سید نجم الدین امیرشاه کرمی

This research examines the functions of new media equipped with artificial intelligence in the field of religion. The main objective of the study is to understand the potential impacts of artificial intelligence on religious beliefs and practices, as well as its role in shaping and reproducing religious concepts. Additionally, it evaluates the challenges and opportunities that artificial intelligence may create in providing information and answering religious questions.

Methodology of the Research: 

This research is qualitative and was conducted with an analytical and descriptive approach. Data were collected by posing specific questions to artificial intelligence bots related to internet media. This approach helped researchers to study more deeply the impact of artificial intelligence in responding to religious questions and to examine the potential for changes in this area.

The findings of the research indicate that the use of artificial intelligence can significantly impact responses to religious questions and the interpretation of religious texts. Given the rapid advancements in this technology, assessing its capabilities and effects as a widely used tool for addressing religious inquiries and teachings appears to be essential.

The results indicate that the use of artificial intelligence bots can create challenges related to the quality and manner of user interaction with religious information. These interactions involve how users engage with Chatbots and the impact of these interactions on users' critical thinking and their understanding of religious information. The emergence and expansion of artificial intelligence in the field of religion have raised new questions about its role in reproducing and changing religious beliefs. The findings of this research clarify that artificial intelligence can have a significant impact on shaping religious concepts and practices. Accordingly, various scenarios that may arise from the continued integration of this technology into religious practices and beliefs were examined, highlighting that improving responsiveness and enhancing cognitive depth regarding religious concepts through this technology requires sustained continuity and knowledge enhancement in this area.

The content of grotesque is a way of expressing wonders, in general, anything that has three strange, disgusting and at the same time funny qualities. so the main target of this study is finding equivalent capability of ancient Iranian fiction literature and selected animations in presenting the grotesque character and atmosphere , in base on Philip Tompson`s theory. And it seeks to answer the question of what are the equivalent capabilitys of ancient Iranian fiction literature and selected animations in presenting the grotesque character and atmosphere in base on Philip Tompson`s theory? The approach of this research is qualitative and the method of doing it is descriptive-interpretive. And it researchs the grotesque character and atmosphere in literary works of Alexander the Great and the Koosh nameh , and animations of the City of ghosts and the Meeting in Belleville. The results showed that grotesque characterization for Elephant tooth Koosh is imaginary-fantasy. It’s equivalent to the City of ghosts because of having disgusting, scary, abnormal and at the same time funny qualities. And characters like Horse faces and Elephent tooth himself are a kind of combination of human with animals wich is seen in the most of the City of ghosts animation`s characterization. In Alexander the Great the metamorphic, funny, scary and disgusting characterization is equal to the Meeting in the Belleville animation. So grotesque elements in ancient Iranian literature can offers plenteous source of ideas for making animation based movies.

Animation filmmakers in the leading countries began to outsource production from the middle of the 20th century by ordering production to filmmakers in Asia. This business was very profitable for both parties. This cooperation expanded and continues. But in Iran, after nearly seven decades of animation production, the products of this art-industry, unlike some Asian countries, are not known or presented in the world. By studying the most important weaknesses and strengths of television animation series filmmaking in Iran, this research has reviewed its trade-share to be present in the global market. The research was carried out qualitatively, based on reliable library data and interviews (using Glaser and Strauss’s method) with researchers and experts active in the country's animation industry. Supply chain management theories have been considered in this research. One of the important obstacles to the introduction of Iranian animated films in the world market is lack of recognition of the works and inadequacy in marketing. Based on the findings, animation filmmaking in Iran has the quality and possibility to compete in the world markets more than the past, but problems and inefficiencies have created obstacles to qualitative growth, an increase of production, and attraction of the international investor, and has mystified the prospect of industrialization of the Iranian animation; obstacles such as economic sanctions, the lack of targeted support from the government, and the lack of integrity of the bodies and associations in charge of animation (at the same time, several Iranian filmmakers and companies have independently marketed, received orders and are now engaged in production, although this amount is low). Success in the global market depends on cooperation with these filmmakers and their support in various issues that have been discussed in this research.

Problem :

The design and form of the city in animation films and video games is one of the conceptual design elements that is formed to show the activity space of the characters and the place of events in the story world. Seeing the character in the space in which he acts leads to the recognition of both the characteristics of nature and identity. In this study, the urban design of the animated film Ralph Breaks the Internet is examined as a study example to identify and analyze the indicators of urban form in the interpretation of the film from the virtual space of the Internet and the video games Sugar Rush and Deadly Race.

Target: 

Therefore, the aim of the research is to know the indicators of urban design used in internet city spaces and games, so that their similarities and differences with realistic urban design for human life can be determined.

A qualitative method with a descriptive-analytical approach was used in the implementation of the research. Also, the theories of Leo Brudy and Jenny Bavidage were taken into consideration in the study of the urban spaces of the games.

The findings of the research show that Internet City has transformative and disruptive capabilities according to its neighbourhoods, as well as Deadly Race with nostalgic/transformative capabilities and Sugar Rush are evaluated as nostalgic.

In conclusion, considering that exaggeration and caricature are used in the conceptual design of the visual elements of the animation film, urban design in this work is an imaginary and exaggerated interpretation of the zero and one virtual space of the Internet, based on which the image of the Internet city is based on the moving image. It has been shown, while indicators such as physical elements, organization of urban arteries and infrastructures are designed based on responding to the needs of the characters and at the same time visual appeal to the audience, as well as the cultural and commercial goals of selling goods made from the elements and atmosphere of the film.

This article investigates the symbolic and emotional roles of color in Corpse Bride (2005), a full-length stop-motion picture directed by Tim Burton and Mike Johnson. Using a qualitative research method, the method of color utilization is used to illustrate the characters, and the dichotomy of the sociocultural conditions depicted in the two story settings within the film. The applied colors convey emotional impressions and symbolic meanings, which can be attributed to the theories of color aesthetics expressed by Johannes Itten. Both the lighting color and color of visual elements imply various meanings, reflecting the characters' moods and feelings as well as their social, cultural contexts and the atmosphere of their places. The filmmakers have been successful in this attempt as they use colors artfully for specific times and places of the story. Generally, in Burton’s films, the protagonist journeys to a colored world, sometimes through a means of transition or passing through a rabbit-hole. In Corpse Bride, the hero struggles between the two worlds of the dead and living. One is designed in a boring and miserable atmosphere like a living world, it is in contrast with the dead world, which is colorful with sense of vitality of life and freeness. The living world is concurrent with the Victorian era (19th century Britain), experiencing the dominant issues of the Industrial Revolution. As the story takes place in this period, the study describes how the applied colors work as the elements showing the moods and emotional feelings of the characters that living world is expressed with their own specific colors. The directors presented such a difference through using types of opposing colors. Two color palettes constitute the color values utilized to depict the world. Each palette contains colors to help reflect particular traits of its own world which root in its ruling ideology and the hero’s attitudes, behaviors and beliefs. Therefore, the colors in the dead world are pure saturated values that depict a pleasant atmosphere, whereas a range of saturated values in gray illustrate the living world to be depressing and gloomy. In fact, the directors reveal the unhappy feelings of the living world through a series of combined gray colors to show its residents in their own society involved with strict matters and hardships. The film shows two types of worlds, one extracted from the real world and the other comes from their imagination. Although they both display the places of a story, they are considerably different in terms of their creation as parts of visual elements for an animated film. Developing the living world’s concept, the directors might be assisted by experiences of the real world as they know, as well as studying the Victorian era, while creation of the dead world was only dependent on his imagination of such an unseen world. Thus, the main significant reason for showing these objective and subjective worlds was the particular utilization of color in order to contrast and depict the mindset attributed to each place.

The distinction between experimental films from narrative films of conventional cinema can be examined in two ways: narrative type and cinematic form. An experimental animated film is also based on these two concepts of personality-oriented animation. One of the two-dimensional experimental animated films is the creative use of drawing and painting, which, apart from conventional stereotypes, represents the visual-conceptual ideas derived from the artist's mind. The purpose of this paper is to investigate the structural components of experimental two-dimensional animated films and their recognition in the chosen work of this research.Due to the essence of the data, the research methodology is considered qualitative and the study process is descriptive-analytical and with a comparative approach. Also, based on narrative theories and definitions of the form, the relationship between the structure of the form and the content of the two-dimensional experimental animated film is examined. Regarding to the qualitative methodology, this article concludes that the time, narration, and editing of this animated film are non-experimental, despite the representation is fully experimental; so if the dominant element of an experimental (2D) animation film is experimental, that film can be considered experimental movie, even though its other components are non-experimental; also, the conceptual content of the work can be non-avant-garde or non-experimental if the dominant and formal element of the film is completely experimental.

Effectiveness of Infographics on the Learning of Thrifting of Drinking Water Consumption using5E framework,Approaching Sustainability of Environment BiologyAbstractFrom the viewpoint of behaviorism, incorrect culture of consuming environmental resources exists in Iranian society at the time. No doubt, ignoring such a serious issue more or less affects all parts of the society’s biological life and health. Whiles, this wrong culture can be prevented and changed by an organised education program. In line with this, such a well-planned education system breeds the future generations finely. The system also prevents many plausible occurrence of environmental and human crises. But it seems that, the planners and policy makers of the formal education system have not adequately attention to such important aspects. One is the culture of correct consumption of resources in various fields. The necessity of teaching how to conserve drinking water to the younger people as future citizens in the formal education system, is an undeniable requirement and strategic investments in this field. It is expected that education accelerates social progress through four different but interconnected goals: humanistic goals (through individual and collective quality developments); Civic goals (through strengthening public life and active citizen participation); Economic goals (by promoting people based on creating intellectual and practical skills that are productive and strengthen their living conditions and society, and goals related to improving social rights and justice (Spiel et al., 2018). In terms of behavior change, the traditional education approaches need to be revised as it is mostly based on information transfer and pure speech. Rooted in the positivist epistemological approach and the behaviorist school of psychology, this education method has a passive attitude towards the learner and assigns him a small role in learning (Anderson, 1995). Therefore, there is serious doubt in the efficiency and effectiveness of traditional approaches to create behaviors and change; Because such an approach emphasizes on presenting the information only that is in contradiction with Piaget's (1970) conditions and stages of children's cognitive development. According to Piaget's theory of cognitive development, children in elementary school only think and learn based on tangible facts around them, and their learning model is learning by doing, not listening to the teacher's lecture! Thus, it is necessary to transform abstract education into objective and concrete education. In this context, David Merrill (2007) believes that every educational presentation should include two elements of expressing information and displaying them, and it is better to present both these elements in the context of a real problem. Problem-oriented teaching or learning is rooted in constructivist psychology. From the perspective of epistemology, it is opposed to the approach of positivism and behavioral psychology (Shank, 2000). In this approach, the student is the center of learning and the agent of knowledge production (Santrak, 2004) and the teacher's role is to guide and facilitate the learning process (Fetsko McClure, 2005).Now the question arises whether the current approaches of the education system have been successful in changing the culture of consuming environmental resources? In response, it can be concluded that owing to the reduction or exhaustion of natural resources such as water resources, forests and other natural reserves during the past years, the current education system has not worked as it should in teaching the right culture of using these resources. As a result, children are indifferent to important issues such as saving drinking water. This is despite the fact that early childhood education can lead to the formation of a correct behavioral culture; It is also possible to draw the attention of children and teenagers to the importance of the optimal use of environmental resources by using artistic methods in presenting educational materials in schools and kindergartens. It should be from the beginning and institutionalize acceptable behavior in them so that in the future they will have to spend huge costs. Not to encourage people to do them.Research MethodThe current research is a quasi-experimental applied research in which a pre-test-post-test design with a control group is used. The statistical population of the present study was the groups of female students of the fourth grade of elementary school in Tehran in the academic year of 2017-2018. Considering such a statistical power, significance level (0.05) and the strength of the relationship between different independent and dependent variables and based on Coles' opinion, which states that 15 participants are suggested for each school level and considering that In this experimental experiment, it has 3 levels (two experiments and 1 control), and to increase the power of the statistical test and the external validity of 45 of the exceptional female students (15 of the above group), the static infographic; 15 people from dynamic infographic group; and 15 people in the control group) were selected as samples using the cluster sampling method. After selection, the clusters were randomly divided into 3 experimental and control groups.FindingsThere is no significant difference between the static infographic group and the dynamic infographic group with a significance level of 0.32 (P>0.05). The adjusted average of the static infographic display group was (11.81) and the adjusted average of the dynamic infographic group was (11.03), according to the results of the analysis of covariance and the adjusted averages and considering the limitations of the research, it can be said that there is a difference between the effect of static and dynamic infographics on There is no significant difference in learning to save drinking water.Discussion and conclusionThis research aims to determine the effectiveness of static and dynamic infographics for drinking water consumption by children, and the results of covariance analysis show that the use of infographics for consumerism has a significant effect on the consumption of drinking water by children. Therefore, the research hypothesis is confirmed (p<0.001). The research’s finding is aligned with the findings of Chifci (2016) and Ozdamli et al. (2016).It can be said that since infographics are useful in changing the class atmosphere and attracting students' attention (Smiciklas, 2012), they become more effective and faster to communicate with each other (Matrix and Hodson, 2014), infographics change student behaviors. Therefore, this medium can be considered as a potential tool in social and moral development of students. Such educational materials can be used in character education or personal training and help students to internalize values and provide for their growth by clarifying students' mental states and attitudes (Islamoglu et al., 2015). Accordingly, infographics are audio - visual aids that advantageous in addition to actualization, the academic progress and attitude of students (Chifci, 2016). Learners have opportunities to transform their ideas into infographic forms. In other words, visualization is a method that makes the information to be understood and engraved in the student's mind. Therefore, students can shape, organize, and edit information in this process (Smeciklas, 2011). Infographics also are useable effectively and stimulatingly in different courses, educational levels and learning fields, when visual and informational materials need to be presented together. Therefore, various methods are in use when reducing academic achievement, limited attitude and low motivation of students (Chifci, 2016). Visualization is a powerful tool to use (Medina, 2008). Many design theories and message theories support this idea. For example, the "super image theory" explains how tools are learned faster by seeing an image than reading text, because the human brain is primarily designed for visualization. (Clark and Mayer, 2018). Pavio's (1971) dual code theory posits that when people see an image, multiple neural pathways are activated to support memory. As a result, people's perception and attitude increase after using infographics.From an educational perspective, infographics attract attention, create connections, convey concepts, reduce cognitive complexity, create beautiful artifacts, and create or activate a schema through which to represent familiar topics and information for the learner. (Clark and Lyons, 1389). An effective infographic in an educational setting can serve as a job aid, pre-organizer, mind map, content summary, and study and attitude change tool. It conveys also the gist or gist of a message without one having to read the relevant text in its entirety (Ware, 2012); By viewing, the reader can understand an infographic at a glance. Use infographics when tables, charts, and text cannot convey a concept clearly and completely (Centers for Disease Control and Prevention, 2012).The combination and dynamic image with sound will teach people the text more efficiently and lastingly than the text alone. Infographics support cognitive processing, recognition, recognition and retrieval, and attitude change. The power of infographics lies in the fact that while accurately and clearly conveying the content, it is a way to present a large amount of content in a limited time and space. Because visual presentation, compared to text or oral expression, shows a story and the relationships within it much faster (Dunlap and Lowenthal, 2016). Infographics convey complex information with visual brevity and analysis and educate students.

This study focuses on the effective aspects of the audience's belief in characters as crechers in the selected works from narrative literature and animated films. In this regard, the collective memory and the factors affecting its memory and its communication function are investigated in the personality components of the animated feature film that are aimed at the cognition, belief and interest of the audience. In addition, given the need to find a suitable place for the personality of Iranian animated filmmakers who can compete with popular characters from a global audience point of view, the researcher needs to study and understand the personality components and factors influencing personality. It examines and recognizes the main characteristics of personality belief in the audience and its process in memory. The question of how personality is processed according to the collective memory of the audience is examined and answered qualitatively by content analysis with a descriptive-interpretive approach based on theories of psychologists such as Carl Gustav Jung, Alfred Adler, as well as researchers such as Victoria Grace Walden. given. In order to address the issue of collective memory functions in dealing with audience believability, it is necessary to analyze the narratives and visual works in this field by examining and analyzing the selected characters in the story and then the nature of the personality and the factors affecting memory.

The article investigates the adaptive method of Hayao Miyazaki in using Japanese narratives through his animation filmmaking based on James Dudley Andrew’s theory. Qualitative research method has been applied owing to the nature of the content and the type of analysis. In line with the research aim, the main question is how Miyazaki has adopted Japanese narrative literature in making his animated films (the case). Miyazaki’s admired animated movies were adopted from Japanese narratives. Accordingly, among which Spirited Away was analyzed as the case of the study. The results consist of fundamental points revealing his method of adaptation. Miyazaki has considered the full capacity of Japanese narrative literature and other adaptative approaches in developing drama, characterization, visual and audio elements of his films perfectly. Bringing up the ideas in this way, Miyazaki has created the main elements of narrative aligned with his cinematic expression. Not only did he adapt the texts of Japanese literature, but also benefited from the illustrations of the literary works. Miyazaki's style uncovers the various potentials of narrative sources for idea generation in storytelling, characterization as well as it reveals how to create successfully hit animated feature films. His method can be an effective strategy in making superior and adaptation Iranian filmmakers may consider in animation film production.

The subject of this article is the exhortative communication and it studies the interactive outdoor advertising and its audience, through a descriptive-analytical method. Our standpoint toward today’s world is affected by the powerful presence of the media. What specifies the power of a medium is its method of communication with the audience. Since the audience in today’s post modern world is different than the audience in the past, the need for having a stronger medium to fully communicate with its audience is quite obvious. In fact, because of the extent of the media in today’s world, the medium that provides opportunities for new experiences is the more successful one. In this regard, public announcements by town criers, scroll readings, and afterwards the emergence of posters, newspapers and publication printings were each a pioneer of this type of communication in each era; until the emergence of radio & television and the formation of new methods of mass communication. The advent of satellites and internet has led to a dramatic evolution as well. In the twentieth century, the advertising industry has widely grown and gained an important place in marketing and selling products. With the development of technology and the advantage of having computers in various fields, a new branch of communication called Interactive Design became the center of attention and provided the basis for the formation of the interactive advertising. Interaction has different functions in various fields including advertisement, and the diversity of its methods creates attractiveness for the audience that takes him/ her to a bilateral relationship. In this bilateral relationship, the audience is addressed as an artist and creator, and his/ her actions become part of the piece itself. In this method of advertising, the main element is the audience participation in the messaging process. The effectiveness depends heavily on the audience engagement with the advertisement and his/ her choices in this direction; since it is him/ her who selects the information and goes through the mental process with it. What is important in the interactive advertising is the planning of the process of an interaction through designing interfaces of systems in various media. The growth of interactive advertising indicates the active role of the consumer in the efficiency of this type of advertisement. Interactive advertising increases the influence on the audience, his/ her satisfaction and participation. Also, the reciprocity of the audience and the exchange of information in this process lead to gain the audience trust further. When participating in communication with an interactive piece, the routine procedures include: response, control, contemplation, belongingness, and disengagement. To encourage the user to initiate physical activity, the interactive advertisement should have a primary motivator. These motivators have a very wide range in interactive digital works and they take the audience to a different virtual experience through attracting his/ her attention. Interactive advertising is a proper tool to influence the mind and taste of post-modern human who has a multi-aspect identity due to the rapid alterations. therefore this new branch of advertising discussed in this research.

Investigating the evolution of the main characters with regard to hero’s journey template, this research work studies the narratives of Majid Majidi’s movies, applying qualitative research method in data gathering and analysis. In perception of journey’s concept, one meaning is to move from a place and passing through stages of the way in order to reach a destination. Journey template includes those contents that have been regarded both in mythology and morphology fields of stories as well as under mystical topics. In other words, inner and outer journey of human being as hero is the theme of a large number of performing works and dramatic shows that influence hearts directly and strongly and affects minds of different audiences from nations around the globe. Reviewing Majidi’s movies, adaptation of archetype of hero’s journey is analyzed in the works from the views of Joseph Campbell and Islamic mysticism. Feasibility to select eight cases of study such as Baran, Baduk, Khoda Miad (God Comes), The Father, Children of Heaven, The Color of Paradise, The Willow Tree and The Song of Sparrows enables the researchers to investigate the hero’s journey of each work according to the character’s activities. Findings indicate how the main characters experience their inner, outer and combining both types of journeys. In the stories, they as heroes come across occurrences that inevitably involve them in situations where they have to go through unknown or risky journeys. Considering such a concept in Islamic mysticism in relation to the main characters, there are further aspects to consider. Journey is important and has been respected in Islamic mysticism which implies: human being is in a journey since the beginning of the creation until resurrection day. Similarly, in this context the mentioned types of journeys also are agents of human evolution. Looking at these texts, at least three meanings exist; its most prevalent one reflects the concept of travelling around on the earth to percept different horizons. In contrast there is spiritual journey through which one hesitates to do improper and immoral deeds in hoping to be accepted by God. Campbell classifies the hero’s journey in three key stages as departure, initiation and return. A journey can be commenced when ‘call to adventure’ arises, sometimes hero tends or makes decision to accept that and another time he/she has to go where he/she is driven to. ‘Call to adventures’ in the movies of Majidi commonly invites the heroes to an outer journey from the society’s coercion where they have to live in. Most of the heroes’ journeys spend in ‘initiation’, the longest stage in the Campbell’s template. Majidi’s approach tends mostly to social experiences that finally turn into mystical mood whereas it has mystical-spiritual concept in his works, Khoda Miad, The Color of Paradise and The Willow Tree. All the heroes in these cases are looking for happiness; however, it is deferent in everyone’s mind. Finally, this determines how the hero passes through the journey template.