scholarly journals The D-Scope: Mining the Gap

Author(s):  
Carol Macgillivray

In 2011, through combining practical research into animation and kinetics with digital projection mapping techniques, two students discovered a way of creating apparent motion without using a camera, film stock or a screen. Originally christened the Diasynchronoscope, in acknowledgement of the rich ancestry of pre-cinematic devices of wonder, the D-Scope technique involves positioning real objects in a blacked-out acoustic space and illuminating them precisely and sequentially; in effect animating through attention. After some years of refinement, the D-Scope immersive system now carries a registered trademark in the UK. It is an innovative medium, still in its infancy that draws on tropes from animation, film and Gestalt grouping principles to create animation freed from the screen. This paper argues that the technique reveals some new ideas about Apparent Motion when it is experienced and perceived on an environmental scale and not framed by a screen.

In this paper, we present a projection-based installation designed for gallery-based exhibition. The installation system based on the Spatial Augmented Reality or known as "SAR," in which digital images were projected onto real objects or materials using projectors such as projection mapping techniques. This project studied the use of digital technology for gallery exhibition installation works to enrich and create an engaging audience's art experience through an immersive space created through SAR application. The study involved 79 youth who responded about their experience after viewing the projection-based installation work through a questionnaire survey. The findings show that the use of digital technology to the installation creates dreamlike scenes, imitating nature ambiance complemented with visuals and sound and well provides immersive experience among the visitors through the mixing of virtual images with real objects. The significance of this research on SAR application in exhibition artworks is essential to understand how it affects the audience's experience. The results are necessary as contributions for the development of innovative art mediums intended for gallery-based exhibitions and visitors' engagement, mainly targeted among the youth as the modern audience.


2003 ◽  
Vol 53 (2) ◽  
pp. 195-213 ◽  
Author(s):  
K. Majoros

The study introduces a Hungarian economic thinker, István Varga*, whose valuable activity has remained unexplored up to now. He became an economic thinker during the 1920s, in a country that had not long before become independent of Austria. The role played by Austria in the modern economic thinking of that time was a form of competition with the thought adhered to by the UK and the USA. Hungarian economists mainly interpreted and commented on German and Austrian theories, reasons for this being that, for example, the majority of Hungarian economists had studied at German and Austrian universities, while at Hungarian universities principally German and Austrian economic theories were taught. István Varga was familiar not only with contemporary German economics but with the new ideas of Anglo-Saxon economics as well — and he introduced these ideas into Hungarian economic thinking. He lived and worked in turbulent times, and historians have only been able to appreciate his activity in a limited manner. The work of this excellent economist has all but been forgotten, although he was of international stature. After a brief summary of Varga’s profile the study will demonstrate the lasting influence he has had in four areas — namely, business cycle research and national income estimations, the 1946 Hungarian stabilisation program, corporate profit, and consumption economics — and will go on to summarise his most important achievements.


2018 ◽  
Vol 246 ◽  
pp. R3-R14 ◽  
Author(s):  
Ray Barrell ◽  
Andy Blake ◽  
Garry Young

The Institute is a world leader in macroeconomic modelling and forecasting. It has produced quarterly economic forecasts for around sixty years, supported by macroeconomic models. The aim of the original builders of macroeconomic models was to transform understanding of how economies worked and use that knowledge to improve economic policy. In the early years, when computers were rare, macroeconomic modelling was a new frontier and Institute economists were among the first to produce a working model of the UK economy. It is remarkable how quickly models were being used to produce forecasts, assess policy and influence the international macroeconomic research agenda. The models built at the Institute were mainstream in the sense that they followed the contents of standard macroeconomic textbooks, developed with the subject, and fitted the facts as they were known at the time. There were continual improvements in understanding as the subject developed in response to new ideas and developments in the global economy. This article celebrates the development of macroeconomic modelling at the Institute and the contribution it has made to public life.


2021 ◽  
pp. 152-171
Author(s):  
Francis Teal

We now move to examine the top of the income distribution and begin by asking whether Mr Darcy, the central male character in Jane Austen’s novel Pride and Prejudice, would be regarded as a plutocrat today. If his income were converted to contemporary amounts it would be some £600,000. We show that Mr Darcy would need to earn some £8 million to be as rich as his nineteenth-century predecessor relative to the average wage. To understand how those super-high incomes arise, we introduce the Paretian distribution which we do first informally and then more formally. It is a distribution of this form which could produce what we see, a few very highly paid individuals whose incomes—up in the stratosphere of the super-rich—would still be very spread out. We use the Paretian distribution to estimate the number of plutocrats in the US, the UK, and China and show the incomes of the richest of the rich.


Author(s):  
Nigel Reeves ◽  
Gordon H. John ◽  
Bob Major

Sefton, on the north side of Liverpool, holds a radioactive legacy from its industrial past. This legacy is in the form of Tin slag buried in sub-surface seams. Located near the docks and adjacent to the rich Lancashire coal seams, Sefton became one of the main production centres of Tin plate in Britain. A consequence of this industrial process is the production of mildly radioactive waste slag. Tin rich ores are heated under reducing conditions to produce a molten metal stream This is then separated into the component metal streams. Solid wastes produced by this process are known as slag and were usually stored on site in spoil heaps. Because this slag is a very hard, glassy material it has been historically used as aggregate in underlying roads and rail way sleepers. Many of these sites pre-date the introduction of the regulation of radioactive substances in the UK and have never been under legislative control under the Radioactive Substances Act, RSA93. There is a risk that the existence may not be known of some of these sites. U-238 and Th-232 and their associated decay chains, are the major contributors to the radionuclide inventory of the slags, levels of these radionuclides being in the range 1–10Bq/g. A series of alpha and beta decays for both chains leads eventually to the generation of a stable isotope of lead. Radiologically, the main area of concern is with the potential inhalation or ingestion of contaminated dusts. There is also a potential for Ra-226 to leach out into groundwater. AMEC has worked for Sefton Metropolitan Council and various developers, to carry out specialist, non intrusive gamma radiation surveys of numerous sites in Sefton. This is the first stage in carrying out a radiological risk review of a given site. What often then follows is an intrusive, geo-technical survey, with trial pitting and radiological sampling for later sensitive lab based radiochemical analysis. Radiological supervision is also required at this time to ensure that the radiological exposure of the Contractors carrying the survey is restricted and ensure that plant dose not become contaminated with radionuclides. These surveys are the preliminary stage for redevelopment works with new housing replacing antiquated commercial premises. By bringing together expertise in sensitive gamma surveying, radiochemical analysis and a detailed understanding of the regulatory framework, AMEC is able to support the borough of Sefton in its re-development programme ensuring safe compliant development of an area with an historic radiological legacy.


2000 ◽  
Vol 6 (1) ◽  
pp. 39-40
Author(s):  
Roch Cantwell

In the sometimes sensational world of illicit drug reportage, there is one unsung villain. While heroin misuse remains the bête noir of tabloid journalism, ecstasy the demon of the dance floors and cocaine caricatured as the choice of the rich and famous, amphetamine misuse has lurked the shadows. Its use defies such simple categorisation and spans several groups in society. Bruce has provided a timely reminder of this neglected area in substance misuse literature and, in the process, has highlighted the relevance of basic information gathering as the most important tool in the armamentorium of drug misuse workers. The lack of prominence given to what they describe as a “hidden epidemic” is striking. Could this be because amphetamine misuse is a less prevalent problem than that of other illicit drugs? Evidence suggests otherwise. Amphetamine is the second most common illicit drug seized in the UK (after cannabis). It is easily produced and used in a variety of modes, and recent research confirms a high prevalence of misuse in this country reflecting that found in North American and Australian literature.


Arts ◽  
2019 ◽  
Vol 8 (4) ◽  
pp. 140 ◽  
Author(s):  
Collins ◽  
Linsley

Stolen Voices is a research enquiry that uses listening as both methodology and material. Stolen Voices develops techniques for ‘listening in’ and eavesdropping to help articulate an epistemology of place through sonic frameworks. A core motivation for the listening is a semi-fictional story we tell ourselves (and anyone else who is listening): an ‘event’ has taken place along the East Coast of the United Kingdom (UK), and we have been tasked with figuring out what has happened. While the specifics of the event might be difficult to pin down, the urgency of the investigation is fuelled by concrete concerns found in the UK edgelands, at the border/margin of the country: the uncertain future of the UK’s relationship with Europe; the effects of climate change on coastal landscapes; the waning of industries like manufacturing and coal extraction; the oil industry in crisis; the rise of global shipping infrastructures. By using a semi-fictional framework, we move away from mapping techniques like data-sonification towards a methodology that embraces gaps and inventive excesses while insisting on the importance of making an account. Through listening, we foster attention to contingencies and indeterminacies and their relationships to prevailing structures and knowledge hierarchies. Stolen Voices asks: what is the relationship between a listener and what is heard? How can listening attune us to the complexities of contemporary political, economic, ecological and social processes? How did we get to where we are now, and how, through listening, can we seek out levers for change? What do the rhythms and atmospheres of specific geographic locations inform or reveal about history? Evolving over several years, in response to what we hear, the investigation necessarily proceeds slowly. In this article, we unfold our methodological processes for the detection of sound, voices, atmosphere and affect. We use creative-critical writing to evidence the construction of a research investigation focused on the act of listening as a spatial practice and necessarily collective endeavour.


2001 ◽  
Vol 7 (9) ◽  
pp. 504-509
Author(s):  
Shirley Curtis
Keyword(s):  

Actively engaging children in making connections among mathematical strands fosters understanding. Making connections not only helps children observe and experience “the rich interplay among mathematical topics” but also allows students to be responsible for their learning and “for using their knowledge to understand and make sense of new ideas” (NCTM 2000, p. 64).


2021 ◽  
Vol 9 (1) ◽  
Author(s):  
Hengyi Li ◽  
Hiromu Ito

AbstractWith the rapid development of interactive technologies using projection mapping (PJM), these digital technologies have introduced new interpretative possibilities for the presentation of cultural heritage sites. PJM attracts more visitors with greater expectations to cultural heritage sites through its excellent visual effects and guidance capabilities. In the past decade, especially after 2015, design events have frequently introduced digital projections to cultural heritage sightseeing spots worldwide. However, this trend has also led to the emergence of many digital projection events that merely exhibit beautiful projection effects on buildings and neglect to show the history and value of the cultural heritage site. Based on this phenomenon, this study compiled and analyzed 45 related cases of PJM applications at cultural heritage sites around the world from the past 5 years. These 45 examples were studied by disassembling the projection content, analyzing the information characteristics exhibited in each projection video, and arranging the obtained data on a timeline chart for analysis. According to the data, two information characteristics of PJM at cultural heritage sites can be observed: “the relationship between projection content and heritage” and “information tendency.” The advantages and limitations of these characteristics were distinguished and suggestions for the application of PJM on cultural heritage sites were derived. These results can be used as a reference for other research studies on visitors to cultural heritage sites and improving digital interpretation and presentation designs.


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