Daily Archives: April 28, 2017

Robotics team places 36th in Houston – Ashland Daily Tidings

Posted: April 28, 2017 at 3:11 pm

Joe Zavala Ashland Daily Tidings @Joe_Zavala99

The Ashland High School robotics team placed 36th out of 67 teams in the FIRST (For Inspiration and Recognition of Science and Technology) Championships, held April 19-22 in Houston, Texas.

Team 3024, also known as My Favorite Team, finished in 27th place in the robotics competition before it was required to replay a match it had previously won. The resulting tie dropped Team 3024 to 36th in Houston, where 15,000 students ages 6 to 18 converged for an event that was held at the George R. Brown Convention Center, Minute Maid Park and Discovery Green.

My Favorite Team qualified for the FIRST Championships for the first time in program history by winning the Engineering Inspiration award at the Pacific Northwest District Championship for spreading STEM awareness within its local community. Also at districts, held April 6-8 in Cheney, Washington, AHS junior Claire Pryor was named a finalist for the Deans List award and the team won six of 11 matches.

Besides the berth in the FIRST Championships, the Engineering Inspiration award also pocketed for Team 3024 the entire $5,000 entry fee, courtesy of NASA.

Joe Zavala is a reporter for the Ashland Daily Tidings. Reach him at 541-821-0829 or jzavala@dailytidings.com. Follow him on Twitter at @Joe_Zavala99.

Original post:

Robotics team places 36th in Houston - Ashland Daily Tidings

Posted in Robotics | Comments Off on Robotics team places 36th in Houston – Ashland Daily Tidings

STEM robotics highlighted by state representatives – Youngstown Vindicator

Posted: at 3:11 pm

Published: Fri, April 28, 2017 @ 12:00 a.m.

Neighbors | Abby Slanker.Members of the Canfield Circuit Birds, along with Ohio State Representative John Boccieri (far left) attended a press conference by Representative Boccieri and Representative Michele Lepore-Hagan to highlight the importance of STEM education through FIRST on March 27.

Neighbors | Abby Slanker.After a press conference to highlight the importance of STEM education through FIRST, members of the Canfield Circuit Birds brought out their robot to demonstrate how it shoots large round discs high into the air on March 27.

Neighbors | Abby Slanker.Ohio State Representatives John Boccieri of Poland and Michele Lepore-Hagan of Youngstown had a press conference surrounded by members of the Canfield Circuit Birds, Austintown FalcoTech Robotics Team and Cardinal Mooney Robocards to highlight the importance of STEM education through FIRST on March 27.

Neighbors | Abby Slanker.The Austintown FalcoTech Robotics Team joined Ohio State Representatives John Boccieri and Michele Lepore-Hagan at a press conference to highlight the importance of STEM education through FIRST on March 27.

By ABBY SLANKER

neighbors@vindy.com

Ohio State Representatives John Boccieri of Poland and Michele Lepore-Hagan of Youngstown hosted a press conference to highlight the importance of STEM education through FIRST at Canfield High School on March 27.

Members of the Canfield Circuit Birds, Austintown FalcoTech Robotics Team and Cardinal Mooney Robocards showcased their robots and answered questions. The Canfield Circuit Birds, Austintown FalcoTech and Mooney Robocards were slated to compete in the FIRST, For the Inspiration & Recognition of Science and Technology, Robotics Buckeye Regional competition at the Wolstein Center on the campus of Cleveland State University on March 30.

Representative Boccieri welcomed everyone to the event.

Welcome to the March Madness of Robotics. This is a fantastic opportunity to showcase the best and the brightest in Robotics from the Valley. We wish you all well as you compete at CSU, Boccieri said.

Boccieri gave some history and background of Robotics in the Valley, including that the Austintown FalcoTech Robotics Team was started in 2009 and the Canfield Circuit Birds followed with their team in 2013, with both teams earning several awards at many competitions.

Boccieri then introduced State Representative Lepore-Hagan.

It is so great to see so much excitement in young people interested in robotics and their future. It is so exciting to see so many opportunities open up for these students. Congratulations and know that we support you in your endeavors and good luck at the competition, Lepore-Hagan said.

Boccieri then opened the floor up to the members of the robotics teams.

Robotics teaches us a lot about skills and what we need to know to become an engineer. It also teaches us problem solving skills and teamwork. It also gives us the feel of a professional environment, said Canfield High School junior Elijah Mt. Castle.

Before the teams presented demonstrations of their robots, Boccieri thanked the educators and staff who helped lead these teams.

Thank you to the educators and staff who are leading these teams into competition. You are all Valley leaders in STEM, Boccieri said.

For their demonstrations, the Austintown FalcoTech Robotics Team brought out their robot, which shot T-shirts many feet into the air, and the Canfield Circuit Birds showed off their robot, which shot large round discs high into the air.

Read this article:

STEM robotics highlighted by state representatives - Youngstown Vindicator

Posted in Robotics | Comments Off on STEM robotics highlighted by state representatives – Youngstown Vindicator

MadTown Robotics wins Quality Award – The Madera Tribune

Posted: at 3:11 pm

MadTown Robotics wins Quality Award
The Madera Tribune
Madera High School's engineering club MadTown Robotics won the Motorola-sponsored Quality Award at the annual F.I.R.S.T. Championship last weekend. More than 15,000 students traveled to Houston, Texas, for the four-day event, which ended April 22.

Excerpt from:

MadTown Robotics wins Quality Award - The Madera Tribune

Posted in Robotics | Comments Off on MadTown Robotics wins Quality Award – The Madera Tribune

I have witnessed the death of the playbook. The killer is virtual reality. – Washington Post

Posted: at 3:10 pm

(McKenna Ewen/The Washington Post)

Virtual reality smells like sweat. Or at least it did to me in the brief period I spent in that altered state, during which time I practiced sideline out of bounds plays with Washington Wizards rookies, shot some free throws with Ian Mahimni, and then wound up in Verizon Center tunnel huddling and holding hands with the entire squad just before the tip.

The Oculus Rift headset provided by the Wizards training staff didnt look like a universe destroyer. It looked rather like something a welder would wear, and weighed about as much as a childs toy, only it was loaded with proprietary Virtual Reality tape from Wizards workouts.

What no one can prepare you for is the extent to which the device alters space, literally rearranges the ceiling and walls around you, and persuades all of your senses. Within a few seconds your head starts whipping around like a treetop in a high wind, following the flight of existential basketballs through space. Next thing you know, your nose is convinced to go along with your eyes and ears, and starts telling you that youre smelling the damp-towel, rubber-soled sneakery, liniment and humidity musk thats in every professional arena.

VR is still in its clumsy, crude, awkward, unsharpened infancy its not even close to where its going to be. Yet its already startlingly clear that the technology is going to change the sports experience for everyone, from player to spectator. But its bigger than that, really. Its going to alter human performance, period. Among other things, VR means the death of the playbook. So long to loose-leafed binders and two-dimensional game film. One day soon playbooks will be loaded on VR devices, and this is how draft picks will learn their down screens and back cuts.

Its an inevitability, if you will, said Wizards owner Ted Leonsis, who has made a big investment in the technology.

Leonsis has been ahead of most franchise owners in importing VR for his teams he has implemented it for the Wizards, Capitals and Mystics equally because of his belief that its going to affect everything from competitive edge to player development to spectator experience. The conviction is grounded in his experience at AOL, which originated as a network that connected ATARI gamers for whom VR was the grail.

The people most interested in VR are no longer gamers. They are campus lab researchers looking at ways to apply VR to everything from surgical training to bridge building. Which is how the Wizards came by their specific system, which is called STRIVR: It originated in the Virtual Human Interaction Lab at Stanford University, where Wizards team president Ernie Grunfelds son Danny was in school.

Danny knew a Stanford football team kicker and graduate assistant named Derek Belch who studied in the lab. Belch and his professor-mentor Jeremy Bailenson founded STRIVR to explore a host of new applications of immersive performance training, using Stanfords football team as their guinea pigs. Danny Grunfeld brought STRIVR to his father and Leonsis, who promptly implemented it. STRIVRs clients now include seven NFL teams, three NBA teams, one major league baseball team, 14 collegiate programs and the U.S. ski team. All of them are toying with the STRIVR system in different ways, but theyre after the same thing: performance enhancement.

Behind any good performance is conditioning: repetitive practice, in real conditions that force the brain and body to react, and decide. You cant deny that doing something more often helps when it comes to decision-making, Belch said. The trouble is that the body can only tolerate so much practice before it begins to wear down. VR is a potential solution to that. Athletes can get unlimited reps in the most realistic environment possible, even experiencing some of the same stress, just by using the goggles.

But VRs larger impact is in speeding up learning. How humans learn is complex neuroscience, but one thing we do know is that a hierarchy of experiences leads to greater retention. Research shows that generally, people retain about 10 percent of what they read, but can remember more than 40 percent of what they watch and listen to. VR proponents have taken that concept and sprinted with it in the sports realm.

They have demonstrated that when it comes to any action that involves body coordination, full immersion learning is measurably better. Belchs mentor Bailenson, did a study in which he compared learning Tai Chi in immersive VR to a traditional two-dimensional instructional video. Those who learned from VR performed better in every single phase of the experiment. According to STRIVR, teams can improve recollection of key concepts by 30 percent.

To franchise owners and general managers worried about developing expensive young draft picks, Thats very powerful, Leonsis said. It struck Leonsis that teams were handling their young players such as Kelly Oubre, tech savvy and living his life on the Internet playing e-games, all wrong.

You draft players in the NBA where the kid goes to college for one year and then you put him on your team, and in the old days youd give him a loose-leaf book with words and scribbles, Leonsis said. It looked like geometry homework. And youd say Well, youre a rookie and weve already got starters and backups and youre not going to participate very much, youll do a little in practice. And then we expect these players to get it. And why would we expect that when were not even teaching them the right way?

STRIVR is now using its clients to help amass quantifiable evidence on how the system impacts learning. Reports and data are starting to trickle in. The Detroit Pistons Andre Drummond corrected his free throw form last season with STRIVR, and he upped his rate by a little more than 10 percent. Teams report that its useful as a slump buster, a form of visualization to the 100-proof that allows players to feel themselves making shots instead of missing them. Quarterbacks such as Carson Palmer report upping their efficiency by using it to recognize and react to blitz packages.

We want to be able to tell a head coach that if you put that freshman or rookie or vet in there for eight minutes a day, four days a week for a month, they will be X percent more likely to retain the info, said Belch. In high performance sports where the margins can be fractional between winning and losing, that could be a real difference maker.

But with new power comes new complications. Who owns the rights, who gets how much of the revenue? What will people pay for it? What does it do to television? These are actually just the minor complications. More importantly, what does it do to the people who use it?

Example: Cellular phones have all but killed our need to remember phone numbers. Thats a small phenomenon, but its changing the way our brains are wired on memory and recall, Leonsis said. When it comes to sustained use of highly developed VR, We dont know what the unintended consequence is, he adds.

Applying VR to human sports performance is not a trivial undertaking. The applications are potentially profound, across all professions. STRIVR has a corporate training arm for crisis management, and diversity training: It can put someone in the shoes of a person of color and show how others react to them in the workplace. Its probable that chemistry students will learn structure by stepping inside molecules.

But there are a lot of things that VR still cant do. The focus isnt yet sharp and the viewer cant experience full range of motion, because of something called vection, which is a form of car sickness. Basically, when your head and body do two different things, the human system doesnt like it and produces nausea. It can only reproduce reality from a static position, which is useful for a quarterback reading options off defenses, or studying your shooting form at the free throw line, but not for dynamic movement.

Which leads to the most intriguing part of all of this: the exploration of where we stand in the competition between the human and the machine. For now, were still in a place to discuss human superiority. VR is just a multifaceted camera linked to a powerful computer platform. The great strengths of computers are the speed and accuracy with which they process information and solve equations. But what they lack is judgment and flexibility when it comes to those qualities, the human head outstrips devices. VR cant teach John Walls brand of leadership, or Bradley Beals shape-shifting creativity. It can only photograph them, and show it back to us, to celebrate, and marvel at. It cant make narrative art, which is really what all games are.

Theres an inevitability, Leonsis repeated. But will a computer be able to write a book that moves you? Will it be able to paint a picture or make a piece of art that moves you? Thats really the question.

Link:

I have witnessed the death of the playbook. The killer is virtual reality. - Washington Post

Posted in Virtual Reality | Comments Off on I have witnessed the death of the playbook. The killer is virtual reality. – Washington Post

How Virtual Reality at the 2017 Tribeca Film Festival Is Changing Hollywood – Inc.com

Posted: at 3:10 pm

At this year's Tribeca Film Festival, audiences can walk alongside the rangers protecting elephants in Africa, see what it's like to be a tree, ride in an automated taxi transporting passengers, or follow a Holocaust survivor's steps as he visitsthe concentration camp he was held in for the last time.

Experiences like these are open to the public in New York City as part of the festival's immersive programming. Much the technology is a preview of how virtual reality can support cinema through things like commercials and storytelling.

"I think Hollywood is starting to take notice that VR is not just a marketing tool for their properties," says Loren Hammonds, a programmer at the Tribeca Film Festival. "Film studios recognize that there's a new medium in town and its very different from cinema."

Through Tribeca Immersive's Storyscapes and Virtual Arcade -- two programs that highlight the intersection of film and technology -- traditional filmmakers used new methods like 360-degree cameras and virtual reality devices to bring audiences deep into new worlds. One of the most prominent names at this year's event was Academy Award winner Kathryn Bigelow, who worked with director Imraan Ismail to create The Protectors: A Walk in the Ranger's Shoes, a look at the rangers guarding elephants from ivory poachers in the Democratic Republic of the Congo.

The major differences in this year's immersive programming content is the slight increase in narrative works. That field continues to be dominated by non-fiction and documentaries partially because "the narrative language is just still being developed," Hammonds says. "The only way it will move forward is if a lot more people are willing to take that risk and experiment with it."

Filmmaker Steven Schardt debuted Auto at Tribeca's Virtual Arcade, where viewers got to sit alongside Musay, an Ethiopian immigrant who can't find work as a traditional driver and must act as the safety driver for an automated vehicle. Just as Schardt's film explores what happens when new technology is adopted in the ride-hailing industry, audiences get to see what happens when creators get their hands on new tools. "I think VR does a good job of putting you in a different perspective," says Schardt, whose experience puts in viewers in an actual seat as they take an uncomfortable Uber-like journey.

The intersection of immersive storytelling and Hollywood stretches beyond the Tribeca Film Festival as the two mediums find new ways to engage audiences. This marriage, Hammonds says, is creating original content and new experiences for users. For example, outside of the Tribeca Film Festival, Fox's virtual reality arm Innovation Lab is teaming up with Ridley Scott to create an Alien: Covenant experience ahead of the new movie.

This is the fifth year the Tribeca Film Festival has featured Storyscapes and the second year for the Virtual Arcade. The programming will be available to audiences from April 21 to April 29.

View post:

How Virtual Reality at the 2017 Tribeca Film Festival Is Changing Hollywood - Inc.com

Posted in Virtual Reality | Comments Off on How Virtual Reality at the 2017 Tribeca Film Festival Is Changing Hollywood – Inc.com

Hedgehog Lab sets up Virtual Reality Academy – Prolific North

Posted: at 3:10 pm

Newcastles Hedgehog Lab is to launch a VR Academy to boost the regions virtual reality skills.

It comes following the launch of its Immersive Technologies division and its currently working alongside Gateshead Council to find a site for the facility. One of the options being explored is the Baltic Digital Quarter.

This sector is going to be getting very busy, very soon, said director of immersive technologies, Shaun Allan.

The aim is therefore to fill the void in skills training and get people industry-ready as quickly as possible.

I am also confident we can make the North East the place to be for VR development. We hope to get the biggest players in VR involved.

The company says itplans to bring in 20-30 students initially, with the course lasting 6 months. Half of this would be spent on formal training, the other half on real-world projects in virtual, augmented or mixed reality.

Want people from a range of backgrounds from graduates to those that show a natural creative and technical ability that doesnt necessarily fit into the usual formal education route; we want the mavericks and those who dare to think differently, continued Allen.

And we want them to feel theyve accomplished something just by joining this initiative. We want it to be aspirational, in line with the hedgehog lab ethos.

Councillor Gary Haley, Gatesheads Cabinet Member for Economy, added:

Gateshead Council established Europes first industry-led cluster, VRTGO Labs, in 2014 to provide business growth support to those companies operating in the immersive technology sector and the Council is now preparing to launch an all new state-of-the-art research and development facility to ensure businesses stay at the forefront of the latest emerging technologies.

The Council is therefore fully supportive of hedgehog labs VR Academy, an initiative which is critical if we are to develop talent and improve skills that are vital to the continued growth of the sector.

Read more:

Hedgehog Lab sets up Virtual Reality Academy - Prolific North

Posted in Virtual Reality | Comments Off on Hedgehog Lab sets up Virtual Reality Academy – Prolific North

Virtual reality may pose real problems for our lonely planet – The San Diego Union-Tribune

Posted: at 3:10 pm

After years of hype, virtual reality has entered what research and consulting firm Gartner calls the trough of disillusionment because the much-touted technology hasnt made the expected breakthrough to mass popularity envisioned by the companies that poured billions of dollars into VR research and development.

That list of companies includes Facebook. But at last weeks much-anticipated event in which founder Mark Zuckerberg outlined how Facebook will evolve in coming years, the 32-year-old multibillionaire focused instead on augmented reality digitally altered physical reality, all via the Facebook app on your smartphone, as USA Today reported. Think of AR as an insanely more ambitious version of Pokemon Go one with Minority Report-level saturation of ones surroundings, at least if thats what a user wants.

But dont count out virtual reality yet. Silicon Valley legend Roy Amara, an engineer and researcher who was one of the first serious futurists of the 20th century, had a view of how innovation often plays out thats proved so prescient its now known as Amaras Law: We tend to overestimate the effect of a technology in the short run and underestimate the effect in the long run.

Perhaps humankind should hope that Amaras Law doesnt hold up this time because if virtual reality does become as dazzling, hypnotic and intensely enjoyable as imagined in science fiction, it could build off trends in how technology is changing peoples lives and make the world a different and darker place.

In his acclaimed 2000 book Bowling Alone, Harvard professor Robert Putnam used extensive research to detail how Americans were increasingly less likely to interact with others. The result was fewer constructive, community-building bonds with those with similar identities and interests as well as fewer healthy attempts to create bridges and links to those with different backgrounds:

For the first two-thirds of the twentieth century a powerful tide bore Americans into ever deeper engagement in the life of their communities, but a few decades ago silently, without warning that tide reversed and we were overtaken by a treacherous rip current. Without at first noticing, we have been pulled apart from one another and from our communities over the last third of the century.

A chapter of Puttmans book is devoted to how this trend was accelerated by technology and mass media. This happened first because the arrival of television as a mass institution led people to stay home and then because the proliferation of sources of information and entertainment meant fewer people had the shared experiences seen in the era where there were only three TV networks and most adults read the hometown paper. Increasingly satisfying distractions both made people less likely to go outside their home and interact with the world and to have less in common with others when they did go outside and interact.

Seventeen years later, the availability and quality of such distractions is greater than ever, and the emergence of Facebook as a mass communications tool would seem to counter the idea that technology promotes civic disengagement. But as a 2015 article in The Atlantic laid out, scholarly research suggested Facebook was no answer for the epidemic of loneliness and disconnectedness in the Western world. Stephen Marche wrote:

Our omnipresent new technologies lure us toward increasingly superficial connections at exactly the same moment that they make avoiding the mess of human interaction easy. The beauty of Facebook, the source of its power, is that it enables us to be social while sparing us the embarrassing reality of society the accidental revelations we make at parties, the awkward pauses, the farting and the spilled drinks and the general gaucherie of face-to-face contact. Instead, we have the lovely smoothness of a seemingly social machine. ...

What Facebook has revealed about human nature and this is not a minor revelation is that a connection is not the same thing as a bond, and that instant and total connection is no salvation, no ticket to a happier, better world or a more liberated version of humanity.

Now imagine virtual reality technology so compelling and immersive that it could change the mess of human interaction into a simulacrum of human interaction in which an individual could have all needs communal, conversational, competitive, carnal satisfied by virtual others without any friction or awkwardness.

It is easy to see how such technology could warp societies, especially when considering the fallout from much-less advanced technology in South Korea. The governments 1995 commitment to having the worlds fastest internet helped supercharge the nations economy, as leaders hoped. But it has also had immense collateral damage on young South Koreans. Addiction to internet gaming is so common that in 2011, the South Korean government enacted a law banning children under 16 from accessing gaming websites between midnight and 6 a.m.

In 2013, the government estimated that 10 percent of those aged 10 to 19 were gaming addicts probably a statistic with parallels in other First World nations. But the number appears far too low to other observers. A 2015 VICE investigation suggested the number was closer to 50 percent. Earlier this year, after a weeklong visit to South Korea to meet with therapists and educational specialists, internationally recognized brain expert Michael Merzenich a TED talker and a member of the prestigious National Academy of Sciences wrote that the government figure was a gross underestimate ... the substantial majority of young Korean men live with this addiction.

The proliferation of gaming addiction rehab centers in the nation suggests Merzenich is on to something. So do other statistics such as the marrying age for South Korean men and women reaching an all-time high. But Exhibit A may be this 2014 Washington Post story:

South Korea may be doomed. A recent study, conducted by the National Assembly Research Service in Seoul, predicts that the country will reach zero inhabitants by 2750.

The report makes it clear where the countrys problem lies: A remarkably low birth rate of 1.19 children per woman. But whats really striking is the speed at which it could happen: South Koreas population (currently larger than Spain) could shrink to a level comparable to tiny Switzerland within only a few generations.

By 2136, South Korea is predicted to lose 40 million of its 50 million inhabitants, according to the research.

There are, of course, many factors at play in low birth rates. They commonly drop in times of economic distress and in nations when women become more educated and get better jobs. But as of 2014, South Korea had the lowest birth rate of any of the 35 affluent nations in the Organisation for Economic Co-operation and Development, and the Hankyoreh daily newspaper reported last August that the number keeps getting worse. Its hard not to think that a factor is antisocial gaming addiction among the substantial majority of young Korean men.

Is this what awaits America should VR reach its alleged potential? Maybe, maybe not. South Korea and the United States have different cultures.

But if the history of our use of technology is a history of isolation desired and achieved, as Stephen Marche wrote in The Atlantic, be afraid. Virtual reality could warp reality.

Reed, deputy editor of the editorial and opinion section, is a Level 21 Pokemon Go player. Twitter: @chrisreed99. Email: chris.reed@sduniontribune.com.

Twitter: @sdutIdeas

Facebook: San Diego Union-Tribune Ideas & Opinion

Read the original here:

Virtual reality may pose real problems for our lonely planet - The San Diego Union-Tribune

Posted in Virtual Reality | Comments Off on Virtual reality may pose real problems for our lonely planet – The San Diego Union-Tribune

How virtual reality spiders are helping people face their arachnophobia – ABC Local

Posted: at 3:10 pm

By Rebekah Boynton and Anne Swinbourne, James Cook University

Posted April 28, 2017 12:57:47

Gradually exposing people to the thing they fear, say a spider, in a controlled environment has long been the mainstay of treating phobias.

But with exposure therapy you don't have to have a spider physically present in the room for you to feel the benefits.

Psychologists and researchers are using virtual reality to help people face their fears.

Psychologists originally proposed exposure therapy, also known as systematic desensitisation, in the 1950s as a way of treating specific phobias.

The idea is that if you are presented with the phobic stimulus (for example, spiders or heights) repeatedly, but safely, then your fear reduces over time.

In the case of a spider phobia (arachnophobia), exposure therapy may start with the spider in a cage or container so it cannot physically harm you.

Exposure therapy has three main elements.

First, you identify the situations or objects that make you feel afraid or anxious, or situations you avoid because of the phobia. You then rank them according to which ones provoke the most fear.

This part of the therapy is known as constructing a fear hierarchy.

Then a psychologist teaches you how to progressively relax your muscles. This involves focusing on how you feel when you tense and relax different muscles.

You use this relaxation technique when facing items on your fear hierarchy (or list).

Here's a video showing how progressive muscle relaxation works in practice:

Finally, the therapist gradually shows you items on your fear list, while you practise your relaxation techniques.

You start with the least fear-provoking item until you feel you can manage your fear, before being ready to move sequentially on to more fear-provoking ones.

In the case of a spider phobia, this could mean progressing from looking at an image, to a spider in a container far away, to having one sit in your hand.

Exposure therapy with virtual reality is the same, except instead of being directly exposed to the items on your fear hierarchy, you experience them through a headset.

Real-life exposure therapy has long been considered the most effective form of treatment for phobias.

Yet, despite strong evidence exposure therapy works, about one third of people with a specific phobia don't seek treatment, or if they do, they avoid exposure therapy.

The idea of facing their phobias is just too distressing.

Because they avoid the things they fear, there is no experience of safe exposure and, in turn, no decrease in their fear, so unfortunately phobias often persist.

But people tend to be more willing to take part in virtual reality exposure therapy than in the real-life kind.

Researchers found that people prefer it mainly because confronting the phobia in real life is too fearsome.

So, virtual reality exposure therapy is a promising alternative, especially for people who find exposing themselves to their fear in real life is too difficult or stressful.

Since its introduction in the 1990s, virtual reality exposure therapy has been effective in treating a variety of phobias.

These include acrophobia (fear of heights), aviophobia (fear of flying), claustrophobia (fear of confined spaces) and arachnophobia (fear of spiders).

Virtual reality exposure is just as effective as traditional forms of exposure therapy when assessed immediately after treatment, a year later and even up to three years after treatment.

For example, people who seek treatment for a spider phobia are less likely to avoid spiders, and less likely to feel anxious when they see spiders after virtual reality exposure therapy.

Another advantage is that psychologists can provide their clients with a range of experiences (phobic stimuli), which can be difficult to achieve in the real world.

Consider how time-consuming it can be to provide real-life exposure therapy for someone with a fear of flying.

Additionally, virtual reality allows the psychologist to control the types of experiences clients have as they face items on their fear hierarchy.

Patients can also be assured of their safety and confidentiality, as the therapy is conducted in their psychologist's office.

Although research shows that virtual reality exposure therapy is effective, there are concerns about its cost, accessibility and quality.

However, its quality continues to improve, as does its cost.

There are now clinics (such as this one in Sydney) that specialise in treating specific phobias this way.

If this article has raised concerns for you or someone you know, please contact beyondblue for more information about phobias and how to treat them.

Rebekah Boynton is a PhD candidate in psychology at James Cook University. Her research interests include behaviour change, individual decision making, primary industries and climate change.

Dr Anne Swinbourne is a senior lecturer in psychology at James Cook University.

Originally published in The Conversation

Topics: science-and-technology, computers-and-technology, health, australia

Here is the original post:

How virtual reality spiders are helping people face their arachnophobia - ABC Local

Posted in Virtual Reality | Comments Off on How virtual reality spiders are helping people face their arachnophobia – ABC Local

A.I. Artificial Intelligence – Wikipedia

Posted: at 3:08 pm

A.I. Artificial Intelligence (also known simply as A.I.) is a 2001 American science fiction drama film directed by Steven Spielberg. The screenplay by Spielberg was based on a screen story by Ian Watson and the 1969 short story "Super-Toys Last All Summer Long" by Brian Aldiss. The film was produced by Kathleen Kennedy, Spielberg and Bonnie Curtis. It stars Haley Joel Osment, Jude Law, Frances O'Connor, Brendan Gleeson and William Hurt. Set in a futuristic post-climate change society, A.I. tells the story of David (Osment), a childlike android uniquely programmed with the ability to love.

Development of A.I. originally began with producer-director Stanley Kubrick, after he acquired the rights to Aldiss' story in the early 1970s. Kubrick hired a series of writers until the mid-1990s, including Brian Aldiss, Bob Shaw, Ian Watson, and Sara Maitland. The film languished in protracted development for years, partly because Kubrick felt computer-generated imagery was not advanced enough to create the David character, whom he believed no child actor would convincingly portray. In 1995, Kubrick handed A.I. to Spielberg, but the film did not gain momentum until Kubrick's death in 1999. Spielberg remained close to Watson's film treatment for the screenplay.

The film divided critics, with the overall balance being positive, and grossed approximately $235 million. The film was nominated for two Academy Awards at the 74th Academy Awards, for Best Visual Effects and Best Original Score (by John Williams). A.I. is dedicated to Stanley Kubrick.

In the late 22nd century, rising sea levels from global warming have wiped out coastal cities such as Amsterdam, Venice and New York, and drastically reduced the population. A new type of robots called Mecha, advanced humanoids capable of thoughts and emotions, have been created.

David, a Mecha that resembles a human child and is programmed to display love for its owners, is sent to Henry Swinton and his wife Monica as a replacement for their son Martin, who has been placed in suspended animation until he can be cured of a rare disease. Monica warms to David and activates his imprinting protocol, causing him to have an enduring childlike love for her. David is befriended by Teddy, a robotic teddy bear who cares for David's well-being.

Martin is cured of his disease and brought home; as he recovers, he grows jealous of David. He makes David go to Monica in the night and cut off a lock of her hair. This upsets the parents, particularly Henry, who fears the scissors are a weapon.

At a pool party, one of Martin's friends accidentally pokes David with a knife, activating his self-protection programming. David grabs Martin and they fall into the pool. Martin is saved from drowning, but Henry persuades Monica to return David to his creator for destruction. However, Monica instead abandons both David and Teddy in the forest to hide as an unregistered Mecha.

David is captured for an anti-Mecha "Flesh Fair", where obsolete and unlicensed Mecha are destroyed before cheering crowds. David is nearly killed, but tricks the crowd into thinking he is human and escapes with Gigolo Joe, a male prostitute Mecha who is on the run after being framed for murder. The two set out to find the Blue Fairy, who David remembers from The Adventures of Pinocchio and believes can turn him into a human, allowing Monica to love him and take him home.

Joe and David make their way to Rouge City, where "Dr. Know", a holographic answer engine, leads them to the top of Rockefeller Center in ruined Manhattan. There, David meets a copy of himself and destroys it. David then meets his creator Professor Hobby, who tells David that he was built in the image of the professor's dead son David, and that more copies, including female versions called Darlene, are being manufactured.

Disheartened, David falls from a ledge, but is rescued by Joe using their amphibicopter. David tells Joe he saw the Blue Fairy underwater and wants to go down to meet her. Joe is captured by the authorities using an electromagnet. David and Teddy use the amphibicopter to go to the Fairy, which turns out to be a statue at Coney Island. The two become trapped when the Wonder Wheel falls on their vehicle. David asks repeatedly to be turned into a real boy until the ocean freezes and is deactivated once his power source is drained.

Two thousand years later, humans have become extinct and Manhattan is buried under glacial ice. The Mecha have evolved into an advanced, intelligent, silicon-based form. They find David and Teddy and discover they are original Mecha that knew living humans, making them special.

David is revived and walks to the frozen Fairy statue, which collapses when he touches it. The Mecha use Davids memories to reconstruct the Swinton home and explain to him that they cannot make him human. However, David insists that they recreate Monica from DNA in the lock of hair. The Mecha warn David that the clone can only live for a day, and that the process cannot be repeated. David spends the next day with Monica and Teddy. Before she drifts of to sleep, Monica tells David she has always loved him. Teddy climbs onto the bed and watches the two lie peacefully together.

Kubrick began development on an adaptation of "Super-Toys Last All Summer Long" in the late 1970s, hiring the story's author, Brian Aldiss, to write a film treatment. In 1985, Kubrick asked Steven Spielberg direct the film, with Kubrick producing.[5]Warner Bros. agreed to co-finance A.I. and cover distribution duties.[6] The film labored in development hell, and Aldiss was fired by Kubrick over creative differences in 1989.[7]Bob Shaw served as writer very briefly, leaving after six weeks because of Kubrick's demanding work schedule, and Ian Watson was hired as the new writer in March 1990. Aldiss later remarked, "Not only did the bastard fire me, he hired my enemy [Watson] instead." Kubrick handed Watson The Adventures of Pinocchio for inspiration, calling A.I. "a picaresque robot version of Pinocchio".[6][8]

Three weeks later Watson gave Kubrick his first story treatment, and concluded his work on A.I. in May 1991 with another treatment, at 90 pages. Gigolo Joe was originally conceived as a GI Mecha, but Watson suggested changing him to a male prostitute. Kubrick joked, "I guess we lost the kiddie market."[6] In the meantime, Kubrick dropped A.I. to work on a film adaptation of Wartime Lies, feeling computer animation was not advanced enough to create the David character. However, after the release of Spielberg's Jurassic Park (with its innovative use of computer-generated imagery), it was announced in November 1993 that production would begin in 1994.[9]Dennis Muren and Ned Gorman, who worked on Jurassic Park, became visual effects supervisors,[7] but Kubrick was displeased with their previsualization, and with the expense of hiring Industrial Light & Magic.[10]

Stanley [Kubrick] showed Steven [Spielberg] 650 drawings which he had, and the script and the story, everything. Stanley said, "Look, why don't you direct it and I'll produce it." Steven was almost in shock.

In early 1994, the film was in pre-production with Christopher "Fangorn" Baker as concept artist, and Sara Maitland assisting on the story, which gave it "a feminist fairy-tale focus".[6] Maitland said that Kubrick never referred to the film as A.I., but as Pinocchio.[10]Chris Cunningham became the new visual effects supervisor. Some of his unproduced work for A.I. can be seen on the DVD, The Work of Director Chris Cunningham.[12] Aside from considering computer animation, Kubrick also had Joseph Mazzello do a screen test for the lead role.[10] Cunningham helped assemble a series of "little robot-type humans" for the David character. "We tried to construct a little boy with a movable rubber face to see whether we could make it look appealing," producer Jan Harlan reflected. "But it was a total failure, it looked awful." Hans Moravec was brought in as a technical consultant.[10] Meanwhile, Kubrick and Harlan thought A.I. would be closer to Steven Spielberg's sensibilities as director.[13][14] Kubrick handed the position to Spielberg in 1995, but Spielberg chose to direct other projects, and convinced Kubrick to remain as director.[11][15] The film was put on hold due to Kubrick's commitment to Eyes Wide Shut (1999).[16] After the filmmaker's death in March 1999, Harlan and Christiane Kubrick approached Spielberg to take over the director's position.[17][18] By November 1999, Spielberg was writing the screenplay based on Watson's 90-page story treatment. It was his first solo screenplay credit since Close Encounters of the Third Kind (1977).[19] Spielberg remained close to Watson's treatment, but removed various sex scenes with Gigolo Joe. Pre-production was briefly halted during February 2000, because Spielberg pondered directing other projects, which were Harry Potter and the Philosopher's Stone, Minority Report and Memoirs of a Geisha.[16][20] The following month Spielberg announced that A.I. would be his next project, with Minority Report as a follow-up.[21] When he decided to fast track A.I., Spielberg brought Chris Baker back as concept artist.[15]

The original start date was July 10, 2000,[14] but filming was delayed until August.[22] Aside from a couple of weeks shooting on location in Oxbow Regional Park in Oregon, A.I. was shot entirely using sound stages at Warner Bros. Studios and the Spruce Goose Dome in Long Beach, California.[23] The Swinton house was constructed on Stage 16, while Stage 20 was used for Rouge City and other sets.[24][25] Spielberg copied Kubrick's obsessively secretive approach to filmmaking by refusing to give the complete script to cast and crew, banning press from the set, and making actors sign confidentiality agreements. Social robotics expert Cynthia Breazeal served as technical consultant during production.[14][26] Haley Joel Osment and Jude Law applied prosthetic makeup daily in an attempt to look shinier and robotic.[3] Costume designer Bob Ringwood (Batman, Troy) studied pedestrians on the Las Vegas Strip for his influence on the Rouge City extras.[27] Spielberg found post-production on A.I. difficult because he was simultaneously preparing to shoot Minority Report.[28]

The film's soundtrack was released by Warner Sunset Records in 2001. The original score was composed by John Williams and featured singers Lara Fabian on two songs and Josh Groban on one. The film's score also had a limited release as an official "For your consideration Academy Promo", as well as a complete score issue by La-La Land Records in 2015. The band Ministry appears in the film playing the song "What About Us?" (but the song does not appear on the official soundtrack album).

Warner Bros. used an alternate reality game titled The Beast to promote the film. Over forty websites were created by Atomic Pictures in New York City (kept online at Cloudmakers.org) including the website for Cybertronics Corp. There were to be a series of video games for the Xbox video game console that followed the storyline of The Beast, but they went undeveloped. To avoid audiences mistaking A.I. for a family film, no action figures were created, although Hasbro released a talking Teddy following the film's release in June 2001.[14]

In November 2000, during production, a video-only webcam (dubbed the "Bagel Cam") was placed in the craft services truck on the film's set at the Queen Mary Dome in Long Beach, California. Steven Spielberg, producer Kathleen Kennedy and various other production personnel visited the camera and interacted with fans over the course of three days.[29][30]

A.I. had its premiere at the Venice Film Festival in 2001.[31]

The film opened in 3,242 theaters in the United States on June 29, 2001, earning $29,352,630 during its opening weekend. A.I went on to gross $78.62 million in US totals as well as $157.31 million in foreign countries, coming to a worldwide total of $235.93 million.[32]

Based on 190 reviews collected by Rotten Tomatoes, 73% of the critics gave the film positive notices with a score of 6.6 out of 10. The website described the critical consensus perceiving the film as "a curious, not always seamless, amalgamation of Kubrick's chilly bleakness and Spielberg's warm-hearted optimism. [The film] is, in a word, fascinating."[33] By comparison, Metacritic collected an average score of 65, based on 32 reviews, which is considered favorable.[34]

Producer Jan Harlan stated that Kubrick "would have applauded" the final film, while Kubrick's widow Christiane also enjoyed A.I.[35] Brian Aldiss admired the film as well: "I thought what an inventive, intriguing, ingenious, involving film this was. There are flaws in it and I suppose I might have a personal quibble but it's so long since I wrote it." Of the film's ending, he wondered how it might have been had Kubrick directed the film: "That is one of the 'ifs' of film history - at least the ending indicates Spielberg adding some sugar to Kubrick's wine. The actual ending is overly sympathetic and moreover rather overtly engineered by a plot device that does not really bear credence. But it's a brilliant piece of film and of course it's a phenomenon because it contains the energies and talents of two brilliant filmmakers."[36]Richard Corliss heavily praised Spielberg's direction, as well as the cast and visual effects.[37]Roger Ebert awarded the film a full four stars, saying that it was "Audacious, technically masterful, challenging, sometimes moving [and] ceaselessly watchable.[38]Leonard Maltin, on the other hand, gives the film two stars out of four in his Movie Guide, writing: "[The] intriguing story draws us in, thanks in part to Osment's exceptional performance, but takes several wrong turns; ultimately, it just doesn't work. Spielberg rewrote the adaptation Stanley Kubrick commissioned of the Brian Aldiss short story 'Super Toys Last All Summer Long'; [the] result is a curious and uncomfortable hybrid of Kubrick and Spielberg sensibilities." However, he calls John Williams' music score "striking". Jonathan Rosenbaum compared A.I. to Solaris (1972), and praised both "Kubrick for proposing that Spielberg direct the project and Spielberg for doing his utmost to respect Kubrick's intentions while making it a profoundly personal work."[39] Film critic Armond White, of the New York Press, praised the film noting that "each part of Davids journey through carnal and sexual universes into the final eschatological devastation becomes as profoundly philosophical and contemplative as anything by cinemas most thoughtful, speculative artists Borzage, Ozu, Demy, Tarkovsky."[40] Filmmaker Billy Wilder hailed A.I. as "the most underrated film of the past few years."[41] When British filmmaker Ken Russell saw the film, he wept during the ending.[42]

Mick LaSalle gave a largely negative review. "A.I. exhibits all its creators' bad traits and none of the good. So we end up with the structureless, meandering, slow-motion endlessness of Kubrick combined with the fuzzy, cuddly mindlessness of Spielberg." Dubbing it Spielberg's "first boring movie", LaSalle also believed the robots at the end of the film were aliens, and compared Gigolo Joe to the "useless" Jar Jar Binks, yet praised Robin Williams for his portrayal of a futuristic Albert Einstein.[43][not in citation given]Peter Travers gave a mixed review, concluding "Spielberg cannot live up to Kubrick's darker side of the future." But he still put the film on his top ten list that year for best movies.[44] David Denby in The New Yorker criticized A.I. for not adhering closely to his concept of the Pinocchio character. Spielberg responded to some of the criticisms of the film, stating that many of the "so called sentimental" elements of A.I., including the ending, were in fact Kubrick's and the darker elements were his own.[45] However, Sara Maitland, who worked on the project with Kubrick in the 1990s, claimed that one of the reasons Kubrick never started production on A.I. was because he had a hard time making the ending work.[46]James Berardinelli found the film "consistently involving, with moments of near-brilliance, but far from a masterpiece. In fact, as the long-awaited 'collaboration' of Kubrick and Spielberg, it ranks as something of a disappointment." Of the film's highly debated finale, he claimed, "There is no doubt that the concluding 30 minutes are all Spielberg; the outstanding question is where Kubrick's vision left off and Spielberg's began."[47]

Screenwriter Ian Watson has speculated, "Worldwide, A.I. was very successful (and the 4th highest earner of the year) but it didn't do quite so well in America, because the film, so I'm told, was too poetical and intellectual in general for American tastes. Plus, quite a few critics in America misunderstood the film, thinking for instance that the Giacometti-style beings in the final 20 minutes were aliens (whereas they were robots of the future who had evolved themselves from the robots in the earlier part of the film) and also thinking that the final 20 minutes were a sentimental addition by Spielberg, whereas those scenes were exactly what I wrote for Stanley and exactly what he wanted, filmed faithfully by Spielberg."[48]

In 2002, Spielberg told film critic Joe Leydon that "People pretend to think they know Stanley Kubrick, and think they know me, when most of them don't know either of us". "And what's really funny about that is, all the parts of A.I. that people assume were Stanley's were mine. And all the parts of A.I. that people accuse me of sweetening and softening and sentimentalizing were all Stanley's. The teddy bear was Stanley's. The whole last 20 minutes of the movie was completely Stanley's. The whole first 35, 40 minutes of the film all the stuff in the house was word for word, from Stanley's screenplay. This was Stanley's vision." "Eighty percent of the critics got it all mixed up. But I could see why. Because, obviously, I've done a lot of movies where people have cried and have been sentimental. And I've been accused of sentimentalizing hard-core material. But in fact it was Stanley who did the sweetest parts of A.I., not me. I'm the guy who did the dark center of the movie, with the Flesh Fair and everything else. That's why he wanted me to make the movie in the first place. He said, 'This is much closer to your sensibilities than my own.'"[49]

Upon rewatching the film many years after its release, BBC film critic Mark Kermode apologized to Spielberg in an interview in January 2013 for "getting it wrong" on the film when he first viewed it in 2001. He now believes the film to be Spielberg's "enduring masterpiece".[50]

Visual effects supervisors Dennis Muren, Stan Winston, Michael Lantieri and Scott Farrar were nominated for the Academy Award for Best Visual Effects, while John Williams was nominated for Best Original Music Score.[51] Steven Spielberg, Jude Law and Williams received nominations at the 59th Golden Globe Awards.[citation needed] The visual effects department was once again nominated at the 55th British Academy Film Awards.[citation needed]A.I. was successful at the Saturn Awards. Spielberg (for his screenplay), the visual effects department, Williams and Haley Joel Osment (Performance by a Younger Actor) won in their respective categories. The film also won Best Science Fiction Film and for its DVD release. Frances O'Connor and Spielberg (as director) were also nominated.[citation needed]

The film is recognized by American Film Institute in these lists:

View original post here:

A.I. Artificial Intelligence - Wikipedia

Posted in Artificial Intelligence | Comments Off on A.I. Artificial Intelligence – Wikipedia

Artificial intelligence shows potential to fight blindness – Science Daily

Posted: at 3:08 pm

Researchers from the Byers Eye Institute at Stanford University have found a way to use artificial intelligence to fight a complication of diabetes that affects the eyes. This advance has the potential to reduce the worldwide rate of vision loss due to diabetes.

In a study published online in Ophthalmology, the journal of the American Academy of Ophthalmology, the researchers describe how they used deep-learning methods to create an automated algorithm to detect diabetic retinopathy. Diabetic retinopathy (DR) is a condition that damages the blood vessels at the back of the eye, potentially causing blindness.

"What we showed is that an artificial intelligence-based grading algorithm can be used to identify, with high reliability, which patients should be referred to an ophthalmologist for further evaluation and treatment," said Theodore Leng, M.D., lead author. "If properly implemented on a worldwide basis, this algorithm has the potential to reduce the workload on doctors and increase the efficiency of limited healthcare resources. We hope that this technology will have the greatest impact in parts of the world where ophthalmologists are in short supply."

Another advantage is that the algorithm does not require any specialized, inaccessible, or costly computer equipment to grade images. It can be run on a common personal computer or smartphone with average processors.

Deep learning is on the rise in computer science and medicine because it can teach computers to do what our brains do naturally. What Dr. Leng and his colleagues did was to create an algorithm based on more than 75,000 images from a wide range of patients representing several ethnicities, and then used it to teach a computer to identify between healthy patients and those with any stage of disease, from mild to severe.

Dr. Leng's algorithm could identify all disease stages, from mild to severe, with an accuracy rate of 94 percent. It would be these patients that should see an ophthalmologist for further examination. An ophthalmologist is a physician who specializes in the medical and surgical treatment of eye diseases and conditions.

Diabetes affects more than 415 million people worldwide or 1 in every 11 adults. About 45 percent of diabetic patients are likely to have diabetic retinopathy at some point in their life; however, fewer than half of patients are aware of their condition. Early detection and treatment are integral to combating this worldwide epidemic of preventable vision loss.

Ophthalmologists typically diagnose the presence and severity of diabetic retinopathy by direct examination of the back of the eye and by evaluation of color photographs of the fundus, the interior lining of the eye. Given the large number of diabetes patients globally, this process is expensive and time-consuming. Also, previous studies have shown that detection is somewhat subjective, even among trained specialists. This is why an effective, automated algorithm could potentially reduce the rate of worldwide blindness.

Story Source:

Materials provided by American Academy of Ophthalmology (AAO). Note: Content may be edited for style and length.

Link:

Artificial intelligence shows potential to fight blindness - Science Daily

Posted in Artificial Intelligence | Comments Off on Artificial intelligence shows potential to fight blindness – Science Daily