The document discusses using interactive digital media to convey and evaluate tacit knowledge of cultural practices and concepts. It suggests that recreating linear narratives through games may not be effective and that simulating procedural knowledge of rituals and symbol-making through thematically similar interactions could work better. It also notes the need for more comprehensive testing of how tacit knowledge is learned and evaluated using digital games.
4 hypotheses
Social learning is inter-active but Culture is also materially embedded or embodied.
To teach and disseminate immersive Digital History and Virtual Heritage, interaction and the learning that results from that interaction is crucial (see Mosaker, 2001).
To improve interaction, examine games and why they are so successful; academic literature suggests games are best examples of interactive digital engagement (references in Champion, 2008 et al.).
Game-based interaction has to be modified for Digital heritage-virtual heritage.
Opening keynote at the 2017 Museums & Galleries of Australia Conference, Brisbane:
”New landscapes are emerging that blend technology, architecture, and the people that inhabit them in increasingly complex ways. How can such museum experiences be designed to foster meaningful human connections and interactions?
This question is central to the work produced by Local Projects, an experience design firm, based in New York, USA. The studio has won multiple awards for groundbreaking projects that integrate architecture and digital media, including the 9/11 Memorial Museum, the Cooper-Hewitt Smithsonian Design Museum, and Gallery One at the Cleveland Museum of Art. Their work has enabled visitors to browse an art museum’s collection with facial expressions, monitored brain activity as visitors explore a science museum, and turned visitors into designers with an interactive pen.
To create captivating innovative environments that remain sensitive to the human scale, Local Projects leverages emotional storytelling, visitor participation, and shared social interactions. Their interdisciplinary team of architects, designers and technologists design experiences that encourage visitors to fully engage with body, heart, and mind.
John Ryan, Creative Director and Director of Interaction Design at Local Projects, will share the studio’s groundbreaking projects and investigate the design principles that have informed them, examining how such experiences can be both innovative and meaningful.”
TIPC 2 Online 2020 conference, virtual/Leiden
This paper explores Assassin’s Creed: Odyssey as a way to explore idyllic historic landscapes and heritage sites with some degree of questing and simulated danger. It applies Assassin’s Creed: Odyssey in two ways, as discovery tour option mode and as a metaphor to explore in more general and speculative terms how questing and historical dilemmas and conflicts could be incorporated into both fan tourism and cultural/historical tourism (Politopoulos, Mol, Boom, & Ariese, 2019).
Keza MacDonald views Assassin’s Creed as a virtual museum, Ubisoft regards it as the recovery of lost worlds: “ “We give access to a world that was lost” said Jean Guesdon (MacDonald, 2018). “Discovery Tour will allow a lot of our players to revisit this world with their kids, or even their parents.”
Origins’ Discovery Tour mode “promises” educational enlightenment (Thier, 2018; Walker, 2018); Odyssey’s additional Story Creator Mode (Zagalo, 2020) adds personalized quests. Beyond the polaroid fun of sharing landscape selfies with other players and ancient history voyeurs across the Internet, there is also the prospect of “Video game–induced tourism: a new frontier for destination marketers” (Dubois & Gibbs, 2018). Plus physical location VR games. Game company Ubisoft created escape game VR and virtual tours inside physical exhibitions such as Assassin’s Creed VR – Temple of Anubis (Gamasutra Staff, 2019). Is there a market for historical playgrounds as virtual tourism?
presents the concept of science to enhance the inborn talent of your child, to know the way of learning and behavior of your child and to follow the right path in future career through study of brain by fingerprints......
4 hypotheses
Social learning is inter-active but Culture is also materially embedded or embodied.
To teach and disseminate immersive Digital History and Virtual Heritage, interaction and the learning that results from that interaction is crucial (see Mosaker, 2001).
To improve interaction, examine games and why they are so successful; academic literature suggests games are best examples of interactive digital engagement (references in Champion, 2008 et al.).
Game-based interaction has to be modified for Digital heritage-virtual heritage.
Opening keynote at the 2017 Museums & Galleries of Australia Conference, Brisbane:
”New landscapes are emerging that blend technology, architecture, and the people that inhabit them in increasingly complex ways. How can such museum experiences be designed to foster meaningful human connections and interactions?
This question is central to the work produced by Local Projects, an experience design firm, based in New York, USA. The studio has won multiple awards for groundbreaking projects that integrate architecture and digital media, including the 9/11 Memorial Museum, the Cooper-Hewitt Smithsonian Design Museum, and Gallery One at the Cleveland Museum of Art. Their work has enabled visitors to browse an art museum’s collection with facial expressions, monitored brain activity as visitors explore a science museum, and turned visitors into designers with an interactive pen.
To create captivating innovative environments that remain sensitive to the human scale, Local Projects leverages emotional storytelling, visitor participation, and shared social interactions. Their interdisciplinary team of architects, designers and technologists design experiences that encourage visitors to fully engage with body, heart, and mind.
John Ryan, Creative Director and Director of Interaction Design at Local Projects, will share the studio’s groundbreaking projects and investigate the design principles that have informed them, examining how such experiences can be both innovative and meaningful.”
TIPC 2 Online 2020 conference, virtual/Leiden
This paper explores Assassin’s Creed: Odyssey as a way to explore idyllic historic landscapes and heritage sites with some degree of questing and simulated danger. It applies Assassin’s Creed: Odyssey in two ways, as discovery tour option mode and as a metaphor to explore in more general and speculative terms how questing and historical dilemmas and conflicts could be incorporated into both fan tourism and cultural/historical tourism (Politopoulos, Mol, Boom, & Ariese, 2019).
Keza MacDonald views Assassin’s Creed as a virtual museum, Ubisoft regards it as the recovery of lost worlds: “ “We give access to a world that was lost” said Jean Guesdon (MacDonald, 2018). “Discovery Tour will allow a lot of our players to revisit this world with their kids, or even their parents.”
Origins’ Discovery Tour mode “promises” educational enlightenment (Thier, 2018; Walker, 2018); Odyssey’s additional Story Creator Mode (Zagalo, 2020) adds personalized quests. Beyond the polaroid fun of sharing landscape selfies with other players and ancient history voyeurs across the Internet, there is also the prospect of “Video game–induced tourism: a new frontier for destination marketers” (Dubois & Gibbs, 2018). Plus physical location VR games. Game company Ubisoft created escape game VR and virtual tours inside physical exhibitions such as Assassin’s Creed VR – Temple of Anubis (Gamasutra Staff, 2019). Is there a market for historical playgrounds as virtual tourism?
presents the concept of science to enhance the inborn talent of your child, to know the way of learning and behavior of your child and to follow the right path in future career through study of brain by fingerprints......
For the 1-2 PM (GMT+8) March 2021 webinar:
ASEAN AUSTRALIA SMART CITIES WEBINAR SERIES: PROMOTING SMART TOURISM RECOVERY VIA VIRTUAL REALITY Part 7 via ZOOM, https://events.development.asia/learning-events/asean-australia-smart-cities-webinar-series-part-7-promoting-smart-tourism-recovery
This short 7-8 minute speech considers XR (extended reality) for cultural tourism.
Digital humanities: Narrative GuidancePeter Ludlow
There are two approaches to the digital humanities. According to the first approach, digital technologies are applied to the humanities. According to the second, the humanities become a resource for digital technologies. In this talk I explore the idea that narrative and narrative understanding can guide digital technology.
Recent advances in robotics open opportunities for research and developments in related fields: including the Arts, Humanities and Social Sciences. This presentation reports on an emerging collaboration at the University of Sydney between the Centre for Social Robotics and the Digital Cultures program.
Fake Press / A selection of interaction design projects exploring the future ...Luca Simeone
Presentation of some experimental projects that explore future scenarios for publishing processes and practices. Fake Press was a think tank that aimed at researching the possibilities offered by location-based technologies and by novel approaches to knowledge dissemination, communication and expression.
More like an arcade - DiGRA 2018 Patrick PraxPatrick Prax
The aim of this study is to explore the relationship between playable, interactive games and game culture in the exhibition of digital games.
Playable games while central to the exhibition of games have limitations in communicating important sociocultural context and can even resist added layers of contextualization.
Definitions, issues and debates in the Digital Humanities.
• What are Digital Humanities centres? Are there new ones? For
example at Princeton!
• And organizations like HASTAC and http://www.artshumanities.
net.
• DIGHUMLAB draft mission and goals.
• European organizations, DARIAH, CLARIN, NeDiMAH, etc..
• Some famous and useful case studies, tools and methods
• Education opportunities.
• Getting started in DH..
Conference: 2013 Canberra Centenary: ‘Imagined pasts…, imagined futures’
URL: http://www.aicomos.com/2013-canberra-centenary/
Venue: Museum of Australian Democracy in Old Parliament House, Canberra, 1-3 Nov 2013
TITLE: Can the past be shared in Virtual Reality?
There is an interesting divide between historians and the public that must be debated, how to best use virtual heritage, and digital media in general, to learn and share historical knowledge and interpretation. Heritage and history do not have to be a series of slides; space-time-intention can now be depicted and reconfigured. Teaching history and heritage through digitally simulated ‘learning by doing’ is an incredibly understudied research area and is of vital importance to a richer understanding of heritage as lived. However, the actual spatial implications of siting learning tasks in a virtual environment are still largely un-researched. Evaluation of virtual environments has been relatively context-free, designed for user freedom and forward looking creativity. It is still much more difficult to create a virtual place that brings the past alive without destroying it.
There has been an explosion in virtual heritage conferences this century. In the last year alone, there have been calls for digital cultural heritage or virtual heritage by Graphite, VSMM, New Heritage Forum, VRST, VAST, DIME, Archäologie & Computer, and DACH, just to name a few. An outside observer may believe that such academic interest, coupled with recent advances in virtual reality (VR), specifically in virtual environment technology and evaluation, would prepare one for designing a successful virtual heritage environment. Game designers may also be led to believe that games using historical characters, events or settings, may be readily adaptable to virtual heritage. This paper will advance key contextual issues that question both assumptions.
Beacham, R., Denard, H., & Niccolucci, F. (2006). London charter for the computer-based visualization of cultural heritage. Retrieved from http://www.londoncharter.org/introduction.html Fredrik, D. (2012). Rhetoric, Embodiment, Play: Game Design as Critical Practice in the Art History of Pompeii. Meaningful Play 2012 conference paper. Retrieved fromhttp://meaningfulplay.msu.edu/proceedings2012/mp2012_submission_178.pdf
Erik Champion, Curtin University PISA 9 SEPTEMBER 2014
heritage visualisation and serious game design
• major concepts and issues in the field
• learning from game design
• problems that arise when entertainment, heritage,
history and education collide
2019 DH downunder 9 December 2019 talk:
Digital heritage, Virtual Heritage, Extended Reality (XR): what are they?
Can gaming, AR or MR provide insight to the past?
OR: Are they a waste of money, expensive new technology?
Could, for example, digital heritage pose a threat to culture? Ziauddin Sardar 1995: “Cyberspace is a giant step forward towards museumization of the world: where anything remotely different from Western culture will exist only in digital form.”
Digital Heritage highlights and challenges (interactive + immersive examples).
Some critics may have you believe that computer game studies lack theoretical rigor, that games cannot afford meaningful experiences. I agree with them, sometimes, but I also believe that a richer understanding of computer games is possible, and that this understanding can shed some light on related issues in the wider field of Digital Humanities.
My main area of research has been designing and evaluating how contextually appropriate interaction can aid the understanding of cultures distant in time, space, and in understanding to our own. This field is sometimes called Virtual Heritage. In Virtual Heritage, tools of choice are typically virtual reality environments, and the projects are very large in scale, complexity, and cost, while my projects are often prototypes and experimental designs. I have many challenges, for example, morphing technological constraints into cultural affordances, and avoiding possible confusion between artistic artifice and historical accuracy, all the while evaluating intangible concepts in a systematic way without disturbing the participants’ sense of immersion. To help me judge the success or failure of these projects I have shaped some working definitions of games, culture, cultural understanding, cultural inhabitation, and place. However, these concepts and definitions are not enough. I also have to now tackle the issues of simulated violence, artificial “other” people, the temptation of entertainment masquerading as education, and the difficulties inherent in virtually evoking a sense of ritual.
My lecture, then, is a discussion into how game-based learning, and the study of culture, heritage and history, might meaningfully intersect.
For the 1-2 PM (GMT+8) March 2021 webinar:
ASEAN AUSTRALIA SMART CITIES WEBINAR SERIES: PROMOTING SMART TOURISM RECOVERY VIA VIRTUAL REALITY Part 7 via ZOOM, https://events.development.asia/learning-events/asean-australia-smart-cities-webinar-series-part-7-promoting-smart-tourism-recovery
This short 7-8 minute speech considers XR (extended reality) for cultural tourism.
Digital humanities: Narrative GuidancePeter Ludlow
There are two approaches to the digital humanities. According to the first approach, digital technologies are applied to the humanities. According to the second, the humanities become a resource for digital technologies. In this talk I explore the idea that narrative and narrative understanding can guide digital technology.
Recent advances in robotics open opportunities for research and developments in related fields: including the Arts, Humanities and Social Sciences. This presentation reports on an emerging collaboration at the University of Sydney between the Centre for Social Robotics and the Digital Cultures program.
Fake Press / A selection of interaction design projects exploring the future ...Luca Simeone
Presentation of some experimental projects that explore future scenarios for publishing processes and practices. Fake Press was a think tank that aimed at researching the possibilities offered by location-based technologies and by novel approaches to knowledge dissemination, communication and expression.
More like an arcade - DiGRA 2018 Patrick PraxPatrick Prax
The aim of this study is to explore the relationship between playable, interactive games and game culture in the exhibition of digital games.
Playable games while central to the exhibition of games have limitations in communicating important sociocultural context and can even resist added layers of contextualization.
Definitions, issues and debates in the Digital Humanities.
• What are Digital Humanities centres? Are there new ones? For
example at Princeton!
• And organizations like HASTAC and http://www.artshumanities.
net.
• DIGHUMLAB draft mission and goals.
• European organizations, DARIAH, CLARIN, NeDiMAH, etc..
• Some famous and useful case studies, tools and methods
• Education opportunities.
• Getting started in DH..
Conference: 2013 Canberra Centenary: ‘Imagined pasts…, imagined futures’
URL: http://www.aicomos.com/2013-canberra-centenary/
Venue: Museum of Australian Democracy in Old Parliament House, Canberra, 1-3 Nov 2013
TITLE: Can the past be shared in Virtual Reality?
There is an interesting divide between historians and the public that must be debated, how to best use virtual heritage, and digital media in general, to learn and share historical knowledge and interpretation. Heritage and history do not have to be a series of slides; space-time-intention can now be depicted and reconfigured. Teaching history and heritage through digitally simulated ‘learning by doing’ is an incredibly understudied research area and is of vital importance to a richer understanding of heritage as lived. However, the actual spatial implications of siting learning tasks in a virtual environment are still largely un-researched. Evaluation of virtual environments has been relatively context-free, designed for user freedom and forward looking creativity. It is still much more difficult to create a virtual place that brings the past alive without destroying it.
There has been an explosion in virtual heritage conferences this century. In the last year alone, there have been calls for digital cultural heritage or virtual heritage by Graphite, VSMM, New Heritage Forum, VRST, VAST, DIME, Archäologie & Computer, and DACH, just to name a few. An outside observer may believe that such academic interest, coupled with recent advances in virtual reality (VR), specifically in virtual environment technology and evaluation, would prepare one for designing a successful virtual heritage environment. Game designers may also be led to believe that games using historical characters, events or settings, may be readily adaptable to virtual heritage. This paper will advance key contextual issues that question both assumptions.
Beacham, R., Denard, H., & Niccolucci, F. (2006). London charter for the computer-based visualization of cultural heritage. Retrieved from http://www.londoncharter.org/introduction.html Fredrik, D. (2012). Rhetoric, Embodiment, Play: Game Design as Critical Practice in the Art History of Pompeii. Meaningful Play 2012 conference paper. Retrieved fromhttp://meaningfulplay.msu.edu/proceedings2012/mp2012_submission_178.pdf
Erik Champion, Curtin University PISA 9 SEPTEMBER 2014
heritage visualisation and serious game design
• major concepts and issues in the field
• learning from game design
• problems that arise when entertainment, heritage,
history and education collide
2019 DH downunder 9 December 2019 talk:
Digital heritage, Virtual Heritage, Extended Reality (XR): what are they?
Can gaming, AR or MR provide insight to the past?
OR: Are they a waste of money, expensive new technology?
Could, for example, digital heritage pose a threat to culture? Ziauddin Sardar 1995: “Cyberspace is a giant step forward towards museumization of the world: where anything remotely different from Western culture will exist only in digital form.”
Digital Heritage highlights and challenges (interactive + immersive examples).
Some critics may have you believe that computer game studies lack theoretical rigor, that games cannot afford meaningful experiences. I agree with them, sometimes, but I also believe that a richer understanding of computer games is possible, and that this understanding can shed some light on related issues in the wider field of Digital Humanities.
My main area of research has been designing and evaluating how contextually appropriate interaction can aid the understanding of cultures distant in time, space, and in understanding to our own. This field is sometimes called Virtual Heritage. In Virtual Heritage, tools of choice are typically virtual reality environments, and the projects are very large in scale, complexity, and cost, while my projects are often prototypes and experimental designs. I have many challenges, for example, morphing technological constraints into cultural affordances, and avoiding possible confusion between artistic artifice and historical accuracy, all the while evaluating intangible concepts in a systematic way without disturbing the participants’ sense of immersion. To help me judge the success or failure of these projects I have shaped some working definitions of games, culture, cultural understanding, cultural inhabitation, and place. However, these concepts and definitions are not enough. I also have to now tackle the issues of simulated violence, artificial “other” people, the temptation of entertainment masquerading as education, and the difficulties inherent in virtually evoking a sense of ritual.
My lecture, then, is a discussion into how game-based learning, and the study of culture, heritage and history, might meaningfully intersect.
Games as Serious Visualisation Tools For Digital Humanities, Cultural Heritage and Immersive Literacy
Are there social and cultural issues raised by virtual, mixed and augmented reality technologies of particular interest to Digital Humanities researchers? I will also discuss related emerging and merging themes in serious game research and a relatively new concept, immersive literacy.
In this original Digital Art and Philosophy class, we will become familiar with different forms of digital art and related philosophical issues. Digital art is anything related to computers and art such as using a computer to create art or an art display that is digitized. Philosophical aspects arise regarding art, identity, performance, interactivity, and the process of creation. Students may respond to the material in essay, performance, or digital art work (optional). Instructor: Melanie Swan. Syllabus: www.MelanieSwan.com/PCA
Challenge: Develop agents that can pass on information about a past or distant culture without disrupting historic authenticity or player engagement.
Aim: Develop proof of concepts using historical situations, face tracking, speech to text or biofeedback and game-themed situations.
Opportunity: developments in biofeedback and realistic avatars, and camera tracking.
Future direction: combine with psychologists and animation specialists along with linguists, historians and art historians.
Space is more than an empty container for things. It has its own features and forms: a psychogeography. It is created through movements and flows. Information technologies complicate spatiality by simulating space, contracting space with communication and locating actors in space. Remediations of spatiality are powerful features of technoculture.
For my year-long graduate school thesis, I did a series of user research studies on collections in people's homes. My goal was to develop a solution that would directly address the lack of personal investment, tangibility, and value found in digital music today.
Displaying research data between archaeologists or to the general public is usually through linear presentations, timed or stepped through by a presenter. Through the use of motion tracking and gestures being tracked by a camera sensor, presenters can provide a more engaging experience to their audience, as they won't have to rely on prepared static media, timing, or a mouse. While low-cost camera tracking allow participants to have their gestures, movements, and group behaviour fed into the virtual environment, either directly (the presenter is streamed) or indirectly (a character represents the presenter).
Using an 8 metre wide curved display (Figure 1) that can feature several on-screen panes at once, the audience can view the presenter next to a digital environment, with slides or movies or other presentation media triggered by the presenter’s hand or arm pointing at specific objects (Figure 2). An alternative is for a character inside the digital environment mirroring the body gestures of the presenter; where the virtual character points will trigger slides or other media that relates to the highlighted 3D objects in the digital scene.
S12. Digital Infrastructures and New (and Evolving) Technologies in Archaeology (Roundtable)
The role of new technologies in digital infrastructures.
Significant investment, potential risks and rewards.
Pros and cons of technology [platforms] already in use within an archaeological data infrastructure, OR introduction of new technology [photog; XR, GIS+].
Technologies may include but are not limited to Linked Data, Natural Language Processing, Image Recognition and machine/deep learning. OR VR, AR, MR.
Challenges and potential usefulness of these technologies within archaeological data infrastructures
Current and future best practices.
Abstract. This paper discusses a simplified workflow and interactive learning opportunities for exporting map and location data using a free tool, Recogito into a Unity game environment with a simple virtual museum room template. The aim was to create simple interactive virtual museums for humanities scholars and students with a minimum of programming or gaming experience, while still allowing for interesting time-related tasks. The virtual environment template was created for the Oculus Quest and controllers but can be easily adapted to other head-mounted displays or run on a normal desktop computer. Although this is an experimental design, it is part of a project to increase the use of time-layered cultural data and related mapping technology by humanities researchers.
Conference keynote slides for Hainan Conference, November 2019, Hainan China.
Virtual heritage is the combination of virtual reality and cultural heritage. It promises the best features of both, but is difficult to achieve in reality. Why is this so challenging? Has virtual reality offered more than tantalising glimpses of the future in the related fields of cultural heritage and tourism?
The features virtual reality (VR) shares with mixed reality (MR) and augmented reality (AR) are mostly agreed upon, but there are at least two perplexing issues. Technological fusion implies imaginative fusion, and augmented reality had a previous ocular focus.
Virtual reality as a term is also in danger of being replaced by the term XR. What is XR and why is it so potentially useful to heritage tourism? Given VR, AR, MR and XR are typically screen-based, how can screen tourism capitalize of cultural heritage and virtual reality, and on the unique selling points of XR?
I will conclude with a few suggestions and projects we are currently working on or about to commence.
Cite as: K8 Champion, E. (2019). Virtual Heritage, Gaming, & Cultural Tourism, 4th Boao International Tourism Communication Forum (ITCF), Hainan, China, 23-24 November. Interviewed on Chinese television. http://www.baitcf.com/index.php/Ch/Cms/Index/indexe
How to avoid one hit AR wonders?
scalable yet engaging content
appropriate evaluation research
stable tools, long-term robust infrastructure essential
Non-technical constraint: VR and AR/MR preconceptions.
WebVR and WebXR formats
Two projects
CMR: two HoloLens HMDs
CVR: 2 people, 2 devices share + control 1 character
29 March 2019 Presentation on the relation of digital and virtual heritage to digital humanities, issues, some projects..at Curtin University Perth Australia
Publishing tips for Virtual Heritage articles and related issues (3D models), Cities Cultural Heritage and Digital Humanities, Turin Summer School 17 September 2018
VHEs require cultural agents?
How to distinguish social from cultural agents?
Cultural agents meet VHE/DC objectives?
See https://digitalheritageresearch.wordpress.com/conference/
Major points:
#1 Spatial and experiential issues of digital/virtual archives
#2 Archives of spatial objects and platial relationships
For Knowescape workshop, 3-4 September 2015, Valetta, Malta. Workshop: "Knowledge maps and access to digital archives". URL: http://knowescape.org/event/the-role-of-knowledge-maps-for-access-to-digital-archives/
Ian Bogost’s concept of procedural rhetoric is a tantalising theory of the power and potential of computer games, especially serious games. Yet does this concept really distinguish games from other media? Can this concept be usefully applied to the design and critique of serious games? This paper explores the ramifications of games (particularly serious games) as procedural rhetoric and whether this concept is problematic, useful, inclusive, or better employed as a recalibrated meta-epistemic theory of serious games that persuade or suggest to the player that the game mechanics, game genre, or digitally simulated world-view is open to criticism and reflection.
Digital Humanities Congress 2014, Sheffield
What is a ludic book?
Game play artefacts and NPCs can create meaningful play?
Can words be power?
What interaction can be derived from Skyrim?
Useful and effective tool?
The 3D world is your stage, part of Birds of a Feather session "The Tyranny of Distance" dha2014, @UWA Perth, with Matt Munson. Christof Schoch, Toma Tasovac (they were virtually present from Europe).
How to Make a Field invisible in Odoo 17Celine George
It is possible to hide or invisible some fields in odoo. Commonly using “invisible” attribute in the field definition to invisible the fields. This slide will show how to make a field invisible in odoo 17.
The Roman Empire A Historical Colossus.pdfkaushalkr1407
The Roman Empire, a vast and enduring power, stands as one of history's most remarkable civilizations, leaving an indelible imprint on the world. It emerged from the Roman Republic, transitioning into an imperial powerhouse under the leadership of Augustus Caesar in 27 BCE. This transformation marked the beginning of an era defined by unprecedented territorial expansion, architectural marvels, and profound cultural influence.
The empire's roots lie in the city of Rome, founded, according to legend, by Romulus in 753 BCE. Over centuries, Rome evolved from a small settlement to a formidable republic, characterized by a complex political system with elected officials and checks on power. However, internal strife, class conflicts, and military ambitions paved the way for the end of the Republic. Julius Caesar’s dictatorship and subsequent assassination in 44 BCE created a power vacuum, leading to a civil war. Octavian, later Augustus, emerged victorious, heralding the Roman Empire’s birth.
Under Augustus, the empire experienced the Pax Romana, a 200-year period of relative peace and stability. Augustus reformed the military, established efficient administrative systems, and initiated grand construction projects. The empire's borders expanded, encompassing territories from Britain to Egypt and from Spain to the Euphrates. Roman legions, renowned for their discipline and engineering prowess, secured and maintained these vast territories, building roads, fortifications, and cities that facilitated control and integration.
The Roman Empire’s society was hierarchical, with a rigid class system. At the top were the patricians, wealthy elites who held significant political power. Below them were the plebeians, free citizens with limited political influence, and the vast numbers of slaves who formed the backbone of the economy. The family unit was central, governed by the paterfamilias, the male head who held absolute authority.
Culturally, the Romans were eclectic, absorbing and adapting elements from the civilizations they encountered, particularly the Greeks. Roman art, literature, and philosophy reflected this synthesis, creating a rich cultural tapestry. Latin, the Roman language, became the lingua franca of the Western world, influencing numerous modern languages.
Roman architecture and engineering achievements were monumental. They perfected the arch, vault, and dome, constructing enduring structures like the Colosseum, Pantheon, and aqueducts. These engineering marvels not only showcased Roman ingenuity but also served practical purposes, from public entertainment to water supply.
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
Synthetic Fiber Construction in lab .pptxPavel ( NSTU)
Synthetic fiber production is a fascinating and complex field that blends chemistry, engineering, and environmental science. By understanding these aspects, students can gain a comprehensive view of synthetic fiber production, its impact on society and the environment, and the potential for future innovations. Synthetic fibers play a crucial role in modern society, impacting various aspects of daily life, industry, and the environment. ynthetic fibers are integral to modern life, offering a range of benefits from cost-effectiveness and versatility to innovative applications and performance characteristics. While they pose environmental challenges, ongoing research and development aim to create more sustainable and eco-friendly alternatives. Understanding the importance of synthetic fibers helps in appreciating their role in the economy, industry, and daily life, while also emphasizing the need for sustainable practices and innovation.
Unit 8 - Information and Communication Technology (Paper I).pdfThiyagu K
This slides describes the basic concepts of ICT, basics of Email, Emerging Technology and Digital Initiatives in Education. This presentations aligns with the UGC Paper I syllabus.
Operation “Blue Star” is the only event in the history of Independent India where the state went into war with its own people. Even after about 40 years it is not clear if it was culmination of states anger over people of the region, a political game of power or start of dictatorial chapter in the democratic setup.
The people of Punjab felt alienated from main stream due to denial of their just demands during a long democratic struggle since independence. As it happen all over the word, it led to militant struggle with great loss of lives of military, police and civilian personnel. Killing of Indira Gandhi and massacre of innocent Sikhs in Delhi and other India cities was also associated with this movement.
Introduction to AI for Nonprofits with Tapp NetworkTechSoup
Dive into the world of AI! Experts Jon Hill and Tareq Monaur will guide you through AI's role in enhancing nonprofit websites and basic marketing strategies, making it easy to understand and apply.
Embracing GenAI - A Strategic ImperativePeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
A Strategic Approach: GenAI in EducationPeter Windle
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
the body and the brain as controller (lecture, Finland, 15 April 2013)
1. the body and the brain
as controller
Talk to Digital Culture students
@University of Jyvaskyla, Finland
15 April 2013
erik champion
http://erikchampion.wordpress.com
nzerik@gmail.com
2. Civilization comprises the laws that allow
people to live close together, in a city, civitas.
Culture is what is cultivated or allows one to
cultivate a setting, a local domain.
Osvald Spengler
3. virtual heritage
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…the use of computer-based interactive technologies to
record, preserve, or recreate artefacts, sites and actors of
historic, artistic, religious, of cultural significance and to
deliver the results openly to a global audience in such a way
as to provide formative educational experiences through
electronic manipulations of time and space.
Stone, Robert, and Takeo Ojika. 2000. Virtual heritage: what
next? Multimedia, IEEE no. 7 (2):73-74.
4. irtual meetings no more interesting than re
ones so why recreate mundality?
6. Goodbye body
• Spengler wrote “This machine technics will
end with the Faustian civilization and one
day will lie in fragments, forgotten -- our
railways and steamships as dead as the
Roman roads and the Chinese wall, our
giant cities and skyscrapers in ruins like old
Memphis and Babylon.”
8. the brain
• space and memory are inextricably linked
• memory is more a jigsaw than filing cabinet
• memory decay can be challenged
• games help multi-tasking
• biofeedback can help evaluation
9. Caption: The flow of object information in a monkey brain (left) and a human brain.
Credit: Sabine Kastner, Princeton University
Humans See Tools Differently Than Other
10. RNA Game (Wired magazine) “EteRNA”
• Computers don’t have flashes of insight. But the
human brain can..for gamifying RNA.
• One proposal they kicked around was to have
snippets of RNA fight each other to the death,
in the style of a Japanese combat game called
Senshuken; another was to create a first-person
experience in which players navigated the world
as RNA molecules of their own design.
13. prototyping for ownership
Klaus Birk Roman Grasy
media architecture biennale
http://www.mediaarchitecture.org/biennale-2012-workshops/
or http://moritzbehrens.com/2013/mab12/
15 November 2012, Aarhus
25. Skyrim game can host virtual recreations
(of Nordic stories or any other), the player
can control the avatar, and issue voice
commands recognised by the game).
Inhabitants can be easily reprogrammed to
share stories. Trading, praying, conversing
healing etc are possible, not just violence.
Skyrim + body
31. “new media…offers enormous possibilities
for the enhancement and enrichment of
heritage experience and interpretation”
Y. E. Kalay, T. Kvan, & J. Affleck, New Heritage: new media and cultural
heritage. New York: Routledge, 2008.
34. • to be a scholar or a master is to be an
artist, measured by one’s grasp of the “Four
Arts”.
• The “Four Arts” are Music (“Qin”), the
board game (“Qi”), calligraphy (“Shu”), and
brush painting (“Hua”).
• Helped “perceive the ultimate doctrine of
the heavens”, “make themselves [be]
enlightened”, “express their emotions/their
understanding of the doctrine”, and “inspire
others” so that their lives achieve peace and
harmony.
Z. Dainian, Key Concepts in Chinese Philosophy. Beijing: Foreign Languages Press, 2002.
36. •
What are the Five Elements in the traditional Chinese
culture?
•
What are the Five Basic Tones in the traditional Chinese
music?
•
What are the traditional Chinese philosophical concepts
revealed by Go?
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Which one of the following features is one of the main
features of Chinese character writing system? ]
Cuneiform / [ ] Alphabet / [ ] Pictography / [ ]
Phonology?
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What are the tools for Chinese traditional painting?
37. •
Very difficult to recreate original action scenes and
moments of discovery as game devices.
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Chinese players, familiar with a distorted version of
the original, not aware their cultural knowledge was
not accurate, did not appreciate being told this.
•
Recreating linear narrative via game design is
torturous.
•
OR: simulate the procedural knowledge of rituals
and symbol-making via thematically-akin interaction..
38. •
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what is needed: more comprehensive pre-test and post-test questionnaire.
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Ambient movies react to the player’s physiological changes -by biosensors.
The general questions are too vague.
Consider changing from rating games to ranking them.
Test extrapolated knowledge rather than memory of simple facts.
Examine how tacit knowledge can be learnt and evaluated.
Compare tests between touch-screen and non-touch screen games.
A more 3D interface: sculptures, HD projection on rice paper or liquid
media, with 3D audio effects and ambient movies projection.
Can interactive digital media convey and evaluate tacit knowledge?
40. •
Dutch thriller App sends
to your phone additional
storyline information..
•
why not have
biofeedback sent back to
the movie..
41. fps...
• when your character dies, why not have the
death spasms relate to the heartbeat-GSR?
• or only respawn when you calm down..
• reactions relate to heartbeat
• enemies attack peripherally sensing fear
42. RPGs-chameleon effect
• when you start shaking you lose your
character or change between ethnic profile
• Cinematic camera views=biofeedback
• you can only convince NPCs when calm
Humans have an amazing ability to visually identify a virtually limitless number of objects and to categorize them into classes such as faces, cars or houses. Two systems within the brain are responsible for this ability: the ventral object system--traditionally associated with our ability to recognize and identify objects, and the dorsal object system--a recently discovered system.
The team found that in both species, the ventral system represents objects consistently across changes in external viewing conditions that affect an object's appearance but not its identity (e.g. seeing the same chair from a back- or a front-view, which makes the chair appear different, even though the object itself has not changed). However, in humans the dorsal system carries object-selective information that is independent of viewing condition. In contrast, the monkey dorsal system carries only partial object-selective information that is highly sensitive to changes in viewing condition.