Use Of Haptics For The Enhanced Musuem Website-Usc Essays

Use Of Haptics For The Enhanced Musuem Website-Usc Use of Haptics for the Enhanced Musuem Website-USC Interactive Art Museum Our mission for the Enhanced Museum project is to explore new technologies for the exhibition of three-dimensional art objects (Goldberg, Bekey, Akatsuka, and Bressanelli, 1997; McLaughlin, 1998; McLaughlin, Goldberg, Ellison, and Lucas, 1999; McLaughlin and Osborne, 1997; Schertz, Jaskowiak, and McLaughlin, 1997). Although it is not yet commonplace, a few museums are exploring methods for 3D digitization of priceless artifacts and objects from their sculpture and decorative arts collections, making the images available via CD-ROM or in-house kiosks. For example, the Canadian Museum of Civilization has collaborated with Ontario-based Hymarc to use the latter's ColorScan 3D laser camera to create three-dimensional models of more than fifty objects from the museum's collection (Canarie, Inc., 1998; Shulman, 1998). A similar partnership has been formed between the Smithsonian Institution and Synthonic Technologies, a Los Angeles-area company. At Florida State University , the Deparment of Classics is working with a team to digitize Etruscan artifacts using the RealScan 3D imaging system from Real 3D (Orlando, Florida), and art historians from Temple University are collaborating with researchers from the Watson Research Laboratory's visual and geometric computing group to create a model of Michaelangelo's Pieta with the Virtuoso shape camera from Visual Interface (Shulman, 1998). In collaboration with our colleagues at USC's accredited art museum, the Fisher Gallery, our IMSC team is developing an application for the Media Immersion Environment that will not only permit museum visitors to examine and manipulate digitized three-dimensional art objects visually, but will also allow visitors to interact remotely, in real time, with museum staff members to engage in joint tactile exploration of the works of art. Our team believes that the hands-off policies that museums must impose limit appreciation of three-dimensional objects, where full comprehension and understanding rely on the sense of touch as well as vision. Haptic interfaces will allow fuller appreciation of three-dimensional objects without jeopardizing conservation standards. Our goal is to assist museums, research institutes and other conservators of priceless objects in providing the public with a vehicle for object exploration, in a modality that could not otherwise be permitted. Our initial application will be to a wing of the virtual museum focusing on examples of the decorative arts: the Fisher Gallery's collection of teapots. The collection is comprised of 150 teapots from all over the world. It was a gift to USC in memory of the late Patricia Daugherty Narramore by her husband Roth Narramore. The Narramores, USC alumni, collected the pots on their many domestic and international journeys. Some items are by local artists, others by artists and makers from other countries, including China, Indonesia, Canada, Japan, Brazil, England, Portugal, Morroco, and Sweden. Materials used to make the pots range from porcelain and clay to wicker and metal. The teapots are ideal candidates for haptic exploration, not only for their varied shapes but also for their unusual textures and surface decoration. Figure 1. Teapots from the Fisher Gallery's Narramore Collection Haptics for the Museum Haptics refers to the modality of touch and the associated sensory feedback. Haptics researchers are interested in developing, testing, and refining tactile and force feedback devices that allow users to manipulate and feel virtual objects with respect to such features as shape, temperature, weight and surface texture (Basdogan, Ho, Slater, and Srinavasan, 1998; Bekey, 1996; Burdea, 1996; Brown Buttolo, Oboe, Hannaford Dinsmore, Langrana, Burdea, and Ladeji, 1997; Geiss, Evers, Ikei, Wakamatsu, Liu, Iberall, Howe, 1994; Howe and Cutkosky, 1993; Mar, Randolph, Finch, van Verth, Massie, 1996; Millman, 1995; Mor, 1998; Nakamura Rao, Medioni, Liu, Srinivasan Yamamoto, Ishguro, & Uchikawa, 1993). Haptic acquisition and display devices Researchers have been interested in the potential of force feedback devices such as pen or stylus-based masters, like Sensable's PHANToM (Massie, 1996; Salisbury, Brock, Massie, Swarup, Salisbury & Massie, 1994), as alternative or supplemental input devices to the mouse, keyboard, or joystick. The PHANToM is a small, desk-grounded robot that permits simulation of single fingertip contact with virtual objects through a thimble or stylus. It

Meine Meinung zu Sofis Welt (der Film)

Meine Meinung zu Sofis Welt (der Film) Free Online Research Papers Meine Meinung zu Sofis Welt (der Film) Der Film Sofis Welt handelt von einem Mdchen das erkennt das sie Teil einer Geschichte ist.Am Anfang bekommt sie seltsame Briefe und weiß keine Antwort darauf, bis sie Alberto kennen lernt der ihr hilft die Fragen zu beantworten. Alberto spricht immer wieder von dem Major. Der Major ist derjenige der die Geschichte schreibt. Als Sofi dies feststellt beginnt Sie mit Alberto einen Plan aufzustellen. Sie wollen den Major à ¼berlisten ,denn sie denken sich wenn der Major aufhà ¶rt zu schreiben dann wà ¼rden sie sterben. Doch dies ist nicht so einfach. Denn wenn der Major der ja die Geschichte schreibt , etwas nicht weiß ist das unlogisch, denn er schreibt ja die Geschichte und muß er ja auch geschrieben.Das Sofi und Alberto einen Plan aufstellen wollen.Oder leben die Figuren in der Geschichte etwa. Was ja sehr unwahrscheinlich ist. Der Film zeigt oder erzhlt wie jemand eine Geschichte erzhlt. Also eine Geschichte in einer Geschichte also fà ¼r mich ist das schon seltsam. Und dann diese Angst die die Sofi hat ist auch unbegrà ¼ndet. Denn der Major schreibt ja à ¼ber oder fà ¼r seine Tochter ein Buch und selber kommt sie ja auch darin vor. Er will, seiner Tochter glaube ich zumindest eine kurze Geschichte zur Welt – Geschichte erzhlen oder besser gesagt schreiben. Aber er schreibt sie so als wà ¼rde seine Tochter selber dabei sein.Und das ist auch so die Sofi spielt die Tochter vom Major. Die Philosophie von der in dem Film viel gesprochen wird wà ¼rde ich sagen steht im Hintergrund und ist einfach nur da zu da um die Fragen die er ja seiner Tochter in dieser Geschichte oder Film ,das ist das selbe, stellt besser zu beantworten, oder damit der Zuschauer auf Deutsch gesagt nicht ganz und gar einschlft. Denn wer weiß denn schon woher wie Welt kommt oder wer er selber ist im hà ¶heren Sinne natà ¼rlich. Diese Fragen kann der Major aber auch nicht richtig beantworten, aber zum Teil denn seine Tochter soll ja auch anfangen zu Philosophieren ( spinnen ), soweit ich den Film richtig verstanden habe. Man mà ¼ÃƒÅ¸te den Film mindestens zwei mal sehen um ihn zu verstehen oder Anfangsweise nicht da bei einzuschlafen. Denn beim ersten mal ist das Ende schon klar, als Sofi feststellt das sie ein teil einer Geschichte ist. Denn ich glaube kaum das der Vater also der Major seine Tochter in einer Geschichte, wo sie ja die Hauptfigur ist, sterben zu lassen. Er lßt also das Ende offen, was man im Film zwar nicht sieht aber sich wohl denken kann. Research Papers on Meine Meinung zu Sofis Welt (der Film)Where Wild and West MeetAnalysis Of A Cosmetics AdvertisementStandardized TestingEffects of Television Violence on ChildrenCanaanite Influence on the Early Israelite ReligionPETSTEL analysis of IndiaTrailblazing by Eric AndersonThe Masque of the Red Death Room meaningsBionic Assembly System: A New Concept of SelfAnalysis of Ebay Expanding into Asia

Literary Critique Essay

Literary Critique Essay Literary Critique Essay Synopsis: Literary critique is necessary when an author is handing a manuscript for publication. The critique is used to design marketing strategy and determine the target readership for the piece of work. In literature, critique of a book is necessary to determine the historical background of the work. This analysis, gives an insight into what influences a writer to create a piece. Through criticism, the message of writer is passed to readers. Book critique presents a summarized version of the writers work and aim of writing. Book criticism, follows a certain critiquing instrument in order to achieve a masterpiece criticism. This paper aims to use the literary critique instrument to analyze an excerpt of The Prince by Machiavelli. The paper will use the instrument to give a clear analysis of Machiavelli piece of work. The story is written during the Italian Renaissance period. Machiavelli was born in 1469, attended school to University level. He is reputed as an acute analyzer of institutions and personalities. He served in government in various diplomatic posts and other political assignments. The story is written right after the government he serves is overthrown. Machiavelli is forced into internal exile and later thrown in prison. The republican government overthrow made Machiavelli a victim of change. While in prison, he endures torture and after being released he retires to his farm. At this juncture, Machiavelli turns to literary pursuits; The Prince, is his first piece of literature. The political upheavals of the time influenced his literary work a lot. In The Prince, he seems to pass a political message to the rulers of the time. As aforementioned, the writer steeps his literary piece in the turbulent political times. His writing is bluntly honest, although, it contradicts with some of his works. The piece of work is composed in a reflective state of mind. He takes a critical view of himself and the world around him. He writes this work as an effort to gain his stature and standing in government. Most of his contemporaries in the overthrown government were quickly reabsorbed back to service, which motivates him to write The Prince, with the hope of presenting it to the ruler of the time. He was not successful in his attempt. The writer uses a very authoritative voice in his work. His critical and cynical view, presents him as an angry man. His imprisonment was based on false accusations, which may act as the reason he is angry. Personal response: Reading The Prince, one is impressed by Machiavelli’s use o direct person. He writes with a lot of occurrence of â€Å"I†. This allows the reader to feel he is part of the conversation. Reading the book makes one feel he is talking with and not being talked to by the author. The book gives a peek into the powerful mind of an insightful politician. He exhibits a blunt sense of honesty in an astonishing manner. The style of writing, as earlier noted, is quite authoritative, mixed and blended with a conversational tone. One might be repulsed by his view on power. Quite clearly, he refutes the moralistic approach to power and argues that a person with power should command. He clearly does not believe in goodness with power. He holds the view; one should be feared instead of being loved. In a moral society one finds this view to be out of sync and maybe evil. In conclusion, the book seems to reflect Machiavelli’s political ideology. He gives an overview of how a ruler should use his legitimate power. The work can be viewed as a political satire, because one can get the feeling the views expressed do not reflect the writer’s true political opinion.

The age of the crusades Essay Example | Topics and Well Written Essays - 2500 words

The age of the crusades - Essay Example They wore cloth cross (crux) sewn into their clothes - this is he most obvious background of the word "crusader" . The background of the crusades lie in Western developments earlier in the Middle Ages, as well as the deteriorating situation of the Byzantine Empire. The collapse of the Carolingian Empire in the later 9th century, combined with the relative stabilization of local European borders after the spread of Christianity among Vikings, Slavs and Magyars, meant that there was an large class of warriors who by that time had very little to do but fight among themselves and plunder the peasant population. The Church tried to interfere into this violence with the Peace and Truce of God movements, forbidding violence against certain people during certain seasons or times of year. This was somewhat successful, but trained warriors always sought an outlet for their violence. Thus, plea for help from the Byzantine Emperor Alexius I in opposing Muslim attacks fell on ready ears. After the numerous attacks of Seljuks, the Byzantine emperor Alexius I called for support, in 1095 Pope Urban II called upon all Christians to wage a war against the Turks. Crusader armies moved to Jerusalem and destroyed several cities on their way. In 1099, they took Jerusalem and massacred the local population. Eventually, several small Crusader states were created, for instance, the Kingdom of Jerusalem. Also there was another wave of crusaders, which was less successful. 2) Second Crusade (1147-1149) Christians and Muslims co-existed in the Holy Land in peace for a long time, but in 1147 Bernard of Clairvaux called for a new crusade when the town of Edessa was captured and occupied by the Turks. French and German forces made a foolish attack on Damascus, creating the dangerous situation over the whole crusader state. Invasion was failed, so army of loosers had to come back to their countries. 3) Third Crusade (1189-1192) In 1187, Saladin recaptured Jerusalem. Pope Gregory VIII ordered a new crusade, which was led by several of Europe's most important leaders: Philip II of France, Richard I of England and Frederick I, Holy Roman Emperor. This crusade will be examined in detail in the next chapters of this work. 4)Fourth Crusade (1202 -1204)The Fourth Crusade was initiated by Pope Innocent III in 1202, when Muslims intended to capture the Holy Lands through Egypt. The Venetians gained control of this crusade and moved to Constantinople, where they attempted to place their protg on the throne. As a result, the city was sacked in 1204. The high spirit of the crusade was now dead, and this crusade can be explained as the kind of Papacy's struggle.

A comparison and contrast of the theories of Karl Marx and Friedrich Essay

A comparison and contrast of the theories of Karl Marx and Friedrich Engels - Essay Example The theories of Marx and Engels envisage a social order where all mankind could avail of wealth collectively created and live in peace and harmony. Communism they believed was a state where the freedom of the individual was assured and the evils of child labor and illiteracy and miserable condition of he common man would come to an end. It is a tribute to the genius of these two men, that many of their theories have been adopted, bringing in change that has made the world a better place than it was in their time. Karl Marx the German philosopher, economist and revolutionary thinker is best known as the founder of modern socialism and communism. His friend Friedrich Engels, who some people referred to as Marx’s alter ego, was also a revolutionary with ideas similar to those of Marx. These two great thinkers shared their views on capitalism socialism and communism, and, as Engels once commented there was complete agreement in all theoretical fields. Engels collaborated with Marx in writing his famous work Das Kapital which is an analysis of economic and social history; and after his death edited and published the remaining two volumes of the book. Marx and Engels also co-authored The Communist manifesto that lays down the principles of communism and the role of the working class (Proletariat) in overthrowing the yoke of the bourgeoisie (Capitalists). In fact these two men collaborated so closely and their ideas were so much alike that it is often impossible to tell their individual cont ributions apart in their writings. The ideas of Karl Marx and Friedrich Engels are commonly referred to as Marxism. The friendship of these two revolutionary thinkers is considered quite remarkable. Marx was a man whose barbed remarks spared neither friend nor foe. His life therefore is a saga of misunderstandings and broken relationships. Yet, his relationship with Engels which began

An Inspector Calls - J. B. Priestley :: English Literature

An Inspector Calls - J. B. Priestley Introduction My aim is to explain a key scene from the play ‘An Inspector Calls’, how it might be staged and to explain the role of my chosen character Mr Birling in this part of the play. This is the key scene: Birling (solemnly) But this is point. I don’t want to lecture you two young fellows again. But what so many of you don’t seem to understand now, when things are so much easier, is that a man has to make his own way – has to look after himself – and his family too, of course, when he has one – and so long as he does that he won’t come to much harm. But the way some of these cranks talk and write now, you’d think that everyone has to look after everyone else, as if we were all mixed up together like bees in a hive – community and all that nonsense. But take my word for it, you youngsters –and I’ve learned in the good hard school of experience – that a man has to mind his own business and look after himself and his own – and – (We hear the sharp ring of the front door bell. Birling stops to listen.) Eric Somebody at the front door. Birling Edna’ll answer it. Well, have another glass of port, Gerald – and then we’ll join the ladies. That’ll stop me giving you good advice. Eric Yes, you’ve piled it on a bit tonight Father. Birling Special occasion. And feeling contented, for once, I wanted you to have the benefit of my experience. (EDNA enters.) Edna Please, sir, an inspector’s called. Birling An inspector? What kind of inspector? Edna A police inspector. He says his name’s Inspector Goole. Birling Don’t know him. Does he want to see me? Edna Yes, sir. He says it’s important. Birling All right, Edna. Show him in here. Give us some more light. (EDNA does, then goes out.) I’m still on the Bench. It may be something about a warrant. Gerald (lightly) Sure to be. Unless Eric’s been up to something. (Nodding confidentially to Birling) And that would be awkward, wouldn’t it? Birling (humorously) Very. Eric (who is uneasy, sharply) Here, what do you mean? Birling (lightly) Only something we were talking about when you were out. A joke really. Eric (still uneasy) Well, I don’t think it’s very funny. Birling (sharply, staring at him) What’s the matter with you? Eric (defiantly) Nothing. Edna (opening door, and announcing) Inspector Goole. (The INSPECTOR enters, and Edna goes, closing the door after her. The INSPECTOR need not be a big man but he creates at once an impression of massiveness, solidity and purposefulness. He is a man in his fifties, dressed in a plain darkish suit of the period. An Inspector Calls - J. B. Priestley :: English Literature An Inspector Calls - J. B. Priestley Introduction My aim is to explain a key scene from the play ‘An Inspector Calls’, how it might be staged and to explain the role of my chosen character Mr Birling in this part of the play. This is the key scene: Birling (solemnly) But this is point. I don’t want to lecture you two young fellows again. But what so many of you don’t seem to understand now, when things are so much easier, is that a man has to make his own way – has to look after himself – and his family too, of course, when he has one – and so long as he does that he won’t come to much harm. But the way some of these cranks talk and write now, you’d think that everyone has to look after everyone else, as if we were all mixed up together like bees in a hive – community and all that nonsense. But take my word for it, you youngsters –and I’ve learned in the good hard school of experience – that a man has to mind his own business and look after himself and his own – and – (We hear the sharp ring of the front door bell. Birling stops to listen.) Eric Somebody at the front door. Birling Edna’ll answer it. Well, have another glass of port, Gerald – and then we’ll join the ladies. That’ll stop me giving you good advice. Eric Yes, you’ve piled it on a bit tonight Father. Birling Special occasion. And feeling contented, for once, I wanted you to have the benefit of my experience. (EDNA enters.) Edna Please, sir, an inspector’s called. Birling An inspector? What kind of inspector? Edna A police inspector. He says his name’s Inspector Goole. Birling Don’t know him. Does he want to see me? Edna Yes, sir. He says it’s important. Birling All right, Edna. Show him in here. Give us some more light. (EDNA does, then goes out.) I’m still on the Bench. It may be something about a warrant. Gerald (lightly) Sure to be. Unless Eric’s been up to something. (Nodding confidentially to Birling) And that would be awkward, wouldn’t it? Birling (humorously) Very. Eric (who is uneasy, sharply) Here, what do you mean? Birling (lightly) Only something we were talking about when you were out. A joke really. Eric (still uneasy) Well, I don’t think it’s very funny. Birling (sharply, staring at him) What’s the matter with you? Eric (defiantly) Nothing. Edna (opening door, and announcing) Inspector Goole. (The INSPECTOR enters, and Edna goes, closing the door after her. The INSPECTOR need not be a big man but he creates at once an impression of massiveness, solidity and purposefulness. He is a man in his fifties, dressed in a plain darkish suit of the period.

Hamlet

The Fear of Death is what prompts us to action. Hamlet Ready to die in an effort to escape what he is feeling after his father dies but cannot, as it is ungodly. â€Å"Oh, that this too, too sullied flesh would melt, Thaw, and resolve itself into a dew, Or that the Everlasting had not fixed His canon against self- slaughter! O God, God! How weary, stale, flat, and unprofitable, Seem to me all the uses of this world! † (l. i) This is Hamlets first soliloquy and our first look into Hamlet as character and we are immediately introduced to him as someone contemplating death and the value of his life. This is where we first see him as somebody looking to death as an escape from the pressures of his now seemingly dismayed life. He is in the strange position of both wishing for death and fearing what it will do to his soul. This dilemma prompts him to be more determined to find the culprit in his father's death because he feels this will put his soul at peace.Hamlet is also mourning the eath of his late father and is so grieved by his father's death that he wishes to die. Hamlet feels as if he is a defiled human being; (â€Å"O, that this too, too sullied flesh†) and he hopes that if he died he would become something less significant like dew, which will easily be absorbed by the ground. However, Hamlet knows that he cannot commit suicide because in the eyes of† the Everlasting† it is a sin; killing himself would make him even more defiled and block his entrance into heaven.This also elps to give us a first look at Hamlet's morals. Moral dilemma as stated before is whether he should act on his feelings. He also is fearful of consequences that proceed his actions, actions he must take to put his soul at ease. Outside Commentary The critic has made many points in his essay, which I support and believe to be the correct interpretation of what Shakespeare was trying to put forth with the play hamlet. He states in his writing that it is Hamlets ob session with death that leads toHamlet avenging the death of his father by killing Claudius. This most certainly true for had it not been on his fixation with whether he should die he would have not have had reason to seek an alternative to death when he first considered suicide. Hamlet The Fear of Death is what prompts us to action. Hamlet Ready to die in an effort to escape what he is feeling after his father dies but cannot, as it is ungodly. â€Å"Oh, that this too, too sullied flesh would melt, Thaw, and resolve itself into a dew, Or that the Everlasting had not fixed His canon against self- slaughter! O God, God! How weary, stale, flat, and unprofitable, Seem to me all the uses of this world! † (l. i) This is Hamlets first soliloquy and our first look into Hamlet as character and we are immediately introduced to him as someone contemplating death and the value of his life. This is where we first see him as somebody looking to death as an escape from the pressures of his now seemingly dismayed life. He is in the strange position of both wishing for death and fearing what it will do to his soul. This dilemma prompts him to be more determined to find the culprit in his father's death because he feels this will put his soul at peace.Hamlet is also mourning the eath of his late father and is so grieved by his father's death that he wishes to die. Hamlet feels as if he is a defiled human being; (â€Å"O, that this too, too sullied flesh†) and he hopes that if he died he would become something less significant like dew, which will easily be absorbed by the ground. However, Hamlet knows that he cannot commit suicide because in the eyes of† the Everlasting† it is a sin; killing himself would make him even more defiled and block his entrance into heaven.This also elps to give us a first look at Hamlet's morals. Moral dilemma as stated before is whether he should act on his feelings. He also is fearful of consequences that proceed his actions, actions he must take to put his soul at ease. Outside Commentary The critic has made many points in his essay, which I support and believe to be the correct interpretation of what Shakespeare was trying to put forth with the play hamlet. He states in his writing that it is Hamlets ob session with death that leads toHamlet avenging the death of his father by killing Claudius. This most certainly true for had it not been on his fixation with whether he should die he would have not have had reason to seek an alternative to death when he first considered suicide. Hamlet