Deleuze’s film-philosophy makes much of the notion of virtual images in Bergson’s Matter and Memory, but in doing so he transforms a psycho-meta-physical thesis into a unBergsonian ontological one. In this essay, we will offer a corrective by exploring Bergson’s own explanation of the image as an “attitude of the body”—something that projects an actual, corporeal, and postural approach, not only to cinema, but also to philosophy. Indeed, just as Renoir famously said that “a director makes only one (...) movie in his life. Then he breaks it into pieces and makes it again,” so Bergson wrote that each philosopher only makes one “single point” throughout his or her whole career. And this one point, he then declares, is like a “vanishing image,” only one best understood as an attitude of the body. It is embodied image that underlies an alternative Bergsonian cinema of the actual and the body —one that we will examine through what Bergson’s has to say about “attitude” as well as “gesture” and “mime.” We will also look at it through a gestural concept enacted by a film, to be precise, the five remakes that comprise Lars von Trier’s and Jørgen Leth’s The Five Obstructions. This will bring us back to the idea of what it is that is being remade, both by directors and philosophers, in Renoir’s “one film” and Bergson’s singular “vanishing image” respectively. Is the “one” being remade an image understood as a representation, or is it a gesture, understood as a bodily movement? It is the latter stance that provides a wholly new and alternative view of Bergson’s philosophy of cinema. (shrink)

More and more schools begin to design simulation technology based on virtual imaging technology and virtual reality in their course contents. In particular, among these technical courses, there is a need to first strengthen the Film and Television Production education in higher institutions. This article aims to study the impact of VRT, VR, and Internet of things technology on FTP courses and audience psychology in higher institutions under the era of intelligent multimedia. How to use emerging VR technology (...) to promote the psychological wellbeing of students or patients has become a new research direction, the exploration of which has a far-reaching significance for the applications of the related technologies. First, the principle and applications of VR and IoT technology are described. Thereon, the deep learning -based training model is used to analyze the postproduction of VR-based Sand Table game, and the function and effect of the designed game model are discussed. Subsequently, VR-based Sand Play Therapy is applied to mentally ill patients to obtain its therapeutic effect. The results show that the designed VR-based Sand Table game model can be used to treat mentally ill patients and alleviate their negative psychological states. Meanwhile, the Test Anxiety Scale scores prove the significant therapeutic effect of the designed game model on the mental problems of patients. Therefore, VR-based psychological SPT can be applied in the stress relief of students and the treatment of mentally ill patients, as well as alleviate their mental health problems. This research provides a new direction and some theoretical support for the application field of VR technology. (shrink)

In optics, real images can be projected onto a screen, while virtual ones always remain behind mirrors. This apparently straightforward distinction is based on complex premises which emerged in the Early Modern period, and its development went hand in hand with a transformation of the notion of image, which became detached from sensual perception. In this article I will outline this historical process, and argue that the distinction between a real and virtual image still implies a (...) reference to visual perception which makes it problematic, yet useful for didactic purposes. (shrink)

To improve the understanding of film and television postproduction for college students in the era of intelligent media, a study is conducted on college students’ short video communication education and audience psychology based on the rapid development of virtual image and the Internet of Things. Primarily, the collaborative filtering algorithm is optimized and combined with the principle of Spark and Hadoop platforms as well as the IoT and virtual image technologies. Then, a hybrid computing model is (...) proposed, and the two algorithms are improved and combined, with 90,000 network video records as data samples. Finally, the push accuracy of the hybrid algorithm and the traditional algorithm is calculated and compared, and based on this, a questionnaire survey on the audience psychology of short video production is carried out for college students. The results show that the time user of the combined algorithm is always at least 0.4 s faster than that of a single algorithm and the running speed of the algorithm with five nodes is nearly 80% higher than the algorithm with a single node. The Spark algorithm with multinode has good versatility in image recording and processing of large groups of college students. When processing more than 100,000 image records, the deviation values of Spark and Hadoop with a single node exceeded 1.1, but the deviation value of the hybrid algorithm was still lower than 1.1. With the increase of data volume, the deviation values of the three algorithms are increasing. Compared with the traditional CFA algorithm, the optimized algorithm has a higher speed in processing data and is more accurate in content pushing. From the questionnaire survey of college students, it is found that contemporary college students are not active in learning knowledge of virtual images. Hence, it is concluded that colleges must carry out relevant courses based on short video communication education and strengthen the short video communication education of college students. A reference is provided for the development of college students’ short video communication education in the digital age. (shrink)

In developing a new theory of vision in Ad Vitellionem paralipomena Kepler introduced a new optical concept, pictura, which is an image projected on to a screen by a camera obscura. He distinguished this pictura from an imago, the traditional image of medieval optics that existed only in the imagination. By the 1670s a new theory of optical imagery had been developed, and Kepler's pictura and imago became real and virtual images, two aspects of a unified concept (...) of image. The new concept of image developed out of a synthesis of Kepler's determination of the geometrical location of a pictura as the limit, or focus, of refracted pencils of rays and the triangulation used by a single eye to determine the perceived location of an imago. The distinction between real and imaginary images was largely developed by Gilles Personne de Roberval and the Jesuits Francesco Eschinardi and Claude François Milliet Dechales. (shrink)

If a machine is something that cuts into a continuous flow, schizoanalysis can be read, quite literally, as an analysis of cuts. In cinematic registers, it is an analysis of montage. Looking closely at a number of modes and moments of montage in the work of Alfred Hitchcock, this paper shows how his strategies of ‘reciprocally presupposing’ actual image and virtual montage relate to a Deleuzian poetics and politics of the cinema.

As one of the most widely used methods in deep learning technology, convolutional neural networks have powerful feature extraction capabilities and nonlinear data fitting capabilities. However, the convolutional neural network method still has disadvantages such as complex network model, too long training time and excessive consumption of computing resources, slow convergence speed, network overfitting, and classification accuracy that needs to be improved. Therefore, this article proposes a dense convolutional neural network classification algorithm based on texture features for images in (...) class='Hi'>virtual reality videos. First, the texture feature of the image is introduced as a priori information to reflect the spatial relationship between pixels and the unique characteristics of different types of ground features. Second, the grey level cooccurrence matrix is used to extract the grey level correlation features of the image in space. Then, Gauss Markov Random Field is used to establish the statistical correlation characteristics between neighbouring pixels, and the extracted GLCM-GMRF texture feature and image intensity vector are combined. Finally, based on DenseNet, an improved shallow layer dense convolutional neural network is proposed, which can compress network parameters and improve the feature extraction ability of the network. The experimental results show that compared with the current classification method, this method can effectively suppress the influence of coherent speckle noise and obtain better classification results. (shrink)

This book investigates the ontological state of relations in a unique way. Starting with the notion of system, it shows that the system can be understood as a relational structure, and that relations can be assessed within themselves, with no need to transform relations in elements. “Relations” are understood in contrast to “relational property”: without a relation there is no identity, therefore no existence. What allows us to do that without hypostatizing the relation, and without immediately taking it simply as (...) a causal relation, can be better grasped, possibly, in reference to a few entities that make best display of their systemic nature, for example images, works of art, and virtual bodies. This book shows how virtual bodies are ontological hybrids representing a type of entity that has never appeared in the world before. This entity becomes a phenomenon in interactivity and evades the dichotomy between “external” and “internal”; it is neither a cognitive product of the consciousness, nor an image of the mind. The user is well aware of experiencing anotherreality, also in the sense of a paradoxical reduplication of perceptual synthesis. The virtual body-environment is therefore simultaneously external and internal, with virtual bodies-environments to be seen as artificial windows to an intermediary world. In this intermediary world, the space itself is the result of interactivity; the world takes place in the sense or feeling of immersion experienced by the user; and the body, perceived as “other”, takes upon itself the sense of its reality, of its effectiveness, as an imaginary and pathic incision, as a production of desire and emotion, to the point that the feeling of reality conveyed by a virtual environment will rely significantly on how this environment produces emotions in the users. (shrink)

Modern embryology increasingly relies on descriptive and functional three dimensional (3D) and four dimensional (4D) analysis of physically, optically, or virtually sectioned specimens. To cope with the technical requirements, new methods for high detailed in vivo imaging, as well as the generation of high resolution digital volume data sets for the accurate visualisation of transgene activity and gene product presence, in the context of embryo morphology, were recently developed and are under construction. These methods profoundly change the scientific applicability, appearance (...) and style of modern embryo representations. In this paper, we present an overview of the emerging techniques to create, visualise and administrate embryo representations (databases, digital data sets, 3-4D embryo reconstructions, models, etc.), and discuss the implications of these new methods on the work of modern embryologists, including, research, teaching, the selection of specific model organisms, and potential collaborators. (shrink)

Many researchers are currently showing interest in researching consumers who are purchasing the products with the help of new tools, and new kinds of markets are emerging rapidly. M-commerce is a prevalent mode of marketing and is famous among young people of Pakistan. Current research is planned to check the status of consumer purchase intentions (PIs) using perceived influence, virtual interactivity, brand image, and brand expected value among customers who purchase their products with the help of m-commerce. Data (...) was collected from customers who were engaged in buying with the help of m-commerce by using the convenience sampling technique and 227 complete questionnaires were used in final analysis. This research examines the direct impact of perceived influence, virtual interactivity, brand image, and brand expected value on PIs and finds the indirect effect of brand image and brand expected value on the relationships of perceived influence and virtual interactivity with PIs. Results indicate that all the hypotheses of direct relationships are accepted except the hypothesis for the relation of virtual interactivity with consumer PIs. Virtual interactivity has an insignificant positive impact on consumer PIs. Brand expected value has a strong positive effect on consumer PIs among all. The current study proposed four mediational hypotheses. All the proposed mediational hypotheses are accepted. (shrink)

We review state‐of‐the‐art computational methods for constructing, from image data, generative statistical models of cellular and nuclear shapes and the arrangement of subcellular structures and proteins within them. These automated approaches allow consistent analysis of images of cells for the purposes of learning the range of possible phenotypes, discriminating between them, and informing further investigation. Such models can also provide realistic geometry and initial protein locations to simulations in order to better understand cellular and subcellular processes. To determine the (...) structures of cellular components and how proteins and other molecules are distributed among them, the generative modeling approach described here can be coupled with high throughput imaging technology to infer and represent subcellular organization from data with few a priori assumptions. We also discuss potential improvements to these methods and future directions for research. (shrink)

The efficient coding hypothesis posits that sensory systems are tuned to the regularities of their natural input. The statistics of natural image databases have been the topic of many studies, which have revealed biases in the distribution of orientations that are related to neural representations as well as behavior in psychophysical tasks. However, commonly used natural image databases contain images taken with a camera with a planar image sensor and limited field of view. Thus, these images do (...) not incorporate the physical properties of the visual system and its active use reflecting body and eye movements. Here, we investigate quantitatively, whether the active use of the visual system influences image statistics across the visual field by simulating visual behaviors in an avatar in a naturalistic virtual environment. Images with a field of view of 120° were generated during exploration of a virtual forest environment both for a human and cat avatar. The physical properties of the visual system were taken into account by projecting the images onto idealized retinas according to models of the eyes' geometrical optics. Crucially, different active gaze behaviors were simulated to obtain image ensembles that allow investigating the consequences of active visual behaviors on the statistics of the input to the visual system. In the central visual field, the statistics of the virtual images matched photographic images regarding their power spectra and a bias in edge orientations toward cardinal directions. At larger eccentricities, the cardinal bias was superimposed with a gradually increasing radial bias. The strength of this effect depends on the active visual behavior and the physical properties of the eye. There were also significant differences between the upper and lower visual field, which became stronger depending on how the environment was actively sampled. Taken together, the results show that quantitatively relating natural image statistics to neural representations and psychophysical behavior requires not only to take the structure of the environment into account, but also the physical properties of the visual system, and its active use in behavior. (shrink)

As much as reality itself, its reflections and appearances have taken a significant place in philosophical discussions. While Plato's Allegory of the Cave is one of the first of these discussions, the philosophy of the virtual shows the final state of these discussions today. The virtual cave is the modern-day version of Plato's cave. Appearances in Plato's cave have their own mode of existence, and likewise, virtual objects in the virtual cave have their own mode of (...) existence. There are many philosophical similarities between the ancient cave and the virtual cave. So much so that, according to the first, the shadows in the cave are a different view of reality, while according to the second, the virtual images in the virtual cave are another view of reality. The philosophy of the ancient cave and virtual cave essentially point to the debates about what the nature of reality is. The ontological and epistemic dimensions of appearance and virtual image lead us to the discussion about the nature and whatness of reality. The most common and advanced virtual cave today is the metaverse. Metaverse consists of virtual communities that combine the reality of the physical world with the reality of the virtual world and are open to all kinds of manipulations. (shrink)

The article deals with José Gil’s considerations on the relationships between the virtuality and the actuality of the dancing body. At first, it analyses Gil’s idea of projecting the current position of the dancing body into virtual images and explores Gil’s notion of the multiplicity of virtuality. Further, it demonstrates how in the space of the body a consistent compound of movements is created at the level of the monstrous virtual body. Finally, the article emphasizes that, despite the (...) connections between the actual position of the body and its virtual images, there is a fundamental distinction between the actuality and the virtuality of the dancing body. It shows that the idea of the distinction between the virtual and the actual reflects Gil’s concept of virtual memory as a zone of accumulated possibilities of movement. (shrink)

With its origin-centric value proposition, the specialty coffee industry seeks to educate consumers about the value of the origin of coffee and how the relationship with farmers ensures quality and makes coffee a premium product. While the industry has widely used stories and visual cues to communicate this added value, research studying whether and how these efforts influence consumers' experiences is scarce. Through three experiments, we explored the effect of images that evoke the terroir of coffee on the perception of (...) premiumness. Our results revealed that online images that resembled the broad origin of coffee could influence premiumness expectations of coffee. Similarly, a virtual reality environment that depicted this broad origin could enhance the perception of coffee premiumness for non-expert consumers and the enjoyment of the experience for coffee professionals. Importantly, we found that congruence between the coffee and the virtual reality atmospheres mediated how much non-experts enjoyed the experience. VR atmospheres also influenced expectations of sweetness and acidity for non-experts. These findings serve as a steppingstone for further exploration of the effects of congruence between visual cues and product/brand attributes on premiumness expectations and perception, and more generally on consumer experience. From a practical standpoint, this study provides insights into key aspects for the development of immersive virtual product experiences. (shrink)

A dramatic problem facing the concept of the self is whether there is anything to make sense of. Despite the speculative view that there is an essential role for the perceiver in measurement, a physicalist view of reality currently seems to be ruling out the conditions of subjectivity required to keep the concept of the self. Eliminative materialism states this position explicitly. The doctrine holds that we have no objective grounds for attributing personhood to anyone, and can therefore dispense with (...) the concept. That implication would require us to dispense with many of the most basic commitments of our manifest or common sense image of the world. And it would require us to abandon, to maintain as an act of bad faith, or radically to adjust, virtually every significant basic commitment underlying the variety of traditions that have evolved historically from the (natural) platform of common sense. Daniel Dennett’s sympathies seem to be divided over this issue. He is reluctant to eliminate the most fundamental linguistic-conceptual-institutional commitments that have evolved from common sense. Yet, I will argue, the basis of his support for these, beneath the surface of his rhetoric, is a mirage. His view of persons and related (intentional) concepts is a case in point. In place of the eliminative materialist position, Dennett recommends that we regard the self as a highly useful “theorist’s fiction.” He adopts a similar epistemic stance toward intention, belief, mind, and so on. In this paper I aim to show that Dennett’s recommendation is based on a subtle version of the dualism of subject and object (or scheme and content), which he seems to agree that we should transcend. Against Dennett’s view of the self as a “theorist’s fiction,” I argue in favour of a version of Donald Davidson’s realist thesis that, once we properly appreciate the significance of abandoning this pervasive dualism, we can maintain the self and associated intentional items – belief, mind, and so on – within a thoroughly realist ontology. (shrink)

The problem of aesthetic experience in a virtual environment could be reformulated as: what can we learn about aesthetics from the perspective of ‘aesthetic experience in virtual environments’, given the specific nature of such an environment? The discourse goes in circles, because it is always from theories elaborated in the field of the so-called ‘real’ that we develop the difference, but it is a process typically philosophical, that, on the other hand, can make sense only if it can (...) be shown that the virtual is an existent being that has an ontological structure of its own. The ontology of this strange object–event, and of its relationship to space–time, must therefore be addressed: what are the conditions of identity for a virtual body? What are its limits? In what sense does it have borders? Also, its specific temporality and its connection to human and computer memories are arguable dimensions that deserve analysis, as they directly affect an ontology of the virtual body, the difference between the virtual and the possible, and the relationship between the human body and the virtual body. However, the specific character of the virtual is to be an intermediate entity between object and event, between thing and image, so that virtual bodies represent a hybrid, interactive world which can be visualized as synthetic image, an immersive hybrid engaging the corporeality of the user and merging with the virtual body’s image; this hybridization, between the body of the spectator–actor and the virtual space in which it is immersed, is difficult to define with singularity. (shrink)

What are musical works? How are they constructed in our minds? Which material things allow us to speak about them in the first place? Does a specific way of conceiving musical works limit their performative potentials? What alternative, more productive images of musical work can be devised? 'Virtual Works--Actual Things' addresses contemporary music ontological discourses, challenging dominant musicological accounts, questioning their authoritative foundation and moving towards dynamic perspectives devised by music practitioners and artist researchers. Specific attention is given to (...) the relationship between the virtual multiplicities that enable the construction of an image of a musical work and the actual, concrete materials that make such a construction possible. With contributions by prominent scholars, this book is a wide-ranging and fascinating collection of essays, which will be of great interest for artistic research, contemporary musicology, music philosophy, performance studies and music pedagogy alike. (shrink)

This book examines the ethics of virtual reality technologies. New forms of virtual reality are emerging in society, not just from low-cost gaming headsets, or augmented reality apps on phones, but from simulated “deep fake” images and videos on social media. This book subjects the new VR technological landscape to ethical scrutiny: assessing the benefits, risks and regulatory practices that shape it. Though often associated with gaming, education and therapy, VR can also be used for moral enhancement. Journalists, (...) artists, philanthropic and non-governmental organisations are using VR films, games and installations to stimulate user empathy to marginalised peoples through a combination of immersion, embodiment and persuasion. This book critically assesses the use of VR for empathy arousal and pro-social behaviour change, culminating in the development of a VR “ethical tool” – a device to facilitate reflective ethical judgement. Drawing upon the pragmatist philosophy of John Dewey, virtual reality is reshaped as “dramatic rehearsal”. This book explains how a combination of immersive environment-building, moral imagination, choice architecture and reflective engagement can stimulate a future-focused and empathic ethics for users of the technology. (shrink)

The economic explanation of individual behaviour, even behaviour outside the traditional province of the market, projects a distinctively economic image on the minds of the agents involved. It suggests that, in regard to motivation and rationality, they conform to the profile of homo economicus. But this suggestion, by many lights, flies in the face of common sense; it conflicts with our ordinary assumptions about how we each feel and think in most situations, certainly most non-market situations, and about how (...) that feeling and thought manifests itself in action. What, then, to conclude? That common sense is deeply in error on these matters? That, on the contrary, economics is in error—at least about non-market behaviour—and common sense sound? Or that some form of reconciliation is available between the two perspectives? This paper is an attempt to defend a conciliationist position. (shrink)

The contribution deals with some key problems of cognitive science, whose plurality transcends the boundaries of the disciplines drawn by classical epistemology. In particular, it addresses the issues of mental images, spaces of representation, and the architecture of cognitive processes in vision theory. The thesis presented is that a proper treatment of vision within psychophysics entails an analysis of a series of interconnected spaces, objects and methodologies, from psychophysics to the many virtual realities of representation.

Bergson, writing in 1896, anticipated “sensorimotor contingencies” under the concept that perception is “virtual action.” But to explain the external image, he embedded this concept in a holographic framework where time-motion is an indivisible and the relation of subject/object is in terms of time. The target article's account of qualitative visual experience falls short for lack of this larger framework. [Objects] send back, then, to my body, as would a mirror, their eventual influence; they take rank in an (...) order corresponding to the growing or decreasing powers of my body. The objects which surround my body reflect its possible action upon them. – Henri Bergson (1896/1912, pp. 6–7). (shrink)

The practice of modern craniomaxillofacial surgery has been defined by emergent technologies allowing for the acquisition, storage, utilization, and transfer of massive amounts of sensitive and identifiable patient data. This alone has thrust providers into an unlikely and unprecedented role as the stewards of vast databases of digital information. This data powers the potent surgical tool of virtual surgical planning, a method by which craniomaxillofacial surgeons plan and simulate procedural outcomes in a digital environment. Further complicating this new terrain (...) is the involvement of third‐party contractors—a necessary presence in bringing raw data to bear in the office, virtual space, and operating room. The individual privileges and responsibilities of patients, providers, and vendors towards data are situated within the most recent U.S. court rulings and regulations. This paper offers guidance for overseeing the safe and responsible transfer to third‐party contractors, and provides suggestions for negotiating the trinary relationship between physicians, their patients, and the vendors offering this transformative technology. (shrink)

The economic explanation of individual behaviour, even behaviour outside the traditional province of the market, projects a distinctively economic image on the minds of the agents involved. It suggests that, in regard to motivation and rationality, they conform to the profile of homo economicus. But this suggestion, by many lights, flies in the face of common sense; it conflicts with our ordinary assumptions about how we each feel and think in most situations, certainly most non-market situations, and about how (...) that feeling and thought manifests itself in action. What, then, to conclude? That common sense is deeply in error on these matters? That, on the contrary, economics is in error—at least about non-market behaviour—and common sense sound? Or that some form of reconciliation is available between the two perspectives? This paper is an attempt to defend a conciliationist position. (shrink)

Acknowledgements -- Introduction: transformation, potential, futures -- Screening affect : images, representational thinking and the actualization of the virtual -- Bringing the image to life : interactive mirrors and intensive experience -- Becoming different : makeover television, proximity and immediacy -- Immanent measure : interaction, attractors and the multiple temporalities of online dieting -- Pre-empting the future : obesity, prediction and change4life -- Conclusion : transforming images : sociology, the future and the virtual -- Bibliography -- Index.

This article argues that reality and virtuality are still very much phenomenologically distinguishable, although this might not be the case forever. I argue for two main types of virtuality – one inherently involved in the dynamic horizons of perceptual experiences, while the other is all of our experiences of digital images – in order to show that a particular possible instantiation of the latter type, namely “pure” mixed reality (MR), might come to blur and collapse various experiential categories in the (...) future, not least real and irreal, like never before. To show this, there are three main sections. First, I outline my understanding of the two basic types of virtuality, as understood from a classical phenomenological analysis. Second, I give an account of the most important family of “virtual technologies” relevant to the question at hand, namely virtual, augmented and mixed reality (VR, AR and MR respectively) technologies. After homing in on MR, I explain what “pure” MR is and how, through tactile holograms, this might change even basic experiential distinctions going forward, and not necessarily for the better. (shrink)

Man has built tools to extend his visual experience in order to explore reality beyond his sensory capacity, for example microscopes, telescopes, high shutter speed and infrared cameras. However he has yet to build a tool to fully explore visual realms beyond his ordinary cognitive faculties. With the development of computing, comes the possibility of building a tool to explore the virtual forms/spaces of images that are ordinarily inaccessible to the mind. This article identifies how cognition is ordinarily limited (...) and posits a way of going beyond those limits, by defining a computational model of how those virtual forms/spaces might be created. This definition is based on brief but repeated empirical experiences of ‘higher order’ manifestations. (shrink)

Now available in English for the first time, The Visibility of the Image explores the development of an influential aesthetic tradition through the work of six figures. Analysing their contribution to the progress of formal aesthetics, from its origins in Germany in the 1880s to semiotic interpretations in America a century later, the six chapters cover: Robert Zimmermann (1824-1898), the first to separate aesthetics and metaphysics and approach aesthetics along the lines of formal logic, providing a purely syntactic way (...) of using signs, regardless of objective content; Alois Riegl (1858-1905), who went on to further develop aesthetics on the model of formal logic, creating a theory of style in response to Zimmermann's call for an aesthetics oriented toward formal logic; Heinrich Wölfflin (1864-1945), who represents a step toward an understanding of consciousness by using pictures as cognitive tools; Konrad Fiedler (1841-1895), the Saxon philosopher who considered the possibility that some kinds of images are made and viewed not for what they show, but for their visibility's sake alone; Maurice Merleau-Ponty (1908-1961), responsible for taking up the connections between the problems of reducing the range of potential meanings and contexts of a given image down to just the picture surface; Charles William Morris (1901-1979), who set out to establish whether a picture with no objective reference, such as an abstract painting, still counts as a sign, and if so, in what sense. Bringing these thinkers together and interlinking their ideas, Lambert Wiesing presents an engaging history of formal aesthetics, while reconstructing the philosophical foundations for the appearance of new image forms in the 20th century, including the video-clip, abstract collage, digital simulation and virtual reality. Using this original approach, The Visibility of the Image introduces the rise of modern image theory and provides a valuable account of our engagement with pictures in the 21st century. (shrink)

Comprehensively improving the level of vocational education and teaching quality has become an important initiative to meet the new round of technological revolution and industrial change. The traditional teaching mode can no longer meet the needs of industries and enterprises for job competences, and all higher education institutions are actively thinking about how to carry out teaching reform. Virtual reality can effectively solve the above-mentioned drawbacks, but the hardware facilities of the existing VR systems are extremely expensive, making it (...) impossible to popularize it in teaching. In this context, this paper is based on VR for the design of an interactive teaching platform. This paper discusses the key technologies of virtual reality, introduces the relevant theoretical foundation, and describes the current virtual reality devices with high popularity and their advantages and disadvantages for systematic analysis. From the perspective of teaching design, the design of human-computer interaction teaching process using VR technology to develop learning scenes is studied, introducing 3D modeling techniques, model construction, the production of picture and text panels, the production of video materials, and the establishment of virtual tour guide 3D scenes. The principle of this paper is to build a 3D vision for building 3D views of educational needs to design high quality images and video animation using 3DMAX and unity 3D engines. Then, we introduce the use of VR glasses, smart phones, and Bluetooth wireless handle to build a simple interactive teaching platform; the platform is of low cost of construction and student coverage, to solve the teaching resources shortage, equipment conditions lagging behind, the curriculum content aging, teachers and students who cannot interact in real time, and a series of problems. (shrink)

The aim of this study is the examination of the effect of virtual reality based imagery (VRBI) training programs on the shot performance and imagery skills of athletes and, and to conduct a comparison with Visual Motor Behavior Rehearsal and Video Modeling (VMBR + VM). In the research, mixed research method and sequential explanatory design were used. In the quantitative dimension of the study the semi-experimental model was used, and in the qualitative dimension the case study design was adopted. (...) The research participants were selected from athletes who were involved in our target sports: curling (n= 14), bowling (n= 13), and archery (n= 7). All participants were randomly assigned to VMBR + VM (n= 11), VRBI (n= 12), and Control (n= 11) groups through the “Research Randomizer” program. The quantitative data of the study was: the weekly shot performance scores of the athletes and the data obtained from the “Movement Imagery Questionnaire-Revised.” The qualitative data was obtained from the data collected from the semi-structured interview guide, which was developed by researchers and field experts. According to the results obtained from the study, there were statistically significant differences between the groups in terms of shot performance and imagery skills. VRBI training athletes showed more improvement in the 4-week period than the athletes in the VMBR + VM group, in terms of both shot performance and imagery skills. In addition, the VRBI group adapted to the imagery training earlier than the VMBR + VM group. As a result, it was seen that they showed faster development in shot performances. From these findings, it can be said that VRBI program is more efficient in terms of shot performance and imagery skills than VMBR + VM, which is the most used imaging training model. (shrink)

The imagistic promotion of the iconic city form is increasingly achieved by the deployment of the CCTV webcam system. This not only presents new material to mediate people's engagement with this space, but also offers new ways to materialize its actual three-dimensional form. Recent design-based research conducted at the University of Technology, Sydney, shows that the function of the CCTV Internet cameras can be extended and adapted to provide a type of engagement with urban environments that subverts its more representational (...) role and converts it into one that is qualitative and experiential. The article will discuss how the performative aspects offered by this virtual environment can be productively employed by the Internet user to not only create a new type of engagement with public space, but also, ultimately, to curate this space. The article will also reveal how the strategic deployment of recently developed non-proprietary software can be used to intervene within the operational logic of the Internet camera to exploit its potential for use as a design tool. By the strategic recruitment of this software, raw virtual qualitative data from webcam images are processed to generate a formal response to civic space. This type of intervention, which utilizes the two-dimensional image as a platform for intervention within three-dimensional space, asks the designer to relinquish the techniques traditionally used to generate urban form and instead to capitalize upon the opportunities for material intervention offered by the spatial ambiguity of virtual and real-time environments. The exploration of the distortional optical properties associated with contemporary camera technology begins to suggest the development of a range of new techniques for design intervention that will continue to evolve in direct relationship to the technology they exploit. This article will therefore discuss how the utilization of the interactive potential of the CCTV system can produce a new understanding of urban space that replaces any symbolic role for form with the affect of form. This range of unprecedented techniques can be seen to offer a new paradigm for material intervention within both virtual and urban space. (shrink)

This paper critically describes the mediation of social relations by information technology, drawing on the work of Emmanuel Levinas. In the first of three movements, I discuss ethical relations as primordial sociality based in proximity. In the second movement I discuss the how the self encounters the Other, the ethical contact. How can the self make contact with the Other without turning the Other into a theme, a concept or a category? In the third movement, I discuss the electronic mediation (...) of the social as simulation. I argue that simulation shatters proximity since it transforms expression, the trace, into presentation, an image. I argue that the distance produced by the mediation increases the potential for the Other to become appropriated by the self-certain ego as a theme, according to its categories. In simulation, proximity is shattered and the ego can no longer be disturbed---no longer become a hostage. In a final section, I explore alternative arguments for the possibility of electronic mediation that preserves the trace, that possibility of being disturbed. (shrink)

L'article se propose d'étudier le rôle important que Bergson fait jouer à la notion de « virtuel » dans la théorie de la « perception pure » exposée dans le premier chapitre de Matière et mémoire. Cette théorie fait en effet intervenir successivement les concepts de « perception virtuelle », d'« action virtuelle », d' « image virtuelle ». Malgré les similarités qui apparaissent entre les mécanismes de la perception et de la mémoire qui s'ordonnent toutes deux autour de (...) la sélection, décrite comme une actualisation, d'éléments préalablement donnés (images ou souvenirs), la fonction du virtuel apparaît différente ; il faut donc conclure qu'il ne constitue pas un concept unifié et cohérent, d'autant plus que Bergson emploie également ce terme pour caractériser des systèmes philosophiques ou scientifiques dont il cherche à se démarquer. (shrink)

Advertising is one of the commonly visible elements of the urban landscape (real and virtual). It also does not require proof that advertisements of cities as such are also part of their “cityscape.” Since at least the nineteenth century, cities have advertised themselves as attractive places to live, visit, or do business. Therefore, the following research question can be asked: How do Polish cities present themselves in advertisements one can find in the landscape? The study assumes that each advertisement (...) should clearly identify the sender and indicate its specific characteristics, distinguishing itself from its competitors. Polish cities began to use logos and slogans as a mecha­nism of description and distinction after 1990, when socioeconomic changes started. There are quite a few studies on this activity, but most of them are single case studies. Therefore, the authors decided to examine a relatively large sample of Polish cities, which allows for statistical analysis. Analysis of the logo and slogan content allows the authors to examine the desired image or the projected identity of Polish cities. The methods were chosen because they admit qualitative and quantitative analysis, especially when there is a sufficiently large sample. Therefore, the survey covered all towns and cities with more than 20,000 inhabitants in Poland. There are 218 such towns in total. The analysis was carried out in the first half of 2021. In conclusion, the authors find that the advertising of Polish cities is embedded in the past, promotes resources (substance), sometimes geographical location, but rarely refers to famous characters and human potential. And such a picture of these cities one may find on outdoor advertisements, which sometimes produce dissonance when accompanying modern buildings or new transport solutions in the city. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryJessica Evett-Miller (bio) Click for larger view View full resolutionImage 1. Click for larger view View full resolutionImage 2. Click for larger view View full resolutionImage 3. Click for larger view View full resolutionImage 4. Click for larger view View full resolutionImage 5. Click for larger view View full resolutionImage 6. Click for larger view View full resolutionImage 7. Click for larger view View full resolutionImage 8. (...) Click for larger view View full resolutionImage 9. Click for larger view View full resolutionImage 10. Click for larger view View full resolutionImage 11. Click for larger view View full resolutionImage 12. Click for larger view View full resolutionImage 13. Click for larger view View full resolutionImage 14. Click for larger view View full resolutionImage 15. Click for larger view View full resolutionImage 16.Jessica Evett-Miller Jessica Evett-Miller took these photographs during a trip to Italy and Sicily and assembled them for her senior project at the Alternative Community School in Ithaca’ New York. Now a freshman at Cornell University, she is planning to design an independent major in visual studies. She would like to dedicate thesephotographs toherfather, John Miller, and to thank him for his inspiration.She paired the front and back cover images (the first and the last) to create an interplay between the two. They function together rather than separately.Copyright © 1996 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GalleryJohn Clair Miller* Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John (...) Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller. Click for larger view View full resolutionPhotograph by John Clair Miller.Footnotes* The photographs in this issue were taken by John Clair Miller, an architect who has a practice in the upstate New York area and is currently a Professor of Design in the Department of Architecture at Cornell University. The black border which frames each image was made in the darkroom by printing the edge of the negative at the same time as the picture was printed. These photographs are part of a series, “Reading the Surface,” and all are “Untitled.” Professor Miller began this series in 1977 on the coast of Maine, Down East.Copyright © 1998 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Virtual GallerySarah Soquel MorhaimPhotographs in this issue are by Sarah Soquel Morhaim, a student at Cornell University. Morhaim is currently studying fine arts, political theory, and philosophy. The images were photographed at Coney Island, New York, and Ocean City, Maryland. Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution (...) Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolution Click for larger view View full resolutionCopyright © 2000 The Johns Hopkins University Press... (shrink)

Background: Dementia is one the major problems of aging societies, and, novel and effective non-drug therapies are required as interventions in the oldest-old to prevent cognitive decline.Objective: This study aims to examine the efficacy and safety of reminiscence using immersive virtual reality focusing on anxiety that often appears with cognitive decline. The secondary objective is to reveal the preference for VR image types for reminiscence: live-action or computer graphics.Methods: This was a pilot, open-label, and randomized crossover study which (...) was conducted on January 2020 at a single nursing home. The subjects were randomly divided into two groups in equal numbers, and they alternately viewed two types of VR images themed on the mid- to late Showa era in Japan. In group A, the CG images were viewed first, and then the LA images were viewed. In group B, the images were viewed in the opposite order. Before VR viewing, subjects responded to Mini-Mental State Examination Japanese version and State-Trait Anxiety Inventory Japanese version. After viewing the first and second VR, subjects responded to STAI and the numerical rating scale for satisfaction and side effects.Results: Ten subjects participated in this study. The values of analyses are presented in the mean. The age was 87.1 years, and the MMSE was 28.5. The total STAI score before VR viewing was 36.1, but it significantly decreased to 26.8 after the first VR viewing, and further decreased to 23.4 after the second VR viewing. The NRS score for satisfaction tended to be higher after viewing LA in group A vs. 8.6, P = 0.0993), while in group B, the score after CG was slightly lower than that after LA. There were no serious side effects.Conclusions: This study suggests that iVR reminiscence can reduce anxiety in the oldest-old without causing serious side effects. Furthermore, the impacts might be better with LA images. (shrink)

This thesis aims to clarify the intrinsic characteristics of ‘image’ of everything for the image in the society of the fourth industrial revolution by the phenomenological dimention based on Merleau-Ponty’s phenomenology, and to clarify the value of image, the intrinsic characteristics of ‘painting-image’, ‘photo-image’ and ‘film-image’. It will reveal that ‘thing-image’, ‘artifact-image’, ‘digital image’, ‘robot-image’ become the images for society of humanities by these clarifications. The image of everything is (...) ‘appearance-image’ to reveal itself, ‘expression-image’ from the phenomenological, ontic point of view, and ‘image-being’ as ‘being as image and being image’ from the phenomenological, ontological point of view. The augmented reality-image is the image of fusion of virtual image+real image+body-subject image. Things-images in the world of Internet of Things(IoT) become things-images of digital communication. Painting-image, photo-image, film-image are text-images. The painting to paint a correspondence of perceptive phenomena and natural affairs themselves means the painting of the image to fuse the diverse images on horizon-image of natural affairs themselves by the multilateral, intentional vision. The sense of the intentional photo-image, the meaning of being of body-subject, and the facticity and singularity of object itself of photo shoot reveal the intrinsic characteristics of photo-image. The film-images in film manifest the intrinsic characteristics of the connective flesh between them mutually. Finally, it is necessary that the value of the intrinsic characteristics of image in the society of the fourth industrial revolution becomes the value for the righteous personality. (shrink)