title: Virtual teleportation of a theatre audience onto the stage: VR as an assistive technology

authors: Srinivasan, Saikrishna

abstract: For more than a decade, virtual reality (VR) has been employed to enrich and heighten media experiences. Despite the recognized potential and promise of VR, and ample investment, it has yet to fully transform or replace existing screen-based experiences (e.g. film or gaming). This research forms a part of a larger project to shift VR applications beyond otherwise apparent areas of screen-based media, in order to enhance audience access and propinquity to a live performance. This study is being conducted in the field of theatre, a dramatic medium in which audience are traditionally static and where an individual’s seating position determines their perceptual experience (distance, angle, lights, obstructed vs clear view). This paper introduces the broader project and its experimentation with VR as an assistive technology. The project seeks to utilize VR as a means of converting an otherwise static experience to provide collective moments of visual teleportation, onto stage, into props and on actors. VR offers a non-invasive means of introducing variance in viewer proximity or position relative to performance. This paper reports on the early development and use of a three-dimensional theatre prototyping in order to explore the technical requirements for application to a VR theatre experience.

text: Virtual teleportation of a theatre audience onto the stage: VR as an assistive technology For more than a decade, virtual reality (VR) has been employed to enrich and heighten media experiences. Despite the recognized potential and promise of VR, and ample investment, it has yet to fully transform or replace existing screen-based experiences (e.g. film or gaming). This research forms a part of a larger project to shift VR applications beyond otherwise apparent areas of screen-based media, in order to enhance audience access and propinquity to a live performance. This study is being conducted in the field of theatre, a dramatic medium in which audience are traditionally static and where an individual’s seating position determines their perceptual experience (distance, angle, lights, obstructed vs clear view). This paper introduces the broader project and its experimentation with VR as an assistive technology. The project seeks to utilize VR as a means of converting an otherwise static experience to provide collective moments of visual teleportation, onto stage, into props and on actors. VR offers a non-invasive means of introducing variance in viewer proximity or position relative to performance. This paper reports on the early development and use of a three-dimensional theatre prototyping in order to explore the technical requirements for application to a VR theatre experience.

year: 2020

title: General anesthetic-induced seizures can be explained by a mean-field model of cortical dynamics

authors: Wilson, Marcus T.

subjects: nervous system diseases

abstract: In this article, we describe a mathematical model of cerebral cortical function (the so-called mean-field model). We conclude that the technique of mean-field modelling of the cerebral cortex is able to explain parsimoniously and elegantly a constellation of counterintuitive neuropharmacologic experimental data.

text: General anesthetic-induced seizures can be explained by a mean-field model of cortical dynamics In this article, we describe a mathematical model of cerebral cortical function (the so-called mean-field model). We conclude that the technique of mean-field modelling of the cerebral cortex is able to explain parsimoniously and elegantly a constellation of counterintuitive neuropharmacologic experimental data.

year: 2006

title: Contemporary attitudes to traditional facial ta moko: A working paper

authors: Rua, Mohi

subjects: Maori

abstract: Until it came under serious attack from nineteenth century missionaries, ta moko was an
integral part of traditional Maori society. Facial moko conveyed important information about
identity, whakapapa and status. The process of receiving a moko was tapu and highly regulated.
Recent years have seen an increase in the number of Maori receiving ta moko. Moko have been
seen as a symbol of Maori pride and identity and have often been associated with political
activism. This study set out to investigate the contemporary meaning of ta moko, the reactions
wearers encounter from others and the ways wearers cope with those reactions.
Three case studies are presented. These show that the issues of personal identity and
whakapapa were central to the meaning wearers attached to their moko. Receiving a moko was
often associated with significant personal changes and an increased political commitment to
Maori self determination. On the whole, positive reactions were more common than negative
reactions but wearers did find themselves subjected to racist and antagonistic responses.
Wearing moko was also reported to mean that others, particularly other Maori, placed certain
expectations on the wearer, notably to be fluent in te reo and to be able to exercise leadership.
Participants considered that there was a need for education about the significance of ta moko
and recommended that those contemplating receiving a moko ensure that they are reasonably
fluent in te reo.

text: Contemporary attitudes to traditional facial ta moko: A working paper Until it came under serious attack from nineteenth century missionaries, ta moko was an
integral part of traditional Maori society. Facial moko conveyed important information about
identity, whakapapa and status. The process of receiving a moko was tapu and highly regulated.
Recent years have seen an increase in the number of Maori receiving ta moko. Moko have been
seen as a symbol of Maori pride and identity and have often been associated with political
activism. This study set out to investigate the contemporary meaning of ta moko, the reactions
wearers encounter from others and the ways wearers cope with those reactions.
Three case studies are presented. These show that the issues of personal identity and
whakapapa were central to the meaning wearers attached to their moko. Receiving a moko was
often associated with significant personal changes and an increased political commitment to
Maori self determination. On the whole, positive reactions were more common than negative
reactions but wearers did find themselves subjected to racist and antagonistic responses.
Wearing moko was also reported to mean that others, particularly other Maori, placed certain
expectations on the wearer, notably to be fluent in te reo and to be able to exercise leadership.
Participants considered that there was a need for education about the significance of ta moko
and recommended that those contemplating receiving a moko ensure that they are reasonably
fluent in te reo.

year: 1999