Entertainment | EPFL Graph Search

Entertainment is a form of activity that holds the attention and interest of an audience or gives pleasure and delight. It can be an idea or a task, but it is more likely to be one of the activities or events that have developed over thousands of years specifically for the purpose of keeping an audience's attention. Although people's attention is held by different things because individuals have different preferences, most forms of entertainment are recognisable and familiar. Storytelling, music, drama, dance, and different kinds of performance exist in all cultures, were supported in royal courts, and developed into sophisticated forms over time, becoming available to all citizens. The process has been accelerated in modern times by an entertainment industry that records and sells entertainment products. Entertainment evolves and can be adapted to suit any scale, ranging from an individual who chooses private entertainment from a now enormous array of pre-recorded products, to a ban

Motion Pattern Encapsulation for Data-Driven Constraint-Based Motion Editing

Schubert Ribeiro de Carvalho, Daniel Thalmann

The growth of motion capture systems have Contributed to the proliferation of human motion database. mainly because human motion is important in many applications, ranging from games entertainment and films to spot IS and medicine However, the captured motions normally attend specific needs As an effort for adapting and reusing captured human motions in new tasks and environments and improving the animator's work, we present and discuss a new data-driven constraint-based animation system for interactive human motion editing This method offers the compelling advantage that it provides faster deformations and more natural-looking motion results compared to goal-directed constraint-based methods found in the literature

Springer-Verlag New York, Ms Ingrid Cunningham, 175 Fifth Ave, New York, Ny 10010 Usa2009

User Expectations of Conversational Chatbots Based on Online Reviews

Alexandru Placinta, Pearl Pu Faltings, Ekaterina Svikhnushina

Open-domain chatbots that can engage in a conversation on any topic received significant attention in the last several years, which opened opportunities for studying user interaction with them. Drawing from reviews of chatbots posted on Google Play, we explore user experience and expectations of these agents in a mixed-method study. Results of statistical analysis reveal which social qualities of chatbots are the most significant for user satisfaction. Further, we employ natural language processing and qualitative methods to identify how users wish their chatbots to evolve in the future. While currently users mostly value the entertaining component of their experience, their expectations call for more human-like behavior of chatbots. The most prominent expectations include chatbots' abilities to treat and express emotions and be more attentive to the user. Based on these findings, we conclude with design implications, discussing the directions for developing social skills of open-domain chatbots.

ASSOC COMPUTING MACHINERY2021

Flânerie in the alternative cultural spaces of Lisbon

Letícia Cabeçadas Do Carmo

Lisbon is a city of labyrinthine paths, due mostly to its irregular territory. The experiment of Flânerie in is explored in this paper through the identification of particular paths linked to the contemporary alternative cultural life, a debate being undertaken on how space and culture (alternative or dominant) mutually inspire one another. Urban and architectural elements will be analysed in connection with these paths, as well as the sensorial aspects of particular ambiences. Some attention is also given to accessibility, visibility and contrasts. The analysis of these aspects will lead us to explore the labyrinths and the entertainment that you can find in Lisbon’s streets, but also in inner spaces (alternative cultural places). These spaces tend to exist in the interstices of the city (wastelands), where urban exploration may happen thanks to its veiled character. One particularity of alternative cultural spaces is that they can both be visible and invisible, more or less accessible. Since they are spaces that suffered many transformations through time, by trying to adapt to different functions, their inner paths are often irregular and labyrinthine. This characteristic invites us to explore them and wander. Lisbon’s almost dramatic and quite poetic promenades have in fact a close relationship to its diverse cultural heritages and realities (fado, multiculturalism and contemporary alternative culture). Lisbon’s walls seem to speak poetry, but also to warn us about the general political and economic situation and complain about it. As if the city would talk to us while we take a promenade. Lisbon’s attractive scenography has become the perfect territory for managers and sponsors. Wouldn’t our urban experience become much less boring if adventure and “strong emotions” were constantly part of our routine? Fun and excitement in an urban form has already been tested and confined in Luna parks. But today the city streets are planned to be a place where leisure is permanently possible, urban landscape being invested in a ludic way (through interactive objects, irregular pavements, water jets in squares, colourful lights and materials). Graffiti is no longer illegal, but part of well-organized tourist tours, and alternative cultural places start to look more like a franchised entertainment centres than actually places for hosting underground culture. Labyrinths are now planned as part of the creative process of an architectural project in order to amuse users of coworking places. There’s no space left for hazard. Everything is created or manipulated in order to capture our attention and play with our senses. Urban exploration and dérive have now also become part of the dominant ideology, absorbed by this “new spirit of capitalism”. Nevertheless, the act of flâner cannot really be tamed. Its inherent praise of laziness and pleasure of being inutile goes against any attempt of control by productive work principles and market laws. May therefore flâner still manage to be a moment of introspection, and therefore of reflection and resistance?

2015

Flânerie in the alternative cultural spaces of Lisbon

Letícia Cabeçadas Do Carmo

2015