МУЗЕЙ ВИРТУАЛЬНОЙ РЕАЛЬНОСТИ КАК СПОСОБ ИЗБЕЖАТЬ ИСТОРИЧЕСКОЙ "АМНЕЗИИ"
Spatial attention of people involved in a co-operative activity is often directed to the same objects in the environment. At the same time, one of the partners’ gaze redirection can be involved in controlling attention of others. It could be assumed that the degree of the gaze cueing effect, which has become a focus of growing research interest in recent decades, might be influenced by such social psychological factors as one’s attitude towards the partner and social distance between the partners. To test these assumptions, a virtual 3D environment was created, in which a modified version of the cueing paradigm by Posner et al. (1978) was implemented. An intergroup experimental design was used. For one group of participants, the anthropomorphic avatar was introduced in the instruction as a “virtual assistant”, for the other group, it was presented as a “virtual assessment specialist”. The avatar could provide valid and invalid gaze cues regarding the future target location. Both groups participated in two experimental sessions, in one session the distance between the participant and the avatar was 1.5 m (comfortable distance corresponding to the zone of formal social contacts) and in the other session the distance was 1 m (uncomfortable distance corresponding to the zone of personal contacts). The gaze cueing effect was observed through all experimental conditions in a virtual environment. However, it was more pronounced for the “assisting” set than for the “assessing” one. Interestingly, for the assisting set, the effect was asymmetric: the gain due to a valid cue turned out to be less pronounced than the delay in the response to a target after an invalid cue. For both conditions, the gaze cueing effect was more pronounced at a distance of 1 m between the participant and the avatar than at a distance of 1.5 m. The latter result could be associated either with the large angular dimensions of a gaze cue or with blurring of boundaries of the personal zone in the virtual environment. The results can be applied in the development of educational virtual environments.
Purpose. In 2013 and in 2014, Federal Law No. 73-FZ of 25 June 2002 “On Cultural Heritage Objects (Monuments of History and Culture) of the Nations of the Russian Federation” was amended, including, the conceptual apparatus of the cultural heritage system. The latter is divided into tangible and intangible objects; the material cultural heritage includes monuments of history and culture. Objects of cultural heritage, according to legislative definition, have a complex composite structure, which requires analysis and systematization, since at the moment this concept and related to it are used in other acts of substantive law, in particular, in the Criminal Code of the Russian Federation. Objects of cultural heritage, according to legislative definition, have a complex composite structure, which requires analysis and systematization, since at the moment this concept and related to it are used in other acts of substantive law, in particular, in the Criminal Code. Methodology: analysis, synthesis, legal, structural, functional, axiological methods. Conclusions. The object of cultural heritage has the following features: the immovable nature of the cultural heritage object (and associated movable objects and archaeological objects until they are included in the Museum Fund of the Russian Federation), anthropogenic character, age and cultural value of the cultural heritage object — is of fundamental importance as the basis for assigning the object the status of an object of cultural heritage, formal status in the Unified State Register of Objects of Cultural Heritage of the Russian Federation. Scientific and practical significance. The carried out research allows to specify the concept of objects of a cultural heritage and its component parts, thus, defining, in particular, subjects of crimes and offenses that encroach on monuments of history and culture. The findings of this study can be used to create regulatory legal acts that regulate the protection of cultural heritage sites, as well as to be applied in the training process in the training of specialists in the field of criminal and administrative law.
In the contemporary world where social media became one of the key sources of information about offline reality, a rally can be performed without even leaving your house. That is why the discussion participants and the audience reflect on the problem of ‘authenticity' of the virtual reality and political actions it provides. The users ponder the question whether virtual activism is relevant, what conditions make virtual political action ‘real' and ‘accomplished', i.e. they try to define the status of virtual reality and the boundaries between the ‘real' and the ‘virtual', the ‘original idea' (in E. Goffman's words) and the ‘falsifi cation'. This reframing results in a redef inition of what activists, city inhabitants and lawenforcementbodies considerto be a ‘political action'. The article considers how the perceptions of social media activism change and to what conflicts those changes can lead.
In the early 1990s, a small group of individuals recognized how virtual reality (VR) could transform medicine by immersing physicians, students and patients in data more completely. Technical obstacles delayed progress but VR is now enjoying a renaissance, with breakthrough applications available for healthcare.
This book presents papers from the Medicine Meets Virtual Reality 22 conference, held in Los Angeles, California, USA, in April 2016. Engineers, physicians, scientists, educators, students, industry, military, and futurists participated in its creative mix of unorthodox thinking and validated investigation. The topics covered include medical simulation and modeling, imaging and visualization, robotics, haptics, sensors, physical and mental rehabilitation tools, and more.
Providing an overview of the state-of-the-art, this book will interest all those involved in medical VR and in innovative healthcare, generally.
Human communication is basically the exchange of information. How can this be realized? Each communicant proceeds from a subjective perception of an objective reality; however in order to exchange information relating to this reality communicants are obliged to coordinate their perceptions. Each of us entertains personal experiences based on individual impressions and associations. But communication presupposes the presence of a common experience and the possibility of the coordination of subjective perceptions. It is presumed that communicants share common experiences: this seems to be the natural premise of communication.
How is this possible? How can I be certain, for example, that my interlocutor understands the words in the same way I do? How can we correlate our understanding? It seems obvious that the necessary condition of communication is an agreement between the communicants. But how can this agreement be reached? Where is the initial point of the coordination of individual experience of different persons?
The present book deals with this and related questions. Special attention is given to the role of deixis in the process of communication and to the mechanisms of linguistic comprehension.
On the occasion of Doha being a cultural capital of the Middle East in 2010 and Istanbul being a cultural capital of Europe, Doha Orientalist museum is holding a symbolic exhibition “A Journey into the World of the Ottomans”, accompanied by a catalogue. Major part of the illustrated exhibition artworks are to come from the Orientalist museum own collection, the Rijksmuseum, as well as other major collections. The exhibition will bring together artists from the sixteenth century onwards, including Bernardino Campi, Jacopo Ligozzi, Nicolas Rycks, Jean-Baptiste Vanmour, Jean-Étienne Liotard, Antoine Ignace Melling, Francesco Hayez, John Frederick Lewis, Walter Gould, Alberto Pasini, Germain Fabius Brest, Oskar Kokoschka, Nikolai Kalmikoff, Vanessa Hodgkinson and Bas Princen. The artworks selected are to illustrate the history of the orientalism development from the sixteenth to twenty first century, which throughout the years shaped the image of the Ottoman world in Europe, covering different genres of orientalist art. - See more at: http://www.skira.net/a-journey-into-the-world-of-the-ottomans.html?___store=en&___from_store=default#sthash.V8N9Mye4.dpuf
The article is devoted to the formation of the image of the pre-revolutionary history of Russia on the example of Yuri Tarich's film Wings of Serf (1926). In the first post-revolutionary decade, there was a departure from previous standards in the image of national history. Authors searched for new forms of screen representations of past events. Although the film inherits the tradition of depicting the king as a murderer and tyrant, the creators – director Yuri Tarich and screenwriter Victor Shklovsky – tried to transfer on screen revolutionary understanding of history. The film is influenced
by historical theory of Mikhail Pokrovsky, and Shklovsky introduced the economic element in the scenario as the main engine of the plot.
The avant-garde figures who came to cinema (Shklovsky, first of all, was a literary critic) came up with the rules of screenwriting craft on the go and challenged the boundaries of cinema's possibilities in practice. The purpose of Wings of Serf’s screenplay was to move away from the one-sided image of Ivan the Terrible and determine his actions as of economic basis. Shklovsky and Tarich developed the idea of the revolutionary remaking of the image of the past in their next work, the film version of Captain's Daughter.
The article covers the history of foreign screenings of Wings of Serf, focusing on the history of censorship bans and re-editing of the film for USA. The author shows in the article the possible influence of Wings of Serf on Ivan the Terrible by Sergei Eisenstein, which is implicitly present in both artistic and plot terms.
Despite success and foreign distribution, the movie was visually traditional, realistic, and researchers considered, most often, as the prologue before radical change of the relation to Ivan the Terrible in the thirties. The article shows how filmmakers of the first decade after the revolution used to work with historical material.
This collection of essays was published in a form of a catalogue for one of the propgrams screened at the Yamagata International Documentary Film Fstival in October 2019. The program entitled "The Creative Treatment of Grierson in Wartime Japan" was co-organized by the Yamagata International Documentary Film Festival and the National Film Archive of Japan and presented a broad variety of wartime Japanese documentaries as well as British and Soviet films that have influenced them. The collection of essays explores the development of wartime Japanese documentary cinema from variety of historical and theoretical perspectives.
The paper examines a rare explored phenomenon of Soviet cover design –a number of official releases produced by the only recording concern Melodija on the one hand, and so-called “tape-albums” became widespread among underground people in the late Soviet Union, on another.