Immersive Planetarium Visualizations For Teaching Solar System Moon Concepts To Undergraduates

Digital video fulldome has long been heralded as a revolutionary educational technology; yet the discipline-based astronomy education research literature showing planetarium effectiveness has been sparse. In order to help understand to what extent immersion impacts learning and the effect of the “narrative journey” model of presentation, we conducted a pre- and post-test effectiveness study of lectures on moon systems in the Solar System presented to 781 college undergraduates under immersive and non-immersive treatment conditions. Although all students showed some learning gains immediately after instruction, those who saw presentations in an immersive fulldome planetarium showed the greatest retention, compared to control classes that witnessed the same lecture and visuals on a flat screen in their regular classroom, and students that saw no interactive visuals. Because the same instructors, presentation visuals, and instructional outline were used for both the classroom and dome instruction using the virtual environment, the results suggest that the large display and wide field-of-view, two elements unique to the dome, resulted in greater attention, and were primarily responsible for the greater gains

Meteoroids: The Smallest Solar System Bodies

This volume is a compilation of articles reflecting the current state of knowledge on the physics, chemistry, astronomy, and aeronomy of small bodies in the solar system. The articles included here represent the most recent results in meteor, meteoroid, and related research fields and were presented May 24-28, 2010, in Breckenridge, Colorado, USA at Meteoroids 2010: An International Conference on Minor Bodies in the Solar System

WHEN THE INHUMAN BECOMES HUMAN: AN EXAMINATION OF THE MUSICAL PORTRAYAL OF THE ROBOT IN TWENTY-FIRST CENTURY SCIENCE-FICTION CINEMA THROUGH AN ANALYSIS OF THE FILM SCORES OF \u3cem\u3eAUTOMATA\u3c/em\u3e, \u3cem\u3eEX MACHINA\u3c/em\u3e, AND \u3cem\u3eTHE MACHINE\u3c/em\u3e

Science fiction film has been telling stories about artificial anthropomorphic robots and androids for almost a hundred years, spawning films, such as Metropolis (1927), Ghost in the Shell (1951), and Blade Runner (1982). Each of these science-fiction films was complemented by a musical score that helped to create an onscreen world dominated by a dystopian view of the future. Influenced by the generations of prior science-fiction films, Automata (2014), The Machine (2013), and Ex Machina (2015) are all concerned with the same narrative in which humanity is in decline while artificial robots are rising up and experiencing life in a way that humans are no longer capable of doing. These three films were all chosen as exemplars of recent science- fiction films with stories about robots versus humans. Further, this difference between robots and humans is paralleled in the film\u27s musical scores. Humans are represented by depressive musical themes with dull and cold timbres that symbolize how empty they have become. Robots, on the other hand, are represented by bright and lively timbres that symbolize how the robots are living more vibrant lives than humans. This thesis traces themes for humans and robots through several important moments and tropes in each film: the state of humanity, the first encounter with the robot, the quality of life for robots and humans, and the eventual conflict that erupts between artificial and organic life. This conflict ends with the arrival of a robotic Eve figure, a sole female robot that is set apart by the film score as a special being, the start of a new age that is dominated by robotic life. These films choose to portray female robots and promote the idea of Eve because the female is seen as a mysterious Other to be feared; in the same way, humans fear these female robots because of their Otherness. Analysis and conclusions were achieved through transcription of the film scores, interviews with the film composers, analysis connecting the score to the visual scene, and constructing a historical context that connects the three films to their predecessors. Future research can expand on these findings by adding more science fiction films to the film pool, examining just how far the musical difference between humans and robots can be traced in film. Unlocking the musical themes assigned to humans and examining how they change over time can reveal how humans perceive themselves, for better or worse. This study is also meant to serve as a gateway for more science fiction films to be studied through their music, as some film\u27s have hidden meanings that can only be understood by examining the music and how it interacts with the visual scene. A study of Automata, The Machine, and Ex Machina manifests how humanity is making way for the robotic Eve and the next stage of evolution for the world

The impact of American and Russian Cosmism on the representation of space exploration in 20th century American and Soviet space art

The aim of this dissertation is to explore and compare the impact of Russian and American Cosmism on the representation of space exploration in selected 20th century American and Soviet space art works in the context of both nations’ culture and literature of the period. The source material are 200 works of American (100) and Soviet (100) space art (1944-1991) which become subject to visual content analysis whose purpose is to examine the relation between the chief assumptions of Russian and American Cosmism and the image of space exploration constructed by American and Soviet artists. The research results obtained from the study have suggested that while the investigated representation of space exploration in the Soviet works can reflect approximately 70% of primary assumptions of Russian Cosmism, its depiction in the U.S. images seems to conceptualize approximately 80% of American Cosmism’s chief tenets.Celem monografii jest analiza wpływu idei rosyjskiego i amerykańskiego kosmizmu na obraz podboju kosmosu w wybranych dziełach XX-wiecznej amerykańskiej i radzieckiej sztuki kosmicznej w ich kontekście kulturowym i literackim. Materiałem źródłowym jest 200 dzieł amerykańskiej i radzieckiej sztuki kosmicznej (1944-1991), poddanych analizie treści wizualnej mającej na celu zbadanie relacji między głównymi założeniami rosyjskiego i amerykańskiego kosmizmu a wizerunkiem podboju kosmosu skonstruowanym przez amerykańskich i radzieckich artystów. Badanie wykazało, że w reprezentacji eksploracji kosmosu w amerykańskich dziełach można zaobserwować wpływ około 80% głównych założeń amerykańskiego kosmizmu, takich jak mit amerykańskiego pogranicza, ideologia Boskiego Przeznaczenia, Efekt Nadwidzenia, nostalgia za programem Apollo, paradygmat von Brauna lub projekt SETI. Tymczasem obraz podboju kosmosu w radzieckiej sztuce może odzwierciedlać około 70% podstawowych założeń rosyjskiego kosmizmu, w szczególności elementy koncepcji „zwykłego czynu” Fiodorowa, rosyjskiej duszy Bierdiajewa, kosmicznego entuzjazmu, społecznego techno-utopianizmu czy też „szturmu nieba”

Animating Unpredictable Effects

Uncanny computer-generated animations of splashing waves, billowing smoke clouds, and characters’ flowing hair have become a ubiquitous presence on screens of all types since the 1980s. This Open Access book charts the history of these digital moving images and the software tools that make them. Unpredictable Visual Effects uncovers an institutional and industrial history that saw media industries conducting more private R&D as Cold War federal funding began to wane in the late 1980s. In this context studios and media software companies took concepts used for studying and managing unpredictable systems like markets, weather, and fluids and turned them into tools for animation. Unpredictable Visual Effects theorizes how these animations are part of a paradigm of control evident across society, while at the same time exploring what they can teach us about the relationship between making and knowing

Excavating the Future

Well-known in science fiction for tomb-raiding and mummy-wrangling, the archaeologist has been a rich source for imagining ‘strange new worlds’ from ‘strange old worlds.’ But more than a well-spring for SF scenarios, the genre’s archaeological imaginary invites us to consider the ideological implications of digging up the past buried in the future. A cultural study of an array of very popular, though often critically-neglected, North American SF film and television texts–running the gamut of telefilms, pseudo-documentaries, teen serial drama and Hollywood blockbusters–Excavating the Future explores the popular archaeological imagination and the political uses to which it is being employed by the U.S. state and its adversaries. By treating SF texts as documents of archaeological experience circulating within and between scientific and popular culture communities and media, Excavating the Future develops critical strategies for analyzing SF film and television’s critical and adaptive responses to post 9/11 geopolitical concerns about the war on terror, homeland security, the invasion and reconstruction of Iraq, and the ongoing fight against ISIS

Imagining Earth: Concepts of Wholeness in Cultural Constructions of Our Home Planet

While concepts of Earth have a rich tradition, more recent examples show a distinct quality: Though ideas of wholeness might still be related to mythical, religious, or utopian visions of the past, "Earth" itself has become available as a whole. This raises several questions: How are the notions of one Earth or our Planet imagined and distributed? What is the role of cultural imagination and practices of signification in the imagination of "the Earth"? Which theoretical models can be used or need to be developed to describe processes of imagining Planet Earth? This collection invites a wide range of perspectives from different fields of the Humanities to explore the means of imagining Earth

Atmospheric cloud representation methods in computer graphics: A review

Cloud representation is one of the important components in the atmospheric cloud visualization system. Lack of review papers on the cloud representation methods available in the area of computer graphics has directed towards the difficulty for researchers to understand the appropriate solutions. Therefore, this paper aims to provide a comprehensive review of the atmospheric cloud representation methods that have been proposed in the computer graphics domain, involving the classical and the current state-of-the-art approaches. The reviewing process was conducted by searching, selecting, and analyzing the prominent articles collected from online digital libraries and search engines. We highlighted the taxonomic classification of the existing cloud representation methods in solving the atmospheric cloud-related problems. Finally, research issues and directions in the area of cloud representations and visualization have been discussed. This review would be significantly beneficial for researchers to clearly understand the general picture of the existing methods and thus helping them in choosing the best-suited approach for their future research and development

Stories of what is to come: the future in film and television 1959-1989

The thesis examines films, television programmes and associated newspaper articles from the period 1959-1989 to discover how the future has been talked about in popular discourses. It considers both fiction and nonfiction in the areas of defence, nuclear issues, ecological catastrophes, space and artificial beings. It is particularly concerned to contrast scientific discourse with science fiction to discover how the distinction between them is maintained when the temporal setting is the future and whatever is asserted or depicted is characterised by not yet having happened. The thesis begins by investigating the discursive struggle over the naming of the US military policy both Star Wars and SDI. It uses the concept of professional language and Michel Foucault's arguments about regimes of truth to explain the status of the more scientific term, while the popularity and success of the film are advanced as reasons for the appeal of the popular title. The following chapters attempt to discover whether this example is charcteristic or an oddity. The examination of the presentation of potential eco-catastrophes, particularly in TV science programmes finds minimal variation and piecemeal presentation being used in an attempt to separate scientific discourse from SF and emphasise certainty. In looking at nuclear discourse the competing claims of the defence establishment and those people making nuclear war dramas for TV to speak with authority about the future are investigated to try to understand why there is such a paucity of depictions of the nuclear future. It is discovered that talking about the future in space shifted with economic discourse became more dominant than scientific, but that this did not apply to those fictions, like Star Trek, which were constrained by precursors from the 1960s. These are the major instances of an optimistic future. In considering the case of artificial beings, changes are found within the fictions as certain categories of being become scientifically more feasible. An analogy with colonial discourse and the concept 'hybridity' proves particularly useful. The thesis concludes by finding hybrids of fiction and non-fiction, scientific and science fictional discourses most characteristic of popular discourses about the future