Stereo-electroencephalography is a method that uses stereotactically implanted depth electrodes for extra-operative mapping of epileptogenic and functional networks. sEEG derived functional mapping is achieved using electrical cortical stimulations that are currently the gold standard for delineating eloquent cortex. As this stands true especially for primary cortices, ECS applied to higher order brain areas determine more subtle behavioral responses. While anterior and posterior language areas in the dorsal language stream seem to share characteristics with primary cortices, basal temporal language area (...) in the ventral temporal cortex behaves as a highly associative cortex. After a short introduction and considerations about methodological aspects of ECS using sEEG, we review the sEEG language mapping literature in this perspective. We first establish the validity of this technique to map indispensable language cortices in the dorsal language stream. Second, we highlight the contrast between the growing empirical ECS experience and the lack of understanding regarding the fundamental mechanisms underlying ECS behavioral effects, especially concerning the dispensable language cortex in the VTC. Evidences for considering network architecture as determinant for ECS behavioral response complexities are discussed. Further, we address the importance of designing new research in network organization of language as this could enhance ECS ability to map interindividual variability, pathology driven reorganization, and ultimately identify network resilience markers in order to better predict post-operative language deficit. Finally, based on a whole body of available studies, we believe there is strong evidence to consider sEEG as a valid, safe and reliable method for defining eloquent language cortices although there have been no proper comparisons between surgical resections with or without extra-operative or intra-operative language mapping. (shrink)

Despite technological and interpretative advances, the non-invasive modalities used for pre-surgical evaluation of patients with drug-resistant epilepsy, fail to generate a concordant anatomo-electroclinical hypothesis for the location of the seizure onset zone in many patients. This requires chronic monitoring with intracranial electroencephalography, which facilitates better localization of the seizure onset zone, and allows evaluation of the functional significance of cortical regions-of-interest by electrical stimulation mapping. There are two principal modalities for intracranial EEG, namely subdural electrodes and stereotactic depth electrodes. Although (...) ESM is considered the gold standard for functional mapping with subdural electrodes, there have been concerns about its utility with stereo-EEG. This is mainly because subdural electrodes allow contiguous sampling of the dorsolateral convexity of cerebral hemispheres, and permit delineation of the extent of eloquent functional areas on the cortical surface. Stereo-EEG, while having relatively sparse sampling on the cortical surface, offers the ability to access the depth of sulci, mesial and basal surfaces of cerebral hemispheres, and deep structures such as the insula, which are largely inaccessible to subdural electrodes. As stereo-EEG is increasingly the preferred modality for intracranial monitoring, we find it opportune to summarize the literature for ESM with stereo-EEG in this narrative review. Emerging evidence shows that ESM for defining functional neuroanatomy is feasible with stereo-EEG, but probably requires a different approach for interpretation and clinical decision making compared to ESM with subdural electrodes. We have also compared ESM with stereo-EEG and subdural electrodes, for current thresholds required to evoke desired functional responses vs. unwanted after-discharges. In this regard, there is preliminary evidence that ESM with stereo-EEG may be safer than ESM with subdural grids. Finally, we have highlighted important unanswered clinical and scientific questions for ESM with stereo-EEG in the hope to encourage future research and collaborative efforts. (shrink)

“Walk on the Sun” is an interactive experience of image as music. As explorers move across images that are data projected onto the floor, their movements are visually tracked and used to select pixels in the images which they immediately hear as musical pitches played by various instruments. The sonification design maps color to one of 9 instruments, brightness to one of 50 pitches, and location in the image to panning position, creating 57,600 differentiable musical events. This high resolution and (...) interactive auditory presentation of pixel data enables the blind to explore images of the Sun from the STEREO space mission, nebula and galactic images from Hubble, as well as art masterpieces. Specifically, the blind can hear when hot spots cross the center of the Sun or the solar winds and corona are changing by sonifying virtual geometric structures, such as lines and circles, to create chords of music reflecting the changing content of the selected pixels within that structure as images are played as movies. Originally funded by a NASA/STSCI Ideas grant, the exhibit has toured to more than 12 cities in the US, visiting blind and science centers in the process and receiving enthusiastic response throughout. Plans for additional work furthering NASA wide image sonification standards are in process. (shrink)

Carnal Knowledge is an outcome of the renewed energy and interest in moving beyond the discursive construction of reality to understand the relationship between what is conceived of as reality and materiality, described as the "material turn." It draws together established and emerging writers, whose research spans dance, music, film, fashion, design, photography, literature, painting and stereo-immersive VR, to demonstrate how art allows us to map the complex relations between nature and culture, between the body, language and knowledge. These (...) writings are unique in the field because they represent the authors' commitment to a new materialism through the creative arts. The questions they address include: Does the material turn in the creative arts take a different turn from continental epistemology, philosophy and the humanities? How does the agency of matter, the material nature of artistic practice and the notion of "truth to materials" affect what we understand as the "new materialism?" In engaging with these questions the book offers perspectives on the emergence of this exciting fresh field of new materialism. (shrink)

Many philosophers of music, especially within the analytic tradition, are essentialists with respect to musical experience. That is, they view their goal as that of isolating the essential set of features constitutive of the experience of music, qua music. Toward this end, they eliminate every element that would appear to be unnecessary for one to experience music as such. In doing so, they limit their analysis to the experience of a silent, motionless individual who listens with rapt attention to the (...) sounds produced by either musicians a on stage, a stereo, or a portable device. This approach is illustrated in recent work by Nick Zangwill. Drawing on essentialist assumptions, Zangwill concludes that properly musical experience is effectively disembodied and radically private. While this seems plausible when we consider the essentialists’ paradigm case, Zangwill’s conclusion seems odd once we consider the wide variety of ways that people experience music. One’s body and social situation seem ineluctably enmeshed within the experience of, e.g., hot jazz played in a nightclub, where listeners bob their heads and dance to the music, cheer on the musicians, and socialize with their fellow concertgoers. The question this paper aims to answer is: should we consider this and similar experiences of music properly “musical”? I maintain that we should. Far from the world of pure music that Zangwill and others relegate properly musical experience, I conclude that our musical experiences are fully enmeshed within the somatic, affective, and interpersonal dimensions of human life. (shrink)

Computers have far to go to match human strengths, and our estimates will depend on analogy and extrapolation. Fortunately, these are grounded in the first bit of the journey, now behind us. Thirty years of computer vision reveals that 1 MIPS can extract simple features from real-time imagery--tracking a white line or a white spot on a mottled background. 10 MIPS can follow complex gray-scale patches--as smart bombs, cruise missiles and early self-driving vans attest. 100 MIPS can follow moderately unpredictable (...) features like roads--as recent long NAVLAB trips demonstrate. 1,000 MIPS will be adequate for coarse-grained three-dimensional spatial awareness--illustrated by several mid-resolution stereoscopic vision programs, including my own. 10,000 MIPS can find three-dimensional objects in clutter--suggested by several "bin-picking" and high-resolution stereo-vision demonstrations, which accomplish the task in an hour or so at 10 MIPS. The data fades there--research careers are too short, and computer memories too small, for significantly more elaborate experiments. (shrink)

In Laws and Lawmakers: Science, Metaphysics, and the Laws of Nature, Marc Lange has presented an engagingly written, tightly argued, and novel philosophical account of the laws of nature. One of the intuitions behind the notion of a law of nature is, roughly, that of the many regularities we observe in the world there are some which appear to be due to mere happen-stance (“accidental” regularities, in the philosopher’s jargon), while others, which we call “laws,” seem to be possessed of (...) a degree of necessity. For example, if the only music ever to come out of my stereo system during the entirety of its existence were that of James Brown, we would term this an accidental regularity: it seems that it could have been otherwise had the world been different, perhaps by the stereo having a different owner or my having different tastes. On the other hand, the various relations and properties that determine the electrical functioning of my stereo seem more necessary and lawlike: presumably Ohm’s law would have held even had my stereo never been built.1 But even if Ohm’s law is somehow necessary, it seems less necessary than other “broadly logical” truths. Certainly Ohm’s law could have been different, perhaps by a factor of two, yet it seems unreasonable to say that the number 6 could have been prime. Although many philosophers, and certainly most scientists, will readily agree that there is a difference between logical, law-like, and accidental regularities, spelling out the nature of this difference has proved a remarkably difficult task. It is precisely this puzzle which Lange intends Laws and Lawmakers to address. In this review I shall first give a quick and broad outline of Lange’s account of natural laws as I understand it, followed by a brief summary of the contents of the book, and then close with a few critical comments. (shrink)

—Human eyes not only serve the function of enabling us “to see” something, but also perform the vital role of allowing us “to show” our gaze for non-verbal communication, such as through establishing eye contact and joint attention. The eyes of service robots should therefore also perform both of these functions. Moreover, they should be friendly in appearance so that humans may feel comfortable with the robots. Therefore we maintain that it is important to consider gaze communication capability and friendliness (...) in designing the appearance of robot eyes. In this paper, we propose a new robot face with rear-projected eyes for changing their appearance while simultaneously realizing the showing of gaze by incorporating stereo cameras. Additionally, we examine which shape of robot eyes is most suitable for gaze reading and gives the friendliest impression, through experiments where we altered the shape and iris size of robot eyes. Keywords: Gaze reading; facial design; projector camera system. (shrink)

According to Marx, "at any given epoch of a given society, [there is] a quantity of necessaries [recognized as] the necessaries of life habitually required by the average worker." The variations in the type and amount of goods recognized as necessary for life between different epochs and different societies is due to the different 'physical conditions' and to the different 'degrees of civilization' and 'comfort' prevalent. In advanced capitalist societies, the necessities of life include a heated dwelling, food, clothing, and (...) access to some means of transportation, be it public or private. However, the average laborer in advanced capitalist societies has access not only to the necessaries of life but to a variety of luxury items as well. For example, the average worker has access to fine food and drink, an automobile, a television, and a stereo system. In my paper, I explain Marx's theory of the nature of capitalist exploitation. I then indicate how the phenomenon described above may be interpreted as evidence against Marx's theory, and then sketch an interpretation of this phenomenon that reconciles it with Marx's theory. My interpretation will suggest that the average worker's access to luxury items can be explained by the necessity in capitalism of reproducing the working class. (shrink)

In the short decade between 1985 and 1995, the dominant cultural movement of our time, hip-hop culture, has become, seemingly overnight, mainstream American popular culture. This centering of hip-hop art, most specifically rap music, in American popular culture has given young African Americans unprecedented national and international visibility, at a historical time when images via the 21st century’s public square of television, film and the internet are more critical to identity than ever. This visibility, and most certainly the often anti-Black (...) and stereo-typical images that accompany it, forces distinctions to be drawn between today’s Black popular culture and traditional ideas of Black culture, including what is art and what’s at stake in cultural commodification. (shrink)

This paper applies an approach that the author calls Subjective Personal Introspection to the self-reflective examination, inward-looking understanding, and impressionistic evocation of his own consumption experiences as the keeper of a kitten named Rocky Raccoon. Three-dimensional photographs in the form of stereo pairs provide corroborative evidence for the interpretations suggested. In this reflexive, anecdotal, narrative account, Rocky the Cat emerges as a focal point in the author's experiential consumption.

Self-location—the sense of where I am in space—provides an experiential anchor for one's interaction with the environment. In the studies of full-body illusions, many researchers have defined self-location solely in terms of body-location—the subjective feeling of where my body is. Although this view is useful, there is an issue regarding whether it can fully accommodate the role of 1PP-location—the sense of where my first-person perspective is located in space. In this study, we investigate self-location by comparing body-location and 1PP-location: using (...) a head-mounted display (HMD) and a stereo camera, the subjects watched their own body standing in front of them and received tactile stimulations. We manipulated their senses of body-location and 1PP-location in three different conditions: the participants standing still (Basic condition), asking them to move forward (Walking condition), and swiftly moving the stereo camera away from their body (Visual condition). In the Walking condition, the participants watched their body moving away from their 1PP. In the Visual condition, the scene seen via the HMD was systematically receding. Our data show that, under different manipulations of movement, the spatial unity between 1PP-location and body-location can be temporarily interrupted. Interestingly, we also observed a “double-body effect.” We further suggest that it is better to consider body-location and 1PP-location as interrelated but distinct factors that jointly support the sense of self-location. (shrink)

Many employers assess their workforces with gendered and racialized imagery that can put groups of workers and applicants at a disadvantage in the labor market. Based on 78 interviews with white employers in Atlanta, the author reveals that some employers use a complex but widely shared stereo-type of Black working-class women as single mothers to typify members of this group. These employers use this single-mother image to explain why they think Black women are poor workers, why they think Black (...) women are reliable workers, and why they think Blacks are poorly prepared for the labor market. In focusing on these white employers' claims, the author concentrates not on the well-documented out-comes of labor market discrimination, such as differential rates of pay and promotion, but on how employers construct and use the images that may from the basis of it. This is especially relevant amid current attacks on affirmative action programs. (shrink)

In this chapter, the author's solution was narrative storytelling, featuring the voices of people experiencing a conflict in the world, a conflict that opened up a philosophical question. He begins with a hook story, like that of CH and his shopping for a good quality stereo system, one that requires him to make use of an obscure and counterintuitive piece of practical reasoning. The story of Dr. Shukor and the Fatwa Council presents the central conflict posed by the problem (...) of vagueness in real‐life decisions. Decisions about the meaning of central words in scripture would affect generations of Muslim astronauts in the future. The design of a piece of academic writing is to make a case for a claim using evidence and argument against an epistemically adversarial reader. One of the essential features of good narrative storytelling is change in fortune over time. (shrink)

Aristotle stated one of the most influential postulates in the history of ethics: virtue is the middle point between two vicious extremes: "…excess and defect are characteristic of vice, and the mean of virtue. For men are good in but one way, but bad in many." The paper argues that between two vices there are two virtues that comprise two different moral perspectives as perceived by stereoethics. For example, two virtues can be found between the vices of miserliness and wastefulness: (...) generosity, which is further from miserliness, and thrift, which is further from wastefulness. Just as there are stereo music and stereo cinema, which convey the full volume of sounds and objects, there is stereo ethics, based on the duality of virtues. From the point of view of stereo ethics we can rethink the "golden rule": "Whatever you wish that men would do to you, do so to them." At the basis of both the golden rule and, later, the Kantian categorical imperative, lies the reversibility of moral subjects: you should put yourself in somebody else's place and treat you neighbor as you wish him or her to treat you. Today, however, ithas become obvious that only the ethics of differentiation can save us from relativism, which is a negative reaction against traditional morals with their universal norms. It is precisely this irreducibility of the individual to the general that may become a source of new moral energy. Two questions form a moral criterion: Would you wish to become an object of your own actions? Could anyone but you be the subject of your actions? The best action is that which corresponds to the needs of the largest number and the capacities of the smallest number of people. Act in such a way that you yourself would like to become an object of your actions, but no one else could be their subject. It is moral to do for others that which no one else can do except myself : to be for-others, but not like-others. (shrink)

I had an unexpected encounter on a far island off the coast of Australia with a group of young people. These young people wanted to escape from the modern world and they inspired my conviction: that we must do our best to reshape our world and make it a place acceptable for the younger generation. I realized that it is the dominant consciousness of an epoch that creates the structures and the practices of an epoch. We must now address the (...) task of evolving or co-evolving our world's dominant consciousness. The fear and insecurity produced by this current dominant consciousness has created humanity's current sad condition. The Giordano Bruno GlobalShift University declares its mission to be a ?state of the art? global institution. It has the clear-cut objective of fostering a new consciousness, defeating ignorance, and providing an affordable world-class education that permits economically less privileged people to take an active part in the construction of a better world. Our first tenet is the bio-epistemological ?non- subordinate? horizontal model of education. This tenet is joined with our commitment to a cross-cultural social, interdisciplinary, and stereo-cognitive interaction-based academic platform. It is a platform that can empower young people to attain an innovative holistic view of the world and of themselves. (shrink)

We investigate two issues about the subjective experience of one's body: first, is the experience of owning a full-body fundamentally different from the experience of owning a body-part?Second, when I experience a bodily sensation, does it guarantee that I cannot be wrong about whether it is me who feels it? To address these issues, we conducted a series of experiments that combined the rubber hand illusion (RHI) and the “body swap illusion.” The subject wore a head mounted display (HMD) connected (...) with a stereo camera set on the experimenter's head. Sitting face to face, they used their right hand holding a paintbrush to brush each other's left hand. Through the HMD, the subject adopted the experimenter's first-person perspective (1PP) as if it was his/her own 1PP: the subject watched either the experimenter's hand from the adopted 1PP, and/or the subject's own hand from the adopted third-person perspective (3PP) in the opposite direction (180°), or the subject's full body from the adopted 3PP (180°, with or without face). The synchronous full-body conditions generate a “self-touching illusion”: many participants felt that “I was brushing my own hand!” We found that (1) the sense of body-part ownership and the sense of full-body ownership are not fundamentally different from each other; and (2) our data present a strong case against the mainstream philosophical view called the immunity principle (IEM). We argue that it is possible for misrepresentation to occur in the subject's sense of “experiential ownership” (the sense that I am the one who is having this bodily experience). We discuss these findings and conclude that not only the sense of body ownership but also the sense of experiential ownership call for further interdisciplinary studies. (shrink)

High-frequency oscillations (HFO) are a promising biomarker for the identification of epileptogenic tissue. While HFO rates have been shown to predict seizure outcome, it is not yet clear whether their morphological features might improve this prediction. We validated HFO rates against seizure outcome and delineated the distribution of HFO morphological features. We collected stereo-EEG recordings from 20 patients (231 electrodes; 1,943 contacts). We computed HFO rates (the co-occurrence of ripples and fast ripples) through a validated automated detector during non-rapid (...) eye movement sleep. Applying machine learning, we delineated HFO morphological features within and outside epileptogenic tissue across mesial temporal lobe (MTL) and Neocortex. HFO rates predicted seizure outcome with 85% accuracy, 79% specificity, 100% sensitivity, 100% negative predictive value, and 67% positive predictive value. The analysis of HFO features showed larger amplitude in the epileptogenic tissue, similar morphology for epileptogenic HFO in MTL and Neocortex, and larger amplitude for physiological HFO in MTL. We confirmed HFO rates as a reliable biomarker for epilepsy surgery and characterized the potential clinical relevance of HFO morphological features. Our results support the prospective use of HFO in epilepsy surgery and contribute to the anatomical mapping of HFO morphology. (shrink)

Although virtual reality, video entertainment, and computer games are dependent on the three-dimensional reproduction of sound, it remains unclear whether 3D-audio formats actually intensify the emotional listening experience. There is currently no valid inventory for the objective measurement of immersive listening experiences resulting from audio playback formats with increasing degrees of immersion. The development of the Immersive Music Experience Inventory could close this gap. An initial item list was derived from studies in virtual reality and spatial audio, supplemented by researcher-developed (...) items and items extracted from historical descriptions. Psychometric evaluation was conducted by an online study. The N = 222 Participants were recruited via mailing lists and via a panel provider. Based on controlled headphone playback, participants listened to four songs/pieces, each in the three formats of mono, stereo, and binaural 3D audio. The latent construct “immersive listening experience” was determined by probabilistic test theory and by means of the many-facet Rasch measurement. As a result, the specified MFRM model showed good model fit. The final one-dimensional inventory consists of 10 items and will be made available in English and German. (shrink)

In his book The Road Ahead, Bill Gates writes that modern developments in information technology mean that engineers already have the capability to produce real sensations. They can put goggles on you that show colored pictures and give you stereo earphones so that what you see and hear is controlled by computer. Once the hardware and software are sophisticated enough, we will not be able to tell the difference between electronic sounds and images and real sounds and images. The (...) hardware and software available at present are probably not yet that sophisticated and are not at the stage where this would be feasible; but in the past twenty years technological progress has been amazing, and we must prepare ourselves psychologically for the day when it does become possible. (shrink)

This paper describes some components of a working system which drives a vehicle through cluttered real world environments under computer control, guided by images perceived through an onboard television camera. The emphasis is on reliable and fast low level visual techniques which determine the existence and location of objects in the world, but do not identify them. They include an interest operator for choosing distinctive regions in images, a correlator for finding matching regions in similar images, a geometric camera solver (...) which determines camera displacement and distance to objects from motion stereo information and an automatic distortion corrector which compensates for camera imperfections. (shrink)

For VR systems, one of its core parts is to present people with a real and immersive 3D simulation environment. This paper uses real-time computer graphics technology, three-dimensional modeling technology, and binocular stereo vision technology to study the multivisual animation character objects in virtual reality technology; designs a binocular stereo vision animation system; designs and produces a three-dimensional model; and develops a virtual multivisual animation scene application. The main research content and work performed in the text include the (...) research of the basic graphics rendering pipeline process and the analysis and research of each stage of the rendering pipeline. It mainly analyzes the 3D graphics algorithm used in the three-dimensional geometric transformation of computer graphics and studies the basic texture technology, basic lighting model, and other image output processes used in the fragment processing stage. Combined with the development needs of the subject, the principles of 3D animation rendering production software and 3D graphics modeling are studied, and the solid 3D model displayed in the virtual reality scene is designed and produced. This article also reflects the application of virtual reality in multivisual animation character design from the side, so it has realistic value and application prospects. (shrink)

We analyze and study the tracking of nonrigid complex targets of sports video based on mean shift fusion color histogram algorithm. A simple and controllable 3D template generation method based on monocular video sequences is constructed, which is used as a preprocessing stage of dynamic target 3D reconstruction algorithm to achieve the construction of templates for a variety of complex objects, such as human faces and human hands, broadening the use of the reconstruction method. This stage requires video sequences of (...) rigid moving target objects or sets of target images taken from different angles as input. First, the standard rigid body method of Visuals is used to obtain the external camera parameters of the sequence frames as well as the sparse feature point reconstruction data, and the algorithm has high accuracy and robustness. Then, a dense depth map is computed for each input image frame by the Multi-View Stereo algorithm. The depth reconstruction with a too high resolution not only increases the processing time significantly but also generates more noise, so the resolution of the depth map is controlled by parameters. The multiple hypothesis target tracking algorithms are used to track multiple targets, while the chunking feature is used to solve the problem of mutual occlusion and adhesion between targets. After finishing the matching, the target and background models are updated online separately to ensure the validity of the target and background models. Our results of nonrigid complex target tracking by mean shift fusion color histogram algorithm for sports video improve the accuracy by about 8% compared to other studies. The proposed tracking method based on the mean shift algorithm and color histogram algorithm can not only estimate the position of the target effectively but also depict the shape of the target well, which solves the problem that the nonrigid targets in sports video have complicated shapes and are not easy to track. An example is given to demonstrate the effectiveness and adaptiveness of the applied method. (shrink)

It has been well documented that the auditory system in the superior temporal cortex is responsible for processing basic auditory sound features, such as sound frequency and intensity, while the prefrontal cortex is involved in higher-order auditory functions, such as language processing and auditory episodic memory. The temporal auditory cortex has vast forward anatomical projections to the prefrontal auditory cortex, connecting with the lateral, medial, and orbital parts of the prefrontal cortex. The connections between the auditory cortex and the prefrontal (...) cortex thus help in localizing, recognizing, and comprehending external auditory inputs. In addition, the medial prefrontal cortex is believed to be a core region of episodic memory retrieval and is one of the most important regions in the default mode network. However, previous neural evidence with regard to the comparison between basic auditory processing and auditory episodic memory retrieval mainly comes from fMRI studies. The specific neural networks and the corresponding critical frequency bands of neuronal oscillations underlying the two auditory functions remain unclear. In the present study, we reported results of direct cortical stimulations during stereo-electro-encephalography recording in a patient with drug-resistant epilepsy. Electrodes covered the superior temporal gyrus, the operculum and the insula cortex of bilateral hemispheres, the prefrontal cortex, the parietal lobe, the anterior and middle cingulate cortex, and the amygdala of the left hemisphere. Two types of auditory hallucinations were evoked with direct cortical stimulations, which were consistent with the habitual seizures. The noise hallucinations, i.e., “I could hear buzzing noises in my head,” were evoked with the stimulation of the superior temporal gyrus. The episodic memory hallucinations “I could hear a young woman who was dressed in a red skirt saying: What is the matter with you?,” were evoked with the stimulation of MPFC. The patient described how she had met this young woman when she was young and that the woman said the same sentence to her. Furthermore, by analyzing the high gamma power induced by direct electrical stimulation, two dissociable neural networks underlying the two types of auditory hallucinations were localized. Taken together, the present results confirm the hierarchical processing of auditory information by showing the different involvements of the primary auditory cortex vs. the prefrontal cortex in the two types of auditory hallucinations. (shrink)

Following the cart meeting of June 13, in which it was agreed that McCarthy would buy the cart project a TV transmitter if I could demonstrate my ability to do work on vision by writing a program which extracted three dimensional information from a motion stereo sequence of pictures, I began work on this task. So that there would be no doubt as to who had done the work, and because I operate most comfortably and effectively in a programming (...) environment made to my own tastes, the first order of business was the writing of a set of graphics and picture utility routines. The resulting package provides more flexibility than Quam's III buffer based routines, and is more cohesive than Baumgart's set, which is spread out among several programs. Currently the package accesses Data Disc displays only, in future it will be extended to provide output to the XGP and maybe the III's. As an example of increased capabilities, it allows display of filled in polygons, and permits displays to be shrunk or expanded arbitrarily merely by changing the declared dimensions of the screen or the requested sizes of the individual parts. Also, selected areas of the display may be erased or complemented, as well as added to. The programs described below use no previously existing software other than the FAIL and SAIL compilers and the operating system. (shrink)

Very encouraging results have been obtained from a new program that derives a dense three-dimensional evidence grid representation of a robot's surroundings from wide-angle stereoscopic images. The pro gram adds several spatial rays of evidence to a grid for each of about 2,500 local image features chosen per stereo pair. It was used to construct a 256x256x64 grid, representing 6 by 6 by 2 meters, from a hand- collected test set of twenty stereo image pairs of an office (...) scene. Fifty nine stereo pairs of an 8 by 8 meter laboratory were also processed. The positive (probably occupied) cells of the grids, viewed in perspec tive, resemble dollhouse scenes. Details as small as the curvature of chair armrests are discernible. The processing time, on a 100 MIPS Sparc 20, is less than five seconds per stereo pair, and total memory is under 16 megabytes. The results seem abundantly adequate for very reliable navigation of freely roaming mobile robots, and plausibly adequate for shape identification of objects bigger than 10 centimeters. The program is a first proof of concept, and awaits optimizations, enhancements, variations, extensions and applications. (shrink)

In this paper, we report the case of an Inclusive Design workshop. Inclusive Design is a design method that includes elderly and disabled people not only in interviews, but also in the upstream design process such as basic design and survey analysis. In the workshop, participants designed scientific educational materials that visually impaired and sighted people can use together. To work together regardless of visual disability, participants used the image-processing system and the stereo copying machine to make images tactile. (...) We think that collaborative work with elderly and disabled people in Inclusive Design can teach participants different perspectives and help to correct their biased view of each other. In fact, participants of the workshop noticed several facts that they were not aware of before. That is, the Inclusive Design workshop can improve social awareness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Review Wayne C. Booth. For the Love ofIt: Amateuring and Its Rivals (Chicago: University of Chicago Press, 1999). For the Love ofIt is a delightful exposition on life-long music making written with love by amateur cellist Wayne Booth (professor emeritus ofEnglish, University ofChicago). Employing a combination of journal entries, memories, and romantic prose on the topic oftaking up the cello at age thirty-one, he writes insightfully on the (...) challenges and triumphs inherent in amateur pursuits (musical, or otherwise). Written from a classical music perspective, he analyzes the reasons for amateuring, all the while extolling his community offellow amateurs, pro-amateurs, and teachers who make the journey worthwhile. He imparts many valuable insights from which music educators can benefit. I will summarize Booth's main points, highlighting these insights, and conclude with a brief criticism of the book from theperspective ofone who has worked with adult amateurs for more than fifteen jears. Boothplayfullypresentshis text in the form ofa symphony. In the "Overture," he encourages people to pursue actively an amateur love and desires growth in the ranks of amateurs. Just as Christopher Small encouraged a mental shift from to musictothemoreactive gerund formmusicking in his book of that title,1 Booth promotes a shift from the noun amateurto the gerund amateuring. He defines amateuringas doing something for the sheer love of it, adding the caveat: "Amateurs don't just dabble, like serious professionals, they work at learningto do it better^11). This idea of constant improvement is reiteratedthroughout the book with detailedrecounting ofBooth's forty-six years of cello studies, especially his pursuit of excellent thumb position. Why one should study to this degree when full success (that is, professional performance) is out of reach? Booth suggests the following rewards: joyful friendship, spiritual ecstasy, and gratitude for life's mysterious unearned gifts (5, 6). Indeed, throughout the book Booth finds himself "getting better all the time," often "playing better than ever"(58, 112, 123, 137, 140). His feelings ofimprovement and the accompanying self-satisfaction are ajoy to see and reinforce the idea that theserewards make true amateuring worth it. In"First Movement: The Courtship,"music educators find a staunch supporter in Booth and gain insight into the importance of childhood music activities as seen through amateureyes. As Booth wiselystates,"No one inmidlifeis likelyto take up any instrument, let alone the cello, without having fallenin lovewithmusic longbefore"(21). Clearlyfrom a musical family, he describes beautiful childhood memories including dancing with his mother at age five; making up songs; taking piano and clarinet lessons; singing three-part solfège exercises in sixth grade; and hearing his first live orchestra concert, the Philadelphia Orchestra conducted by Leopold Stokowski (22-8). These types ofactivities lay an important foundation for the pursuit of music by adults as "amateuring in our early years can lead to a lifetime ofamateuring" (22). Booth is a champion ofmusic education in the schools. Concerned with music program cuts and the prevalence of personal stereos that keep young people from "getting music into their bones, not just their ears," he encourages the funding of music lessons rather than computer games (22). After describing how he was "seducedbythe cello," he concludesthis section with a discussion of how other pleasures rival for the amateur's attention, suggesting that leisure activities often take the form of passive pastimes, not the active work oftrue amateuring. LikeVemon HowardmLearningByAllMeans, Boothgrapples with the concept of work versus play. 2 If amateurs are to spend their leisure hours working diligently at getting better, the work must be©Philosophy ofMusic Education ReviewlO, no. 2 (Fall 2002): 140-143. Book Review 141 experienced as play-something they love to do. While professional musicians are paid to play, often playing for the love ofit fades as themoney blossoms. He maintains the distinction between amateurs and professionals lies not with being paid or unpaid, but with playing for love or solely for money. "My heroes... are the professionals Icallpro-amateurs-thosewillingtojoinamateurs, pursuingthe love together," statesBooth (59, 60). I believe music educators are foremost among these heroes. In "Second Movement: The Marriage," many insights into the teachingofaging amateurs are provided. First, he observes that while his level of cello playing rises with age... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Book Review Wayne C. Booth. For the Love ofIt: Amateuring and Its Rivals (Chicago: University of Chicago Press, 1999). For the Love ofIt is a delightful exposition on life-long music making written with love by amateur cellist Wayne Booth (professor emeritus ofEnglish, University ofChicago). Employing a combination of journal entries, memories, and romantic prose on the topic oftaking up the cello at age thirty-one, he writes insightfully on the (...) challenges and triumphs inherent in amateur pursuits (musical, or otherwise). Written from a classical music perspective, he analyzes the reasons for amateuring, all the while extolling his community offellow amateurs, pro-amateurs, and teachers who make the journey worthwhile. He imparts many valuable insights from which music educators can benefit. I will summarize Booth's main points, highlighting these insights, and conclude with a brief criticism of the book from theperspective ofone who has worked with adult amateurs for more than fifteen jears. Boothplayfullypresentshis text in the form ofa symphony. In the "Overture," he encourages people to pursue actively an amateur love and desires growth in the ranks of amateurs. Just as Christopher Small encouraged a mental shift from to musictothemoreactive gerund formmusicking in his book of that title,1 Booth promotes a shift from the noun amateurto the gerund amateuring. He defines amateuringas doing something for the sheer love of it, adding the caveat: "Amateurs don't just dabble, like serious professionals, they work at learningto do it better^11). This idea of constant improvement is reiteratedthroughout the book with detailedrecounting ofBooth's forty-six years of cello studies, especially his pursuit of excellent thumb position. Why one should study to this degree when full success (that is, professional performance) is out of reach? Booth suggests the following rewards: joyful friendship, spiritual ecstasy, and gratitude for life's mysterious unearned gifts (5, 6). Indeed, throughout the book Booth finds himself "getting better all the time," often "playing better than ever"(58, 112, 123, 137, 140). His feelings ofimprovement and the accompanying self-satisfaction are ajoy to see and reinforce the idea that theserewards make true amateuring worth it. In"First Movement: The Courtship,"music educators find a staunch supporter in Booth and gain insight into the importance of childhood music activities as seen through amateureyes. As Booth wiselystates,"No one inmidlifeis likelyto take up any instrument, let alone the cello, without having fallenin lovewithmusic longbefore"(21). Clearlyfrom a musical family, he describes beautiful childhood memories including dancing with his mother at age five; making up songs; taking piano and clarinet lessons; singing three-part solfège exercises in sixth grade; and hearing his first live orchestra concert, the Philadelphia Orchestra conducted by Leopold Stokowski (22-8). These types ofactivities lay an important foundation for the pursuit of music by adults as "amateuring in our early years can lead to a lifetime ofamateuring" (22). Booth is a champion ofmusic education in the schools. Concerned with music program cuts and the prevalence of personal stereos that keep young people from "getting music into their bones, not just their ears," he encourages the funding of music lessons rather than computer games (22). After describing how he was "seducedbythe cello," he concludesthis section with a discussion of how other pleasures rival for the amateur's attention, suggesting that leisure activities often take the form of passive pastimes, not the active work oftrue amateuring. LikeVemon HowardmLearningByAllMeans, Boothgrapples with the concept of work versus play. 2 If amateurs are to spend their leisure hours working diligently at getting better, the work must be©Philosophy ofMusic Education ReviewlO, no. 2 (Fall 2002): 140-143. Book Review 141 experienced as play-something they love to do. While professional musicians are paid to play, often playing for the love ofit fades as themoney blossoms. He maintains the distinction between amateurs and professionals lies not with being paid or unpaid, but with playing for love or solely for money. "My heroes... are the professionals Icallpro-amateurs-thosewillingtojoinamateurs, pursuingthe love together," statesBooth (59, 60). I believe music educators are foremost among these heroes. In "Second Movement: The Marriage," many insights into the teachingofaging amateurs are provided. First, he observes that while his level of cello playing rises with age... (shrink)