SOCIAL PHENOMENON OF PRE WEDDING PHOTO TRENDS AT DENPASAR COMMUNITY WEDDING CEREMONY

The social phenomenon of pre-wedding photos has now begun to be widely discussed by some people who are starting to be sensitive to social changes in the area of Denpasar City. Infact, in Denpasar City at this time almost all bride and groom couples carry out pre-wedding photo sessions before their wedding ceremony takes place. The bride and groom couples even really focus their attention on the results of their pre-wedding photos. This eventually became a conversation that raised pros and cons among parents whose children were going to have a wedding ceremony. Some parents feel that pre-wedding photos cost too much money and costs that they should be able to spend to bail out funds when preparing a series of wedding ceremonies. In contrast to people who feel capable in terms of costs, they will certainly take the pre-wedding costs lightly compared to the satisfaction they will get later after seeing the results of the pre-wedding photos they take. The bride and groom did a pre-wedding photo session with the theme and concept they specified. When going to do a pre-wedding photo session, the bride and groom have to prepare a lot of money. Depending on the theme, concept and place they will use later. In Bali, especially in Denpasar City, the cost for the “pawiwahan”or wedding ceremony is quite high, with the addition of a new tradition, namely pre-wedding photos, it will make people spend even more. The meaning of this pre-wedding photo session is still not much can explain, prospective brides who do pre-wedding photo sessions only say they take pre-wedding photos to follow today's trends. The new trend that is entering Bali is slowly making it a mandatory tradition. Keywords: pre wedding photo, wedding ceremony, trends, traditions

Modeling the Apparent Self

After radical blows inflicted by empiricist or pragmatist thinkers like David Hume or William James, cognitive science is today largely rejecting Descartes’ view of the self as an internal and unified “thing” or substance. The growing amount of books by foremost philosophers of mind (Metzinger 2009) and neuroscientists (Hood 2012; Gazzaniga 2012) on the so-called “illusion of self” (Albahari 2006; see also Siderits et al. 2011) is the most tangible sign of how the current dominating theory is rather that we are not who we feel or think we are. If hardly anybody questions that our common phenomenological sense of being or having a self is real, the illusion would reside precisely in a misalignment between this phenomenological feeling and a different underlying ontology. This debate has led to a vital new “tradition of disagreements” (Gallagher 2012, 122–127), with a variety of competing or complementing explanatory models attempting to account for what is illusory about the self, for what is not, and for how this illusion is generated. These models will be progressively reviewed throughout this chapter, as the theoretical ground against which to understand and analyze Beckett’s own variety of modeling solutions in exploring what he also called, in a letter to George Duthuit on July 27, 1948, “the illusion of the human and the fully realised” (BL II, 86).

Hryhoriy Bondarenko and His School

Through his work and pedagogical activity, an outstanding Kharkiv graphic artist, professor of Kharkiv Art Institute Hryhoriy Bondarenko connected today’s artistic practice with the great traditions of art, to which he belonged. In the 1910s, H. Bondarenko studied at the Odessa Art School, with K. Kostandi; in 1915–1917 – at the Academy of Arts; and in 1923–1927 at Leningrad VKhUTEIN with K. S. Petrov-Vodkin and V. M. Konashevich. A chain of artistic tradition was formed in VKhUTEIN: K. Petrov-Vodkin – V. Serov – I. Repin – P. Chistyakov. With his pedagogical activity Chistyakov poses the problem of the creative method, and Repin – of the art form. Serov approaches its solution in the idea of projection drawing. Petrov-Vodkin supplemented it with an understanding of picture plane as space. Bondarenko synthesized all these aspects. His creative method is considered on the example of a number of his graphic works. It is based on three main points. The first is a double understanding of the picture plane on which the image is made. It is thought of, on the one hand, as a projection plane and, on the other hand, as space. The second is a combination of projections. The third is the understanding of the image as a way of processing the surface of the sheet. Among the students of H. Bondarenko, perceived this creative method, there were such well-known masters as V. Kulikov, V. Lenchin, V. Nenado. Each of them developed those aspects of the method that were organic to them. The universality, harmony and consistency of the analyzed creative method are shown in the article. It is based on a holistic worldview. Two great traditions, the successor, contemporary and continuer of which he was, merged together in H. Bondarenko’s creative activity and pedagogical work: the classical art of the 19th century, and new art of the 20th century, which itself has become a new classic and a new tradition.

Application Development for Mask Detection using Raspberry Pi

In our daily life, humans are discovering new technology, and scientists also discovering new viruses. In recently scientists are discovered COVID-19 (coronavirus). COVID-19 pandemic has apace affected our everyday life-disrupting world trade and movements. Carrying a protecting mask has become a brand new tradition. Our planned technique detects the face from the video properly then it identifies if it's a mask wear on that or not. This project aims to develop a face mask detection system to detect any kind of face mask. The current study used OpenCV, Python, and Tensor Flow to detect whether a person wearing a face mask or not. The model was tested with real-time video streams. Keywords: Face mask detection, Face detection, mask detection, coronavirus, OpenCV, Tensorflow, Deeplearning

THE WRITINGS OF LEE YAN PHOU AND JADE SNOW WONG: TRADITION IMITATION VS. SHAPING THE NEW TRADITION

Purpose. The goal is to present the works of the first and second generation of Sino-American writers not as “duplication” and “imitating” the Euro-Atlantic literary tradition, but as creating the premise for the inception of new shapes (forms) of national literatures. Research methods – historical-literary, analytical, comparative. Results. American literature, written by authors of Asian descent, came to the attention of literary scholars when most of the writers whose prose modern literary theorists associate with the genesis of the Asian-American canon were practically forgotten. Some passages of their poetry and prose, written by the first and second generations of Asians in America, were presented only in the first anthologies of Asian-American literature published in the 70s of the 20th century. But a truly profound reevaluation and conceptual-theoretical evaluation of the work of American writers of Asian origin is taking place only now. The main goal of researchers of this motley wing of American literature at the turn of the 20th and 21st centuries, the implementation of which, by the way, is not always successful at the end, lies in the taxonomy of those features that distinguish its American literature. This segregation occurs through the search for ties – in which their historical and cultural experience is interwoven – with the genre, plot, narrative traditions of the literatures of their countries of origin. At the same time, it emphasizes its “secondariness”, “counterfeitness” in the general context of American literature leads to the fact that the works of American writers of Asian origin find themselves tensed between two universes – the Euro-Atlantic and South-East Asian literary and artistic traditions. Conclusions. This actually leads to the fact that any of the first Asian-American texts cannot be interpreted other than “covering old grounds”. Instead, literature, that, was born at the crossroads of traditions and cultures, should be set apart as one for which these traditions are nourishing sources, and not a model norm. This will make it possible to see in Lee Yan Phou’s as well as in Jade Snow Wong’s writings the beginning of a new tradition through the rethinking and deconstruction of both the Euro-Atlantic and South-East Asian ones.Key words: Asian-American, canon, Bildungsroman, literary tradition, image, templating. Мета – представити твори першого і другого покоління сіно-американських письменників не як «копіювання» і «імітацію» євроатлантичної літературної традиції, а як створення передумов зародження нових обрисів національних літератур. Методи дослідження – історико-літературний, аналітичний, компаративний. Результати. Американська література, написана авторами азійського походження, потрапила в поле зору літературознавців тоді, коли більша частина письменників, прозу яких сучасні теоретики літератури пов’язують з генезисом азійсько-американського канону, були практично забуті. Деякі уривки поезій і прози, написаних першим і другим поколінням азійців в Америці, були представлені лише в опублікованих у 70-х роках XX століття перших антологіях азійсько-американської літератури. Але по-справжньому глибока переоцінка і концептуально-теоретична оцінка творчості американських письмен-ників азійського походження відбувається тільки тепер. Основне завдання дослідників цього строкатого крила американської літератури на зламі XX–XXI століть, виконання якого, до речі, далеко не завжди в результаті успішне, полягає в реєстрації тих особливостей, які виокремлюють азійсько-американську літературу всередині американської літератури. Це виокремлення відбувається через пошук зв’язків, в які вплетений історико-культурний досвід, з жанровими, сюжетними, наративними традиціями літератур країн походження. Одночасно підкреслюється її «вторинність», «підробленість» у загальному контексті американської літератури. У результаті такого підходу твори американських письменників азійського походження виявляються затиснутими між двох всесвітів – євроатлантичної та південно-східноазійської літературно-художніх традицій. Висновки. Зроблено висновки, що це фактично призводить до того, що будь-який з перших азійсько-американських тек-стів не може бути інтерпретований інакше, ніж «повторення пройденого». Замість цього літературу, яка зароджувалася на перехресті традицій і культур, слід виокремлювати як таку, для якої ці традиції є живильними джерелами, а не зразком-нормою. Це дасть можливість побачити в творах Лі Ян Пхоу і Дж. С. Вонг не імітацію чи повторення, а початок нової літературної традиції через переосмислення і деконструкцію вже наявних – євроатлантичної та південно-східноазійської.Ключові слова: азійсько-американський, канон, Bildungsroman, імітація, образ, шаблонізація

Clausewitz, Die Politik, and the Political Purpose of Strategy

Clausewitz’s writings stand in two traditions. On the one hand, with his own very narrow definition of strategy, “Strategy is the use of the [military] engagement for the purpose of the war,” he continued a tradition that goes back to Paul-Gédéon Joly de Maizeroy and beyond him to Byzantine Emperor Leo VI. It is not least because of Clausewitz’s espousal of this tradition that this narrow definition still dominated Soviet thinking. On the other hand, Clausewitz stood in a new tradition reflecting on the relationship between a political purpose of the war itself. This goes back to Guibert, Kant, Rühle von Lilienstern but also a long-forgotten anonymous work probably written by Zanthier. This dwelt on the bureaucratic process of strategy-making in the interface between (politically dominated) foreign policy and (hardware- and means-dominated) military policy. It is ultimately to the latter tradition that we owe his reflections on the domination of political considerations captured in his famous line about war being the continuation of politics by other means. This in turn is the foundation on which most other reflections on grand strategy have been built.

The way of life that shows Nambiyaga Porul

The development of grammatical literature is constantly changing according to the context in which it appears. On that basis, each of the Tamil grammar books records the biographical elements of the people who lived in the respective period. Nambiyaga Porul is the book that expands the internal grammar after the Iraiyanar Kalaviyalurai who gives grammar to the internal subject in the line of grammar. In that sense, the autobiographical grammar of Tholkappiyar grammar and Chandor's literature, which adapts it, expands the internal grammar and sets it up as a story show, showing new developments. The description of the inner branch was first known in this book. Karuporul ettu. He was fourteen. He also mentions the events leading up to the marriage in the area of handwriting and drawing people. The description of the inner branch was first known in this book. The karpiyal nattrai thirteen people were found to have marked the day along with the learner. It is the only object of faith in grammar texts that standardize internal traditions and describe them as fields. Tholkappiyar refers to events only as claims. Theft classification has been categorized as possible up to chastity and has been divided into various claims in 32 fields. Theft and chastity have been categorized and elaborated, and charitable standing has been summarized into seven categories, which have been extensively discussed in two areas, internal and graphical. Beliefs such as the Tholkappiyam have five physical distinctions: introspection, theology, graphics, pedagogy, and annihilation. The grammatical definition of thirukkovaiyar is also interpreted as the concept of intuition. The text is based on the amount, type, and spread. Literary songs such as Thanjai Vanan Kovai songs, Sangam literary songs, Thinaimozhi Iympadhu, Thinaimaalai Nootruiympadhu, thirukkovaiyar have also been taken as evidence songs. It explores lifestyles that show a special optimism with a theatrical style and literary style that arose from the old and new tradition.

Revisiting Islamic Studies: Cementing Bases for Integrating Science and Religion in Islamic Higher Educational Institutions

Transformation within Islamic State Higher Institutions (PTKI) from State College for Islamic Studies (IAIN) to State Islamic Universities (UIN) is a dynamically shifting paradigm in Islamic Studies. The transformation not only occurs formally administratively in infrastructures, curricula, or teaching approaches, but also in conceptual framework and knowledge paradigms. This research objective is to investigate whether Muslim academics need to review Islamic studies in higher Islamic education institutions to include science and to integrate it with Islamic studies both in curricula and methods of teaching. The method of this research is a rigorous literature based study focusing on reviewing previous studies related transformation that was held within the Islamic higher education institutions. The results show that in the transformation process within PTKIN, there is a meaningful shift of Islamic studies from traditional approaches to modern ones. Formerly, Islamic studies only associated with developing religious scripts (al-‘ulûm al-naqliyyah), while now it should focus also on developing logic and interpretation (al-‘ulûm al-‘aqliyyah). The change from the IAIN to the UIN is a concrete response toward an integrative relation between science and religion. Even though each UIN offers different concepts about the integrative paradigm designs, all UINs agreed on the importance of building a new tradition in the PTKIN with the integrative paradigms from theoretic-philosophic-concepts to practical-implemented-contexts.

“Mechanical” as a MetapLot in Prokofiev's Music

Статья посвящена изучению звукоизобразительной сферы, связанной с образом машины, механизма, и ее отражения в музыке Прокофьева. Основной признак «механического» в музыке - ритмика ostinato, активно используемая в новоевропейской традиции, особенно в эпохи барокко и классицизма с их приоритетом ритмоэнергической стихии. В ХХ веке в контексте новых реалий сформировались «механические» ассоциации ostinato. Прокофьев - один из родоначальников традиции «механического» в музыке. Круг ассоциаций, связанный с этой традицией, имеет особое значение для его творчества благодаря приоритетной роли в нем ритмоэнергического начала и пульсации. «Механическое» у Прокофьева становится репрезентантом деперсонализации, а музыкальная ткань - полем конфликта персонализированного материала с «механическим», который можно интерпретировать как конфликт индивидуации и коллективных структур человеческого сознания. The article is devoted to the sound-visual sphere associated with the image of a machine, mechanism, and its reflection in Prokofiev's music. The main feature of a “mechanical” in music is ostinato, which was used in European music for several centuries, especially in the Baroque and Classicism eras with their priority of the rhythmic-energy element. In the 20 century it acquired “mechanical” associations in the context of new realities. Prokofiev is one of the founders of the new tradition of “mechanical” in music. This circle of associations is of particular importance in his music due to the priority role of rhythmic-energetic beginning and pulsation in it. The “mechanical” in Prokofiev becomes a representative of depersonalization, and the musical fabric becomes a field of conflict between personalized material and “mechanical”, which can be interpreted as a conflict of individuation and the collective structures of human consciousness.