific audiences. Baker is an adult services librarian in the fiction department at the Seattle Public Library and has worked as a readers' advisor and reference librarian. She is currently a member of the Reading List Council, a RUSA committee that awards best or' in eight genres each year. An alumnus of the University of Washington (UW) graduate library program, she has conducted workshops on booktalking for students in the UW iSchool and has provided training for book group facilitators in UW's Common Book program. She is a NoveList contributor, reviews fiction for Booklist and was privileged to be mentored by Nancy Pearl.--Editor Most library literature on the subject of booktalking is aimed at youth services librarians; naturally these librarians have a great deal of influence in the classroom talking to kids about books. Since youth services professionals are frequently asked to booktalk, it stands to reason that the library graduate programs provide guidance and opportunity to do booktalks and receive peer feedback. Adult services librarians are less frequently required to do formal adult booktalks--this area of public programming is largely neglected and should be included as an important element of readers' advisory services. Marin Younker states that questioning the value of booktalking to teens is like suggesting that it's a waste of time to offer storytimes to kids.(1) Story-rich programs and booktalks for adults provide the same kind of entertainment, mental stretching, and learning experience for adults, yet library literature and educational opportunities for adult services librarians-in-training is limited to nonexistent. Many adult services librarians never do a formal booktalk; most booktalking occurs in the stacks with individual patrons or online while suggesting appropriate titles on a specific topic. For the adult librarian invited to present a formal book talk in the community, the prospect can be daunting. This article provides a few practical pointers for readers' advisors to ensure booktalking success in different settings and with a range of audiences. Some elements of booktalking, such as program planning and marketing, and the physical preparations for a formal booktalk, are not addressed in this piece, but are adeptly covered in Chapple Langemack's The Booktalker's Bible.(2) CHOOSING THE RIGHT BOOKS When invited to give a formal booktalk, the first thing to ask is what the host expects: What kind of reading will interest the audience? A group often will contact the library with a request for a booktalk on a specific topic. The local art museum asked my library's fiction department to provide a booktalk presenting nonfiction and fiction about art. Such specificity of topic can be an issue if the booktalker knows little about art and has only a short time to prepare. It's helpful at the onset to glean as much information about your audience as you can: their common interests, what they might be expecting, and what kind of program they are hosting. It will quickly become obvious to you if you are not the right booktalker for them. If your reading interests and background are congruent with the group and you accept their invitation, think about the books you have enjoyed recently and which would fit the parameters. …

The movie theater as an institutional space and framework of signification: Hale's Tours and film historiography

Through the examination of a specific film production and exhibition system, Hale's Tours, this essay examines the importance granted by film historians to traditional projection space as an institutional site. It demonstrates that, for these historians, any film projected outside this space was not cinema and thus had little or no connection to film history. The essay suggests reasons for the relative absence of Hale's Tours from synoptic film histories and enquires into the special relationship between viewer, image and space in this kind of entertainment.

The Rise and Fall of the News Theatres

On 5 March 1930 a columnist in The Bioscope, reflecting on the impact of talking pictures, expressed the opinion that 90 minutes of solid, uninterrupted dialogue was too much for most people. The writer argued for variety in programmes, since audiences became restless with long features, and suggested this was the right moment to open a specialised cinema in London catering for those who shared his opinion. A programme made up entirely of short two-reel comedies would be just the ticket, and even more successful would be a News Reel Theatre: this would make someone a small fortune, the correspondent suggested (The Bioscope 1930; 21). No doubt the Bioscope man had read of innovations in the United States where, from the beginning of sound on film, William Randolph Hearst’s Metrotone newsreel and the rival Fox Movietone News played at customised theatres. Neon signs on marquees, advertising ‘news and shorts’ at 25 cents admission, competed with news flashes on electric billboards to define the urban landscape. It was not only trade journals that were monitoring the situation. Ordinary people in Britain would have seen occasional newspaper and magazine articles on this new kind of entertainment, like the one from The Spectator of 22 February 1930 about the Embassy in New York, which described how ‘the theatre is crowded from early morning until midnight’ and expressed no surprise at this phenomenon, since ‘many of us prefer to see “actualite ” films rather than films of escape’ (Simpson 1930: 268, 269). Such was the public demand for topicality, important events were often filmed in the morning, processed and edited around lunchtime, and screened that evening. The arrival of the ‘news and interest’ or ‘specialised’ cinema theatre from the USA was inevitable, and the Bioscope columnist had not long to wait.1 On Monday 18 August 1930, British Movietone screened London’s