No / The emergence of paid sex markets is a product of various locational economies. By this it is meant that coherent paid sex markets are intimately linked with various economies of agglomeration, synergy, complementarity and 'laddering' whereby an entrant to paid sex consumption may progress from low intimacy/low value added products to those of higher intimacy/higher value added. Physical clustering of traded sex commodities can also enhance the progression of the consumer's ladder by heightening the stimulus to enter such markets for the first time. This paper discusses the above factors in the context of the economic theory of clubs with particular reference to the use of zoning ordinances to control the location of adult entertainment providers

The impulse shared by all humans to express ourselves through dance represents a unique opportunity to artificially capture human creative expression. 1hls ambition aligns with the aim of artificial intelligence (AI) to study and emulate those aspects of human intelligence that are not readily reproduced in existing computer algorithms. As a first step toward addressing this challenge, this thesis describes Dance Evolution, which focuses on movements that are tied to a specific beat of music. Furthermore, Dance Evolution harnesses the users own taste to ex pl ore the new and interesting dances, allowing ta novel form of self-expression mediated by the computer, following the trend started by music and rhythm games. By implementing an algorithm that identifies the most prominent sounds within a song, Dance Evolution in effect allows artificial neural networks (ANNs) to listen to any song and exploit its rhythmic structure. Interactive evolution provides a tool for users to search increasingly intricate movement sequences by breeding their ANN controllers, in the same way that a gardener might explore interesting plants by breeding hybrids. The underlying idea in Dance Evolution is thus to create a novel mapping between sound and movement that evokes the spirit of casually dancing to the beat of a song.

"The transformation of television variety show in Czech lands" tackles the historical development of variety shows and offers an insight into the television entertainment as such in the historical context. For the sake of a more complex approach, the paper also deals with the radio variety shows and touring variety shows as a form of public entertainment. Furthermore, the thesis discusses the history of Czech cabarets, which are also an important source for the TV shows and two period programmes, Televarieté "Television variety show" and Možná přijde i kouzelník "Perhaps a Magician Will Come Too" shall be analyzed. The thesis aims to capture the spectrum of variety shows featured in the Czech television and also outline the form their production has transformed into.

This master's thesis presents the dialogical analysis of the German TV show 'Wetten, dass...?'.The main target is to analyse the internal as well as the external dialogical structure of two Wetten, dass...? shows. The internal structure is based on the dialogue between the showmaster and his guests. On the other hand, the external one is based on the dialogue between the showmaster and the audience. The purpose of this master's thesis is to show how each showmaster is trying to interact two groups of people as well as to analyse if there is a difference between both of them. The theoretical part of this thesis defines the term 'TV entertainment' and describes different types of dialogues. It is also focused on the show Wetten, dass...?, on its concept, each showmaster, audience raking, criticism and other competition. The practical part describes two chosen Wetten, dass...? shows in terms of their dialogicity. The main point is the showmaster, who is trying to act dialogically in relation to his quests and audience. Keywords Entertainment, entertainment show, dialogue, Wetten, dass...?, audience, showmaster, broadcasting

Au-delà des trois Psyché de Lully (ballet, 1656 ; tragi-comédie et ballet, 1671 ; tragédie en musique, 1678), apparaît, entre 1671 et 1718, sous la plume de différents auteurs, une multitude de pièces ou d’œuvres se réclamant des Psyché de Lully, alors mêmes qu’elles en divergent, parfois au point d’en récuser les fondements. L’objet de ce travail consiste donc à comprendre comment une telle situation est possible. Parallèlement à leurs spécificités respectives, les trois Psyché de Lully, mettent en œuvre un principe de création par réécriture musicale, que les successeurs de Lully vont durablement exploiter. En dépit de matériaux originels lacunaires ou discordants, les contemporains de Lully identifient chacune des Psyché comme telle, attestant qu’au-delà de leurs disparités existe un certain nombre de traits communs à l’écriture de Psyché, quel que soit son ‘genre’. Cependant, les variations apportées par les diverses réécritures, de Lully, de ses contemporains ou de ses successeurs constituent des ensembles dont on peut suivre l’évolution, ce qui signifie qu’au-delà des seules Psyché de Lully, le corpus global des réécritures fait sens. De fait on identifie en même temps qu’une dramatisation de la musique par le chant, la disparition du drame par la dramatisation même de la musique. Ce phénomène se réfracte dans la lecture du mythe et du sujet tragique en général : de symbolique et religieuse, elle se fait laïque et critique, épousant par là-même l’évolution du concept d’harmonie dans le spectacle de Cour. Ainsi les Psyché de Lully apparaissent-elles comme un laboratoire de l’histoire du spectacle de Cour. / Beyond Lully's three Psychés (a ballet in 1656 ; a tragicomedy and ballet in 1671 ; an opera in 1678) a multitude of plays or works appear between 1671 and 1718. Composed by various authors they all claim to draw their inspiration from Lully's Psychés although they differ from it or even refute its foundations. Hence, the purpose of this work is to understand how such a situation is possible. Parallel to their respective specificities, Lully's three Psychés implement a principle of creation through musical rewriting which Lully's successors will make use of for years. In spite of incomplete or conflicting original materials, Lully's contemporaries identify each of the Psychés as such, showing that beyond their disparities a certain number of common points in the writing of Psyché can be found, whatever the 'genre'. Yet the variations brought by the various rewritings, whether by Lully himself or by his contemporaries or successors, make up wholes the evolutions of which can be followed, which means that beyond Lully's Psychés the global corpus of the rewritings makes sense. De facto, as well as a dramatization of music through singing, we can identify the disappearance of drama through the actual dramatization of music. This phenomenon is refracted in the reading of the myth and the tragic subject in general : from symbolic and religious it becomes secular and critical , thus embracing the concept of harmony in court entertainment. Therefore, Lully's Psychés appear as a laboratory of the history of court entertainment.

El presente plan de negocios surgió ante la necesidad insatisfecha del mercado, de no poder encontrar lugares de entretenimiento y esparcimiento social tanto en Lima como en provincias. Si bien es cierto la oferta del entretenimiento en general ha crecido en nuestro país. Sin embargo, la falta de información y difusión de la oferta representa una oportunidad de desarrollo de este negocio que, además de satisfacer la demanda del mercado, cubrirá la demanda de difusión y puesta en valor de la oferta. El aplicativo móvil Escappe satisface una necesidad del mercado y de la oferta no cubierta de forma innovadora y rentable tanto para la empresa como para los clientes. Se brindará el servicio a empresas y clientes de Lima metropolitana y se buscará cubrir y conectar las necesidades del mercado en el departamento de Lima, ofreciendo a las empresas de entretenimiento y esparcimiento social en general, una ventana donde oferten sus productos y servicios, contribuyendo al incremento de su productividad y rentabilidad. El proyecto empresarial tiene miras de expansión nacional e internacional, ampliando la oferta al mercado consumidor y clientes que usen nuestra plataforma digital. ESCAPPE espera recaudar S/ 83,496.00 soles de su propio capital y pedir prestados S/ 55,664.00 soles como un préstamo a tres años. Esto proporciona la menor parte del financiamiento actual requerido. ESCAPPE anticipa ventas de aproximadamente S/ 1'584,000.00 soles en el primer año S/ 1'752,660.00 soles en el segundo año y S/ 1'938,720.00 soles en el tercer año del plan. ESCAPPE debe alcanzar el punto de equilibrio para el primer año de su operación, ya que aumenta constantemente sus ventas. Se espera que las ganancias para este período sean de aproximadamente S/ 22,826.27 soles en el año 1, S/ 105,790.40 soles en el año 2 y S/ 197,986.01 soles en el año 3. La compañía no anticipa ningún problema de flujo de efectivo. Concluimos que la relación costo-beneficio es positiva. / The present business plan arose out of the unmet need of the market, of not being able to find places of entertainment and social recreation both in Lima and in the provinces. Although it is true the offer of entertainment in general has grown in our country. However, lack of information and dissemination of the offer represents an opportunity to develop this business that, in addition to satisfying market demand, will cover the demand for the dissemination and enhancement of the offer. Escappe mobile application satisfies a market and unmet supply need in an innovative and profitable way for both the company and the customers. Service will be provided to companies and clients in metropolitan Lima and the aim will be to cover and connect the needs of the market in the department of Lima, offering entertainment and social recreation companies in general, a window where they offer their products and services, contributing to increased productivity and profitability. Business project aims at national and international expansion, expanding the offer to the consumer market and clients who use our digital platform. ESCAPPE expects to raise S/ 83,496.00 soles of its own capital, and to borrow S/ 55,664.00 soles as a three-year loan. This provides the least of the current financing required. ESCAPPE anticipates sales of about S/ 1'584,000.00 soles in the first year S/ 1'752,660.00 soles in the second year, and S/ 1'938,720 soles in the third year of the plan. ESCAPPE should break even by the first year of its operation as it steadily increases its sales. Profits for this time period are expected to be approximately S/ 22,826.27 soles in year 1, S/ 105,790.40 soles by year 2, and S/ 197,986.01 soles by year 3. The company does not anticipate any cash flow problems. We conclude that the cost-benefit ratio is positive. / Trabajo de investigación

As the interactive entertainment industry matures, we need a better understanding of what makes software entertaining. A natural starting point is the application of traditional Human-Computer Interaction (HCI) tools to interactive entertainment software. Cognitive models are tools that HCI researchers have used to model users' thought processes and evaluate interface design. With this research we investigate the relationship between the complexity of an interaction and the entertainment experienced by the user. We designed a simple computer game, created a normative model for how a user plays this game, built several variations of this game such that normative models of these variants differed across two factors: pace and complexity. User studies were conducted on these variations, and we compared these factors to user performance and self-reported user enjoyment.

No description available.

Магистерская диссертация состоит из введения, четырех глав, заключения, библиографического списка и приложений. Проанализирован российский и зарубежный опыт редевелопмента нерационально используемых территорий, изучены тенденции развития торгово-развлекательной недвижимости в сложившихся условиях после периода пандемии и принятых карантинных мер, разработано финансово-экономическое обоснование проекта редевелопмента торговой недвижимости в культурно-развлекательную недвижимость на примере торгового центра (далее – ТЦ) «Дирижабль» в г. Екатеринбург. В заключении сформулированы основные выводы и обобщены результаты исследования. / The master's thesis consists of an introduction, four chapters, a conclusion, a bibliography and annexes. The Russian and foreign experience of redevelopment of irrationally used territories has been analyzed, trends in the development of retail and entertainment real estate in the prevailing conditions after the period of the pandemic and the quarantine measures taken have been studied, a financial and economic justification has been developed for the project of redevelopment of retail real estate into cultural and entertainment real estate using the example of a shopping center (hereinafter - the shopping center ) "Airship" in Yekaterinburg city. In the conclusion, the main conclusions are formulated and the results of the study are summarized.

When it comes to the entertainment industry and the live performers these artists are in need of valuable communication strategies in order for them to reach the consumers they would like to reach and gain the success that they want. Although this is a known fact, it is difficult for the artists to know which marketing communication strategies to use and how to use them.  The purpose is to identify international marketing communication strategies for live performers within the entertainment industry. The objective is to demonstrate how the strategies can be used to reach international success. The focus is to look at marketing communication strategies from an artist/company’s point of view and therefore feedback from the consumers will not be covered in this thesis. We have found two alternative strategies for development of international marketing communication for a live performer in the entertainment industry. In both of these strategies it is important to start with creating a valuable network in order to set up clear goals for the marketing communication. The difference between the two strategies is based on whether the live performer is adapted to the target group or if the target group is adapted to the live performer