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The main aim of the paper is to discuss the scale and nature of the practice of transmitting Holy Mass by parishes of the Roman Catholic Church in Poland through online live-streaming in spring 2020. The authors analyse these issues in a multifaceted and interdisciplinary way, mainly within the framework of communication and media studies and theology. The methodology of the paper combines practical theology (its four stages: "see-judge-act-review"), scientific methods applicable to social studies (especially social communication and media studies and sociological studies), and the technical aspect of communication activities (in the form of live video streaming) performed by parishes on the Internet. As it turns out, 40.8% of Polish parishes carried out online Mass broadcasts. In most cases, the main sources of broadcast signal were YouTube (18.9%) and Facebook (18.7%), while less than 5% of the parishes conducted technically independent broadcasts. The research showed a statistically significant correlation between online Mass broadcasting and the region of Poland. There was a statistically significant difference between the parish size and Mass broadcasting—the larger the parish, the more often such activities were performed; a similar correlation was observed between urban and rural parishes. Research has shown that in the dioceses where bishops directly encouraged parish priests to broadcast from their parishes, the average percentage of broadcasts was higher (46%) than in those in which there were no such incentives (38%). There was a statistically significant relationship between having a website and conducting online Mass broadcasting. Similarly, there was a statistically significant relationship between the type of parish (conventual–diocesan) and online Mass broadcasting. Conventual parishes did this much more often than diocesan ones (68.6% and 38.9% respectively). [ABSTRACT FROM AUTHOR]

Many Chinese temples in Singapore provide live streaming of getai (English: a stage for songs) during the Hungry Ghost Month as well as deities' birthday celebrations and spirit possessions—a recent phenomenon. For instance, Sheng Hong Temple launched its own app in 2018, as part of a digital turn that culminated in a series of live streaming events during the temple's 100-year anniversary celebrations. Deities' visits to the temple from mainland China and Taiwan were also live-streamed, a feature that was already a part of the Taichung Mazu Festival in Taiwan. Initially streamed on RINGS.TV, an app available on Android and Apple iOS, live videos of getai performances can now be found on the more sustainable platform of Facebook Live. These videos are hosted on Facebook Pages, such as "Singapore Getai Supporter" (which is listed as a "secret" group), "Singapore Getai Fans Page", "Lixin Fan Page", and "LEX-S Watch Live Channel". These pages are mainly initiated and supported by LEX(S) Entertainment Productions, one of the largest entertainment companies running and organising getai performances in Singapore. This paper critically examines this digital turn and the use of digital technology, where both deities and spirits are made available to digital transmissions, performing to the digital camera in ways that alter the performative aspects of religious festivals and processions. In direct ways, the performance stage extends to the digital platform, where getai hosts, singers, and spirit mediums have become increasingly conscious that they now have a virtual presence that exceeds the live event. [ABSTRACT FROM AUTHOR]

Many Chinese temples in Singapore provide live streaming of getai (English: a stage for songs) during the Hungry Ghost Month as well as deities’ birthday celebrations and spirit possessions—a recent phenomenon. For instance, Sheng Hong Temple launched its own app in 2018, as part of a digital turn that culminated in a series of live streaming events during the temple’s 100-year anniversary celebrations. Deities’ visits to the temple from mainland China and Taiwan were also live-streamed, a feature that was already a part of the Taichung Mazu Festival in Taiwan. Initially streamed on RINGS.TV, an app available on Android and Apple iOS, live videos of getai performances can now be found on the more sustainable platform of Facebook Live. These videos are hosted on Facebook Pages, such as “Singapore Getai Supporter” (which is listed as a “secret” group), “Singapore Getai Fans Page”, “Lixin Fan Page”, and “LEX-S Watch Live Channel”. These pages are mainly initiated and supported by LEX(S) Entertainment Productions, one of the largest entertainment companies running and organising getai performances in Singapore. This paper critically examines this digital turn and the use of digital technology, where both deities and spirits are made available to digital transmissions, performing to the digital camera in ways that alter the performative aspects of religious festivals and processions. In direct ways, the performance stage extends to the digital platform, where getai hosts, singers, and spirit mediums have become increasingly conscious that they now have a virtual presence that exceeds the live event.