Deformed Reality

International audienceWe present Deformed Reality, a new way of interacting with an augmented reality environment by manipulating 3D objects in an intuitive and physically-consistent manner. Using the core principle of augmented reality to estimate rigid pose over time, our method makes it possible for the user to deform the targeted object while it is being rendered with its natural texture, giving the sense of a interactive scene editing. Our framework follows a computationally efficient pipeline that uses a proxy CAD model for both pose computation, physically-based manipulations and scene appearance estimation. The final composition is built upon a continuous image completion and re-texturing process to preserve visual consistency. The presented results show that our method can open new ways of using augmented reality by not only augmenting the environment but also interacting with objects intuitively

Deformed Reality: Proof of concept and preliminary results

International audienceWe introduce " Deformed Reality " , a new paradigm to interactively manipulate objects in a scene in a deformable manner. Using the core principle of augmented reality to estimate rigid pose over time, our method enables the user to deform the targeted object while it is being rendered with its natural texture, giving the sense of a real-time object editing in user environment. The presented results show that our method can open new ways of using augmented reality by not only augmenting the scene but also interacting with it in a non-rigid manner

Humor and National Catharsis in Roberto Cossa's El saludador

This article examines humor in Roberto Cossa’s El saludador and proposes that, through his unique blend of comic forms, the playwright manipulates audience reaction and provokes catharsis in his spectators. Cossa creates a comic protagonist who is a surrogate for the Argentine nation. Through their identification with the humorous protagonist/nation, spectators can consider their own reaction to the abuses the nation has suffered or self-imposed. Unlike earlier Cossa plays, which may have impeded audience catharsis, the spectator/protagonist/nation identification in El saludador promotes catharsis through audience laughter and allows spectators to purge themselves of economic and political fears in the aftermath of recent events in Argentina’s history. (GB

CREATIVITY AND ENTREPRENEURSHIP. METHODS OF STIMULATING CREATIVITY

Creativity as producing new information system, you can put in what seems unconnected connection, after so many forms of the unfold plan and in content. An entrepreneur will think and do new things or old things in a new form trying to transform ideas into tangible things, products and services. Entrepreneurship is the process through which all functions, activities and actions are shared to identify business opportunities and creating organizations through which they will be used in order to obtain profit and meeting social interests. Boosting creativity is justified in that creative activity is educated, even if some native elements have their own importance in the creative process. If we start from the idea that most barriers to creative thinking are all human creations, tributaries of the left hemisphere, will have to find alternative responses to stimulation, shaping and maintaining the creative process and even create organizational culture conducive to the creative process. Ideas are our tenement dwellers and often are near us in the simplest and quickest form. Just educate us the activation process and instituting the ideas process which involves methods fall under three broad categories: imaginative, heuristics and logical approach. Subject to the risk taken, the combination of these methods can provide as many alternatives to a reality whose details they ultimately determines who assumes the risk of their own decisions

El autoengaño como mecanismo de mantenimiento de la adicción a las drogas

Background: This study was aimed at: (i) examining levels of self-deception in substance dependent individuals following addiction treatment, and (ii) examining the association between participants’ levels of self-deception and (a) personality disorders, (b) addiction-related beliefs, (c) duration of abstinence, and (d) estimates of craving. Method: We administered self-report questionnaires of self-deception and mixtification, and core beliefs related to addiction and craving. The sample comprised 79 outpatients who were consecutively recruited at the Centro Provincial de Drogodependencias in Granada: 87.3% were males and the mean age was 37.68 years old. Thirty-four percent of participants were diagnosed with comorbid personality disorders. Results: Results showed that individuals with substance dependence exhibit elevated scores of self-deception, particularly in the domains of active denial, selective amnesia, projection, and confabulation. Individuals with comorbid personality disorders display greater levels of self-deception compared to individuals without dual diagnosis. Conclusions: Moreover, there is a significant association between levels of self-deception and addiction-related beliefs and craving. In addition, there is a negative association between levels of self-deception and duration of abstinenceAntecedentes: los objetivos de este estudio fueron: (i) conocer el nivel de autoengaño de drogodependientes en tratamiento por su adicción, y (ii) estudiar la relación del autoengaño con (a) los trastornos de personalidad, (b) las creencias, (c) la abstinencia y (d) el craving en estos pacientes. Método: se utilizaron los cuestionarios de autoengaño y mixtificación (IAM) y de creencias relacionadas con el consumo de drogas y craving. La muestra estaba compuesta por 79 pacientes atendidos de forma consecutiva en el Centro Provincial de Drogodependencias de Granada. El 34.5% de los pacientes presentaban un trastorno de la personalidad. Resultados: los resultados mostraron que los drogodependientes obtienen puntuaciones elevadas en autoengaño, especialmente en los factores negación, amnesia selectiva, proyección y pensamiento fantaseado. Además, los pacientes con trastornos de la personalidad presentan niveles de autoengaño más elevados en comparación a los que no presentan este tipo de psicopatología, observándose una relación significativa entre las creencias nucleares relacionadas con el consumo y con el craving con el nivel de autoengaño. Conclusiones: se constata igualmente que el nivel de autoengaño se relaciona de forma negativa con el tiempo de abstinencia, lo que convierte al autoengaño en una diana terapéutica para mejorar el pronósticoS

УКРАЇНСЬКА РЕЦЕПЦІЯ ПОЛЬСЬКОГО ХУДОЖНЬОГО РЕПОРТАЖУ: ПОСТРАДЯНСЬКІ РЕЦИДИВИ І СИНДРОМ ПОСТКОЛОНІАЛЬНОЇ ПУСТКИ : (на прикладі Білої гарячки Я. Гуґо-Бадера)

For the first time in Ukrainian literary studies the specificity of the Ukrainian reception of reportages by J. Hugo-Bader describing post-Soviet reality on the territories of Russia, Ukraine, Moldova and Transnistria is analyzed. For Ukrainian readers, it is particularly important to read these texts through the prism of their own experience of life after the collapse of the Soviet colossus. The Ukrainian success of White Fever is evidenced by the fact that it has undoubtedly been a powerful stimulus to rethink the phenomenon of modern Russia and to overcome this deformed reality of delirium tremens, in which post-communist freedom is a curse. In the article, special attention is paid to text-reactions, discussing Hugo-Bader’s linguistic skill and his reporter’s method of “hugging” the interlocutor in order to create texts showing not only the unknown reality, but also evoking empathy.Po raz pierwszy w literaturoznawstwie ukraińskim została przeanalizowana specyfika ukraińskiej recepcji reportaży J. Hugo-Badera opisujących postradziecką rzeczywistość na terenach Rosji, Ukrainy, Mołdawii i Naddniestrza. Dla odbiorców ukraińskich szczególnie ważne jest odczytywanie tych tekstów przez pryzmat własnego doświadczenia egzystencji po upadku sowieckiego kolosa. O ukraińskim sukcesie Białej gorączki świadczy to, iż została ona niewątpliwie mocnym bodźcem do przemyślenia przez Ukraińców fenomenu współczesnej Rosji i aktualizacji dyskusji o niezbędności przezwyciężenia tej zdeformowanej rzeczywistości delirium tremens. Osobna uwaga w artykule jest skupiona na tekstach-reakcjach dotyczących warsztatu językowego polskiego reportera oraz jego reporterskiej metody „przytulania się” do rozmówcy.For the first time in Ukrainian literary studies the specificity of the Ukrainian reception of reportages by J. Hugo-Bader describing post-Soviet reality on the territories of Russia, Ukraine, Moldova and Transnistria is analyzed. For Ukrainian readers, it is particularly important to read these texts through the prism of their own experience of life after the collapse of the Soviet colossus. The Ukrainian success of White Fever is evidenced by the fact that it has undoubtedly been a powerful stimulus to rethink the phenomenon of modern Russia and to overcome this deformed reality of delirium tremens, in which post-communist freedom is a curse. In the article, special attention is paid to text-reactions, discussing Hugo-Bader’s linguistic skill and his reporter’s method of “hugging” the interlocutor in order to create texts showing not only the unknown reality, but also evoking empathy

Interpretation of Electron Micrographs

Courses in electron microscopical techniques should include training in the active reading of electron micrographs. The student should be made aware of the fact that every micrograph contains a wealth of information, evident and hidden, and that a careful inspection is required to retrieve the information. More time should normally be spent in scrutinizing the micrograph than in its manufacture. Active reading of the micrograph is aided by a curiosity in the functional significance of the various details of the picture; there has to be a dialogue between the mind and the eye concerning the structural elements and their significance. The investigator also has to be critical with respect to the possibility of technical flaws and should further be on guard against seeing such patterns that others may have seen and have described but which actually do not exist in the micrograph. Among examples given for an analysis in this paper are flaws in the metal shadowing technique and in ultrathin sections that have undergone deformation

A NEW DIGITAL ART GAME: THE ART OF THE FUTURE

The task of this study is to create an innovative digital art game of contemporary aesthetics on the basis of research. Research implies the analysis of digital art games and the historical background of their aesthetics, as well as their classification following the stylistic trends. Digital games have a great potential to integrate people into fields that would otherwise not meet their interest. The new game would develop the creative skills of players and teach them the current trends in digital art. The game would project the inheritance of art from the age of modernism into the digital world by teaching the player to recognize it (for instance, pixel aesthetics is a successor to cubism and constructivism). The new game will let its user play around with the trends in digital art such as vaporwave, glitch and others, and to create new ones. Thus, it would deal with the problem of knowledge cache and cultural segregation that characterizes modern art: being an esoteric subject to a great extent, it is difficult to access a large segment of the public. The aim of this study is to raise the interest of a wide-ranging public for contemporary art and to point out the newest creative tendencies in art. The paper presents an overview of digital art games, introduces a novel term, vaporwave, that has not been registered in the art game discourse so far, and offers an updated definition of the art game. The Design Science Research method is used in order to cross-cut such remote fields as the general public and the arthouse world, codes of modern art and the taste of the general public.