The Blackest Eyes . . . The Devil’s Eyes

2019 ◽  
pp. 89-106
Author(s):  
Adam Charles Hart
Keyword(s):  
Point Of View ◽  
First Person ◽  
The Spectator ◽  
And Control ◽  
Alternative Reading

Chapter 3 refines the discussion of the sensational address and horror spectatorship by analyzing the first-person camerawork that I dub “Killer POV.” Killer POV—a subjective camera without a reverse shot—is at the center of many of the most influential writings on modern horror. However, these discussions often start from the assumption that the camera’s point of view produces identification with the unseen killers or monsters whose perspectives we presume to be represented. This chapter attempts to disengage our understanding of horror spectatorship from such models to provide an alternative reading of Killer POV that engages with the genre’s structures of looking and being looked at while remaining sensitive to what precisely is being communicated to viewers by these shots. Killer POV signals to the viewer the presence of a threat without displaying the killer onscreen. This chapter reads Killer POV through the lens of the sensational address, understanding it in terms of its effects on the spectator. In this reading, Killer POV does not elicit fantasies of mastery and control, but, rather, separates the dominating, sadistic look of the killer from the viewer’s powerless look at Killer POV.

scholarly journals NARRATION AS A MEANS OF COMMUNICATION IN SELECTED NOVELS BY J.M.COETZEE: WAITING FOR BARBARIANS AND FOE

2019 ◽  
Vol 3 (2) ◽  
pp. 178-184
Author(s):  
Jihad Jaafar Waham ◽  
Wan Mazlini Othoman
Keyword(s):  
Sense Of Self ◽  
World Order ◽  
Point Of View ◽  
First Person ◽  
Second Person ◽  
South Africans ◽  
Third Person ◽  
Narrative Techniques ◽  
And Control ◽  
Systems Of Domination

Narrations become very important such that, we tend to try to make others want to fit into them to identify with us, which is why narrative is often used in the recount of events, the past, geared to justify the systems of domination and control evident in the plight of South Africans during the apartheid period. Moreover, the narrative also shelters realities against which the truth can be judged, and they also have some sense or measure of proper world order, against which moral action can be judged. As such, narration point of view can also be determined through the perspective the story is being told. Be it the first person narrative where the author or narrator refers to himself with the personal pronoun of I, me, my, myself, however, this mode of narration may also use second and third-person pronouns in addition to the first-person point. Wherefore, the second Person narrator sees the author or narrator addresses the reader directly as you, and may use the words we and us as well in the process. The third person pronouns still could be used in a novel, in addition, where the narrator or author refrains from using a first or second person and only refers to characters as he or she or it to demonstrate his narrative techniques in this process. To this effect narrative technique employed by J.M. Coetzee’s as accounted in the selected novels used for this paperwork to explore Coetzee’s capabilities of developing a true sense of self as well as communicate to others through the Narration

scholarly journals Dissecting Fourth Person Point of View in Game Design

2019 ◽  
Vol 5 (01) ◽  
pp. 37-47
Author(s):  
Dini Faisal ◽  
San Ahdi ◽  
Hendra Afriwan
Keyword(s):  
Game Design ◽  
Case Study Research ◽  
Point Of View ◽  
First Person ◽  
Promotional Material ◽  
Third Person ◽  
Points Of View ◽  
And Control ◽  
The Third Person

AbstrakPoint of view dalam desain game erat kaitannya dengan karakter, visualisasi, dan kamera. Seperti first person point of view dimana pemain menjadi karakter dalam game dengan penggunaan kamera yang memperlihatkan perspektif dari karakter game yang dimainkan. Third person point of view yaitu pemain mengontrol karakter sehingga penggunaan kamera memperlihatkan karakter yang dikontrol dan interaksinya dengan environment game. Dua point of view itu adalah point of view yang dikenal dalam desain game. Jika pemain bisa menjadi dan mengontrol karakter, bagaimana jika pemain tidak bisa menjadi maupun mengontrol karakter?. Karakteristik ini disebut sebagai fourth person point of view, istilah yang pertama kali digunakan oleh game Pavilion dalam materi promosinya. Adapun tujuan dari penelitian ini adalah untuk membahas karakteristik permainan fourth person point of view, dan perbandingannya dengan point of view lainnya. Penelitian ini merupakan penelitian studi kasus yang membahas mengenai game Pavilion dengan teknik pengumpulan data berupa play-testing game, wawancara dan studi pustaka. Hasil penelitian menunjukkan bahwa point of view dalam game memiliki kaitan dengan genre dan style game. Pada studi kasus game Pavilion karakteristik fourth person point of view dapat digunakan karena game tidak berfokus pada eksplorasi cerita dan karakter. Kata kunci: fourth person point of view, game design, game Pavilion  AbstractPoint of view in game design is closely related to character, visualization, and use of in-game cameras. First person point of view means that the player becomes the character in the game, and the camera only shows the perspective from the character’s eyes. The meaning of the third person point of view is the player controls the character, the camera shows the character entirely so the player can see how the character interacts within the environment. These two points of view are basically known in game design. If a player can become and control a character, what if the player cannot become or control the character? This characteristic is called as the fourth person point of view, the term that was first used by game Pavilion in its promotional material. The purpose of this research is to discuss the characteristics of the fourth person point of view, and the comparison with another point of view. This is a case study research that discusses the Pavilion game with data collection techniques through play-testing the game, interviews, and literature studies. The result of the study shows that the point of view in the game has to do with genre and game style. Moreover, the case study of game Pavilion shows that its characteristic of fourth person point of view is appropriate because the game does not focus on the exploration of story and character. Keywords: fourth person point of view, game design, game Pavilion

DEVELOPMENT OF COMPUTERIZED MONITORING AND CONTROL SYSTEM OF THE MOBILE ROBOT’S POSITIONING ON LARGE FERROMAGNETIC SURFACES BASED ON INTELLIGENT TECHNIQUES. COMPLEX OF TASKS OF MONITORING AND AUTOMATIC CONTROL OF MOBILE

2019 ◽  
pp. 37-47
Author(s):  
Yao Yueqin ◽  
Oleksiy Kozlov ◽  
Oleksandr Gerasin ◽  
Galyna Kondratenko
Keyword(s):  
Automatic Control ◽  
Point Of View ◽  
Monitoring And Control ◽  
Large Area ◽  
Monitoring And Control System ◽  
Technical Parameters ◽  
Automatic Control Systems ◽  
Current State ◽  
Computerized Monitoring ◽  
And Control

Analysis and formalization of the monitoring and automatic control tasks of the MR for the movement and execution of various types of technological operations on inclined and vertical ferromagnetic surfaces are obtained. Generalized structure of mobile robotic complex is shown with main subsystems consideration. Critical analysis of the current state of the problem of development of universal structures of mobile robots (MRs) for the various types of technological operations execution and elaborations of computerized systems for monitoring and control of MR movement is done. In particular, wheeled, walked and crawler type MRs with pneumatic, vacuum-propeller, magnetic and magnetically operated clamping devices to grip with vertical and ceiling surfaces are reviewed. The constructive features of the crawler MR with magnetic clamping devices capable of moving along sloping ferromagnetic surfaces are considered. The basic technical parameters of the MR are shown for the further synthesis of computerized monitoring and automatic control systems. Formalization of the tasks of monitoring and control of the MR positioning at the processing of large area ferromagnetic surfaces is considered from the point of view of control theory.

ABOUT UNIFORMITY OF THE PHENOMENOLOGY AND THE MATHEMATICAL DESCRIPTION OF SO-CALLED « JOINED» ACTION OF HAZARDS AND COMBINED TOXICITY (ON THE EXAMPLE OF A COMBIBATION OF THE FLUORIDE AND THE STATIC MAGNETIC FIELD)

2016 ◽  
pp. 13-20
Author(s):  
B. A. Katsnelson ◽  
M. P. Sutunkova ◽  
N. A. Tsepilov ◽  
V. G. Panov ◽  
A. N. Varaksin ◽  
...  
Keyword(s):  
Magnetic Field ◽  
Static Magnetic Field ◽  
Point Of View ◽  
Whole Body ◽  
Surface Model ◽  
Combined Toxicity ◽  
Fluoride Solution ◽  
Adverse Action ◽  
Biochemical Indices ◽  
And Control

Sodium fluoride solution was injected i.p. to three groups of rats at a dose equivalent to 0.1 LD50 three times a week up to 18 injections. Two out of these groups and two out of three groups were sham-injected with normal saline and were exposed to the whole body impact of a 25 mT static magnetic field (SMF) for 2 or 4 hr a day, 5 times a week. Following the exposure, various functional and biochemical indices were evaluated along with histological examination and morphometric measurements of the femur in the differently exposed and control rats. The mathematical analysis of the combined effects of the SMF and fluoride based on the a response surface model demonstrated that, in full correspondence with what we had previously found for the combined toxicity of different chemicals, the combined adverse action of a chemical plus a physical agent was characterized by a tipological diversity depending not only on particular effects these types were assessed for but on the dose and effect levels as well. From this point of view, the indices for which at least one statistically significant effect was observed could be classified as identifying (I) mainly single-factor action; (II) additive unidirectional action; (III) synergism (superadditive unidirectional action); (IV) antagonism, including both subadditive unidirectional action and all variants of contradirectional action.

Cyclopean Vision, Size Estimation, and Presence in Orthostereoscopic Images

2001 ◽  
Vol 10 (3) ◽  
pp. 312-330 ◽  
Author(s):  
Bernard Harper ◽  
Richard Latto
Keyword(s):  
Visual System ◽  
Three Dimensional ◽  
Point Of View ◽  
Psychophysical Experiment ◽  
Size Estimation ◽  
Human Form ◽  
Image Capture ◽  
Series Of Experiments ◽  
Abstract Shapes ◽  
And Control

Stereo scene capture and generation is an important facet of presence research in that stereoscopic images have been linked to naturalness as a component of reported presence. Three-dimensional images can be captured and presented in many ways, but it is rare that the most simple and “natural” method is used: full orthostereoscopic image capture and projection. This technique mimics as closely as possible the geometry of the human visual system and uses convergent axis stereography with the cameras separated by the human interocular distance. It simulates human viewing angles, magnification, and convergences so that the point of zero disparity in the captured scene is reproduced without disparity in the display. In a series of experiments, we have used this technique to investigate body image distortion in photographic images. Three psychophysical experiments compared size, weight, or shape estimations (perceived waist-hip ratio) in 2-D and 3-D images for the human form and real or virtual abstract shapes. In all cases, there was a relative slimming effect of binocular disparity. A well-known photographic distortion is the perspective flattening effect of telephoto lenses. A fourth psychophysical experiment using photographic portraits taken at different distances found a fattening effect with telephoto lenses and a slimming effect with wide-angle lenses. We conclude that, where possible, photographic inputs to the visual system should allow it to generate the cyclopean point of view by which we normally see the world. This is best achieved by viewing images made with full orthostereoscopic capture and display geometry. The technique can result in more-accurate estimations of object shape or size and control of ocular suppression. These are assets that have particular utility in the generation of realistic virtual environments.

Divi pirmās personas stāstījumi Osvalda Zebra romānā „Māra”

2021 ◽  
pp. 197-208
Author(s):  
Daiga Zirnīte
Keyword(s):  
Young Woman ◽  
Personal Growth ◽  
Point Of View ◽  
The Other ◽  
Internal Conflict ◽  
Narrative Form ◽  
First Person ◽  
The Novel ◽  
Growth Path ◽  
Dramatic Structure

The aim of the study is to define how and to what effect the first-person narrative form is used in Oswald Zebris’s novel “Māra” (2019) and how the other elements of the narrative support it. The analysis of the novel employs both semiotic and narratological ideas, paying in-depth attention to those elements of the novel’s structure that can help the reader understand the growth path and power of the heroine Māra, a 16-year-old young woman entangled in external and internal conflict. As the novel is predominantly written from the title character’s point of view, as she is the first-person narrator in 12 of the 16 chapters of the novel, the article reveals the principle of chapter arrangement, the meaning of the second first-person narrator (in four novel chapters) and the main points of the dramatic structure of the story. Although in interviews after the publication of the novel, the author Zebris has emphasised that he has written the novel about a brave girl who at her 16 years is ready to make the decisions necessary for her personal growth, her open, candid, and emotionally narrated narrative creates inner resistance in readers, especially the heroine’s peers, and therefore makes it difficult to observe and appreciate her courage and the positive metamorphosis in the dense narrative of the heroine’s feelings, impressions, memories, imaginary scenes, various impulses and comments on the action. It can be explained by the form of narration that requires the reader to identify with the narrator; however, it is cumbersome if the narrator’s motives, details, and emotions, expressed openly and honestly, are unacceptable, incomprehensible, or somehow exaggerated.

ERRORS CONVERSION ON TRANSFER FUNCTIONS OF MEASUREMENT AND CONTROL

2021 ◽  
Vol 4 ◽  
pp. 92-104
Author(s):  
Valentin Bahatskyi ◽  
◽  
Aleksey Bahatskyi ◽  
Keyword(s):  
Transfer Functions ◽  
Systematic Errors ◽  
Step Function ◽  
Control Device ◽  
Point Of View ◽  
Correct Operation ◽  
Analog To Digital ◽  
Analog To Digital Conversion ◽  
And Control ◽  
Measurement And Control

Currently, the measurement of electrical and non-electrical quantities is performed using analog-to-digital conversion channels, which consist of analog signal conditioning circuits and analog-to-digital converters (ADC) of electrical quantities into a digital code. The paper considers the case when the defining errors of the measurement and control channel are systematic errors of the ADC. The reliability of measurements is assessed by their errors, and the reliability of control - by the likelihood of correct operation of the control device. In our opinion, evaluating the reliability of such similar processes as measurement and control using different criteria seems illogical. The aim of the work is to study the effect of systematic errors of an analog-to-digital converter on the errors of parameter control depending on the type of conformity functions and the width of the control window, as well as the choice of the resolution of the ADC for various control tasks. The paper analyzes the transfer functions of measurement and control. It is shown that they are formed using step functions. It is proposed to use not a step function as a control transfer function, but other functions of conformity to the norm, for example, a linear function or functions of higher orders. In this case, the control result is assessed not according to the criterion of the probability of correct operation, but using the control error. Analyzed from the point of view of reconfiguring the errors of the line, parabolic and state parabolic functions of the norms for the development of changes windows in control. A recommendation has been given for the selection of functions for the conformity of standards and for the distribution of analog-to-digital conversions for industrial control enterprises.

Spectator View: Enabling Asymmetric Interaction between HMD Wearers and Spectators with a Large Display

2021 ◽  
Vol 5 (ISS) ◽  
pp. 1-17
Author(s):  
Finn Welsford-Ackroyd ◽  
Andrew Chalmers ◽  
Rafael Kuffner dos Anjos ◽  
Daniel Medeiros ◽  
Hyejin Kim ◽  
...  
Keyword(s):  
Virtual World ◽  
Large Scale ◽  
User Study ◽  
Point Of View ◽  
Virtual Camera ◽  
Head Mounted Display ◽  
Joint Task ◽  
Reference Space ◽  
Collaborative Interaction ◽  
The Spectator

In this paper, we present a system that allows a user with a head-mounted display (HMD) to communicate and collaborate with spectators outside of the headset. We evaluate its impact on task performance, immersion, and collaborative interaction. Our solution targets scenarios like live presentations or multi-user collaborative systems, where it is not convenient to develop a VR multiplayer experience and supply each user (and spectator) with an HMD. The spectator views the virtual world on a large-scale tiled video wall and is given the ability to control the orientation of their own virtual camera. This allows spectators to stay focused on the immersed user's point of view or freely look around the environment. To improve collaboration between users, we implemented a pointing system where a spectator can point at objects on the screen, which maps an indicator directly onto the objects in the virtual world. We conducted a user study to investigate the influence of rotational camera decoupling and pointing gestures in the context of HMD-immersed and non-immersed users utilizing a large-scale display. Our results indicate that camera decoupling and pointing positively impacts collaboration. A decoupled view is preferable in situations where both users need to indicate objects of interest in the scene, such as presentations and joint-task scenarios, as it requires a shared reference space. A coupled view, on the other hand, is preferable in synchronous interactions such as remote-assistant scenarios.

scholarly journals From representation to enactment: temporal perspectives on literary objects in East and Central European structuralism and Ingarden’s phenomenology

2018 ◽  
Vol 4 (s1) ◽  
pp. s146-s171
Author(s):  
Michał Mrugalski
Keyword(s):  
Literary Work ◽  
Point Of View ◽  
Philosophical Tradition ◽  
General Context ◽  
Direct Realism ◽  
First Person ◽  
Temporal Perspective ◽  
Central European ◽  
Temporal Properties ◽  
Person Perspective

AbstractConsidering that enacitivsm emerged in rebellion against the representativism of first-generation cognitive science, an enactivist approach to narrative, which after all does relate events, situations, people, necessitates a directly realistic (i. e. anti-representationalist) concept of perspective on literary objects. Ingarden’s description of the spatio-temporal properties of the cognizing of the literary work, in the process of which the reader transgresses the realm of signs (representation) toward embodied and culturally embedded cognition of objects and events in a presented world, may serve as a prototype for an enactive approach narrative, provided the theory in question is situated in its original context, for example that of Ingarden’s ongoing discussion with structuralism regarded at this juncture as a representationist stance. In the first step, I am referring to the philosophical tradition of direct realism, which was apparently invigorated by the theories of embodied and enactive cognition, to propose a way of conceiving first-person perspective on literary objects and events, first-person and temporal perspective on objects being the royal road to all sorts of enaction. In the second step, I am tackling the issue of point of view in East and Central European structuralism by recalling its most general context of the dialectical relationship between synchrony and diachrony. The interpretation of linguistic signs by the receiver is a space in which structuralism and Ingarden’s phenomenology concur as they share a similar model of receptive temporality, rooted in Husserl’s description of the inner consciousness of time and aiming to reduce the ambiguity of linguistic units and increase the predictability of meaning. In Ingarden, however, there is a threshold between the linguistic and the extralinguistic elements of the literary work, which are conceived in a directly realistic manner. I specifically recall the notion of “objectification,” which was suppressed by that of “concretization,” as a borderland between indirect (semiotic) and indirect (objectual and enactive) representation. In the conclusion, I point to the major differences between present-day cognitivist aesthetics and Ingarden’s approach, which was immersed in the culture of his time, and ask whether these differences impede us to achieve as interesting results as Ingarden’s.

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