This study on terrorism training follows the logic that terrorism is a "wicked problem" and there are various strategies to cope with it. Systems thinking is one of the coping strategies to address "wicked problems." A system is a whole composed of complex organized elements (subsystems) interacting with each other and with their environment. The stability of a system depends on its components' alignment. Misaligning one of its components, will destabilize, or even disrupt the whole system. In this regard, the study defines terrorism and terrorist organizations in systems terms, explains their components and interrelations, and concludes that the most important component of a terrorist system is the training subsystem. Thus it is important to understand how the subsystem functions in order to disrupt the whole system. The study reviews the types of terrorist training, how the terrorists and their organizations learn (process), what the terrorists learn (content), where the terrorists learn (location) and concludes that the internet is the new safe haven for terrorist training. It also demonstrates the adaptive capability of terrorist system moving from land-based to internet-based training. Almost every terrorist organization on the US Sate Department's designated terrorist organizations list exists on the Net. One example is the PKK (Kurdistan Workers Party) terrorist network. Its website network is analyzed by content and network structure using social network analysis software UCINET. The goal is to develop strategies to eliminate the web presence of the terrorist training subsystem.

This thesis focuses on the manner how a phenomenon often called "media construction of reality" occurs in the Reality TV. This popular television genre is known for mixing reality captured on an omnipresent camera together with fiction elements in order to amuse the audience. In the theoretical part, I will focus on the concepts that are crucial for this phenomenon such as Berger's and Luckmann's social construction of reality, gatekeeping or agenda setting. Also, I will describe the history of Reality TV as a genre and also will focus on main subgenres that can be seen on television these days. In the practical part, I will use narrative analysis to identify how the media are constructing reality in television programmes. The sample for the analysis will consist of 80 episodes from 11 different TV shows of American and British production. These have already spread out of their country of origin and are familiar to Czech audience from local TV channels. My main thesis is that media construction of reality can happen from the very beginning - i.e. from rules establishing to shooting and postproduction. All these phases will be analyzed in this paper.

One of the largest application domains for Virtual Reality lies in simulating the Real World. Contemporary applications of virtual environments include training devices for surgery, component assembly and maintenance, all of which require a high fidelity reproduction of psychomotor skills. One extremely important research question in this field is: "How closely does our facsimile of a real task in a virtual environment reproduce that Task?" At present the field of Virtual Reality is answering this question in subjective terms by the concept of presence and in objective terms by measures of task performance or training effectiveness ratios.

Siu, Wai Hang. / Thesis (M.F.A.)--Chinese University of Hong Kong, 2013. / Includes bibliographical references (leaves 40-41). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts also in Chinese.

Changing viewpoints is a common technique to gain additional visual information about the spatial relations among the objects contained within an environment. In many cases, all of the necessary visual information is not available from a single vantage point, due to factors such as occlusion, level of detail, and limited field of view. In certain instances, strategic viewpoints may need to be visited multiple times (e.g., after each step of an iterative process), which makes being able to transition between viewpoints precisely and with minimum effort advantageous for improved task performance (e.g., faster completion time, fewer errors, less dependence on memory). Many augmented reality (AR) applications are designed to make tasks easier to perform by supplementing a user's first-person view with virtual instructions. For those tasks that benefit from being seen from more than a single viewpoint, AR users typically have to physically relocalize (i.e., move a see-through display and typically themselves since those displays are often head-worn or hand-held) to those additional viewpoints. However, this physical motion may be costly or difficult, due to increased distances or obstacles in the environment. We have developed a set of interaction techniques that enable fast and accurate task localization in AR. Our first technique, SnapAR, allows users to take snapshots of augmented scenes that can be virtually revisited at later times. The system stores still images of scenes along with camera poses, so that augmentations remain dynamic and interactive. Our prototype implementation features a set of interaction techniques specifically designed to enable quick viewpoint switching. A formal evaluation of the capability to manipulate virtual objects within snapshot mode showed significant savings in time spent and gain in accuracy when compared to physically traveling between viewpoints. For cases when a user has to physically travel to a strategic viewpoint (e.g., to perform maintenance and repair on a large physical piece of equipment), we present ParaFrustum, a geometric construct that represents this set of strategic viewpoints and viewing directions and establishes constraints on a range of acceptable locations for the user's eyes and a range of acceptable angles in which the user's head can be oriented. Providing tolerance in the allowable viewing positions and directions avoids burdening the user with the need to assume a tightly constrained 6DOF pose when it is not required by the task. We describe two visualization techniques, ParaFrustum-InSitu and ParaFrustum-HUD, that guide a user to assume one of the poses defined by a ParaFrustum. A formal user study corroborated that speed improvements increase with larger tolerances and reveals interesting differences in participant trajectories based on the visualization technique. When the object to be operated on is smaller and can be handheld, instead of being large and stationary, it can be manually rotated instead of the user moving to a strategic viewpoint. Examples of such situations include tasks in which one object must be oriented relative to a second prior to assembly and tasks in which objects must be held in specific ways to inspect them. Researchers have investigated guidance mechanisms for some 6DOF tasks, using wide--field-of-view (FOV), stereoscopic virtual and augmented reality head-worn displays (HWDs). However, there has been relatively little work directed toward smaller FOV lightweight monoscopic HWDs, such as Google Glass, which may remain more comfortable and less intrusive than stereoscopic HWDs in the near future. In our Orientation Assistance work, we have designed and implemented a novel visualization approach and three additional visualizations representing different paradigms for guiding unconstrained manual 3DOF rotation, targeting these monoscopic HWDs. This chapter includes our exploration of these paradigms and the results of a user study evaluating the relative performance of the visualizations and showing the advantages of our new approach. In summary, we investigated ways of enabling an AR user to obtain visual information from multiple viewpoints, both physically and virtually. In the virtual case, we showed how one can change viewpoints precisely and with less effort. In the physical case, we explored how we can interactively guide users to obtain strategic viewpoints, either by moving their heads or re-orienting handheld objects. In both cases, we showed that our techniques help users accomplish certain types of tasks more quickly and with fewer errors, compared to when they have to change viewpoints following alternative, previously suggested methods.

Entre 1950 et 1972, Henri Thomas s’engage dans une recherche singulière qui fait l’objet de notre étude et dont il est utile de distinguer deux mouvements.L’énigme qui passionne alors Thomas est celle de l’accès au territoire de l’impossible, entendu comme ce qui outrepasse les limites du possible — irrationnel, illimité, inexpliqué, autres noms du poétique ou du sacré — et seul espace authentique de la poésie.Textuellement, il s’enquiert d’une forme nouvelle capable de dire la recherche de l’impossible, et d’intégrer une dimension épique et poétique. Tous ses récits entre Les Déserteurs (1951) et La Relique (1969) façonnent et affinent une écriture à même de rendre compte de l’aventure à la fois héroïque et poétique des personnages.La forme nouvelle imaginée par Thomas se détourne du récit poétique et des procédés stylistiques qui lui sont liés pour développer une dimension épique portée par la présence d’un héros, qui vient nourrir les questionnements poétiques.D’autre part, il s’agit, grâce à ce récit que Thomas perfectionne pendant vingt ans, de trouver une forme de résolution à la recherche de l’impossible. Durant cette période, l’auteur assume progressivement l’assimilation de l’impossible à une immédiateté qui est aussi la déchirure du sacré. Les références au mythe de Diane, au texte de Klossowski, à la lumière de Hölderlin et à sa quête poétique, et enfin à la présence de la relique, dans les trois derniers récits du cycle étudié, orientent définitivement sa quête vers cette conclusion. Chaque roman l’amène à éclaircir un aspect de sa quête de l’impossible. La quête d’une totalité impensable inscrit résolument Thomas dans une tradition littéraire, de Hölderlin à Mallarmé et à Rimbaud, jusqu’aux poètes du Grand Jeu, et des mystiques à Léon Chestov. Elle l’inclut aussi dans une modernité, une « communauté de l’impossible » qui réunit Artaud, Blanchot, Bataille et Klossowski dans un projet commun, bien que les moyens utilisés pour le mener à bien diffèrent selon les écrivains.Le projet de Thomas mêle donc intimement poétique et narratif, se distinguant de certains mouvements d’avant-garde par sa conservation des éléments traditionnels du roman (personnages, héros, quête…), mais aussi d’une littérature à idées, philosophiques ou politiques, qui l’enfermerait dans le langage du possible.La recherche de l’impossible évolue de pair, chez Thomas, avec la prise de conscience de la nécessité d’un héroïsme qui soit à sa hauteur. Dans ses récits, le dépassement héroïque s’inscrit dans une construction propre à l’épopée, telle que nous l’avons dégagée : un véritable héros, qui répond aux critères du héros romanesque selon Philippe Hamon ou Vincent Jouve.La quête de l’impossible, se résout donc dans la lumière hölderlinienne, lumière philosophique et poétique d’une joie subversive. Ainsi doit se comprendre la quête de réalité parfaite d’Henri Thomas, recherche d’une libération et d’une joie poétique impossibles, qui n’est atteinte que par l’acceptation de son absence. / Between 1950 and 1972, Henri Thomas is engaged in a singular research which is the subject of our study and of which it is useful to distinguish two movements.The enigma that then fascinates Thomas is that of access to the territory of the impossible, understood as what goes beyond the limits of the possible - irrational, unlimited, unexplained, other names of the poetic or the sacred - and the only authentic space of the poetry.Textually, he inquires of a new form capable of saying the search for the impossible, and of integrating an epic and poetic dimension. All his narratives between Les Déserteurs (1951) and La Relique (1969) shape and refine a writing that can account for the heroic and poetic adventure of the characters.The new form imagined by Thomas turns away from the poetic narrative and the stylistic processes connected with it in order to develop an epic dimension borne by the presence of a hero who nourishes poetic questions.On the other hand, it is a question, thanks to this narrative that Thomas perfects during twenty years, to find a form of resolution in search of the impossible. During this period, the author assumes progressively the assimilation of the impossible to an immediacy which is also the tearing of the sacred. References to Diane's myth, to Klossowski's text, to the light of Hölderlin and his poetic quest, and finally to the presence of the relic in the last three narratives of the cycle studied, definitely orientate his quest towards this conclusion. Each novel leads him to clarify an aspect of his quest for the impossible.The quest for an unthinkable total resolutely inscribes Thomas in a literary tradition, from Hölderlin to Mallarmé and Rimbaud, to the poets of the Grand Jeu, and from the mystics to Leon Chestov. It also includes it in a modernity, a "community of the impossible" that unites Artaud, Blanchot, Bataille and Klossowski in a common project, although the means used to carry it out differ according to the writers.Thomas's project is therefore intimately poetic and narrative, distinguished from certain avant-garde movements by its preservation of the traditional elements of the novel (characters, heroes, quest ...), but also from a literature with ideas, philosophical or political , Which would enclose him in the language of the possible.The search for the impossible evolves in tandem, in Thomas, with the realization of the need for heroism that is at his height. In her narratives, the heroic surpassing is part of a construction peculiar to the epic, as we have seen it: a true hero, who meets the criteria of the romantic hero according to Philippe Hamon or Vincent Jouve.The quest for the impossible is resolved in the Hölderlin light, a philosophical and poetic light of subversive joy. Thus must be understood the quest for the perfect reality of Henry Thomas, the search for an impossible liberation and poetic joy, which is attained only by the acceptance of his absence.

The story is a sequence of events. Since nomadic times we have been drawn to the process of storytelling and the underlying themes hidden within these plots. Now, as the technological advancements made in new media lead us to this point, there is the need to reconcile the connection of the narrative with that of new media. Many theorists such as Manovich believe the narrative is slowly dying as new media continues to evolve. While others such as Bolter and Grusin think the story and traditional media is merely reinserting itself into new media. In the augmented reality story, The Seven Ages of Susanna, I seek to create a marriage of conventional media narrative and illustration techniques. By using new media tools of Vuforia and Unity, I aim to create an immersive experience that reconciles this issue. / Includes bibliography. / Thesis (M.F.A.)--Florida Atlantic University, 2019. / FAU Electronic Theses and Dissertations Collection

"A Masters Project ... Animation and Interactive Media, Faculty of Art, Design and Communication, RMIT University, Melbourne"--Title screen. Title from title screen. System requirement: CD-ROM drive, Realplayer, Beatnik, Koan audio.

That trivialism ought to be rejected is almost universally held. I argue that the rejection of trivialism should be held in suspicion and that there are good reasons for thinking that trivialism is true. After outlining in chapter 1 the place of trivialism in the history of philosophy, I begin in chapter 2 an outline and defense of the various arguments in favor of the truth of trivialism. I defend four such arguments: an argument from the Curry Paradox; and argument from the Characterization Principle; an argument from the Principle of Sufficient Reason; and an argument from the truth of possibilism. / In chapter 3 I build a case for thinking that the denial of trivialism is impossible. I begin by arguing that the denial of some view is the assertion of an alternative view. I show that there is no such view as the alternative to trivialism and so the denial of trivialism is impossible. I then examine an alternative view of the nature of denial – that denial is not reducible to an assertion but is a sui generis speech act. It follows given such an account of denial that the denial of trivialism is possible. I respond to this in two ways. First, I give reason for thinking that this is not a plausible account of denial. Secondly, I show that even if it is successful, the denial of trivialism is still unassertable, unbelievable, and severely limited in its rationality. / In chapter 4 I examine two important arguments that purport to show that it is impossible to believe in trivialism: one from Aristotle and a more recent one from Graham Priest. According to Aristotle, it is not possible to believe in trivialism because such a belief is incompatible with being able to act in a discriminating manner. According to Priest, belief in trivialism is incompatible with being able to act with a purpose. I show that there are a number of ways to respond to such arguments, and so it is far from obvious that it is impossible to believe in trivialism. / In chapter 5 I reply to one of the few sustained arguments against the truth of trivialism. According to this argument, trivialism cannot be true because it entails that every observable state of affairs is contradictory - which is clearly not the case. After raising a number of objections to this line of reasoning, I argue that a contradictory state of affairs will necessarily appear consistent. As such, that the world appears consistent is not a good reason for thinking that it fails to be contradictory. / In chapter 6 I defend the claim that the observable world is indeed contradictory in the way that trivialism implies. I show that a dialetheic solution to Zeno’s paradox of the arrow requires one to postulate that a body in motion is located at every point of the path of its journey at every instant of the journey.

<p>Augmented reality is an interesting technology which has increased in popularity the last couple of years. Even though we see more and more of this technology the use of it doesn’t match up to its true potential. This paper aims to investigate the possibilities of this technology and illustrate how companies can use it in their business to reach out to customers in a new and exciting way. The study consists of three parts. The first part explores what companies have done today with augmented reality, which companies are of interest for this technology and how they can use it. The second part investigates who the user of augmented reality is today and who tomorrow’s user will be. The third part goes through the technology behind augmented reality. This part investigates what is possible to do today and which techniques are the most common. These three steps are then combined and make the foundation of a prototype which will illustrate how a business can adopt augmented reality. Interviews of potential users reveal that these kinds of artifacts are needed by the public, for example, to visualizing products from the internet in the customers own home environment. Conclusions from the literature study and from the development of the prototype disclose that augmented reality have a lot of problems that needs to be solved before it will be accepted by a wider public audience. These problem areas range from camera quality to standardization of markers, but like all new technology these problems have solutions and eventually augmented reality will be a natural part of our lives.</p>