Searching for "video"
https://www.theguardian.com/society/2020/nov/29/how-to-deal-with-a-conspiracy-theorist-5g-covid-plandemic-qanon
Fake authority
You may see articles by Vernon Coleman, for instance. As a former GP he would seem to have some credentials, yet he has a history of supporting pseudoscientific ideas, including misinformation about the causes of Aids. David Icke, meanwhile, has hosted videos by Barrie Trower, an alleged expert on 5G who is, in reality, a secondary school teacher. And Piers Corbyn cites reports by the Centre for Research on Globalisation, which sounds impressive but was founded by a 9/11 conspiracy theorist.
“pre-suasion” – essentially, removing the reflexive mental blocks that might make them reject your arguments.
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more on conspiracy theories in this IMS blog
https://blog.stcloudstate.edu/ims?s=conspiracy
more on fake news in this IMS blog
https://blog.stcloudstate.edu/ims?s=fake+news
Murray, J. H. (1997). Hamlet on the holodeck: The future of narrative in cyberspace. Free Press.
Since 1992 I have been teaching a course on how to write electronics section. My students include freshman, writing majors, and media lab graduate students.
As I watch the yearly growth in ingenuity among my students, I find myself anticipating a new kind of storyteller, one who is half hacker, half bard. The spirit of the hacker is one of the great creative wellspring Safari time, causing the in animate circuits to sync with ever more individualized and quirky voices; the spirit of the bard is eternal and irreplaceable, telling us what we are doing here in about we mean to one another.
p. 12 A New Medium of Storytelling
Set 600 years from now, describes a society that science has dehumanized by eliminating love, parenthood, and the family in favor of generating engineering, test tube delivery, and state indoctrination. Books are banned, and science has come up with a substitute form of storytelling to delete the masses.
p. 20 Ray Bradbury Fahrenheit 451
p. 22 this accounts of a digital dystopia but eroticize and demonize the computer. Cyberpunks surfers are like Cowboys on the new frontier motorcycle hoodlums with a joystick in their hand instead of a motorcycle between their legs. They are outlaw pirates on an endless voyage of exploration throughout the virtual world riding and plundering among the invisible data hoards of the world in many states by the stronger pirate parents who reach in and reprogram their minds.
p. 22 William Gibson Neurmancer
p. 28 The Harbinger on the the Holodeck
The technical in economic cultivation of this freestyle new medium of communication has led to several new varieties of narrative entertainment. This new storytelling formats very from the shoot them up video game in the virtual dungeons of Internet role-playing games to the post modern literary hypertext. This wide range of narrative art holds the promise of a new medium of expression that is S varied SD printed book or the movie picture.
Books printed before 1501 or cold incunabula; the word is derived from the Latin for swaddling clothes and is used to indicate that this books are the work of a technology still in its infancy.
The garish video games in tangled websites of the current digital environment or part of a similar period of technical evolution, part of a similar struggle for the conventions of coherent communication.
p. 29 now, in the incunabular days of the narrative computer. We can see how 20th century novels, films, and please have been steadily pushing against the boundaries of linear storytelling. We therefore have to start our survey of the harbingers of the holiday back with a look at multiform stories, that is, linear narrative straining against the boundary of pre-digital media like a two dimensional picture trying to burst of its frame.
p. 30 The multiform story
Frank Capra’s It’s a wonderful life
p. 34 Robert Zemeskis Back to the Future
p. 35 Harold Ramis’s Groundhog Day
Multi forms stories often reflect different points of view of the same event. p. 37 Kurosawa Rashomon, the same crime is narrated by four different people: a rape victim; her husband, who is murdered; the bandit who attacked them; and a bystander.
p. 37 Milorad Pavic’s Dictionary of the Khazars
p. 37 Multi form narrative attempts to give a simultaneous form to this possibilities, to allow us to hold in our minds at the same time multiple contradictory alternatives.
p. 38 active audience
When the writer expands the story to include multiple possibilities, the reader assumes a more active role.
p. 40 although television viewers have long been accused of being less active engaged in readers or theatergoers, research on thin culture provides considerable evidence that viewers actively appropriate the stories of their favorite series. In addition to sharing critical commentary and gossip, fans create their own stories by taking characters and situations from the series and developing them in ways closer to their own concerns.
p. 42 role playing games or theatrical in a non-traditional but thrilling way. Players are both actors and audience for one another, and events the purple tree often have the media seat of personal experience.
p. 43 Live theater has been incorporating the same qualities of spontaneity and audience involvement for some time.
p. 43 MUDs have allowed distant players on the Internet to share a common virtual space in which they can chat with one another in real time. A the social psychologist Sherry Turkle has persuasively demonstrated, mods are intensely “evocative” environments for fantasy play that allow people to create and sustain elaborate fictional personas.
p. 44 movies three dimensions
p. 51 dramatic storytelling in electronic games
p. 55 story webs
p. 59 computer scientist as storytellers
p. 65 Chapter 3 From Additive to Expressive Form
beyond multimedia
Sept 28, 1895 Arrival of the Train at La Ciotat Station
p. 66 photoplays
p. 67 one of the lessons we can learn from the history of film is that additive formulations like photo play or the contemporary catshall ‘multimedia” or a sign that the medium is in an early stage of development and it is still depending on the format derived from earlier technologies instead of exploiting its own expressive power. Today the derivative mindset is apparent in the conception of cyber space is the place to view “pages” of print or “clips” of moving video end of cedar rooms is offering “extended books.”
p. 60 ELIZA, 1966 Joseph Weizenbaum
p. 71 the four essential properties of digital environments
Digital environments are procedural
Digital environments are participatory
Digital environments are spacial
Digital environments are encyclopedic
p. 90 Digital structures of complexity
p. 95 part to the aesthetics of the medium
chapter 4 immersion
definition
The experience of being transported to an elaborate please simulator please it’s pleasurable in itself regarding of the fantasy contact. we Refer to this experience as immersion. Immersion is a metaphorical term derived from the physical experience of being submerged in water. We seek the same feeling from a psychologically immersive experience that we do from a plunge in the ocean or swimming pool: the sensation of being surrounded by a completely other reality, as different is water is from air, that takes over all of our attention, our whole perceptual apparatus.
p/ 99 entering the enchanted place
my note: ghost in the machine
The computer itself, even without any fantasy content, is an enchanted object. Sometimes it can act like an autonomous, animate being, sensing it’s environment in carrying out internally generated processes, yet it can also seem like an extension of our own consciousness, capturing our words through the keyboard in displaying them on the screen as fast as we can thank them.
p. 110 the active creation of belief
In digital environments we have new opportunities to practice this active creation of belief. For instance, in an interactive video program set in Paris that may research group designed in the 1980s for language learners, we included a working telephone, represented by a photograph of a phone who’s keypad could be clicked on .
p. 112 structuring participation with a mask .
p. 119 regulating arousal According to Winnicott, “the pleasurable element in playing Carris whit eight employee Kasian that the instructional a razzle is not excessive”; that is, the object of the imaginary world should not be too enticing, scary, or real let the immersive trance be broken. This is true in any medium. If a horror movie is too frightening, we cover our eyes or turn away from the screen.
p. 126 chapter Agency
Agency is the satisfying power to take meaningful action and see the results of our decisions and choices. We expect to feel agency on the computer when we double click on a file and seat open before us or when we enter numbers in a spreadsheet and see the totals readjust. However, we do not usually expect to experience agency within a narrative environment.
p. 129 the pleasures of navigation
One form of agency not dependent on the game structure yet characteristic of digital environment is spatial navigation. The ability to move through virtual landscapes can be pleasurable in itself, independent of the content of the spaces.
p. 130 the story of the maze
the adventure maze embodies a classic fair-tale narrative of danger and salvation. as a format for electronic narrative, the maze is a more active version of the immersive visit (chapter 4).
p. 134 Giving Shape to Anxiety
p. 137 The Journey Story and the Pleasure of Problem Solving
p. 140 Games into Stories
p. 142 Games as Symbolic Dramas
Information Overload Helps Fake News Spread, and Social Media Knows It
Understanding how algorithm manipulators exploit our cognitive vulnerabilities empowers us to fight back
https://www.scientificamerican.com/article/information-overload-helps-fake-news-spread-and-social-media-knows-it/
a minefield of cognitive biases.
People who behaved in accordance with them—for example, by staying away from the overgrown pond bank where someone said there was a viper—were more likely to survive than those who did not.
Compounding the problem is the proliferation of online information. Viewing and producing blogs, videos, tweets and other units of information called memes has become so cheap and easy that the information marketplace is inundated. My note: folksonomy in its worst.
At the University of Warwick in England and at Indiana University Bloomington’s Observatory on Social Media (OSoMe, pronounced “awesome”), our teams are using cognitive experiments, simulations, data mining and artificial intelligence to comprehend the cognitive vulnerabilities of social media users.
developing analytical and machine-learning aids to fight social media manipulation.
As Nobel Prize–winning economist and psychologist Herbert A. Simon noted, “What information consumes is rather obvious: it consumes the attention of its recipients.”
attention economy
Our models revealed that even when we want to see and share high-quality information, our inability to view everything in our news feeds inevitably leads us to share things that are partly or completely untrue.
Frederic Bartlett
Cognitive biases greatly worsen the problem.
We now know that our minds do this all the time: they adjust our understanding of new information so that it fits in with what we already know. One consequence of this so-called confirmation bias is that people often seek out, recall and understand information that best confirms what they already believe.
This tendency is extremely difficult to correct.
Making matters worse, search engines and social media platforms provide personalized recommendations based on the vast amounts of data they have about users’ past preferences.
pollution by bots
Social Herding
social groups create a pressure toward conformity so powerful that it can overcome individual preferences, and by amplifying random early differences, it can cause segregated groups to diverge to extremes.
Social media follows a similar dynamic. We confuse popularity with quality and end up copying the behavior we observe.
information is transmitted via “complex contagion”: when we are repeatedly exposed to an idea, typically from many sources, we are more likely to adopt and reshare it.
In addition to showing us items that conform with our views, social media platforms such as Facebook, Twitter, YouTube and Instagram place popular content at the top of our screens and show us how many people have liked and shared something. Few of us realize that these cues do not provide independent assessments of quality.
programmers who design the algorithms for ranking memes on social media assume that the “wisdom of crowds” will quickly identify high-quality items; they use popularity as a proxy for quality. My note: again, ill-conceived folksonomy.
Echo Chambers
the political echo chambers on Twitter are so extreme that individual users’ political leanings can be predicted with high accuracy: you have the same opinions as the majority of your connections. This chambered structure efficiently spreads information within a community while insulating that community from other groups.
socially shared information not only bolsters our biases but also becomes more resilient to correction.
machine-learning algorithms to detect social bots. One of these, Botometer, is a public tool that extracts 1,200 features from a given Twitter account to characterize its profile, friends, social network structure, temporal activity patterns, language and other features. The program compares these characteristics with those of tens of thousands of previously identified bots to give the Twitter account a score for its likely use of automation.
Some manipulators play both sides of a divide through separate fake news sites and bots, driving political polarization or monetization by ads.
recently uncovered a network of inauthentic accounts on Twitter that were all coordinated by the same entity. Some pretended to be pro-Trump supporters of the Make America Great Again campaign, whereas others posed as Trump “resisters”; all asked for political donations.
a mobile app called Fakey that helps users learn how to spot misinformation. The game simulates a social media news feed, showing actual articles from low- and high-credibility sources. Users must decide what they can or should not share and what to fact-check. Analysis of data from Fakey confirms the prevalence of online social herding: users are more likely to share low-credibility articles when they believe that many other people have shared them.
Hoaxy, shows how any extant meme spreads through Twitter. In this visualization, nodes represent actual Twitter accounts, and links depict how retweets, quotes, mentions and replies propagate the meme from account to account.
Free communication is not free. By decreasing the cost of information, we have decreased its value and invited its adulteration.
https://tpt.pbslearningmedia.org/collection/american-portrait/
https://www.npr.org/2020/11/10/933235773/from-steve-bannon-to-millennial-millie-facebook-youtube-struggle-with-live-video
nearly 300,000 others kept an eye on the YouTube channel of 29-year-old Millie Weaver, a former correspondent for the conspiracy theory website Infowars, who offered right-wing analysis to her followers in a live-stream that carried on for almost seven hours the day after the election.
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fake news
https://blog.stcloudstate.edu/ims?s=fake+news
https://www.facebook.com/groups/2667893333273225/permalink/3726283470767534/
AltSpaceVR UK is a private group and you might have to request access to view the video.
In it, Constantine Rossolimos, seeks discussions around the moral dilemmas of VR
For details, go here:
https://www.eventbrite.com/e/behind-the-scenes-with-microsoft-vr-in-the-wild-tickets-128181001827
Behind the Scenes: Microsoft’s Principal Researcher Eyal Ofek speaking about technical and social perspectives of XR
About this Event
The XR Bootcamp Open Lecture Series continues with Microsoft’s Principal Researcher Eyal Ofek!
Agenda:
Virtual Reality (VR) & Augmented reality (AR) pose challenges and opportunities from both a technical and social perspective. We could now have digital, and not physical objects change our understanding of the world around us. It is a unique opportunity to change reality as we sense it.
The Microsoft Researchers are looking for new possibilities to extend our abilities when we are not bound by our physical limitations, enabling superhuman abilities on one hand, and leveling the playfield for people with physical limitations.
Dr. Ofek will describe efforts to design VR & AR applications that will adjust according to the user’s uncontrolled environment, enabling a continuous use during work and leisure, over the large variance of environments. He will also review efforts to the extent the rendering to new capabilities such as haptic rendering.
His lecture will be followed by a Q&A session where you can ask all your questions about the topic.
Lead Instructors:
Eyal Ofek is a principal researcher at the Microsoft Research lab in Redmond, WA. His research interests include Augmented Reality (AR)/Virtual Reality (VR), Haptics, interactive projection mapping, and computer vision for human-computer interaction. He is also the Specialty Chief Editor of Frontiers in Virtual Reality, for the area of Haptics and an Assoc. Editor of IEEE Computer Graphics and Application (CG&A).
Prior to joining Microsoft Research, he obtained his Ph.D. at the Hebrew University of Jerusalem and has founded a couple of companies in computer graphics, including a successful drawing and photo editing application and developing the world’s first time-of-flight video cameras which was a basis for the HoloLens depth camera.
This event is part of the Global XR Bootcamp event:
The Global XR Bootcamp 2020 will be the biggest community-driven, FREE, online Virtual, Augmented and Mixed Reality event in the world! Join us on YouTube or AltspaceVR for a 24 hour live stream with over 50 high quality talks, panels and sessions. Meet your fellow XR enthousiasts in our Community Zone, and win amazing prizes – from vouchers to XR hardware.
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more on XR in this IMS blog
https://blog.stcloudstate.edu/ims?s=xr
This is an excerpt from my 2018 book chapter: https://www.academia.edu/41628237/Chapter_12_VR_AR_and_Video_360_A_Case_Study_Towards_New_Realities_in_Education_by_Plamen_Miltenoff
Among a myriad of other definitions, Noor (2016) describes Virtual Reality (VR) as “a computer generated environment that can simulate physical presence in places in the real world or imagined worlds. The user wears a headset and through specialized software and sensors is immersed in 360-degree views of simulated worlds” (p. 34).
Noor, Ahmed. 2016. “The Hololens Revolution.” Mechanical Engineering 138(10):30-35.
Weiss and colleagues wrote that “Virtual reality typically refers to the use of interactive simulations created with computer hardware and software to present users with opportunities to engage in environments that appear to be and feel similar to real-world objects and events”
Weiss, P. L., Rand, D., Katz, N., & Kizony, R. (2004). Video capture virtual reality as a flexible and effective rehabilitation tool. Journal of NeuroEngineering and Rehabilitation, 1(1), 12. https://doi.org/10.1186/1743-0003-1-12
Henderson defined virtual reality as a “computer based, interactive, multisensory environment that occurs in real time”
Rubin, 2018, p. 28. Virtual reality is an 1. artificial environment that’s 2. immersive enough to convince you that you are 3. actually inside it.
”artificialenvironment ” could mean just about anything. The photograph is an artificial environment of video game is an artificial environment a Pixar movie is an artificial environment the only thing that matters is that it’s not where are you physically are. p. 46 “VR is potentially going to become a direct interface to the subconscious”
- p. 225 Virtual reality: the illusion of an all-enveloping artificial world, created by wearing an opaque display in front of your eyes.
From: https://blog.stcloudstate.edu/ims/2018/11/07/can-xr-help-students-learn/ :
p. 10 “there is not universal agreement on the definitions of these terms or on the scope of these technologies. Also, all of these technologies currently exist in an active marketplace and, as in many rapidly changing markets, there is a tendency for companies to invent neologisms around 3D technology.” p. 11 Virtual reality means that the wearer is completely immersed in a computer simulation.
from: https://blog.stcloudstate.edu/ims/2018/11/07/can-xr-help-students-learn/
There is no necessary distinction between AR and VR; indeed, much research
on the subject is based on a conception of a “virtuality continuum” from entirely
real to entirely virtual, where AR lies somewhere between those ends of the
spectrum. Paul Milgram and Fumio Kishino, “A Taxonomy of Mixed Reality Visual Displays,” IEICE Transactions on Information Systems, vol. E77-D, no. 12 (1994); Steve Mann, “Through the Glass, Lightly,” IEEE Technology and Society Magazine 31, no. 3 (2012): 10–14.
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Among a myriad of other definitions, Noor (2016) describes Virtual Reality (VR) as “a computer generated environment that can simulate physical presence in places in the real world or imagined worlds. The user wears a headset and through specialized software and sensors is immersed in 360-degree views of simulated worlds” (p. 34). Weiss and colleagues wrote that “Virtual reality typically refers to the use of interactive simulations created with computer hardware and software to present users with opportunities to engage in environments that appear to be and feel similar to real-world objects and events.”
Rubin takes a rather broad approach ascribing to VR: 1. artificial environment that’s 2. immersive enough to convince you that you are 3. actually inside it. (p. 28) and further asserts “VR is potentially going to become a direct interface to the subconscious” (p. 46).
Most importantly, as Pomeranz (2018) asserts, “there is not universal agreement on the definitions of these terms or on the scope of these technologies. Also, all of these technologies currently exist in an active marketplace and, as in many rapidly changing markets, there is a tendency for companies to invent neologisms.” (p. 10)
Noor, Ahmed. 2016. “The Hololens Revolution.” Mechanical Engineering 138(10):30-35.
Pomerantz, J. (2018). Learning in Three Dimensions: Report on the EDUCAUSE/HP Campus of the Future Project (Louisville, CO; ECAR Research Report, p. 57). https://library.educause.edu/~/media/files/library/2018/8/ers1805.pdf
Rubin, P. (2018). Future Presence: How Virtual Reality Is Changing Human Connection, Intimacy, and the Limits of Ordinary Life (Illustrated edition). HarperOne.
Weiss, P. L., Rand, D., Katz, N., & Kizony, R. (2004). Video capture virtual reality as a flexible and effective rehabilitation tool. Journal of NeuroEngineering and Rehabilitation, 1(1), 12. https://doi.org/10.1186/1743-0003-1-12
https://cornellcollege.applicantpro.com/jobs/1568358.html
The Cornell College Center for the Literary Arts seeks a Distinguished Visiting Writer to teach a topics-based course in Writing Difference in a Digital World. Courses that engage race, citizenship, and/or identity through audio, video, or new media writing are especially welcome.
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digital humanities in this IMS blog
https://blog.stcloudstate.edu/ims?s=digital+humanities
- 360-degree video
https://en.wikipedia.org/wiki/360-degree_video
360-degree videos, also known as immersive videos[1] or spherical videos,[2] are video recordings where a view in every direction is recorded at the same time, shot using an omnidirectional camera or a collection of cameras. During playback on normal flat display the viewer has control of the viewing direction like a panorama. It can also be played on a displays or projectors arranged in a sphere or some part of a sphere.360 Degree Video is an immersive video format consisting of a video – or series of images – mapped to a portion of a sphere that allows viewing in multiple directions from a fixed central point.
The mapping is usually carried out using equirectangular projection, where the horizontal coordinate is simply longitude, and the vertical coordinate is simply latitude, with no transformation or scaling applied. Other possible projections are Cube Map (that uses the six faces of a cube as the map shape), Equi-Angular Cubemap – EAC (detailed by Google in 2017 to distribute pixels as evenly as possible across the sphere so that the density of information is consistent, regardless of which direction the viewer is looking), and Pyramid (defined by Facebook in 2016).
This type of video content is typically viewable through a head-mounted display, mobile device, or personal computer and allows for three degrees of freedom (see section 4.2 for an explanation of the concept of degrees of freedom).
https://xrsi.org/definition/360-degree-video
- 360 Degree Video is Not Virtual Reality
https://www.theprimacy.com/blog/360-degree-video-is-not-virtual-reality/
“In layman’s terms, 360 means it surrounds you. 3D means it has depth, like looking at a landscape, you’ll notice that there are objects closer to you, and objects that are further away. An image can be 360 and not 3D, or 3D and not 360, but keep in mind the distinction.”
- for more advanced definition of 360-degree videos and in conjunction with virtual experience (VX) and immersive reality in
Engberg, M., & Bolter, J. D. (2020). The aesthetics of reality media.
Journal of Visual Culture,
19(1), 81–95.
https://doi.org/10.1177/1470412920906264