Laulukilpailusta show-kilpailuksi?

Eurovision laulukilpailua koskevaa tutkimusta on ilmestynyt melko runsaasti 2000-luvulla, mutta televisioestetiikkaan ja -tuotantoon liittyviä kysymyksiä on tutkimuksessa tarkasteltu vain vähän. Tässä artikkelissa tartun usein esitettyyn ajatukseen, että Eurovision laulukilpailussa korostuvat nykyisin entistä enemmän visuaalisuus ja spektaakkeli. Kysyn, miten euroviisukappaleiden audiovisuaalinen näytteillepano on kehittynyt ohjelman historian aikana ja millaiseksi tuotannon luonne on kehittynyt 2000-luvulla.Artikkelin pääasiallinen tutkimusaineisto koostuu ensinnäkin vuosien 1960, 1970, 1980, 1990 ja 2000 Eurovision laulukilpailuista, joita analysoimalla luon kuvan kilpailukappaleiden audiovisuaalisen esillepanon kehityksestä. Toiseksi käytän vuosien 2016–2019 Euroviisujen tuotantotietoja aineistona rakentaessani kuvaa laulukilpailun nykytuotannosta. Esitän, että euroviisuesityksille on aina pyritty rakentamaan kappaleen tyyliin sopiva visuaalinen ilme. Teknologinen kehitys ja kilpailun sääntömuutokset ovat kuitenkin mahdollistaneet entistä vaihtelevammat ja monimutkaisemmat esitykset. Suurimuotoisen tv-spektaakkelin rakentaminen edellyttää yhteistyötä eri maista tulevien ammattilaisten ja yritysten kesken, ja nykyiset Eurovision laulukilpailut ovatkin ylirajaisia tuotantoja. Samat televisioalan ammattilaiset ja yhtiöt osallistuvat kilpailun tuotantoon eri maissa. Lisäksi kansalliset delegaatiot palkkaavat ylirajaisesti työskenteleviä ammattilaisia suunnittelemaan kilpailuesityksiään. Eurovision laulukilpailun tuotantoon on myös muodostunut eräänlainen alueellinen hierarkia, jossa Pohjois-Eurooppa on johtavassa asemassa erityisesti Ruotsin television SVT:n ja ruotsalaisten ammattilaisten keskeisen roolin ansiosta.Avainsanat: Eurovision laulukilpailu, televisioestetiikka, televisiotuotanto, spektaakkeli, ylirajaisuus From a song contest to a show contest? The increasingly transnational production of television spectacle in the Eurovision Song ContestAlthough academic interest in the Eurovision Song Contest (ESC) has grown over the past two decades, research has only rarely focused on television aesthetics and television production. The article explores the common claim that the contemporary ESC places more and more emphasis on visual spectacle. The article asks, how has the audiovisual presentation of Eurovision entries developed over the course of the contest’s history, and how can we characterize the production of the contemporary ECS?The primary research material consists of, firstly, ESC broadcasts from 1960, 1970, 1980, 1990, and 2000. These are analysed to describe the historical development of the audiovisual presentation of Eurovision entries. Secondly, the article draws on production information for ESC 2016–2019 to gain an understanding of the scope of the contemporary production.The article argues that ESC producers have always aimed at creating visually varied performances that suit the style of each song. However, changes in technology and the contest’s rules have enabled increasingly complex performances. As a result, creating the contemporary ESC requires using creative and technical personnel across national borders, and many of the same television professionals and companies participate in the production year after year. Moreover, successful stage directors work transnationally, designing Eurovision performances for different countries. Thus, the ESC participates in a wider turn towards transnational production in European television culture. The transnational field of ESC production is not without hierarchies, as Northern Europe plays a central role in the development of the contest, thanks to strong input from Swedish television SVT and Swedish television professionals in particular.Keywords: Eurovision Song Contest, television aesthetics, television production, spectacle, transnational

Coherence formation during narrative text processing: a comparison between auditory and audiovisual text presentation in 9- to 12-year-old children

In an experiment with 114 children aged 9–12 years, we compared the ability to establish local and global coherence of narrative texts between auditory and audiovisual (auditory text and pictures) presentation. The participants listened to a series of short narrative texts, in each of which a protagonist pursued a goal. Following each text, we collected the response time to a query word that was either associated with a near or a distant causal antecedent of the final sentence. Analysis of these response times indicated that audiovisual presentation has advantages over auditory presentation for accessing information relevant for establishing both local and global coherence, but there are indications that this effect may be slightly more pronounced for global coherence.

LINGUOACOUSTIC RESOURCES IN OBJECT-ORIENTED DYNAMIC ENVIRONMENT

This article is devoted to the study of linguoacoustic resources, which are presented in an object-oriented dynamic environment as ready-to-use phrases. The systematization of linguoacoustic resources in the form of a phrasebook in an object-oriented dynamic environment determines the direction of a person in the study of a foreign language at a conscious level and supports this process with the standard of correct speech behavior, for which the acoustic component is primary. The formation of mental actions in an object-oriented dynamic environment occurs gradually due to the fragmentation of linguoacoustic material into doses, followed by assignment with immediate feedback. The presence of audiovisual components that serve as a guideline instead of rules-instructions, speaks of the acquiring of a foreign language at the functional level, which begins with obtaining a standard of speech behavior. The situation, which is given in the audiovisual presentation, contains everything that the linguistic unit contains, so that the learners acting as the characters depicted in the example have no doubts about what kind of speech action they should perform. As a result, the ability to perceive, understand and recognize speech structures in the given communication conditions is formed. In this way, the student becomes proficient due to a system, for which it is necessary not the rote learning, but the meaningful memorizing of learning material.

The hidden intricacy of loot box design: A granular description of random monetized reward features

Loot boxes are the focus of growing research and regulatory attention. While they are frequently treated as a monolithic feature of games by researchers and policymakers, loot box implementations are not uniform: the features of loot boxes vary from game to game in ways that may have important consequences for player spending and behaviour. Despite this, previous attempts to classify loot boxes have either not focused on the impact of loot box features on player behaviour and spending, or have not attempted to fully map the different forms that loot boxes currently take. In this work, we attempt to illustrate the nuance present in loot box implementation in a featural model. Using our lived experience, a qualitative coding exercise, and consultation with an industry professional, we identify thirty-two features of loot box-like mechanics that might be expected to influence player behavior or spending, which we group into five domains: point of purchase, pulling procedure, contents, audiovisual presentation, and salience. Each feature is broken down into two or more categorization tags for a given loot box, and illustrative examples of each feature are provided. This work may serve to guide researchers in studying how different types of loot boxes may affect players, aid regulators in ensuring that any proposed legislation is sufficiently nuanced to handle the wide variation in loot box design, and help parents and players to better understand the inner workings of loot boxes during play.

The Judas Iscariot Syndrome and Its Implication for Accounting Educators

The study is qualitative and applied the appreciative inquiry approach to address the "Judas Iscariot syndrome" of misappropriation and wrong assumptions among accountants and treasurers. It is believed that Seventh-day Adventist universities integrate faith and learning in their educational curriculum to cause a behavioral change. There seems to be a gap between knowledge, values, and the practice of accounting and financial management. From the biblical perspective, Judas Iscariot was the treasurer among the twelve disciples of Jesus Christ, but he was said to be a thief (see John 12:4-6). This study utilized a semi-structured, self-developed, open-ended questions in interviewing ten accounting educators at Valley View University, Ghana from the Oyibi and Techiman campuses and based on the triangulation method and the 5-D cycle approach of appreciative inquiry (Define, Discover, Dream, Design, and Delivery). The study revealed that in order to generate positive change, self-discipline, truthfulness, and conscience to duty must be inculcated into the current accounting education to make the student dream to have contentment. The achievement of contentment is based on a design of biblical and ethical discussion, sharing of examples and personal experiences, truth writing and telling, and audiovisual presentation. The study recommends that accounting educators must live an exemplary life, mentor students, use ethical simulations and debates to instill self-discipline, truthfulness, and conscience to duty. A roadmap of Christian Behavior Change for Accounting Educators is developed.

CREATING BRANDED COMPUTER GAME ELEMENTS AS A FORM OF CUSTOMER ENGAGEMENT

Nowadays companies want to engage customers in all possible ways to better meeting their needs. New media gave managers opportunities to interact with people and establish cooperation. Present paper is aimed to give an outlook on creating branded computer game elements as a customer engagement behavior. The author carried out 20 in-depth interviews with users of three computer games: The Sims, Second Life and Euro Truck Simulator 2. The results show that players create branded game modifications with interference only into audiovisual presentation and interference in the game code. Inside the games, it can be find also a wide range of fictitious brands that replace the real one, among others for legal reason. The authors tried to answer the question why people engage in creating branded game elements. Based on some players statement during the interviews it can be assumed that players create branded elements for few reasons. They want to diversify the game, create some items as an entertainment activities, want to raise the realism of the game, need to belong to some community and also create add-ons to earn money.

An EEG-Based Identity Authentication System with Audiovisual Paradigm in IoT

With the continuous increment of security risks and the limitations of traditional modes, it is necessary to design a universal and trustworthy identity authentication system for intelligent Internet of Things (IoT) applications such as an intelligent entrance guard. The characteristics of EEG (electroencephalography) have gained the confidence of researchers due to its uniqueness, stability, and universality. However, the limited usability of the experimental paradigm and the unsatisfactory classification accuracy have so far prevented the identity authentication system based on EEG to become commonplace in IoT scenarios. To address these problems, an audiovisual presentation paradigm is proposed to record the EEG signals of subjects. In the pre-processing stage, the reference electrode, ensemble averaging, and independent component analysis methods are used to remove artifacts. In the feature extraction stage, adaptive feature selection and bagging ensemble learning algorithms establish the optimal classification model. The experimental result shows that our proposal achieves the best classification accuracy when compared with other paradigms and typical EEG-based authentication methods, and the test evaluation on a login scenario is designed to further demonstrate that the proposed system is feasible, effective, and reliable.

Duma i uprzedzenie jak historia romantyczna. O adaptacji powieści Jane Austen w reżyserii Joe Wrighta

Pilawska Roksana, Duma i uprzedzenie jak historia romantyczna. O adaptacji powieści Jane Austen w reżyserii Joe Wrighta [Dirty (un)Romantic story. An Analysis of Aesthetic Aspects in the Film Adaptation of Pride and Prejudice Directed by Joe Wright]. „Przestrzenie Teorii” 32. Poznań 2019, Adam Mickiewicz University Press, pp. 417–431. ISSN 1644-6763. DOI 10.14746/pt.2019.32.23. The aim of my study is to attempt a comparative analysis of the two most famous film adaptations of the bestselling novel by Jane Austen, Pride and Prejudice. As research material, I chose the mini-series produced by the BBC in 1995, which was part of the then popular trend of heritage films (heritage cinema) and the feature film from 2005, directed by Joe Wright, which, in the opinion of film experts, was a completely new form of audiovisual presentation of Austen’s work. In the article, I focus only on interpreting the aesthetic aspects of both productions, which would indicate similarities and differences, thus showing numerous shifts of emphasis in the aesthetic layer of the newer version.

Contributions of Intraindividual and Interindividual Differences to Multisensory Processes

Most evidence on the neural and perceptual correlates of sensory processing derives from studies that have focused on only a single sensory modality and averaged the data from groups of participants. Although valuable, such studies ignore the substantial interindividual and intraindividual differences that are undoubtedly at play. Such variability plays an integral role in both the behavioral/perceptual realms and in the neural correlates of these processes, but substantially less is known when compared with group-averaged data. Recently, it has been shown that the presentation of stimuli from two or more sensory modalities (i.e., multisensory stimulation) not only results in the well-established performance gains but also gives rise to reductions in behavioral and neural response variability. To better understand the relationship between neural and behavioral response variability under multisensory conditions, this study investigated both behavior and brain activity in a task requiring participants to discriminate moving versus static stimuli presented in either a unisensory or multisensory context. EEG data were analyzed with respect to intraindividual and interindividual differences in RTs. The results showed that trial-by-trial variability of RTs was significantly reduced under audiovisual presentation conditions as compared with visual-only presentations across all participants. Intraindividual variability of RTs was linked to changes in correlated activity between clusters within an occipital to frontal network. In addition, interindividual variability of RTs was linked to differential recruitment of medial frontal cortices. The present findings highlight differences in the brain networks that support behavioral benefits during unisensory versus multisensory motion detection and provide an important view into the functional dynamics within neuronal networks underpinning intraindividual performance differences.

The Role of Motivation in the Development of Transversal Competences

The experience was carried out with the students of the optional subject “Wine and Health”, taught in 4th year of Degree of Oenology. This Degree has a low number of students, due to that, in the first year of teaching (2013/14) only three students enrolled in the subject, so we considered it was necessary to do something “different” to motivate students to enroll in this subject. This was carried out by inviting them to do a literature review on some topics, such as the relationship between moderate wine intake and Alzheimer’s, Parkinson’s, Cancer or Allergy. In addition, they had to make an audiovisual presentation and expose it in the Conference of Viticulture and Oenology that are celebrated in Almendralejo (Badajoz, Spain), every year at the beginning of May. In general, after five years it has been observed that this methodology has increased the interest of students for this subject, which is reflected in more students in class, more class attendance and great interest. In addition, they have developed transversal skills such as public speaking, which has provided them with security and will probably be useful when conducting job interviews.