Kaleidoscopical configurations

Let G be a group and X be a G-space with the action G × X → X, (g, x) → gx. A subset A of X is called a kaleidoscopical configuration if there is a coloring χ : X → k (i.e. a mapping of X onto a cardinal k) such that the restriction χ|gA is a bijection for each g ∊ G. We survey some recent results on kaleidoscopical configurations in metric spaces considered as G-spaces with respect to the groups of its isometries and in groups considered as left regular G-spaces

Selective survey on Subset Combinatorics of Groups

We survey recent results concerning the combinatorial size of subsets of groups. For a cardinal k, according to its arrangement in a group G, a subset of G is distinguished as k-large, k-small, k-thin, k-thick and Pk-small. By analogy with topology, there arise the following combinatorial cardinal invariants of a group: density, cellularity, resolvability, spread etc. The paper consists of 7 sections: Ballean context, Amenability, Ideals, Partitions, Packings, Around thin subsets, Colorings

Use of virtual reality environments to improve the learning of historical chronology.

Past evidence suggest that people acquire poor understanding of chronology during their education, and studies such as that of Masterman and Rogers (Instructional Science, 30, 2002) have suggested that technology might be employed to improve history teaching. The difficulty that children have with the concepts of time and chronology arise probably because of their abstract nature, and teachers indicated in questionnaire responses that they would welcome the availability of effective history teaching paradigms. A pioneering attempt was made to exploit a new paradigm, Virtual Environment (VE) technology that ought to engage high-capacity spatial memory, to improve participants’ learning of chronology. Three age groups (undergraduates, middle school, and primary school children) were trained in virtual space to learn sequences of events, visited successively as though travelling in a time machine. Controls saw the same events but as paper text/pictures or as PowerPoint slides. In the initial part of the project one nine-item time line was used. Undergraduates remembered more when tested immediately after training with a VE, especially when challenged to remember each up-coming event. Primary school children in UK, and Ukraine, (with, and without, regular computer experience) also did so, when provided with adequate pre-training with the medium. Only middle school children persistently failed to benefit from VE training, despite the use of a variety of materials and despite repeated training after one month on one occasion. Two and three parallel timelines were employed, depicting music and art history, and the history of psychology, art and general history, respectively. A substantial benefit was seen when undergraduates used a large spatial environment which allowed them to view across three parallel timelines. It was concluded that VEs have potential as a means of imparting better chronological knowledge than other media so long as they are sufficiently challenging. Alternative paradigms need to be developed which improve the longevity of historical learning from VEs

Digital Theatre: A "Live" and Mediated Art Form Expanding Perceptions of Body, Place, and Community

This work discusses Digital Theatre, a type of performance which utilizes both "live" actors and co-present audiences along with digital media to create a hybrid art form revitalizing theatre for contemporary audiences. This work surveys a wide range of digital performances (with "live" and digital elements, limited interactivity/participation and spoken words) and identifies the group collectively as Digital Theatre, an art form with the flexibility and reach of digital data and the sense of community found in "live" theatre. I offer performance examples from Mark Reaney, David Saltz, Troika Ranch, Gertrude Stein Repertory Theatre, Flying Karamazov Brothers, Talking Birds, Yacov Sharir, Studio Z, George Coates Performance Group, and ArtGrid. (The technologies utilized in performances include: video-conferencing, media projection, MIDI control, motion capture, VR animation, and AI). Rather than looking at these productions as isolated events, I identify them as a movement and link the use of digital techniques to continuing theatrical tradition of utilizing new technologies on the stage. The work ties many of the aesthetic choices explored in theatrical past by the likes of Piscator, Svoboda, Craig, and in Bauhaus and Futurist movements. While it retains the essential qualities of public human connection and imaginative thought central to theatre, Digital Theatre can cause theatrical roles to merge as it extends the performer's body, expands our concept of place, and creates new models of global community

American color science, 1831-1931

Thesis (Ph. D. in History, Anthropology, and Science, Technology and Society (HASTS))--Massachusetts Institute of Technology, Program in Science, Technology and Society, 2011.Cataloged from PDF version of thesis.Includes bibliographical references (p. 365-389).Although vision was seldom studied in Antebellum America, color and color perception became a critical field of scientific inquiry in the United States during the Gilded Age and progressive era. Through a historical investigation of color science in the United States in the late nineteenth and early twentieth centuries, I argue that attempts to scientifically measure, define, and regulate color were part of a wider program to construct a more rational, harmonious, and efficient American polity starting from one of the very baseline perceptual components of reality - the experience of color. As part of this program, I argue secondly that color science was as much a matter of prescription as description - that is, color scientists didn't simply endeavor to reveal the facts of perception and apply them to social problems, they wanted to train everyday citizens to see scientifically, and thereby create citizens whose eyes, bodies, and minds were both medically healthy and morally tuned to the needs of the modern American nation. Finally, I argue not simply that perception has a history - i.e. that perceptual practices change over time, and that, for Americans of a century ago, experiences of color sensations were not taken as given but had to be laboriously crafted - but also that this history weighs heavily upon our present day understanding of visual reality, as manifested not least of all in scientific studies of vision, language, and cognition. Employing a close reading of the archival and published sources of a range of actors including physicist Ogden Rood, semiotician Charles Peirce, logician Christine Ladd-Franklin, board game magnate Milton Bradley, and art professor Alfred Munsell, among others, this study reveals the origins of some of the most deeply-rooted conceptions of color in modern American culture.by Michael Paul Rossi.Ph.D.in History, Anthropology, and Science, Technology and Society (HAST