New NXP platform brings viewing experience of the future to mainstream flat TVs now

2009 ◽  
Vol 26 (2) ◽  
2021 ◽  
Vol 10 (1) ◽  
Author(s):  
Jennifer Chaput

This commentary describes the experience of attending RDAP 2020 remotely after the author’s trip cancellation due to COVID-19 travel restrictions. The author describes the highs and lows of the remote viewing experience, and the potential future landscape of virtual conferences and remote attendance. Maintaining networking and casual conversation during a virtual conference is an area that needs improvement but has potential. Takeaways from several conference sessions, including the keynote speaker, are also included along with discussion of how the author learned valuable information or could apply the topics to her own work.


KronoScope ◽  
2004 ◽  
Vol 4 (2) ◽  
pp. 239-257 ◽  
Author(s):  
Jo Alyson Parker

AbstractThrough its temporal reordering, Memento attempts to provide the audience with an experience analogous to Leonard's and thus heighten our understanding of how memory makes us human. When watching the film, we, like Leonard cannot make reference to a past of events - because they are inaccessible to us - or project toward a future of events - because they have been left behind. Although we may construct a chronological sequence of events as the "what happened," the story cannot be disentangled from the backwards-moving plot; there is no reverse arrow of time in our viewing experience. Yet, we, unlike Leonard, remember what has gone before in the film's order and eventually can shape it into a transcendent view of the whole, a memory of the future. Ultimately, by demonstrating Leonard's plight and reversing the forward motion of time and thus depriving us of a chronological past - but not, it should be added, a viewed past - the film compels us to consider the very nature of our nootemporal umwelt, which, with its quality of directed time, defines our humanity.


2019 ◽  
Vol 11 (2) ◽  
pp. 141
Author(s):  
Shadia Imanuella Pradsmadji ◽  
Irwansyah Irwansyah

The technological development within the audiovisual industry has provided the audience with a viewing experience that is increasingly becoming more and more tangible, including in the film industry. One of the developing technologies is the 3D cinema. The 3D cinema emerges in hopes of delivering a stunning and memorable experience for its audience, but the mixed response from the audience, as well as the neverending development of technology, question 3D’s position on offering a new experience and supporting film as a communication channel. By using the descriptive phenomenology method, this research focuses on the experience and perception of non-production film people towards 3D in supporting film as a communication channel. This research aims to look on how the informants, who are not production people and are people directly involved in the exhibition and appreciation aspects of cinema, perceive and experience film in the 3D format, as well as 3D’s position in the film and audiovisual industry now and in the future. The result shows that even though 3D is acknowledged as a novelty and a technological leap, it does not always add something to the viewing experience, and has even become obsolete.    Perkembangan teknologi dalam industri audiovisual memberikan khalayak pengalaman menonton yang semakin lama terasa semakin dekat dengan kenyataan, tak terkecuali dalam industri perfilman. Salah satu teknologi yang berkembang tersebut adalah sinema 3D. Kehadiran sinema 3D diharapkan dapat memberikan pengalaman yang menakjubkan dan berkesan bagi khalayaknya, namun penerimaan khalayak yang beragam, selain juga teknologi yang semakin berkembang, menjadi pertimbangan apakah 3D memang benar-benar memberikan pengalaman baru dan mendukung film sebagai saluran komunikasi. Penelitian ini menggunakan metodologi fenomenologi deskriptif, penelitian ini berfokus pada pengalaman dan pandangan pegiat sinema non-produksi terhadap sinema 3D sebagai pendukung saluran komunikasi film. Tujuan penelitian adalah untuk melihat bagaimana para informan, yang bukan berasal dari produksi film dan sebagai orang yang terlibat langsung dalam ekshibisi dan apresiasi sinema, memandang dan mengalami teknologi 3D. Para informan menceritakan pengalaman film mereka, pengalaman mereka ketika menonton film dalam format 3D, serta posisi teknologi 3D dalam industri film dan audiovisual di masa kini dan di masa yang akan datang. Hasil menunjukkan bahwa biarpun 3D dianggap sebagai sesuatu yang baru dan juga diakui sebagai bentuk dari lompatan teknologi, 3D tidak selalu menambah sesuatu terhadap pengalaman menonton dan bahkan kini sudah mulai ditinggalkan.


1961 ◽  
Vol 13 ◽  
pp. 29-41
Author(s):  
Wm. Markowitz
Keyword(s):  

A symposium on the future of the International Latitude Service (I. L. S.) is to be held in Helsinki in July 1960. My report for the symposium consists of two parts. Part I, denoded (Mk I) was published [1] earlier in 1960 under the title “Latitude and Longitude, and the Secular Motion of the Pole”. Part II is the present paper, denoded (Mk II).


1978 ◽  
Vol 48 ◽  
pp. 387-388
Author(s):  
A. R. Klemola
Keyword(s):  

Second-epoch photographs have now been obtained for nearly 850 of the 1246 fields of the proper motion program with centers at declination -20° and northwards. For the sky at 0° and northward only 130 fields remain to be taken in the next year or two. The 270 southern fields with centers at -5° to -20° remain for the future.


Author(s):  
Godfrey C. Hoskins ◽  
Betty B. Hoskins

Metaphase chromosomes from human and mouse cells in vitro are isolated by micrurgy, fixed, and placed on grids for electron microscopy. Interpretations of electron micrographs by current methods indicate the following structural features.Chromosomal spindle fibrils about 200Å thick form fascicles about 600Å thick, wrapped by dense spiraling fibrils (DSF) less than 100Å thick as they near the kinomere. Such a fascicle joins the future daughter kinomere of each metaphase chromatid with those of adjacent non-homologous chromatids to either side. Thus, four fascicles (SF, 1-4) attach to each metaphase kinomere (K). It is thought that fascicles extend from the kinomere poleward, fray out to let chromosomal fibrils act as traction fibrils against polar fibrils, then regroup to join the adjacent kinomere.


Author(s):  
Nicholas J Severs

In his pioneering demonstration of the potential of freeze-etching in biological systems, Russell Steere assessed the future promise and limitations of the technique with remarkable foresight. Item 2 in his list of inherent difficulties as they then stood stated “The chemical nature of the objects seen in the replica cannot be determined”. This defined a major goal for practitioners of freeze-fracture which, for more than a decade, seemed unattainable. It was not until the introduction of the label-fracture-etch technique in the early 1970s that the mould was broken, and not until the following decade that the full scope of modern freeze-fracture cytochemistry took shape. The culmination of these developments in the 1990s now equips the researcher with a set of effective techniques for routine application in cell and membrane biology.Freeze-fracture cytochemical techniques are all designed to provide information on the chemical nature of structural components revealed by freeze-fracture, but differ in how this is achieved, in precisely what type of information is obtained, and in which types of specimen can be studied.


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