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41St Annual Conference 9Th Annual Research Symposium
41ST ANNUAL 9TH ANNUAL CONFERENCE RESEARCH Gaining Perspective: SYMPOSIUM Seeing EE Through October 9–10 Different Lenses October 9–13 2012 CONFERENCE PROGRAM North American Association for Environmental Education | naaee.org Welcome to Oakland Welcome to NAAEE and our 41st Annual International Conference We’re so excited that you are joining us for the 41st Annual NAAEE Conference in the lively city of Oakland, California—ranked as the 5th most desirable destination to visit this year in the New York Times! We hope this conference will be a highlight of your professional year—with opportunities to mingle with talented leaders from around the globe, share your ideas, and take away new thinking that you can replicate in your own work. This program guide is designed to help you navigate the conference—whether you’ve been coming for years or you’re a first timer. We encourage you to take advantage of as much as you can—and still find time to socialize and soak up the flavor of the Bay Area. And you won’t want to miss any of our keynote addresses. Not only do we have some terrific speakers, but we will also use the plenaries to make announce- ments, and give out special prizes throughout the week. Here are some highlights of the week: • A provocative Research Symposium, highlighting current research in the field • A variety of workshops and field trips on Wednesday and Sunday • An incredible line-up of talented keynote speakers for the week (see page 26 for a listing) • The welcome reception on Wednesday night at 6:00 PM and conference opening, with Annie Leonard, our speaker for the evening • A special screening of Disney’s “Chimpanzee” movie, where you can hear from one of Disney’s chief scientists about what the company is doing to support environmental education and conservation. -
Recommendations for Integrating a P300-Based Brain–Computer Interface in Virtual Reality Environments for Gaming: an Update
computers Review Recommendations for Integrating a P300-Based Brain–Computer Interface in Virtual Reality Environments for Gaming: An Update Grégoire Cattan 1,* , Anton Andreev 2 and Etienne Visinoni 3 1 IBM, Cloud and Cognitive Software, Department of SaferPayment, 30-150 Krakow, Poland 2 GIPSA-lab, CNRS, Department of Platforms and Project, 38402 Saint Martin d’Hères, France; [email protected] 3 SputySoft, 75004 Paris, France; [email protected] * Correspondence: [email protected] Received: 19 September 2020; Accepted: 12 November 2020; Published: 14 November 2020 Abstract: The integration of a P300-based brain–computer interface (BCI) into virtual reality (VR) environments is promising for the video games industry. However, it faces several limitations, mainly due to hardware constraints and limitations engendered by the stimulation needed by the BCI. The main restriction is still the low transfer rate that can be achieved by current BCI technology, preventing movement while using VR. The goal of this paper is to review current limitations and to provide application creators with design recommendations to overcome them, thus significantly reducing the development time and making the domain of BCI more accessible to developers. We review the design of video games from the perspective of BCI and VR with the objective of enhancing the user experience. An essential recommendation is to use the BCI only for non-complex and non-critical tasks in the game. Also, the BCI should be used to control actions that are naturally integrated into the virtual world. Finally, adventure and simulation games, especially if cooperative (multi-user), appear to be the best candidates for designing an effective VR game enriched by BCI technology. -
The Virtual Reality Renaissance Is Here, but Are We Ready? 2.2K SHARES WHAT's THIS?
MUST READS SOCIAL MEDIA TECH BUSINESS ENTERTAINMENT US & WORLD WATERCOOLER JOBS MORE The Virtual Reality Renaissance Is Here, But Are We Ready? 2.2k SHARES WHAT'S THIS? IMAGE: MASHABLE, BOB AL-GREENE BY LANCE ULANOFF / 2014-04-20 21:19:32 UTC This piece is part of Mashable Spotlight, which presents in-depth looks at the people, concepts and issues shaping our digital world. I'm flapping my wings. Not hard, but slowly and smoothly. At 25 feet across, my wingspan is so great I don't need to exert much energy to achieve lift. In the distance, I see an island under an azure sky. This is my home. Off to my west, the sun is setting and the sky glows with warm, orange light. Spotting movement in the ocean below, I bend my body slightly to the left and begin a gentle dive. As I approach the shore, I spot my prey splashing in the shallows. I lean back, keeping my wings fully extended so I can glide just above the water. I'm right over the fish. I pull in my wings, bend forward sharply and dive into the water. I emerge with a fish in my mouth. Success. Better yet, I did all this without ever leaving the ground or getting wet. Lance Ulanoff trying out the American Museum of Natural History's Pterosaur flight simulator. IMAGE: MASHABLE This is virtual reality, or at least the American Museum of Natural History’s (AMNH) brand of semi-immersive virtual reality. With a large projection screen, Microsoft Kinect V1 and a gaming PC, the setup lets you control the flight of a virtual pterosaur by standing in front of the Kinect sensor, flapping your arms and bending. -
Virtual Reality Design: How Upcoming Head-Mounted Displays Change Design Paradigms of Virtual Reality Worlds
MediaTropes eJournal Vol VI, No 1 (2016): 52–85 ISSN 1913-6005 VIRTUAL REALITY DESIGN: HOW UPCOMING HEAD-MOUNTED DISPLAYS CHANGE DESIGN PARADIGMS OF VIRTUAL REALITY WORLDS CHRISTIAN STEIN “The matrix has its roots in primitive arcade games. […] Cyberspace. A consensual hallucination experienced daily by billions of legitimate operators, in every nation, by children being taught mathematical concepts. […] A graphic representation of data abstracted from banks of every computer in the human system. Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding.” — William Gibson, Neuromancer (1984) 1. Introduction When William Gibson describes the matrix in his canonical cyber-punk novel Neuromancer, it is a computer-generated parallel universe populated and designed by people all over the world. While it would be an exaggeration to say this is about to become a reality, with current-generation virtual reality systems an important step toward immersive digital worlds has already taken place. This article focuses on current developments in virtual reality (VR) with head-mounted displays (HMDs) and their unique digital experiences. After decades of experimentation with VR beginning in the late 1980s, hardware, software, and consumer mindsets are finally ready for the immersive VR experiences its early visionaries dreamed of. As far back as 1962, Morton Heilig developed the first true VR experience with Sensorama, where users could ride a “motorcycle” coupled with a three-dimensional picture; it even www.mediatropes.com MediaTropes Vol VI, No 1 (2016) Christian Stein / 53 included wind, various smells, and engine vibrations. Many followed in Heilig’s footsteps, perhaps most famously Ivan Sutherland with his 1968 VR system The Sword of Damocles.1 These developments did not simply constitute the next step in display technology or gamer hardware, but rather a major break in conceptualizations of space, speed, sight, immersion, and even body. -
Virtual Reality’ Paradigm
San Jose State University SJSU ScholarWorks ART 108: Introduction to Games Studies Art and Art History & Design Departments Fall 12-2017 Exploring Oculus Rift: A Historical Analysis of the ‘Virtual Reality’ Paradigm Chastin Gammage San Jose State University, [email protected] Follow this and additional works at: https://scholarworks.sjsu.edu/art108 Part of the Game Design Commons, and the Graphics and Human Computer Interfaces Commons Recommended Citation Chastin Gammage. "Exploring Oculus Rift: A Historical Analysis of the ‘Virtual Reality’ Paradigm" ART 108: Introduction to Games Studies (2017). This Final Class Paper is brought to you for free and open access by the Art and Art History & Design Departments at SJSU ScholarWorks. It has been accepted for inclusion in ART 108: Introduction to Games Studies by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. Chastin Gammage Professor James Morgan CS 108: Introduction to Game Studies 15 December 2017 Exploring Oculus Rift: A Historical Analysis of the ‘Virtual Reality’ Paradigm Although many consider Virtual Reality to be a relatively new concept, it is more appropriately defined as a long-standing ideology subject to continuous transformation and several varying iterations throughout time depending on the advents in technology. Peter Stearns, a renown modern historian, once wrote an article sharing a similar historically oriented disposition claiming that "the past causes the present, and so the future. Anytime we try to know how something happened… we have to look for the factors that took shape earlier… only through studying history (a proper historical analysis) can we begin to comprehend the factors changing the field so rapidly." In essence, understanding the historical legacy associated with virtual reality is a critical first step in developing a solid foundation on the topic as a whole. -
Subject Index
863 Subject Index ‘Note: Page numbers followed by “f” indicate figures, “t” indicate tables and “b” indicate boxes.’ A Affordances, 112–114 A/D conversion. See Analog to Digital conversion in virtual reality, 114–117 (A/D conversion) false affordances, 116 AAAD. See Action at a distance (AAAD) reinforcing perceived affordances, 116–117 AAR. See After-action review (AAR) After-action review (AAR), 545f, 630, 630f, 634–635, 645, Absolute input, 198–200 761 Abstract haptic representations, 439 Affordances of VR, 114–117 Abstract synthesis, 495 Agency, 162, 164, 181 Abstraction triangle, 448 Agents, 552–553, 592–593, 614, 684–685 Accelerometers, 198–199, 218 AIFF. See Audio interchange file format (AIFF) Accommodation, 140–141, 273–275, 320, 570, 804 Airfoils, 13 Action at a distance (AAAD), 557–558 AIs. See Artificial intelligences (AIs) Activation mechanism, 554–556, 583 Aladdin’s Magic Carpet Ride VR experience, 185–186, 347, Active haptic displays, 516 347f, 470, 505, 625, 735, 770–771 Active input, 193–196 Alberti, Leon Battista, 28 Active surfaces, 808 Alice system for programming education, Adaptability, 122–123 758–759 Adaptive rectangular decomposition (ARD), 502 AlloSphere, 51–52, 51f, 280 Additive sound creation techniques, 499 Allstate Impaired Driver Simulator, 625, 629f Advanced Realtime Tracking (ART), 53–54, 213f Alpha delta fiber (Aδ fiber), 149 Advanced Robotics Research Lab (ARRL), 369 Alphanumeric value selection, 591–593 Advanced systems, 11–12 Ambient sounds, 436–437, 505 Advanced texture mapping techniques, 469–473 Ambiotherm device, 372, 373f Adventure (games), 12 Ambisonics, 354 Adverse effect, 351 Ambulatory platforms, 242–243 Aestheticism, 414 American Sign Language (ASL), 552–553 Affine transformations, 486–487 Amount/type of information, 196–198 864 | SUBJECT INDEX Amplification, 349–350 ARToolKit (ARTK), 48–49, 715–716 Amplifier, 349–350, 349f Ascension Technologies, 41–44, 44f, 46–47, 86–87 Anaglyphic 3D, 270f, 7f, 30, 49, 269–270, 271f ASL. -
Printmgr File
ˆ200GFY2&KhFGTLlgAŠ 200GFY2&KhFGTLlgA VDI-W7-PFD-0058 OI S A Donnelley Financial12.10.7.0 EGV silar0bz26-Apr-2019 13:22 EST 710585 FS 1 12* OI SA FORM 20-F RIO HTM ESS 0C Page 1 of 2 As filed with the Securities and Exchange Commission on April 26, 2019 UNITED STATES SECURITIES AND EXCHANGE COMMISSION Washington, D.C. 20549 FORM 20-F ☐ REGISTRATION STATEMENT PURSUANT TO SECTION 12(b) OR 12(g) OF THE SECURITIES EXCHANGE ACT OF 1934 OR ☒ ANNUAL REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 FOR THE FISCAL YEAR ENDED DECEMBER 31, 2018 OR ☐ TRANSITION REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 OR ☐ SHELL COMPANY REPORT PURSUANT TO SECTION 13 OR 15(d) OF THE SECURITIES EXCHANGE ACT OF 1934 Commission file number: 001-15256 Oi S.A. – In Judicial Reorganization (Exact Name of Registrant as Specified in Its Charter) N/A The Federative Republic of Brazil (Translation of Registrant’s Name into English) (Jurisdiction of Incorporation or Organization) Rua Humberto de Campos, 425 Leblon, Rio de Janeiro, RJ, Brazil 22430-190 (Address of Principal Executive Offices) Carlos Augusto Machado Pereira de Almeida Brandão Investor Relations Officer Rua Humberto de Campos, 425 8º andar Leblon, Rio de Janeiro, RJ, Brazil 22430-190 Tel: +55 21 3131-2918 [email protected] (Name, Telephone, E-mail and/or Facsimile number and Address of Company Contact Person) Securities registered or to be registered pursuant to section 12(b) of the Act: Title of Each Class Name of Each Exchange on which Registered Common Shares, without par value, each represented by New York Stock Exchange American Depositary Shares Securities registered or to be registered pursuant to Section 12(g) of the Act: Preferred Shares, without par value, each represented by American Depositary Shares Securities for which there is a reporting obligation pursuant to Section 15(d) of the Act: None The total number of issued and outstanding shares of each class of stock of Oi S.A. -
Signature Redacted
Perspectives on Film Distribution in the U.S.: Present and Future By Loubna Berrada Master in Management HEC Paris, 2016 SUBMITTED TO THE MIT SLOAN SCHOOL OF MANAGEMENT IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF SCIENCE IN MANAGEMENT STUDIES AT THE MASSACHUSETTS INSTITUTE OF TECHNOLOGY JUNE 2016 OFTECHNOLOGY 2016 Loubna Berrada. All rights reserved. JUN 08 201 The author hereby grants to MIT permission to reproduce and to distribute publicly paper and electronic LIBRARIES copies of this thesis document in whole or in part ARCHIVES in any medium now known or hereafter created. Signature of Author: Signature redE cted MIT Sloan School of Management May 6, 2016 Certified by: Signature redacted Juanjuan Zhang Epoch Foundation Professor of International Management Professor of Marketing MIT Sloan School of Management Thesis Supervisor Accepted by: Signature redacted Rodrigo S. Verdi Associate Professor of Accounting Program Director, M.S. in Management Studies Program MIT Sloan School of Management 2 Perspectives on Film Distribution in the U.S.: Present and Future By Loubna Berrada Submitted to MIT Sloan School of Management on May 6, 2016 in Partial fulfillment of the requirements for the Degree of Master of Science in Management Studies. Abstract I believe film has the power to transform people's lives and minds and to enlighten today's generation like any other medium. This is why I wanted to write my thesis about film distribution as it will determine the future of the industry itself. The way films are distributed, accessed and consumed will be critical in shaping our future entertainment culture and the way we approach content. -
Analyzing Visual Attention Via Virtual Environments
Analyzing Visual Attention via Virtual Environments Haikun Huang1 Ni-Ching Lin2 Lorenzo Barrett1 Darian Springer1 Hsueh-Cheng Wang2 Marc Pomplun1 Lap-Fai Yu1 1University of Massachusetts Boston, 2National Chiao Tung University Figure 1: Humans rely on their visual attention to directional signage to navigate in an unfamiliar environment. Abstract such as the Oculus Rift VR headset and the Virtuix Omni platform, one can navigate in virtual 3D environments like in the real-world. The widespread popularity of consumer-grade virtual reality de- The visual perception in this type of virtual reality is highly real- vices such as the Oculus Rift and the HTC Vive provides new, istic, and perceptual data can be collected for analyzing human vi- exciting opportunities for visual attention research in virtual en- sual attention and behavior that are almost identical to those in the vironments. Via these devices, users can navigate in and interact real-world. In this project, we propose to conduct visual attention with virtual environments naturally, and their responses to different research in virtual reality and to use the analysis results to devise dynamic events can be closely tracked. In this paper, we explore automatic 3D scene analysis tools to be used in everyday scenar- the possibility of using virtual environments to study how direc- ios. Specifically, we aim at identifying the key visual features that tional signage may guide human navigation in an unfamiliar envi- influence human navigation and decision-making in everyday en- ronment. vironments. We then train machine learning models to statistically encode these visual features. These models enable us to build 3D Keywords: Virtual Environments, Visual Attention, Visualization scene analysis tools for various applications. -
A Study of Body Gestures Based Input Interaction for Locomotion in HMD-VR Interfaces in a Sitting Position
Report: State of the Art Seminar A Study of Body Gestures Based Input Interaction for Locomotion in HMD-VR Interfaces in a Sitting Position By Priya Vinod (Roll No: 176105001) Guided By Dr. Keyur Sorathia Department of Design Indian Institute of Technology, Guwahati, Assam, India 1 Table of Contents 1. Abstract 4 2. Introduction to VR 5 3. Navigation in VR 5 3.1. Definition of Navigation 5 3.2. Importance of Navigation in VR 6 3.3. Taxonomy of virtual travel techniques 8 3.4. Quality Factors of effective travel techniques 8 4. The Literature on Categories of Travel Techniques 8 4.1. Artificial Locomotion Techniques 9 4.2. Natural Walking Techniques 9 4.2.1. Repositioning Systems 9 4.2.2. Redirected Walking 10 4.2.3. Proxy Gestures 11 5. Literature review on Proxy Gestures for Travel in VR 13 5.1. Standing Based Natural Method of Travel in VR 13 5.1.1. Issues in Standing Position for travel in VR 15 5.2. Sitting Based Natural Method of Travel in VR 16 5.2.1. Research Gap in sitting based natural method of travel 21 6. Research Questions 22 7. Methodology 22 8. References 23 2 Figures Figure 1 Taxonomy of Virtual Travel Techniques. Figure 2 Nilsson, Serafin, and Nordahl’s (2016b) taxonomy of virtual travel techniques. Figure 3 Artificial Locomotion Techniques. Figure 4 Three categories of natural walking techniques. Figure 5 Four examples of repositioning systems: (a) a traditional linear treadmill, (b) motorized floor tiles, (c) a human-sized hamster ball, and (d) a friction-free platform. -
Law, Virtual Reality, and Augmented Reality
UNIVERSITY of PENNSYLVANIA LAW REVIEW Founded 1852 Formerly AMERICAN LAW REGISTER © 2018 University of Pennsylvania Law Review VOL. 166 APRIL 2018 NO. 5 ARTICLE LAW, VIRTUAL REALITY, AND AUGMENTED REALITY MARK A. LEMLEY† & EUGENE VOLOKH†† Virtual Reality (VR) and Augmented Reality (AR) are going to be big—not just for gaming but for work, for social life, and for evaluating and buying real-world products. Like many big technological advances, they will in some ways challenge legal doctrine. In this Article, we will speculate about some of these upcoming challenges, asking: † William H. Neukom Professor, Stanford Law School; partner, Durie Tangri LLP. Article © 2018 Mark A. Lemley & Eugene Volokh. †† Gary T. Schwartz Professor of Law, UCLA School of Law; academic affiliate, Mayer Brown LLP. Thanks to Sam Bray, Ryan Calo, Anupam Chander, Julie Cohen, Kristen Eichensehr, Nita Farahany, James Grimmelmann, Rose Hagan, Claire Hill, Chad Huston, Sarah Jeong, Bill McGeveran, Emily Murphy, Lisa Ouellette, Richard Re, Zahr Said, Rebecca Tushnet, Vladimir Volokh, and the participants at the UC Davis conference on Future-Proofing Law, the Stanford Law School conference on regulating disruption, the Internet Law Works in Progress Conference, and workshops at Stanford Law School, Duke Law School, the University of Minnesota Law School, and the University of Washington for comments on prior drafts; and to Tyler O’Brien and James Yoon for research assistance. (1051) 1052 University of Pennsylvania Law Review [Vol. 166: 1051 (1) How might the law treat “street crimes” in VR and AR—behavior such as disturbing the peace, indecent exposure, deliberately harmful visuals (such as strobe lighting used to provoke seizures in people with epilepsy), and “virtual groping”? Two key aspects of this, we will argue, are the Bangladesh problem (which will make criminal law very hard to practically enforce) and technologically enabled self-help (which will offer an attractive alternative protection to users, but also a further excuse for real-world police departments not to get involved). -
The Effects of Projected Films on Singers' Expressivity in Choral
THE EFFECTS OF PROJECTED FILMS ON SINGERS’ EXPRESSIVITY IN CHORAL PERFORMANCE A DISSERTATION IN Music Education And Curriculum and Instruction Presented to the faculty of the University of Missouri-Kansas City in partial fulfillment of the requirements for the degree DOCTOR OF PHILOSOPHY by DANIEL J. KEOWN BM, University of Wisconsin-Oshkosh, 2001 MM, Indiana State University, 2004 Kansas City, Missouri 2013 © 2013 DANIEL JAMES KEOWN ALL RIGHTS RESERVED THE EFFECTS OF PROJECTED FILMS ON SINGERS’ EXPRESSIVITY IN CHORAL PERFORMANCE Daniel James Keown, Candidate for the Doctor of Philosophy Degree University of Missouri-Kansas City, 2013 ABSTRACT The purpose of this study was to investigate the effects of projected film visuals on singers’ expressivity in choral performance. The study was divided into three phases. In Phase One, university choir singers (N = 21) viewed eight audiovisual pairings (two film excerpts and four choral etudes) and rated these pairings according to perceived music to film congruency. Based on these ratings, two choral etudes were identified that elicited the broadest congruency contrasts when paired with the film segments. In Phase Two, a different group of university choir singers (N = 116) rehearsed and prepared both of the selected choral etudes referred to as “Doh” and “Noo.” Subsequently, these singers were organized into smaller chamber ensembles (n = 11), and performed each choral etude three times under the following conditions: (1) while viewing congruent film, (2) while viewing incongruent film, and (3) with no film projected. After each performance, singers reported their level of self-expression. At the completion of all three performances, singers reported their preferred performance condition.