AudienceMR: Extending the Local Space for Large-Scale Audience with Mixed Reality for Enhanced Remote Lecturer Experience

AudienceMR is designed as a multi-user mixed reality space that seamlessly extends the local user space to become a large, shared classroom where some of the audience members are seen seated in a real space, and more members are seen through an extended portal. AudienceMR can provide a sense of the presence of a large-scale crowd/audience with the associated spatial context. In contrast to virtual reality (VR), however, with mixed reality (MR), a lecturer can deliver content or conduct a performance from a real, actual, comfortable, and familiar local space, while interacting directly with real nearby objects, such as a desk, podium, educational props, instruments, and office materials. Such a design will elicit a realistic user experience closer to an actual classroom, which is currently prohibitive owing to the COVID-19 pandemic. This paper validated our hypothesis by conducting a comparative experiment assessing the lecturer’s experience with two independent variables: (1) an online classroom platform type, i.e., a 2D desktop video teleconference, a 2D video screen grid in VR, 3D VR, and AudienceMR, and (2) a student depiction, i.e., a 2D upper-body video screen and a 3D full-body avatar. Our experiment validated that AudienceMR exhibits a level of anxiety and fear of public speaking closer to that of a real classroom situation, and a higher social and spatial presence than 2D video grid-based solutions and even 3D VR. Compared to 3D VR, AudienceMR offers a more natural and easily usable real object-based interaction. Most subjects preferred AudienceMR over the alternatives despite the nuisance of having to wear a video see-through headset. Such qualities will result in information conveyance and an educational efficacy comparable to those of a real classroom, and better than those achieved through popular 2D desktop teleconferencing or immersive 3D VR solutions.

Technical factors associated with first-pass success during endotracheal intubation in children: analysis of videolaryngoscopy recordings

BackgroundFirst-pass success (FPS) during intubation is associated with lower morbidity for paediatric patients. Using videolaryngoscopy (VL) recordings, we reviewed technical aspects of intubation, including factors associated with FPS in children.MethodsWe performed a retrospective study of intubation attempts performed using video-assisted laryngoscopy in a paediatric ED between January 2014 and December 2018. Data were abstracted from a quality assurance database, the electronic medical record and VL recordings. Our primary outcome was FPS. Intubation practices were analysed using descriptive statistics. Patient and procedural characteristics associated with FPS in univariate testing and clinical factors identified from the literature were included as covariates in a multivariable logistic regression. An exploratory analysis examined the relationship between position of the glottic opening on the video screen and FPS.ResultsIntubation was performed during 237 patient encounters, with 231 using video-assisted laryngoscopy. Data from complete video recordings were available for 129 attempts (59%); an additional 31 (13%) had partial recordings. Overall, 173 (73%) of first attempts were successful. Adjusting for patient age, placing the blade tip into the vallecula adjusted OR ((aOR) 7.2 (95% CI 1.7 to 30.1)) and obtaining a grade 1 or 2a-modified Cormack-Lehane glottic view on the videolaryngoscope screen (aOR 6.1 (95% CI 1.5 to 25.7) relative to grade 2b) were associated with increased FPS in the subset of patients with complete recordings. Exploratory analysis suggested that FPS is highest (81%) and duration is shortest when the glottic opening is located in the second quintile of the video screen.ConclusionsPlacement of the blade tip into the vallecula regardless of blade type, sufficient glottic visualisation and locating the glottic opening within the second quintile of the video screen were associated with FPS using video-assisted laryngoscopy in the paediatric ED.

Camouflage Technique Based Multifunctional Army Robot

These days, numerous costs are made inside the field of safeguard in receiving crude safety efforts to monitor the fringe from the trespassers. Some military associations take the help of robot inside the hazard inclined regions which are not that powerful when done by armed force men. These Army robots are restricting with the camera, sensors, locator and video screen. The principle goal of our framework is to ask covered including some extra parameters like Wi- Fi module for continuous information prepared by the camera at the video screen and PIR sensor to follow the interlopers. Hence, the proposed framework utilizing Wi-Fi decreases mistakes at guard and keeps the state secure from the enemy. Cover Robot assumes a significant job in sparing human loses and the harms that happen during debacles. Therefore, it will acquire significance inside the up and coming period.

Looping Sensations

This chapter shares the archive of the late queer Rican avant-garde multimedia artist Ryan Rivera by examining his experimental videos. Less than a minute each, these abstract videos draw the spectator’s attention to the psychical states of self-injury and suffering. Through close-ups, looping, a manipulation of real time, and overexposure, Rivera pushes the spectator to endure a series of grotesque actions; he repeatedly bangs his head, places his fist down his throat, holds his breath, retches, and punches and slaps his face. The author explicates the political and aesthetic consequences of waiting in the seat of sensation with and for a bodiless Rican subject who compels us to wait in dissonance through the exploitation of the senses. As a way to engender a type of queer calling, the author urges the reader to sit with the artist as he beats his head against the never-quite-postcolonial, creating new forms of Brown and Rican intimacy. The author reformulates the Cartesian split by showcasing the narrow space of a video screen in which the artist bangs his queer postcolonial head against the fast-paced heteronormative world.