Journal articles on the topic 'Google glasses'

Background: Vertigo is 1 of the most prominent and frequent neurological symptom. It is estimated that about 30% of all people need medical care once in their life due to this index symptom. The neurological expertise required is usually scarce in underprivileged areas. One has to look for spontaneous nystagmus, and perform Dix–Hallpike maneuver and Head Impulse test specifically to differentiate central from peripheral vertigo. The nystagmus, that is spontaneous, involuntary to-and-fro movement of the eyeball which aids in the diagnosis, can be better elicited by Frenzel glasses, Munich glasses. These devices consist of the combination of magnifying glasses and a lighting system to detect eye movements better than routine examination. Objective: To test usefulness of modified Google cardboard as Frenzel glasses in poor resource setting. Study design: A modified Google cardboard was used in 52 consecutive cases of vertigo and compared with examination with naked eye. The device consists of 2 magnifying lenses, 1 for each eye with power of +24 dioptres. Observation: The tool was found to be better for identifying spontaneous nystagmus, in Dix–Hallpike maneuver and during head impulse test as compared with the naked eye owing to the property of magnification and inhibition of fixation. Being a cheaper alternative and handy, it could be carried by every doctor in any setting.

Purpose Google Cardboard has brought virtual reality experiences to anyone with a smartphone and low-cost glasses, the first ones provided by Google made of Cardboard! Design/methodology/approach Due to its extremely low cost, many applications are burgeoning the field, and the technology has created new opportunities for libraries in creating virtual immersive experiences for their users. Findings Low-cost virtual-reality cameras are coming on the scene too that will allow libraries to develop documentaries of community information, tours and educational/information experiences. Originality/value The references below, run the gamut of what Google Cardboard is all about, new applications, new viewers based on Google’s offerings and opportunities on the horizon. This is definitely a technology that is taking everyone by storm!

Colorblind people or people with a color vision deficiency have to face many challenges in their daily activities. Their disadvantage to perceive colors incorrectly leads to frustration when determining the freshness of fruits and the rawness of meat as well as the problem to distinguish clothes with confusing colors. With the rise of the smartphone, numerous mobile applications are developed to overcome those problems, improving the quality of live. However, smartphones also have some limitations in certain use cases. Especially activities where both hands are needed do not suit well for smartphone applications. Furthermore, there exist tasks in which a continuous use of a smartphone is not possible or even not legally allowed such as driving a car. In recent years, fairly new devices called smart glasses become increasingly popular, which offer great potential for several use cases. One of the most famous representatives of smart glasses is Google Glass, a head-mounted display that is worn like normal eyeglasses produced by Google. This paper introduces an experimental prototype of a Google Glass application for colorblind people or people with a color vision deficiency, called OmniColor and meets the challenge if Google Glass is able to improve the color perception of those people. To show the benefits of OmniColor, an Ishihara color plate test is performed by a group of 14 participants either with, or without the use of OmniColor.

Facial recognition is one of the most promising applications of smart glasses and can help many organizations become more efficient. For example, police traditionally identify criminals by manually going through pictures in a database which makes face matching a slow process. However, with the combination of facial recognition software, smart glasses, and databases, the police can quickly scan through multiple databases of faces to find a match. The police would also be able to spot criminals in crowds, identify unknown victims at crime scenes, retrieve background information on individuals, and verify if someone is a missing person. The Transportation Security Administration (TSA) can also use this combination to identify potential terror suspects or verify the identity of travelers. Lastly, academia can benefit from these tools by being able to identify individuals at events (e.g. conferences) and display relevant information about them. The goal of this project is to write an Android program that takes a photo via Google Glass, compares it with a predefined sample database held within the smartphone, and outputs information based on its analysis. The results are displayed with an accuracy acceptance level to the user both on their Android smartphone and on their Google Glass.

In this paper, we introduce an egocentric landmark-based guidance system that enables visually impaired users to interact with indoor environments. The user who wears Google Glasses will capture his surroundings within his field of view. Using this information, we provide the user an accurate landmark-based description of the environment including his relative distance and orientation to each landmark. To achieve this functionality, we developed a near real time accurate vision based localization algorithm. Since the users are visually impaired our algorithm accounts for captured images using Google Glasses that have severe blurriness, motion blurriness, low illumination intensity and crowd obstruction. We tested the algorithm performance in a 12,000 ft2 open indoor environment. When we have mint query images our algorithm obtains mean location accuracy within 5ft., mean orientation accuracy less than 2 degrees and reliability above 88%. After applying deformation effects to the query images such blurriness, motion blurriness and illumination changes, we observe that the reliability is above 75%.

The aim of this study is to review academic papers on the applications of smart glasses. Among 82 surveyed papers, 57 were selected through filtering. The papers were published from January 2014 to October 2020. Four research questions were set up using the systematic review method, and conclusions were drawn focusing on the research trends by year and application fields; product and operating system; sensors depending on the application purpose; and data visualization, processing, and transfer methods. It was found that the most popular commercial smart glass products are Android-based Google products. In addition, smart glasses are most often used in the healthcare field, particularly for clinical and surgical assistance or for assisting mentally or physically disabled persons. For visual data transfer, 90% of the studies conducted used a camera sensor. Smart glasses have mainly been used to visualize data based on augmented reality, in contrast with the use of mixed reality. The results of this review indicate that research related to smart glasses is steadily increasing, and technological research into the development of smart glasses is being actively conducted.

Today innovation can be so radical and futuristic that common models of innovation diffusion might not be enough. The success of an innovation relies on the functional features of the new product, but also on how consumers shape the meaning of that innovation. Consumer Culture Theory (CCT) can help managers by focusing on the cultural determinants of consumer behaviour. The work provides a preliminary analysis of how consumers elaborate the cultural platform that will determine the degree of success of the upcoming innovation Google Glass.

The purpose of the article is to study, analyze and consider the general problems and prospects of using navigation systems in a virtual environment on mobile devices using Google Cardboard virtual reality glasses. The research methodology consists of the methods of semantic analysis of the basic concepts of a given subject area (navigation systems in virtual environments). The article discusses the existing approaches to the development of navigation systems. The novelty of the research is the solution of navigation problems in mobile applications that operate in virtual reality. Conclusions. The work analyzed the existing problems and prospects for the use of navigation systems in mobile applications that can be used in the field of education gamification. Taking into account the results of the analysis, the authors have developed a navigation system that is important for solving problems of improving the effectiveness of gamification of learning processes (especially distance, online learning, e-learning).

Google Earth is a vision device that operates in the tension between two sets of eyes: vertical and horizontal. The vertical eye locates the observer outside the lived area in a privileged point, far from everyday life. With Google Earth, we have the globe to manipulate with our hands, in a radical disparity of the subject and world. But this world is a set of juxtaposed fragments of images, captured from above. The interval between the limit of resolution of each image when we descend into the soil and the approximate height of our eye on the ground level (1.70 m) is what we call Myopia Space of Google Earth, which is variable for each visited place. Myopia Index measures the public character of the Google Earth territory, since it is universally accessible but always controlled from a privileged place. The GeoEye, currently the commercial satellite capable of generating images with higher spatial resolution, is supported, firstly by the National Agency of the United States Geospatial Intelligence (NGA) and, secondly, by Google. The NGA will receive images from up to 43 cm spatial resolution, while Google does not exceed 50 cm in maximum resolution, due to a restriction imposed by the U.S. government. No gaze is neutral, much less the gaze of satellites that carry politically adjustable myopias. And if there are natural clouds, which hinder the satellites view while they pass, there are also the artificial clouds that freeze the landscape as compulsory vigilant glasses. This article accompanies the film Global Safari: Powered by Google, which can be viewed at: http://blip.tv/file/3698794/

Finalizada la Revolución Digital del siglo XX, la tecnología locative media georreferencia en nuestros días la capa digital y se afana en la construcción de la ciudad aumentada. Su acceso y percepción por la ciudadanía se produce a través de los dispositivos electrónicos en cuyo modelo de comunicación de máxima interacción destaca el concepto de cuarta pared. A la vista del incremento del determinismo tecnológico en las sociedades hiperconectadas, esta investigación pone énfasis en la naturaleza de la cuarta pared desmintiendo algunos aspectos tecnológicos que desde una excedida tecnofilia se han presentado como pioneros. Aquí se muestra cómo la topología de este elemento mediador guarda analogía con ciertos episodios acontecidos en el campo de las artes. Como precedentes analógicos se rescatan las escenografías barrocas de Giovanni Battista Aleotti y Vicenzo Scamozzi, por subvertir la cuarta pared y redefinir el límite entre la ficción y la realidad; entre el dominio digital y el físico, si extendemos la analogía a los entornos aumentados de nuestros días.

Observation of surgical procedures performed by experts is extremely important for acquisition and improvement of surgical skills. Smart glasses are small computers, which comprise a head-mounted monitor and video camera, and can be connected to the internet. They can be used for remote observation of surgeries by video streaming. Although Google Glass is the most commonly used smart glasses for medical purposes, it is still unavailable commercially and has some limitations. This article reports the use of a different type of smart glasses, InfoLinker, for surgical video streaming. InfoLinker has been commercially available in Japan for industrial purposes for more than 2 years. It is connected to a video server via wireless internet directly, and streaming video can be seen anywhere an internet connection is available. We have attempted live video streaming of knee arthroplasty operations that were viewed at several different locations, including foreign countries, on a common web browser. Although the quality of video images depended on the resolution and dynamic range of the video camera, speed of internet connection, and the wearer’s attention to minimize image shaking, video streaming could be easily performed throughout the procedure. The wearer could confirm the quality of the video as the video was being shot by the head-mounted display. The time and cost for observation of surgical procedures can be reduced by InfoLinker, and further improvement of hardware as well as the wearer’s video shooting technique is expected. We believe that this can be used in other medical settings.

Wearable consumer electronics such as Google glasses, Apple iWatch, Nike Shoes have been envisioned as next consuming hot spot. It invokes a large amount of applications in the personal healthy, personal safety, and digital entertainment. To save power consumption, those wearable devices usually connect to Internet via a smart phone that performs as a gateway. To avoid unauthorized access from unfriendly devices, it is desirable to encrypt the personal data in the communications of wearable devices. Therefore, the keys for encryption and integrity are required. In this paper, we make the first attempt to solve both key management and authentication together for wearable devices in an ultra-lightweight manner. We propose a scheme called uKeMa that can provide key generation, key updating and authentication for wearable devices with ultra-lightweight power consumption.

Background Several studies have shown that facial attention differs in children with autism. Measuring eye gaze and emotion recognition in children with autism is challenging, as standard clinical assessments must be delivered in clinical settings by a trained clinician. Wearable technologies may be able to bring eye gaze and emotion recognition into natural social interactions and settings. Objective This study aimed to test: (1) the feasibility of tracking gaze using wearable smart glasses during a facial expression recognition task and (2) the ability of these gaze-tracking data, together with facial expression recognition responses, to distinguish children with autism from neurotypical controls (NCs). Methods We compared the eye gaze and emotion recognition patterns of 16 children with autism spectrum disorder (ASD) and 17 children without ASD via wearable smart glasses fitted with a custom eye tracker. Children identified static facial expressions of images presented on a computer screen along with nonsocial distractors while wearing Google Glass and the eye tracker. Faces were presented in three trials, during one of which children received feedback in the form of the correct classification. We employed hybrid human-labeling and computer vision–enabled methods for pupil tracking and world–gaze translation calibration. We analyzed the impact of gaze and emotion recognition features in a prediction task aiming to distinguish children with ASD from NC participants. Results Gaze and emotion recognition patterns enabled the training of a classifier that distinguished ASD and NC groups. However, it was unable to significantly outperform other classifiers that used only age and gender features, suggesting that further work is necessary to disentangle these effects. Conclusions Although wearable smart glasses show promise in identifying subtle differences in gaze tracking and emotion recognition patterns in children with and without ASD, the present form factor and data do not allow for these differences to be reliably exploited by machine learning systems. Resolving these challenges will be an important step toward continuous tracking of the ASD phenotype.

Android is a free open-source operating system (OS), which allows an in-depth understanding of its architecture. Therefore, many manufacturers are utilizing this OS to produce mobile devices (smartphones, smartwatch, and smart glasses) in different brands, including Google Pixel, Motorola, Samsung, and Sony. Notably, the employment of OS leads to a rapid increase in the number of Android users. However, unethical authors tend to develop malware in the devices for wealth, fame, or private purposes. Although practitioners conduct intrusion detection analyses, such as static analysis, there is an inadequate number of review articles discussing the research efforts on this type of analysis. Therefore, this study discusses the articles published from 2009 until 2019 and analyses the steps in the static analysis (reverse engineer, features, and classification) with taxonomy. Following that, the research issue in static analysis is also highlighted. Overall, this study serves as the guidance for novice security practitioners and expert researchers in the proposal of novel research to detect malware through static analysis.

Abstract The high irradiance and the different emission spectra from contemporary light curing units (LCU) may cause ocular damage. This study evaluated the ability of 15 eye protection filters: 2 glasses, 1 paddle design, and 12 dedicated filters to block out harmful light from a monowave (HP-3M ESPE) and a broad-spectrum (Valo, Ultradent) LED LCU. Using the anterior sensor in the MARC-Patient Simulator (BlueLight Analytics) the irradiance that was delivered through different eye protection filters was measured three times. The LCUs delivered a similar irradiance to the top of the filter. The mean values of the light that passed through the filters as percent of the original irradiance were analyzed using two-way ANOVA followed by Tukey test (a= 0.05). The emission spectra from the LCUs and through the filters were also obtained. Two-way ANOVA showed that the interaction between protective filters and LCUs significantly influenced the amount of light transmitted (p< 0.001). Tukey test showed that the amount of light transmitted through the protective filters when using the HP-3M-ESPE was significantly greater compared to when using the Valo, irrespective of the protective filter tested. When using the HP-3M-ESPE, the Glasses filter allowed significantly more light through, followed by XL 3000, ORTUS, Google Professional, Gnatus filters. The Valo filter was the most effective at blocking out the harmful light. Some protective filters were less effective at blocking the lower wavelengths of light (<420 nm). However, even in the worst scenario, the filters were able to block at least 97% of the irradiance.

Where a decade a ago mostly visions and bulky carry-on devices existed, today several wearable computing products could be found. For example, activity trackers are already selling in convenience stores. The development does neither mean that the core innovations of the wearable computing vision are realised, nor that there will be any successful wearable device beyond those activity trackers. The product announcements and explorations, such as Google Glass, have identified key challenges that are urging further research investments. The lessons to learn from those recent developments are discussed here, leading to an approach towards multi-function materials and wearable devices. Two projects are described that implement a multi-function approach. In the SimpleSkin project, a generic fabric is developed to realise different sensor functions, controlled via software apps in a Garment OS. The same fabric material is used in smart eyeglasses to realise temple-integrated electrodes. Whereas SimpleSkin aims at skin-attached wearables, the smart eyeglasses developed here closely resemble regular glasses and thus could become publicly accepted wearable accessories. Moving towards wearable technology that is truly embedded into everyday life opens a series of new health support applications that are sketched here, based on the concept of smart eyeglasses.

This study presents a technique that uses an interactive virtual environment for the rehabilitation treatment of patients with mechanical strabismus and/or amblyopia who have lost eye movement. The relevant part of this treatment is the act of forcing the two eyes to cooperate with each other by increasing the level of adaptation of the brain and allowing the weak eye to see again. Accordingly, the game enables both eyes to work together, providing the patient with better visual comfort and life quality. In addition, the virtual environment is attractive and has the ability to overcome specific challenges with real-time feedback, coinciding with ideal approaches for use in ocular rehabilitation. The entire game was developed with free software and the 3D environment, which is made from low-cost virtual reality glasses, as well as Google Cardboard which uses a smartphone for the display of the game. The method presented was tested in 41 male and female patients, aged 8 to 39 years, and resulted in the success of 40 patients. The method proved to be feasible and accessible as a tool for the treatment of amblyopia and strabismus. The project was registered in the Brazil platform and approved by the ethics committee of the State University of Piaui—UESPI, with the CAAE identification code: 37802114.8.0000.5209.

Campus promotion and introduction by some institutions in general still using the media images or print media, as is often done by State Polytechnic Indramayu in introducing and providing campus information is still using print media and images such as brochures or banners. Therefore, an application is required that can introduce and provide information about the campus, especially in the State Polytechnic Indramayu and provide information on existing buildings on campus using Virtual Reality technology. With the Virtual Reality technology is able to provide real information and can interact directly with the environment and buildings that exist in the campus although the appearance of the building and the environment still looks low poly. By setting up a smartphone that already supports or already support the Gyroscope sensor and set up Google CardBoard or VRBox glasses, users can directly use 3D virtual reality applications and can directly play it, but the effect of using this application can cause the user a bit dizzy because not used to using it. 3D Virtual Reality application is created by using software Unity, Blender, and C # programming language. The features available in this app are VR start, select building, how to use VR, and about VR. 3D virtual reality applications can be used by the State Polytechnic Indramayu as a medium of introduction Mobile-based campus that has a responsive display that can be run on smatrphone that already supports Accelerometer sensor. Gyroscope sensor, and Android operating system.

Background: Presbyopia is the normal progressive waning of accommodation with loss of the visual ability to focus on objects residing at different distances. Presbyopia exacts a cost in quality of life and professional efficiency of many people over 40 years of age. Presbyopia is likely to be 1 of the main pressing visual concerns of the 21st century, given that life expectancy is increasing, resulting in an aging population. This review aimed to address the 3 strategies of the pharmacological treatment for presbyopia. Methods: A review on PubMed/MEDLINE, Google Scholar, and Clinicaltrials.gov was performed to investigate the English literature on pharmacological treatment for presbyopia from beginning-of-year 2012 to September 30, 2020. Results: In addition to the treatment of presbyopia with glasses or contact lenses, new surgical strategies have been developed, some of which have been successful. However, during the last decade, a new, promising, non-invasive option for treating presbyopia has emerged: the pharmacological approach. Many researchers have developed 3 different lines of investigation from different assumptions, on a pharmacological basis. The first consisted of producing miosis, to take advantage of a pharmacologically induced pinhole effect, increasing depth-of-focus, and thus improving uncorrected near visual acuity. The second aimed to rehabilitate accommodation binocularly to enable good vision at all distances. Finally, the third approach attempted to rehabilitate lost elasticity in the human crystalline lens. Conclusions: None of the 3 discussed pharmacological strategies for treating presbyopia, prescribed globally, but patients of restoring accommodation strategy can adhere locally, where they are sold so far as master prescriptions.

This paper proposes using a wearable device for visualization and control in association with an Unmaned Aerial Vehicle applied to structural inspection of buildings. More specifically, an AR.Drone is controlled through head positions and gestures performed by an operator wearing a Google Glass, and the images captured by the drone are visualized on Glass’s screen. We discuss the problems that arise when such a solution is developed, along with limitations that come from today's available technology and how to overcome them.

Latar Belakang: Pertolongan persalinan yang di lakukan oleh petugas kesehatan (dokter atau bidan) merupakan salah satu faktor resiko penularan penyakit dari pasien ke tenaga kesehatan atau sebaliknya karena berhubungan langsung dengan cairan tubuh pasien. Proporsi persalinan yang ditolong oleh bidan yaitu 60,9% dibandingkan dokter 16,2%. Mengingat bahwa infeksi ditularkan melalui darah, sekret vagina, air mani, cairan amnion dan cairan tubuh lainnya maka hal tersebut mempunyai resiko untuk tertular bila tidak mengindahkan pencegahan infeksi.Tujuan: mengetahui gambaran pelaksanaan pencegahan infeksi pada pertolongan persalinan dibidan praktik mandiri Kota Banjarmasin.Metode: Metode penelitian ini bersifat deskriptif. Populasi berjumlah 112 bidan praktik mandiri. Cara pengambilan sampel dengan simple random sampling dengan jumlah 35 bidan praktik mandiri. Analisa data dengan menggunakan analisa univariat.Hasil: Melakukan prosedur cuci tangan sebanyak 35 responden (100%), sarung tangan dtt/steril 35 responden (100%), apron/celemek 35 responden (100%), masker 35 responden (100%), kacamata google 7 responden (20%), tutup kepala 20 responden (57,1%), sepatu boot 17 responden (49%), melakukan tindakan aseptik 35 responden (100%), penanganan benda tajam dengan aman 35 responden (100%), cara pemprosesan alat bekas pakai 35 responden (100%), pengelolaan sampah terkontaminasi 35 responden (100%), membersihkan lantai dan ruangan dengan klorin 0,5% sebanyak 35 responden (100%).Simpulan: Pencegahan infeksi pada pertolongan persalinan dibidan praktik mandiri kategori baik sebanyak 27 responden (77,1%) dan dengan kategori kurang baik sebanyak 8 responden (22,9%). Kata Kunci: Praktik Mandiri Bidan, Pencegahan Infeksi, Penggunaan Instrumen, Pertolongan Persalinan Prevention Of Infections In Relief Treatment In Practice Midwife Independent BanjarmasinABSTRACTBackground: Delivery aid performed by health workers (doctors or midwives) is one of the risk factors disease transmission from patient to health worker or vice versa because it is directly related to patient's body fluid. The proportion of births assisted by midwives is 60.9% compared to doctors at 16.2%. Given that blood-borne infections, vaginal secretions, semen, amniotic fluids and other body fluids are at risk of contracting if they do not heed infection prevention.Objective: Knowing the description of the implementation of infection prevention in delivery aid midwife independent practice Banjarmasin city.Method: This research method is descriptive. Population there are 112 independent practice midwives. Sampling method With simple random sampling with 35 independent midwives practice. Analysis using univariate analysis.Result: Perform handwashing procedures 35 respondents (100%), DTT / sterile gloves 35 respondents (100%), apron 35 respondents (100%), mask 35 respondents (100%), google glasses 7 gespondents (20 %), head cover 20 respondents (57.1%), boots 17 respondents (49%), aseptic actions 35 respondents (100%), safe handling of Sharps 35 respondents (100%), contaminated waste management 35 respondents (100%), cleaning floor and room with 0.5% chlorine as many as 35 respondents (100%).Conclusion: Prevention of infections at birth assistance in practice self-esteem good category as many as 27 respondents (77.1%) and with bad category as many as 8 respondents (22.9%). Keywords : Independent Midwives, Labor Help, Prevention Of Infection, Use Of Instrument

This contribution promotes 3D photography as an important tool to obtain objective object information. Keeping mainly in mind World Heritage documentation as well as Heritage protection, it is another intention of this paper, to stimulate the interest in applications of 3D photography for professionals as well as for amateurs. In addition this is also an activity report of the international CIPA task group 3. The main part of this paper starts with “Digging the treasure of existing international 3D photography”. This does not only belong to tangible but also to intangible Cultural Heritage. 3D photography clearly supports the recording, the visualization, the preservation and the restoration of architectural and archaeological objects. Therefore the use of 3D photography in C.H. should increase on an international level. The presented samples in 3D represent a voluminous, almost partly “forgotten treasure” of international archives for 3D photography. <br><br> The next chapter is on “Promoting new 3D photography in Cultural Heritage”. Though 3D photographs are a well-established basic photographic and photogrammetric tool, even suited to provide “near real” documentation, they are still a matter of research and improvement. Beside the use of 3D cameras even single lenses cameras are very much suited for photographic 3D documentation purposes in Cultural Heritage. <br><br> Currently at the Faculty of Civil Engineering of the University of Applied Sciences Magdeburg-Stendal, low altitude aerial photography is exposed from a maximum height of 13m, using a hand hold carbon telescope rod. The use of this “huge selfie stick” is also an (international) recommendation, to expose high resolution 3D photography of monuments under expedition conditions. In addition to the carbon rod recently a captive balloon and a hexacopter UAV- platform is in use, mainly to take better synoptically (extremely low altitude, ground truth) aerial photography. Additional experiments with respect to “easy geometry” and to multistage concepts of 3D photographs in Cultural Heritage just started. Furthermore a revised list of the 3D visualization principles, claiming completeness, has been carried out. Beside others in an outlook <br><br> *It is highly recommended, to list every historical and current stereo view with relevance to Cultural Heritage in a global Monument Information System (MIS), like in google earth. <br><br> *3D photographs seem to be very suited, to complete and/or at least partly to replace manual archaeological sketches. In this concern the still underestimated 3D effect will be demonstrated, which even allows, e.g., the spatial perception of extremely small scratches etc... <br><br> *A consequent dealing with 3D Technology even seems to indicate, currently we experience the beginning of a new age of “real 3DPC- screens“, which at least could add or even partly replace the conventional 2D screens. Here the spatial visualization is verified without glasses in an all-around vitreous body. In this respect nowadays widespread lasered crystals showing monuments are identified as “Early Bird“ 3D products, which, due to low resolution and contrast and due to lack of color, currently might even remember to the status of the invention of photography by Niepce (1827), but seem to promise a great future also in 3D Cultural Heritage documentation. <br><br> *Last not least 3D printers more and more seem to conquer the IT-market, obviously showing an international competition.

Objective: This study evaluated the individual and combined effects of voice (vs. manual) input and head-up (vs. head-down) display in a driving and device interaction task. Background: Advances in wearable technology offer new possibilities for in-vehicle interaction but also present new challenges for managing driver attention and regulating device usage in vehicles. This research investigated how driving performance is affected by interface characteristics of devices used for concurrent secondary tasks. A positive impact on driving performance was expected when devices included voice-to-text functionality (reducing demand for visual and manual resources) and a head-up display (HUD) (supporting greater visibility of the driving environment). Method: Driver behavior and performance was compared in a texting-while-driving task set during a driving simulation. The texting task was completed with and without voice-to-text using a smartphone and with voice-to-text using Google Glass’s HUD. Results: Driving task performance degraded with the addition of the secondary texting task. However, voice-to-text input supported relatively better performance in both driving and texting tasks compared to using manual entry. HUD functionality further improved driving performance compared to conditions using a smartphone and often was not significantly worse than performance without the texting task. Conclusion: This study suggests that despite the performance costs of texting-while-driving, voice input methods improve performance over manual entry, and head-up displays may further extend those performance benefits. Application: This study can inform designers and potential users of wearable technologies as well as policymakers tasked with regulating the use of these technologies while driving.

Charts displayed on mobile devices was verified in comparison to standardized ETDRS charts. Such method of visual acuity assessment is characterized by stabile brightness and contrast. Moreover the ability to dynamically display random optotypes eliminates the problem of memorizing the contents of charts, making measurements more reliable. Our tests showed that the VA measured with mobile device and the VA tested using standardized printed charts are not significantly different. Full Text: PDF ReferencesB. Shneiderman, Leonardo's Laptop: Human Needs and the New Computing Technologies (Boston, MIT Press 2002).A. Holzinger, M. Errath, "Mobile computer Web-application design in medicine: some research based guidelines", P. Univ. Access Inf. Soc. 6, 31 (2007). CrossRef R. K. Lord et al., "Novel Uses of Smartphones in Ophthalmology", Ophthalmology 117, 1274 (2010). CrossRef M. D. Crossland, R. S. Silva and A. F. Macedo, "Smartphone, tablet computer and e-reader use by people with vision impairment", Ophthalmic Physiol. Opt. 34, 552 (2014). CrossRef E. Zvornicanin, J. Zvornicanin and B. Hadziefendic, "The Use of Smart phones in Ophthalmology", Acta Inform. Med. 22, 206 (2014). CrossRef S. Tofigh et al., "Effectiveness of a smartphone application for testing near visual acuity", Eye 29, 1464 (2015). CrossRef C. Perera et al., "The Eye Phone Study: reliability and accuracy of assessing Snellen visual acuity using smartphone technology", Eye 29, 888 (2015). CrossRef Department of Epidemiology and Preventive Medicine, Early Treatment Diabetic Retinopathy Study: Manual of Operations. (Baltimore, U.S. Department of Commerce 1985).F. L. Ferris et al., "New Visual Acuity Charts for Clinical Research", Am. J. Ophthalmol. 94, 91 (1982). CrossRef W. F. Long, G. C. S. Woo, "Measuring Light Levels with Photographic Meters", Optometry Vision Sci. 57, 51 (1980). CrossRef F. L Ferris, R. D. Sperduto, "Standardized Illumination for Visual Acuity Testing in Clinical Research", Am. J. Ophthalmol. 94, 97 (1982). CrossRef Ch. Dancey, J. Reidy, Statistics Without Maths for Psychology (Harlow, Prentice Hall 2011).N. Balakrishnan, Methods and applications of statistics in the life and health sciences (New Jersey, John Wiley & Sons 2010).ISO 8596:2009 Ophthalmic optics - Visual acuity testing - Standard optotype and its presentation (2009).S. Koenig et al., "Assessing visual acuity across five disease types: ETDRS charts are faster with clinical outcome comparable to Landolt Cs", Graefes Arch. Clin. Exp. Ophthalmol. 252, 1093 (2014). CrossRef A. Glasser, M. W. C. Campbell, "Presbyopia and the optical changes in the human crystalline lens with age", Vision Research 38, 209 (1998). CrossRef P. K. Kaiser, "Prospective Evaluation of Visual Acuity Assessment: A Comparison of Snellen Versus ETDRS Charts in Clinical Practice (An AOS Thesis)", Trans. Am. Ophthalmol. Soc. 107, 311 (2009). DirectLink L. Hyvärinen, R. Näsänen and P. Laurinen, "New Visual Acuity Test For Pre-School Children", Acta Ophthalmol. 58, 507 (1980). CrossRef M. Schuster, "Speech Recognition for Mobile Devices at Google", Lecture Notes in Computer Science 6230 (2010). CrossRef M. Werner, M. Kessel and C. Marouane, "Indoor positioning using smartphone camera", IPIN, International Conference on. IEEE (2011). CrossRef

Four factors take different meaning in the digital age: (a) 3D - moving from the real world into the screens, phones, and lately into our eyes with Google Glass, (b) Community - with Facebook/Twitter like digitally-enhanced communities, (c) Creation - with modern 3D printing, YouTube, Wikipedia and (d) Commerce - with virtual goods and virtual money from Linden Dollar to Bitcoin (aka 3D3C for short). We contend that 3D3C enable and push for a paradigm shift in how art could be shared, created, presented and sold, both through real and virtual means.In this paper, we describe ten states, or methods, of connecting real world art to the virtual wearing the 3D3C glasses.

Context.— Smart glasses are a wearable technology that enable hands-free data acquisition and entry. Objective.— To develop a surgical pathology grossing application on a smart glass platform. Design.— An existing logistics software for the Google Glass Enterprise smart glass platform was used to create surgical pathology grossing protocols. The 2 grossing protocols were developed to simulate grossing a complex (heart) and a simple (kidney) specimen. For both protocols, users were visually prompted by the smart glass device to perform each task, record measurements, or document the field of view. In addition to measuring the total time of the protocol performance, each substep within the protocol was automatically recorded. Subsequently, a report was generated that contained the dictation, images, voice recordings, and the timing of each step. The application was tested by 3 users using the 2 grossing protocols. The users were tracked across 3 grossing procedures for each protocol. Results.— For the complex specimen grossing the average time across repeated procedures was not significantly different between users (P = .999). However, when grossing times of the complex specimen were compared for repeated performances of the same user, a significant reduction in grossing times was observed with each repetition (P = .002). For the simple specimen, the average grossing time across multiple attempts was different among users (P = .03); however, no improvement in grossing time was observed with repeated performance (P = .499). Conclusions.— Augmented reality based grossing applications can provide automated data collection to track the changes in grossing performance over time.

AbstractNowadays, there has been immense progress in developing materials to support transplanted cells. Nevertheless, the complexity of tissues is far beyond what is found in the most advanced scaffolds. This article reviews the types of biomaterials and their resulting scaffolds in the bio-engineering of bone and tissues by presenting an overview of the characteristics of ideal scaffold in tissue engineering along with types of scaffolds and examples of previous studies where these scaffolds have been applied. The advantages of scaffolds, and the three-dimensional culture system and its used commercially available scaffold is presented. Challenges encountered in the application of these scaffolds in bone and tissue engineering is also highlighted. Used method was by acquisition of materials through Google scholar, Science direct, PubMed and University library archives. Proper knowledge of the above highlighted facts will go a long way in re-addressing the production of scaffolds for bone and tissue engineering. With the proliferation of innovative applications in bioactive glasses and glass ceramics, the greater need for specific understanding of cell biology with emphasis on cellular differentiation, cell to cell interaction and extracellular matrix formation in engineering of bone and tissues becomes inevitable. This will enhance scaffold production, bone regeneration and transplantation outcome.

The goal of the paper is to present the theoretical foundations of a unique training program aimed at providing students with a complex of knowledge, skills and abilities needed to understand the specifics of color communication in old and very old age. The objectives of the paper include an analytical review of the sources that have defined the program content, the structure of the educational module, and its methodological basis. The selection of research sources was carried out through the RSCI, Google Scholar, Scopus, and Web of Science systems. In the process of work the methods of theoretical and comparative analysis, systematization and generalization of materials were used. The authors provide a detailed analysis of the sources, which represent the dynamics of age-related physiological changes in color vision and examine their impact on color communication of elderly people. Each of the theoretical models included into the review makes a special contribution to the development of the problem. The experiments with colored glasses of K. Ishihara et al. provide an opportunity to feel the impact of age-related decline in visual ability on everyday life and habits of an aging person. The research of D.T. Lindsay and A.M. Brown helps to understand how aging of the eye influences perception of individual shades. The method of M.F. Hassan's research group simulates how elderly people see different color combinations and complex images. An optical google of T. Suzuki et al. enables young people to experience senile miosis in any environment in real time under different illuminance conditions. J.L. Hardy's et al. experiment explains why elderly people often do not realize that their color perception is changing. In the complex, all the studies presented in the review help students to better understand the specifics of color communication in old and very old age, and thus to form a sustainable complex of knowledge, skills and abilities necessary for improving the quality of color design projects, creating by young professionals for elderly people

Atualmente, a tecnologia está presente na sociedade e nos mostra diferentes meios de interação. A Realidade Virtual (RV) é uma dessas maneiras, de modo que sua aplicação tem trazido novas experiências imersivas em diversos âmbitos, como na educação. Logo, é possível observar que atividades externas à sala de aula contribuem para a formação do aluno, através de excursões que podem proporcionar experiências em ambientes que levam o conhecimento de maneira prática. Com isso, a empresa Google resolveu explorar o uso da RV nas instituições de ensino através da criação do dispositivo Cardboard Glasses, para que os estudantes pudessem conhecer diversas localidades sem sair de sala de aula. Partindo desse princípio, a motivação deste trabalho consiste em auxiliar os professores das disciplinas de Geografia e Ciências aplicando a ferramenta Cardboard e o aplicativo Expeditions como recurso metodológico no processo de ensino-aprendizagem de alunos do 2o, 6o e 9o anos do ensino fundamental em escolas municipais, proporcionando aos estudantes maior interação e dinamismo nos conteúdos abordados nessas disciplinas. O ponto de partida consistiu na fabricação dos óculos, que a partir dos produtos originais foram produzidos outros moldes por meio da coleta de refugos de papelão. A pesquisa incluiu alunos colaboradores do Ensino Médio do IFAM Campus Lábrea, que receberam treinamentos para aplicação da ferramenta e dispuseram seus smartphones para serem utilizados em sala de aula. No total, 141 discentes puderam participar da pesquisa e explorar os conteúdos abordados em sala de aula de maneira imersiva e lúdica.

Atualmente, a tecnologia está presente na sociedade e nos mostra diferentes meios de interação. A Realidade Virtual (RV) é uma dessas maneiras, de modo que sua aplicação tem trazido novas experiências imersivas em diversos âmbitos, como na educação. Logo, é possível observar que atividades externas à sala de aula contribuem para a formação do aluno, através de excursões que podem proporcionar experiências em ambientes que levam o conhecimento de maneira prática. Com isso, a empresa Google resolveu explorar o uso da RV nas instituições de ensino através da criação do dispositivo Cardboard Glasses, para que os estudantes pudessem conhecer diversas localidades sem sair de sala de aula. Partindo desse princípio, a motivação deste trabalho consiste em auxiliar os professores das disciplinas de Geografia e Ciências aplicando a ferramenta Cardboard e o aplicativo Expeditions como recurso metodológico no processo de ensino-aprendizagem de alunos do 2o, 6o e 9o anos do ensino fundamental em escolas municipais, proporcionando aos estudantes maior interação e dinamismo nos conteúdos abordados nessas disciplinas. O ponto de partida consistiu na fabricação dos óculos, que a partir dos produtos originais foram produzidos outros moldes por meio da coleta de refugos de papelão. A pesquisa incluiu alunos colaboradores do Ensino Médio do IFAM Campus Lábrea, que receberam treinamentos para aplicação da ferramenta e dispuseram seus smartphones para serem utilizados em sala de aula. No total, 141 discentes puderam participar da pesquisa e explorar os conteúdos abordados em sala de aula de maneira imersiva e lúdica.

Introduction: Physiotherapists are exposed to contracting infectious diseases because of the level of contact they have with patients in the course of performing their statutory clinical duties. Objective: The major objective of the study is to determine the availability and utilization of personal protective equipment (PPE) by Nigerian physiotherapists during the COVID-19 pandemic. Methods: One hundred and eighty-one (181) Nigerian physiotherapists participated in an online survey using Google Form application that lasted between September 2020 and October 2020. The data collection instrument was a 22-item close-ended online questionnaire with three domains: demographics, availability of PPE, and utilization of PPE. The authors made use of different WhatsApp platforms hosting only physiotherapists as a means of reaching out to the respondents. Data obtained from the study were analyzed using STATA 13. A p-value of less than 0.05 was considered to be statistically significant (confidence level = 95). Results: The result of the study shows there were high availability and utilization of facemasks and hand gloves for the Nigerian physiotherapists during the period of COVID-19 pandemic in the different health facilities; it also shows there was low availability of apron and poor availability of protective eye shield/goggles and shoes during the same period. The finding also showed there was low utilization of apron, protective glasses and shoes by the Nigerian physiotherapists during the peak of COVID-pandemic. Conclusions: Most Nigerian physiotherapists had more face masks and hand gloves during COVID-19 pandemic than they had protective aprons, goggles and shoes. Also, there was high utilization of facemasks and the hand gloves more than an apron, eye shield and protective shoes because the more the PPE was available the more the utilization by the Nigerian Physiotherapists.

AbstractSocioeconomic trends (such as makers, crowdsourcing, sharing economy, gamification) as well as technological trends (such as cloud computing, 3D printing technology, application, big data, TV on demand and the Internet of things) are changing the scenario and creating new opportunities, new businesses and, as a result, new players. The high level of uncertainty caused by the fast speed of innovation technology along with an enormous amount of information difficult to analyse and exploit are characterizing the current framework. On the other hand, businesses such as Netflix – with its 44,000 users and a long tail business model – show a new service based on TV on demand where innovation starts from the convergence between two different industries (TV and the Internet) and spreads on the need of new users. Quirky, with its innovative open business model, is manufacturing new products designed and developed by the community and finally produced with the use of 3D printing technology. While Google in a multi-sided model are giving their new glasses to different developers who build their own application on them, Kickstarter finds its business funders in the crowd, and pays them back with its future products, according to what the organization needs. Another element that adds complexity to the previous framework is the new customer. He or she is showing a social attitude in favour of transparency, openness, collaboration, and sharing. Every second more than 600 tweets are posted on Twitter and around 700 status updates are posted on Facebook. At the same time, people are receiving text messages, e-mails and skype or phone calls and simultaneously consuming TV, radio and print media. In this scenario characterized by trends where employees, funders, customers and partners do not play a stable role but work together with a sort of “platform organization” to create a product or service completely customized for different market niches, how can an organization set up an innovative business model in a defined trend? Is it possible to identify a sort of framework, able to inspire new business models, with an examination of trends? In this article we will use a mix of different approaches to inspire new business model.

Agriculture is the most important occupation all over the world. At the global level, the crops produced get damaged by pests and pathogens by 10 to 40 per cent. If the proper pesticides are not used this data can reach up to 70-90% which can cause severe food crisis and all economy might crash. To overcome the situation the immediate solution is the pesticides. Pesticides were used to reduce the damage of crops to much extent. The use of pesticides now created a new problem i.e. cancer in farmers. Pesticides are nothing but a combination of hundreds of synthetic and natural chemicals. All over the world mainly three chemicals are used as pesticides lindane, arsenic and ethylene oxide. These are the topmost chemicals categorized as carcinogens as stated by the International Agency for Research on Cancer (IARC). Whenever farmers use the pesticides in any form irrespective of what they use as precaution majors some amount of pesticides comes in contact with the farmer. The protective gears like masks, gloves, shoes and glasses can protect the pesticides coming in contact with the human but 100% stoppage is impossible to second problems is the farmers mostly avoid the usage of protective gears due to its cost and the uneasy feeling to wear it during the work. We plan to create a hybrid system. If IoT and Robotics to overcome the above-stated problem our robot is equipped with the sprayer and mobile phone controlled navigation system. It can show its locations on Google map as well. Farmers can operate the robot from a safer distance. They can spray the pesticides and at the same time upload all the data logs of the IoT cloud server. The time of robots started how many time and for how much time the pesticides were sprayed can be monitored from any remote location throughout the world. This solves the problem of farmers coming in contact with pesticides as well as online monitoring of work done efficiently. The robotics system operates over Atmega 328p Pu microcontroller and IoT system over ESP8266 module of Wi-Fi-based internet system.

The article studies the essence of the concept of “banking innovation” and concludes that it is expedient to consider it as a set of innovations in different areas of banking activity, leading to the achievement of the goals and a certain economic result. The basic kinds of bank innovations and functions that are inherent in them are analyzed. The most widespread bank innovation products, typical for modern Ukrainian banks are allocated. By the example of JSC CB PrivatBank, the most progressive innovative products of remote banking in Ukraine are considered: Privat24, Kopilka, QR-banking, Smart Filling Station, PhotoCasa, Privat24 to Google Glasses. The concept of full remote banking on the example of “Monobank” which is the first bank of this type in Ukraine is analyzed. The actions of banking institutions under conditions of the corona crisis that led to the growth of demand for remote financial services and consumer activity in the segment of digital payments were analyzed. The article considers the ways banks behave during of crisis phenomena in the society, aimed at optimizing business processes, typing of customer composition and intensifying the process of standardizing existing procedures to ensure integration into online services. Attention was focused on the best practices of domestic banking institutions in strengthening customer orientation, primarily in relation to customers from the segment of small and medium-sized businesses and those who need to solve non-standard problems. Attention was focused on the need to take into account the dynamics of changes in the needs of customers, providing a comfortable and accessible service to build customer loyalty and increase confidence in the banking institution. The comparison of technical support of “classic” banking institutions and fintech companies was made, which allowed to draw conclusions about the factors that can increase the chances of success and increase the level of competitiveness of banking institutions. Determined the directions of innovative activities of domestic banking institutions in terms of enhancing the processes of digitalization and the use of modern financial technologies. The need to strengthen communications with members of the fintech ecosystem, primarily fintech companies and companies operating in the field of big data, was substantiated.

Introduction In The World Is Not a Desktop, Marc Weisner, the principal scientist and manager of the computer science laboratory at Xerox PARC, stated that, “a good tool is an invisible tool.” Weisner cited eyeglasses as an ideal technology because with spectacles, he argued, “you look at the world, not the eyeglasses.” Although Weisner’s work at PARC played an important role in the creation of the field of “ubiquitous computing”, his ideal is widespread in many areas of technology design. Through repetition, and by design, technologies blend into our lives. While technologies, and communications technologies in particular, have a powerful mediating impact, many of the most pervasive effects are taken for granted by most users. When technology works smoothly, its nature and effects are invisible. But technologies do not always work smoothly. A tiny fracture or a smudge on a lens renders glasses quite visible to the wearer. The Microsoft Windows “Blue Screen of Death” on subway in Seoul (Photo credit Wikimedia Commons). Anyone who has seen a famous “Blue Screen of Death”—the iconic signal of a Microsoft Windows crash—on a public screen or terminal knows how errors can thrust the technical details of previously invisible systems into view. Nobody knows that their ATM runs Windows until the system crashes. Of course, the operating system chosen for a sign or bank machine has important implications for its users. Windows, or an alternative operating system, creates affordances and imposes limitations. Faced with a crashed ATM, a consumer might ask herself if, with its rampant viruses and security holes, she should really trust an ATM running Windows? Technologies make previously impossible actions possible and many actions easier. In the process, they frame and constrain possible actions. They mediate. Communication technologies allow users to communicate in new ways but constrain communication in the process. In a very fundamental way, communication technologies define what their users can say, to whom they say it, and how they can say it—and what, to whom, and how they cannot. Humanities scholars understand the power, importance, and limitations of technology and technological mediation. Weisner hypothesised that, “to understand invisibility the humanities and social sciences are especially valuable, because they specialise in exposing the otherwise invisible.” However, technology activists, like those at the Free Software Foundation (FSF) and the Electronic Frontier Foundation (EFF), understand this power of technology as well. Largely constituted by technical members, both organisations, like humanists studying technology, have struggled to communicate their messages to a less-technical public. Before one can argue for the importance of individual control over who owns technology, as both FSF and EFF do, an audience must first appreciate the power and effect that their technology and its designers have. To understand the power that technology has on its users, users must first see the technology in question. Most users do not. Errors are under-appreciated and under-utilised in their ability to reveal technology around us. By painting a picture of how certain technologies facilitate certain mistakes, one can better show how technology mediates. By revealing errors, scholars and activists can reveal previously invisible technologies and their effects more generally. Errors can reveal technology—and its power and can do so in ways that users of technologies confront daily and understand intimately. The Misprinted Word Catalysed by Elizabeth Eisenstein, the last 35 years of print history scholarship provides both a richly described example of technological change and an analysis of its effects. Unemphasised in discussions of the revolutionary social, economic, and political impact of printing technologies is the fact that, especially in the early days of a major technological change, the artifacts of print are often quite similar to those produced by a new printing technology’s predecessors. From a reader’s purely material perspective, books are books; the press that created the book is invisible or irrelevant. Yet, while the specifics of print technologies are often hidden, they are often exposed by errors. While the shift from a scribal to print culture revolutionised culture, politics, and economics in early modern Europe, it was near-invisible to early readers (Eisenstein). Early printed books were the same books printed in the same way; the early press was conceived as a “mechanical scriptorium.” Shown below, Gutenberg’s black-letter Gothic typeface closely reproduced a scribal hand. Of course, handwriting and type were easily distinguishable; errors and irregularities were inherent in relatively unsteady human hands. Side-by-side comparisons of the hand-copied Malmesbury Bible (left) and the black letter typeface in the Gutenberg Bible (right) (Photo credits Wikimedia Commons & Wikimedia Commons). Printing, of course, introduced its own errors. As pages were produced en masse from a single block of type, so were mistakes. While a scribe would re-read and correct errors as they transcribed a second copy, no printing press would. More revealingly, print opened the door to whole new categories of errors. For example, printers setting type might confuse an inverted n with a u—and many did. Of course, no scribe made this mistake. An inverted u is only confused with an n due to the technological possibility of letter flipping in movable type. As print moved from Monotype and Linotype machines, to computerised typesetting, and eventually to desktop publishing, an accidentally flipped u retreated back into the realm of impossibility (Mergenthaler, Swank). Most readers do not know how their books are printed. The output of letterpresses, Monotypes, and laser printers are carefully designed to produce near-uniform output. To the degree that they succeed, the technologies themselves, and the specific nature of the mediation, becomes invisible to readers. But each technology is revealed in errors like the upside-down u, the output of a mispoured slug of Monotype, or streaks of toner from a laser printer. Changes in printing technologies after the press have also had profound effects. The creation of hot-metal Monotype and Linotype, for example, affected decisions to print and reprint and changed how and when it is done. New mass printing technologies allowed for the printing of works that, for economic reasons, would not have been published before. While personal computers, desktop publishing software, and laser printers make publishing accessible in new ways, it also places real limits on what can be printed. Print runs of a single copy—unheard of before the invention of the type-writer—are commonplace. But computers, like Linotypes, render certain formatting and presentation difficult and impossible. Errors provide a space where the particulars of printing make technologies visible in their products. An inverted u exposes a human typesetter, a letterpress, and a hasty error in judgment. Encoding errors and botched smart quotation marks—a ? in place of a “—are only possible with a computer. Streaks of toner are only produced by malfunctioning laser printers. Dust can reveal the photocopied provenance of a document. Few readers reflect on the power or importance of the particulars of the technologies that produced their books. In part, this is because the technologies are so hidden behind their products. Through errors, these technologies and the power they have on the “what” and “how” of printing are exposed. For scholars and activists attempting to expose exactly this, errors are an under-exploited opportunity. Typing Mistyping While errors have a profound effect on media consumption, their effect is equally important, and perhaps more strongly felt, when they occur during media creation. Like all mediating technologies, input technologies make it easier or more difficult to create certain messages. It is, for example, much easier to write a letter with a keyboard than it is to type a picture. It is much more difficult to write in languages with frequent use of accents on an English language keyboard than it is on a European keyboard. But while input systems like keyboards have a powerful effect on the nature of the messages they produce, they are invisible to recipients of messages. Except when the messages contains errors. Typists are much more likely to confuse letters in close proximity on a keyboard than people writing by hand or setting type. As keyboard layouts switch between countries and languages, new errors appear. The following is from a personal email: hez, if there’s not a subversion server handz, can i at least have the root password for one of our machines? I read through the instructions for setting one up and i think i could do it. [emphasis added] The email was quickly typed and, in two places, confuses the character y with z. Separated by five characters on QWERTY keyboards, these two letters are not easily mistaken or mistyped. However, their positions are swapped on German and English keyboards. In fact, the author was an American typing in a Viennese Internet cafe. The source of his repeated error was his false expectations—his familiarity with one keyboard layout in the context of another. The error revealed the context, both keyboard layouts, and his dependence on a particular keyboard. With the error, the keyboard, previously invisible, was exposed as an inter-mediator with its own particularities and effects. This effect does not change in mobile devices where new input methods have introduced powerful new ways of communicating. SMS messages on mobile phones are constrained in length to 160 characters. The result has been new styles of communication using SMS that some have gone so far as to call a new language or dialect called TXTSPK (Thurlow). Yet while they are obvious to social scientists, the profound effects of text message technologies on communication is unfelt by most users who simply see the messages themselves. More visible is the fact that input from a phone keypad has opened the door to errors which reveal input technology and its effects. In the standard method of SMS input, users press or hold buttons to cycle through the letters associated with numbers on a numeric keyboard (e.g., 2 represents A, B, and C; to produce a single C, a user presses 2 three times). This system makes it easy to confuse characters based on a shared association with a single number. Tegic’s popular T9 software allows users to type in words by pressing the number associated with each letter of each word in quick succession. T9 uses a database to pick the most likely word that maps to that sequence of numbers. While the system allows for quick input of words and phrases on a phone keypad, it also allows for the creation of new types of errors. A user trying to type me might accidentally write of because both words are mapped to the combination of 6 and 3 and because of is a more common word in English. T9 might confuse snow and pony while no human, and no other input method, would. Users composing SMS’s are constrained by its technology and its design. The fact that text messages must be short and the difficult nature of phone-based input methods has led to unique and highly constrained forms of communication like TXTSPK (Sutherland). Yet, while the influence of these input technologies is profound, users are rarely aware of it. Errors provide a situation where the particularities of a technology become visible and an opportunity for users to connect with scholars exposing the effect of technology and activists arguing for increased user control. Google News Denuded As technologies become more complex, they often become more mysterious to their users. While not invisible, users know little about the way that complex technologies work both because they become accustomed to them and because the technological specifics are hidden inside companies, behind web interfaces, within compiled software, and in “black boxes” (Latour). Errors can help reveal these technologies and expose their nature and effects. One such system, Google’s News, aggregates news stories and is designed to make it easy to read multiple stories on the same topic. The system works with “topic clusters” that attempt to group articles covering the same news event. The more items in a news cluster (especially from popular sources) and the closer together they appear in time, the higher confidence Google’s algorithms have in the “importance” of a story and the higher the likelihood that the cluster of stories will be listed on the Google News page. While the decision to include or remove individual sources is made by humans, the act of clustering is left to Google’s software. Because computers cannot “understand” the text of the articles being aggregated, clustering happens less intelligently. We know that clustering is primarily based on comparison of shared text and keywords—especially proper nouns. This process is aided by the widespread use of wire services like the Associated Press and Reuters which provide article text used, at least in part, by large numbers of news sources. Google has been reticent to divulge the implementation details of its clustering engine but users have been able to deduce the description above, and much more, by watching how Google News works and, more importantly, how it fails. For example, we know that Google News looks for shared text and keywords because text that deviates heavily from other articles is not “clustered” appropriately—even if it is extremely similar semantically. In this vein, blogger Philipp Lenssen gives advice to news sites who want to stand out in Google News: Of course, stories don’t have to be exactly the same to be matched—but if they are too different, they’ll also not appear in the same group. If you want to stand out in Google News search results, make your article be original, or else you’ll be collapsed into a cluster where you may or may not appear on the first results page. While a human editor has no trouble understanding that an article using different terms (and different, but equally appropriate, proper nouns) is discussing the same issue, the software behind Google News is more fragile. As a result, Google News fails to connect linked stories that no human editor would miss. A section of a screenshot of Google News clustering aggregation showcasing what appears to be an error. But just as importantly, Google News can connect stories that most human editors will not. Google News’s clustering of two stories by Al Jazeera on how “Iran offers to share nuclear technology,” and by the Guardian on how “Iran threatens to hide nuclear program,” seem at first glance to be a mistake. Hiding and sharing are diametrically opposed and mutually exclusive. But while it is true that most human editors would not cluster these stories, it is less clear that it is, in fact, an error. Investigation shows that the two articles are about the release of a single statement by the government of Iran on the same day. The spin is significant enough, and significantly different, that it could be argued that the aggregation of those stories was incorrect—or not. The error reveals details about the way that Google News works and about its limitations. It reminds readers of Google News of the technological nature of their news’ meditation and gives them a taste of the type of selection—and mis-selection—that goes on out of view. Users of Google News might be prompted to compare the system to other, more human methods. Ultimately it can remind them of the power that Google News (and humans in similar roles) have over our understanding of news and the world around us. These are all familiar arguments to social scientists of technology and echo the arguments of technology activists. By focusing on similar errors, both groups can connect to users less used to thinking in these terms. Conclusion Reflecting on the role of the humanities in a world of increasingly invisible technology for the blog, “Humanities, Arts, Science and Technology Advanced Collaboratory,” Duke English professor Cathy Davidson writes: When technology is accepted, when it becomes invisible, [humanists] really need to be paying attention. This is one reason why the humanities are more important than ever. Analysis—qualitative, deep, interpretive analysis—of social relations, social conditions, in a historical and philosophical perspective is what we do so well. The more technology is part of our lives, the less we think about it, the more we need rigorous humanistic thinking that reminds us that our behaviours are not natural but social, cultural, economic, and with consequences for us all. Davidson concisely points out the strength and importance of the humanities in evaluating technology. She is correct; users of technologies do not frequently analyse the social relations, conditions, and effects of the technology they use. Activists at the EFF and FSF argue that this lack of critical perspective leads to exploitation of users (Stallman). But users, and the technology they use, are only susceptible to this type of analysis when they understand the applicability of these analyses to their technologies. Davidson leaves open the more fundamental question: How will humanists first reveal technology so that they can reveal its effects? Scholars and activists must do more than contextualise and describe technology. They must first render invisible technologies visible. As the revealing nature of errors in printing systems, input systems, and “black box” software systems like Google News show, errors represent a point where invisible technology is already visible to users. As such, these errors, and countless others like them, can be treated as the tip of an iceberg. They represent an important opportunity for humanists and activists to further expose technologies and the beginning of a process that aims to reveal much more. References Davidson, Cathy. “When Technology Is Invisible, Humanists Better Get Busy.” HASTAC. (2007). 1 September 2007 http://www.hastac.org/node/779>. Eisenstein, Elisabeth L. The Printing Press as an Agent of Change: Communications and Cultural Transformations in Early-Modern Europe. Cambridge, UK: Cambridge University Press, 1979. Latour, Bruno. Pandora’s Hope: Essays on the Reality of Science Studies. Harvard UP, 1999. Lenssen, Philipp. “How Google News Indexes.” Google Blogscoped. 2006. 1 September 2007 http://blogoscoped.com/archive/2006-07-28-n49.html>. Mergenthaler, Ottmar. The Biography of Ottmar Mergenthaler, Inventor of the Linotype. New ed. New Castle, Deleware: Oak Knoll Books, 1989. Monotype: A Journal of Composing Room Efficiency. Philadelphia: Lanston Monotype Machine Co, 1913. Stallman, Richard M. Free Software, Free Society: Selected Essays of Richard M. Stallman. Boston, Massachusetts: Free Software Foundation, 2002. Sutherland, John. “Cn u txt?” Guardian Unlimited. London, UK. 2002. Swank, Alvin Garfield, and United Typothetae America. Linotype Mechanism. Chicago, Illinois: Dept. of Education, United Typothetae America, 1926. Thurlow, C. “Generation Txt? The Sociolinguistics of Young People’s Text-Messaging.” Discourse Analysis Online 1.1 (2003). Weiser, Marc. “The World Is Not a Desktop.” ACM Interactions. 1.1 (1994): 7-8. Citation reference for this article MLA Style Hill, Benjamin Mako. "Revealing Errors." M/C Journal 10.5 (2007). echo date('d M. Y'); ?> <http://journal.media-culture.org.au/0710/01-hill.php>. APA Style Hill, B. (Oct. 2007) "Revealing Errors," M/C Journal, 10(5). Retrieved echo date('d M. Y'); ?> from <http://journal.media-culture.org.au/0710/01-hill.php>.

Abstract Dietary n-3 polyunsaturated fatty acids (PUFAs) present beneficial effects on counteracting inflammation status, displaying a critical anti-inflammatory role and maintaining physiological homeostasis in obesity. The primary objective of this systematic review was to evaluate the effect of n-3 PUFAs intake on the eicosanoid profile of people with obesity and overweight. The search strategy on Embase, Scopus, PubMed, Web of Science, Cochrane Library, Google Scholar and ProQuest was undertaken until November 2019 and updated January 2021. The effect size of n-3 PUFAs on prostaglandins was estimated by Glass's, type 1 in a random-effect model for the meta-analysis. Seven clinical trials met the eligible criteria and a total of 610 subjects were included in this systematic review, and four of seven studies were included in meta-analysis. The intake of n-3 PUFAs promoted an overall reduction in serum pro-inflammatory eicosanoids. Additionally, n-3 PUFAs intake significantly decreased the arachidonic acid COX-derived PG eicosanoid group levels (Glass's Δ −0⋅35; CI −0⋅62, −0⋅07, I2 31⋅48). Subgroup analyses showed a higher effect on periods up to 8 weeks (Glass's Δ −0⋅51; CI −0⋅76, −0⋅27) and doses higher than 0⋅5 g of n-3 PUFAs (Glass's Δ −0⋅46; CI −0⋅72, −0⋅27). Dietary n-3 PUFAs intake contributes to reduce pro-inflammatory eicosanoids of people with obesity and overweight. Subgroup's analysis showed that n-3 PUFAs can reduce the overall arachidonic acid COX-derived PG when adequate dose and period are matched.

The digital revolution has been characterized by the overlapping of different media technologies and platforms which reshaped both traditional forms of audiovisual consumption and older conceptions of place and space. John Agnew claims that, traditionally, the notion of place has been associated with two different meanings: ‘the first is a geometric conception of place as a mere part of space and the second is a phenomenological understanding of a place as a distinctive coming together in space’ (317). Both of the dominant meanings have been challenged by the idea that the world itself is increasingly “placeless” as space-spanning connections and flows of information, things, and people undermine the rootedness of a wide range of processes anywhere in particular (Friedman). On the one hand, by obliterating physical distance, new technologies such as the Internet and the cell phone are making places obsolete, on the other hand, the proliferation of media representations favoured by these technologies are making places more relevant than ever. These increasing mediatisation processes, in fact, generate what Urry and Larsen call ‘imaginative geographies’, namely the conflation of representational spaces and physical spaces that substitute and enhance each other in contingent ways (116). The smartphone as a new hybrid media platform that combines different technological features such as digital screens, complex software applications, cameras, tools for online communication and GPS devices, has played a crucial role in the construction of new notions of place. This article examines a specific type of phone applications: mobile, digital mapping tools that allow users to identify film-locations. In doing so it will assess how new media platforms can potentially reconfigure notions of both media consumption, and (physical and imagined) mobility. Furthermore, the analysis of digital movie maps and their mediation of film locations will shed light on the way in which contemporary leisure activities reshape the cultural, social and geographic meaning of place. Digital, Mobile Movie MapsDigital movie maps can be defined as software applications, conceived for smart phones or other mobile devices, which enable users to identify the geographical position of film locations. These applications rely on geotagging which is the process of adding geospatial metadata (usually latitudinal and longitudinal coordinates) to texts or images. From this point of view these phone apps belong to a broader category of media that Tristan Thielmann calls geomedia: converging applications of interactive, digital, mapping tools and mobile and networked media technologies. According to Hjorth, recent studies on mobile media practices show a trend toward “re-enacting the importance of place and home as both a geo-imaginary and socio-cultural precept” (Hjorth 371). In 2008 Google announced that Google Maps and Google Earth will become the basic platform for any information search. Similarly, in 2010 Flickr started georeferencing their complete image stock (Thielmann 8). Based on these current developments media scholars such as Thielmann claim that geomedia will emerge in the future as one of the most pervasive forms of digital technology (8).In my research I identified 44 phone geomedia apps that offered content variously related to film locations. In every case the main functionality of the apps consisted in matching geographic data concerning the locations with visual and written information about the corresponding film production. ‘Scene Seekers’, the first app able to match the title of a film with the GPS map of its locations, was released in 2009. Gradually, subsequent film-location apps incorporated a number of other functions including:Trivia and background information about films and locationsSubmission forms which allow users to share information about their favourite film locatiosLocation photosLinks to film downloadFilm-themed itinerariesAudio guidesOnline discussion groupsCamera/video function which allow users to take photos of the locations and share them on social mediaFilm stills and film clipsAfter identifying the movie map apps, I focused on the examination of the secondary functions they offered and categorized the applications based on both their main purpose and their main target users (as explicitly described in the app store). Four different categories of smart phone applications emerged. Apps conceived for:Business (for location scouts and producers)Entertainment (for trivia and quiz buffs)Education (for students and film history lovers)Travel (for tourists)‘Screen New South Wales Film Location Scout’, an app designed for location scouts requiring location contact information across the state of New South Wales, is an example of the first category. The app provides lists, maps and images of locations used in films shot in the region as well as contact details for local government offices. Most of these types of apps are available for free download and are commissioned by local authorities in the hope of attracting major film productions, which in turn might bring social and economic benefits to the region.A small number of the apps examined target movie fans and quiz buffs. ‘James Bond and Friends’, for example, focuses on real life locations where spy/thriller movies have been shot in London. Interactive maps and photos of the locations show their geographical position. The app also offers a wealth of trivia on spy/thriller movies and tests users’ knowledge of James Bond films with quizzes about the locations. While some of these apps provide information on how to reach particular film locations, the emphasis is on trivia and quizzes rather than travel itself.Some of the apps are explicitly conceived for educational purposes and target film students, film scholars and users interested in the history of film more broadly. The Italian Ministry for Cultural Affairs, for example, developed a number of smartphone apps designed to promote knowledge about Italian Cinema. Each application focuses on one Italian city, and was designed for users wishing to acquire more information about the movie industry in that urban area. The ‘Cinema Roma’ app, for example, contains a selection of geo-referenced film sets from a number of famous films shot in Rome. The film spots are presented via a rich collection of historical images and texts from the Italian National Photographic Archive.Finally, the majority of the apps analysed (around 60%) explicitly targets tourists. One of the most popular film-tourist applications is the ‘British Film Locations’ app with over 100,000 downloads since its launch in 2011. ‘British Film Locations’ was commissioned by VisitBritain, the British tourism agency. Visit Britain has attempted to capitalize on tourists’ enthusiasm around film blockbusters since the early 2000s as their research indicated that 40% of potential visitors would be very likely to visit the place they had seen in films or on TV (VisitBritain). British Film Locations enables users to discover and photograph the most iconic British film locations in cinematic history. Film tourists can search by film title, each film is accompanied by a detailed synopsis and list of locations so users can plan an entire British film tour. The app also allows users to take photos of the location and automatically share them on social networks such as Facebook or Twitter.Movie Maps and Film-TourismAs already mentioned, the majority of the film-location phone apps are designed for travel purposes and include functionalities that cater for the needs of the so called ‘post-tourists’. Maxine Feifer employed this term to describe the new type of tourist arising out of the shift from mass to post-Fordist consumption. The post-tourist crosses physical and virtual boundaries and shifts between experiences of everyday life, either through the actual or the simulated mobility allowed by the omnipresence of signs and electronic images in the contemporary age (Leotta). According to Campbell the post-tourist constructs his or her own tourist experience and destination, combining these into a package of overlapping and disjunctive elements: the imagined (dreams and screen cultures), the real (actual travels and guides) and the virtual (myths and internet) (203). More recently a number of scholars (Guttentag, Huang et al., Neuhofer et al.) have engaged with the application and implications of virtual reality on the planning, management and marketing of post-tourist experiences. Film-induced tourism is an expression of post-tourism. Since the mid-1990s a growing number of scholars (Riley and Van Doren, Tooke and Baker, Hudson and Ritchie, Leotta) have engaged with the study of this phenomenon, which Sue Beeton defined as “visitation to sites where movies and TV programmes have been filmed as well as to tours to production studios, including film-related theme parks” (11). Tourists’ fascination with film sets and locations is a perfect example of Baudrillard’s theory of hyperreality. Such places are simulacra which embody the blurred boundaries between reality and representation in a world in which unmediated access to reality is impossible (Baudrillard).Some scholars have focused on the role of mediated discourse in preparing both the site and the traveller for the process of tourist consumption (Friedberg, Crouch et al.). In particular, John Urry highlights the interdependence between tourism and the media with the concept of the ‘tourist gaze’. Urry argues that the gaze dominates tourism, which is primarily concerned with the commodification of images and visual consumption. According to Urry, movies and television play a crucial role in shaping the tourist gaze as the tourist compares what is gazed at with the familiar image of the object of the gaze. The tourist tries to reproduce his or her own expectations, which have been “constructed and sustained through a variety of non-tourist practices, such as film, TV, literature, records, and videos” (Urry 3). The inclusion of the camera functionality in digital movie maps such as ‘British Film Locations’ fulfils the need to actually reproduce the film images that the tourist has seen at home.Film and MapsThe convergence between film and (virtual) travel is also apparent in the prominent role that cartography plays in movies. Films often allude to maps in their opening sequences to situate their stories in time and space. In turn, the presence of detailed geographical descriptions of space at the narrative level often contributes to establish a stronger connection between film and viewers (Conley). Tom Conley notes that a number of British novels and their cinematic adaptations including Tolkien’s The Lord of the Rings (LOTR) and Stevenson’s Treasure Island belong to the so called ‘cartographic fiction’ genre. In these stories, maps are deployed to undo the narrative thread and inspire alternative itineraries to the extent of legitimising an interactive relation between text and reader or viewer (Conley 225).The popularity of LOTR locations as film-tourist destinations within New Zealand may be, in part, explained by the prominence of maps as both aesthetic and narrative devices (Leotta). The authenticity of the LOTR geography (both the novel and the film trilogy) is reinforced, in fact, by the reoccurring presence of the map. Tolkien designed very detailed maps of Middle Earth that were usually published in the first pages of the books. These maps play a crucial role in the immersion into the imaginary geography of Middle Earth, which represents one of the most important pleasures of reading LOTR (Simmons). The map also features extensively in the cinematic versions of both LOTR and The Hobbit. The Fellowship of the Ring opens with several shots of a map of Middle Earth, anticipating the narrative of displacement that characterizes LOTR. Throughout the trilogy the physical dimensions of the protagonists’ journey are emphasized by the foregrounding of the landscape as a map.The prominence of maps and geographical exploration as a narrative trope in ‘cartographic fiction’ such as LOTR may be responsible for activating the ‘tourist imagination’ of film viewers (Crouch et al.). The ‘tourist imagination’ is a construct that explains the sense of global mobility engendered by the daily consumption of the media, as well as actual travel. As Crouch, Jackson and Thompson put it, “the activity of tourism itself makes sense only as an imaginative process which involves a certain comprehension of the world and enthuses a distinctive emotional engagement with it” (Crouch et al. 1).The use of movie maps, the quest for film locations in real life may reproduce some of the cognitive and emotional pleasures that were activated while watching the movie, particularly if maps, travel and geographic exploration are prominent narrative elements. Several scholars (Couldry, Hills, Beeton) consider film-induced tourism as a contemporary form of pilgrimage and movie maps are becoming an inextricable part of this media ritual. Hudson and Ritchie note that maps produced by local stakeholders to promote the locations of films such as Sideways and LOTR proved to be extremely popular among tourists (391-392). In their study about the impact of paper movie maps on tourist behaviour in the UK, O’Connor and Pratt found that movie maps are an essential component in the marketing mix of a film location. For example, the map of Pride and Prejudice Country developed by the Derbyshire and Lincolnshire tourist boards significantly helped converting potential visitors into tourists as almost two in five visitors stated it ‘definitely’ turned a possible visit into a certainty (O’Connor and Pratt).Media Consumption and PlaceDigital movie maps have the potential to further reconfigure traditional understandings of media consumption and place. According to Nana Verhoeff digital mapping tools encourage a performative cartographic practice in the sense that the dynamic map emerges and changes during the users’ journey. The various functionalities of digital movie maps favour the hybridization between film reception and space navigation as by clicking on the movie map the user could potentially watch a clip of the film, read about both the film and the location, produce his/her own images and comments of the location and share it with other fans online.Furthermore, digital movie maps facilitate and enhance what Nick Couldry, drawing upon Claude Levi Strauss, calls “parcelling out”: the marking out as significant of differences in ritual space (83). According to Couldry, media pilgrimages, the visitation of TV or film locations are rituals that are based from the outset on an act of comparison between the cinematic depiction of place and its physical counterpart. Digital movie maps have the potential to facilitate this comparison by immediately retrieving images of the location as portrayed in the film. Media locations are rife with the marking of differences between the media world and the real locations as according to Couldry some film tourists seek precisely these differences (83).The development of smart phone movie maps, may also contribute to redefine the notion of audiovisual consumption. According to Nanna Verhoeff, mobile screens of navigation fundamentally revise the spatial coordinates of previously dominant, fixed and distancing cinematic screens. One of the main differences between mobile digital screens and larger, cinematic screens is that rather than being surfaces of projection or transmission, they are interfaces of software applications that combine different technological properties of the hybrid screen device: a camera, an interface for online communication, a GPS device (Verhoeff). Because of these characteristics of hybridity and intimate closeness, mobile screens involve practices of mobile and haptic engagement that turn the classical screen as distanced window on the world, into an interactive, hybrid navigation device that repositions the viewer as central within the media world (Verhoeff).In their discussion of the relocation of cinema into the iPhone, Francesco Casetti and Sara Sampietro reached similar conclusions as they define the iPhone as both a visual device and an interactive interface that mobilizes the eye as well as the hand (Casetti and Sampietro 23). The iPhone constructs an ‘existential bubble’ in which the spectator can find refuge while remaining exposed to the surrounding environment. When the surrounding environment is the real life film location, the consumption or re-consumption of the film text allowed by the digital movie map is informed by multi-sensorial and cognitive stimuli that are drastically different from traditional viewing experiences.The increasing popularity of digital movie maps is a phenomenon that could be read in conjunction with the emergence of innovative locative media such as the Google glasses and other applications of Augmented Reality (A.R.). Current smart phones available in the market are already capable to support A.R. applications and it appears likely that this will become a standard feature of movie apps within the next few years (Sakr). Augmented reality refers to the use of data overlays on real-time camera view of a location which make possible to show virtual objects within their spatial context. The camera eye on the device registers physical objects on location, and transmits these images in real time on the screen. On-screen this image is combined with different layers of data: still image, text and moving image.In a film-tourism application of augmented reality tourists would be able to point their phone camera at the location. As the camera identifies the location images from the film will overlay the image of the ‘real location’. The user, therefore, will be able to simultaneously see and walk in both the real location and the virtual film set. The notion of A.R. is related to the haptic aspect of engagement which in turn brings together the doing, the seeing and the feeling (Verhoeff). In film theory the idea of the haptic has come to stand for an engaged look that involves, and is aware of, the body – primarily that of the viewer (Marx, Sobchack). The future convergence between cinematic and mobile technologies is likely to redefine both perspectives on haptic perception of cinema and theories of film spectatorship.The application of A.R. to digital, mobile maps of film-locations will, in part, fulfill the prophecies of René Barjavel. In 1944, before Bazin’s seminal essay on the myth of total cinema, French critic Barjavel, asserted in his book Le Cinema Total that the technological evolution of the cinematic apparatus will eventually result in the total enveloppement (envelopment or immersion) of the film-viewer. This enveloppement will be characterised by the multi-sensorial experience and the full interactivity of the spectator within the movie itself. More recently, Thielmann has claimed that geomedia such as movie maps constitute a first step toward the vision that one day it might be possible to establish 3-D spaces as a medial interface (Thielmann).Film-Tourism, Augmented Reality and digital movie maps will produce a complex immersive and inter-textual media system which is at odds with Walter Benjamin’s famous thesis on the loss of ‘aura’ in the age of mechanical reproduction (Benjamin), as one of the pleasures of film-tourism is precisely the interaction with the auratic place, the actual film location or movie set. According to Nick Couldry, film tourists are interested in the aura of the place and filming itself. The notion of aura is associated here with both the material history of the location and the authentic experience of it (104).Film locations, as mediated by digital movie maps, are places in which people have a complex sensorial, emotional, cognitive and imaginative involvement. The intricate process of remediation of the film-locations can be understood as a symptom of what Lash and Urry have called the ‘re-subjectification of space’ in which ‘locality’ is re-weighted with a more subjective and affective charge of place (56). According to Lash and Urry the aesthetic-expressive dimensions of the experience of place have become as important as the cognitive ones. By providing new layers of cultural meaning and alternative modes of affective engagement, digital movie maps will contribute to redefine both the notion of tourist destination and the construction of place identity. These processes can potentially be highly problematic as within this context the identity and meanings of place are shaped and controlled by the capital forces that finance and distribute the digital movie maps. Future critical investigations of digital cartography will need to address the way in which issues of power and control are deeply enmeshed within new tourist practices. ReferencesAgnew, John, “Space and Place.” Handbook of Geographical Knowledge. Eds. John Agnew and David Livingstone. London: Sage, 2011. 316-330Barjavel, René. Cinema Total. Paris: Denoel, 1944.Baudrillard, Jean. Simulations. Trans. Paul Foss et al. New York: Semiotext(e), 1983.Beeton, Sue. Film Induced Tourism. Buffalo: Channel View Publications, 2005.Benjamin, Walter. Illuminations. Translated by Harry Zohn. Glasgow: Fontana, 1979.Campbell, Nick. “Producing America.” The Media and the Tourist Imagination. Eds. David Crouch et al. London: Routledge, 2005. 198-214.Casetti, Francesco, and Sara Sampietro. “With Eyes, with Hands: The Relocation of Cinema into the iPhone.” Moving Data: The iPhone and the Future of Media. Eds. Pelle Snickars and Patrick Vonderau. 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Augmented Reality—The Liminal Zone Within the larger context of the post-desktop technological philosophy and practice, an increasing number of efforts are directed towards finding solutions for integrating as close as possible virtual information into specific real environments; a short list of such endeavors include Wi-Fi connectivity, GPS-driven navigation, mobile phones, GIS (Geographic Information System), and various technological systems associated with what is loosely called locative, ubiquitous and pervasive computing. Augmented Reality (AR) is directly related to these technologies, although its visualization capabilities and the experience it provides assure it a particular place within this general trend. Indeed, AR stands out for its unique capacity (or ambition) to offer a seamless combination—or what I call here an effect of convergence—of the real scene perceived by the user with virtual information overlaid on that scene interactively and in real time. The augmented scene is perceived by the viewer through the use of different displays, the most common being the AR glasses (head-mounted display), video projections or monitors, and hand-held mobile devices such as smartphones or tablets, increasingly popular nowadays. One typical example of AR application is Layar, a browser that layers information of public interest—delivered through an open-source content management system—over the actual image of a real space, streamed live on the mobile phone display. An increasing number of artists employ this type of mobile AR apps to create artworks that consist in perceptually combining material reality and virtual data: as the user points the smartphone or tablet to a specific place, virtual 3D-modelled graphics or videos appear in real time, seamlessly inserted in the image of that location, according to the user’s position and orientation. In the engineering and IT design fields, one of the first researchers to articulate a coherent conceptualization of AR and to underlie its specific capabilities is Ronald Azuma. He writes that, unlike Virtual Reality (VR) which completely immerses the user inside a synthetic environment, AR supplements reality, therefore enhancing “a user’s perception of and interaction with the real world” (355-385). Another important contributor to the foundation of AR as a concept and as a research field is industrial engineer Paul Milgram. He proposes a comprehensive and frequently cited definition of “Mixed Reality” (MR) via a schema that includes the entire spectrum of situations that span the “continuum” between actual reality and virtual reality, with “augmented reality” and “augmented virtuality” between the two poles (283). Important to remark with regard to terminology (MR or AR) is that especially in the non-scientific literature, authors do not always explain a preference for either MR or AR. This suggests that the two terms are understood as synonymous, but it also provides evidence for my argument that, outside of the technical literature, AR is considered a concept rather than a technology. Here, I use the term AR instead of MR considering that the phrase AR (and the integrated idea of augmentation) is better suited to capturing the convergence effect. As I will demonstrate in the following lines, the process of augmentation (i.e. the convergence effect) is the result of an enhancement of the possibilities to perceive and understand the world—through adding data that augment the perception of reality—and not simply the product of a mix. Nevertheless, there is surely something “mixed” about this experience, at least for the fact that it combines reality and virtuality. The experiential result of combining reality and virtuality in the AR process is what media theorist Lev Manovich calls an “augmented space,” a perceptual liminal zone which he defines as “the physical space overlaid with dynamically changing information, multimedia in form and localized for each user” (219). The author derives the term “augmented space” from the term AR (already established in the scientific literature), but he sees AR, and implicitly augmented space, not as a strictly defined technology, but as a model of visuality concerned with the intertwining of the real and virtual: “it is crucial to see this as a conceptual rather than just a technological issue – and therefore as something that in part has already been an element of other architectural and artistic paradigms” (225-6). Surely, it is hard to believe that AR has appeared in a void or that its emergence is strictly related to certain advances in technological research. AR—as an artistic manifestation—is informed by other attempts (not necessarily digital) to merge real and fictional in a unitary perceptual entity, particularly by installation art and Virtual Reality (VR) environments. With installation art, AR shares the same spatial strategy and scenographic approach—they both construct “fictional” areas within material reality, that is, a sort of mise-en-scène that are aesthetically and socially produced and centered on the active viewer. From the media installationist practice of the previous decades, AR inherited the way of establishing a closer spatio-temporal interaction between the setting, the body and the electronic image (see for example Bruce Nauman’s Live-Taped Video Corridor [1970], Peter Campus’s Interface [1972], Dan Graham’s Present Continuous Pasts(s) [1974], Jeffrey Shaw’s Viewpoint [1975], or Jim Campbell’s Hallucination [1988]). On the other hand, VR plays an important role in the genealogy of AR for sharing the same preoccupation for illusionist imagery and—at least in some AR projects—for providing immersive interactions in “expanded image spaces experienced polysensorily and interactively” (Grau 9). VR artworks such as Paul Sermon, Telematic Dreaming (1992), Char Davies’ Osmose (1995), Michael Naimark’s Be Now Here (1995-97), Maurice Benayoun’s World Skin: A Photo Safari in the Land of War (1997), Luc Courchesne’s Where Are You? (2007-10), are significant examples for the way in which the viewer can be immersed in “expanded image-spaces.” Offering no view of the exterior world, the works try instead to reduce as much as possible the critical distance the viewer might have to the image he/she experiences. Indeed, AR emerged in great part from the artistic and scientific research efforts dedicated to VR, but also from the technological and artistic investigations of the possibilities of blending reality and virtuality, conducted in the previous decades. For example, in the 1960s, computer scientist Ivan Sutherland played a crucial role in the history of AR contributing to the development of display solutions and tracking systems that permit a better immersion within the digital image. Another important figure in the history of AR is computer artist Myron Krueger whose experiments with “responsive environments” are fundamental as they proposed a closer interaction between participant’s body and the digital object. More recently, architect and theorist Marcos Novak contributed to the development of the idea of AR by introducing the concept of “eversion”, “the counter-vector of the virtual leaking out into the actual”. Today, AR technological research and the applications made available by various developers and artists are focused more and more on mobility and ubiquitous access to information instead of immersivity and illusionist effects. A few examples of mobile AR include applications such as Layar, Wikitude—“world browsers” that overlay site-specific information in real-time on a real view (video stream) of a place, Streetmuseum (launched in 2010) and Historypin (launched in 2011)—applications that insert archive images into the street-view of a specific location where the old images were taken, or Google Glass (launched in 2012)—a device that provides the wearer access to Google’s key Cloud features, in situ and in real time. Recognizing the importance of various technological developments and of the artistic manifestations such as installation art and VR as predecessors of AR, we should emphasize that AR moves forward from these artistic and technological models. AR extends the installationist precedent by proposing a consistent and seamless integration of informational elements with the very physical space of the spectator, and at the same time rejects the idea of segregating the viewer into a complete artificial environment like in VR systems by opening the perceptual field to the surrounding environment. Instead of leaving the viewer in a sort of epistemological “lust” within the closed limits of the immersive virtual systems, AR sees virtuality rather as a “component of experiencing the real” (Farman 22). Thus, the questions that arise—and which this essay aims to answer—are: Do we have a specific spatial dimension in AR? If yes, can we distinguish it as a different—if not new—spatial and aesthetic paradigm? Is AR’s intricate topology able to be the place not only of convergence, but also of possible tensions between its real and virtual components, between the ideal of obtaining a perceptual continuity and the inherent (technical) limitations that undermine that ideal? Converging Spaces in the Artistic Mode: Between Continuum and Discontinuum As key examples of the way in which AR creates a specific spatial experience—in which convergence appears as a fluctuation between continuity and discontinuity—I mention three of the most accomplished works in the field that, significantly, expose also the essential role played by the interface in providing this experience: Living-Room 2 (2007) by Jan Torpus, Under Scan (2005-2008) by Rafael Lozano-Hemmer and Hans RichtAR (2013) by John Craig Freeman and Will Pappenheimer. The works illustrate the three main categories of interfaces used for AR experience: head-attached, spatial displays, and hand-held (Bimber 2005). These types of interface—together with all the array of adjacent devices, software and tracking systems—play a central role in determining the forms and outcomes of the user’s experience and consequently inform in a certain measure the aesthetic and socio-cultural interpretative discourse surrounding AR. Indeed, it is not the same to have an immersive but solitary experience, or a mobile and public experience of an AR artwork or application. The first example is Living-Room 2 an immersive AR installation realized by a collective coordinated by Jan Torpus in 2007 at the University of Applied Sciences and Arts FHNW, Basel, Switzerland. The work consists of a built “living-room” with pieces of furniture and domestic objects that are perceptually augmented by means of a “see-through” Head Mounted Display. The viewer perceives at the same time the real room and a series of virtual graphics superimposed on it such as illusionist natural vistas that “erase” the walls, or strange creatures that “invade” the living-room. The user can select different augmenting “scenarios” by interacting with both the physical interfaces (the real furniture and objects) and the graphical interfaces (provided as virtual images in the visual field of the viewer, and activated via a handheld device). For example, in one of the scenarios proposed, the user is prompted to design his/her own extended living room, by augmenting the content and the context of the given real space with different “spatial dramaturgies” or “AR décors.” Another scenario offers the possibility of creating an “Ecosystem”—a real-digital world perceived through the HMD in which strange creatures virtually occupy the living-room intertwining with the physical configuration of the set design and with the user’s viewing direction, body movement, and gestures. Particular attention is paid to the participant’s position in the room: a tracking device measures the coordinates of the participant’s location and direction of view and effectuates occlusions of real space and then congruent superimpositions of 3D images upon it. Figure 1: Jan Torpus, Living-Room 2 (Ecosystems), Augmented Reality installation (2007). Courtesy of the artist. Figure 2: Jan Torpus, Living-Room 2 (AR decors), Augmented Reality installation (2007). Courtesy of the artist.In this sense, the title of the work acquires a double meaning: “living” is both descriptive and metaphoric. As Torpus explains, Living-Room is an ambiguous phrase: it can be both a living-room and a room that actually lives, an observation that suggests the idea of a continuum and of immersion in an environment where there are no apparent ruptures between reality and virtuality. Of course, immersion is in these circumstances not about the creation of a purely artificial secluded space of experience like that of the VR environments, but rather about a dialogical exercise that unifies two different phenomenal levels, real and virtual, within a (dis)continuous environment (with the prefix “dis” as a necessary provision). Media theorist Ron Burnett’s observations about the instability of the dividing line between different levels of experience—more exactly, of the real-virtual continuum—in what he calls immersive “image-worlds” have a particular relevance in this context: Viewing or being immersed in images extend the control humans have over mediated spaces and is part of a perceptual and psychological continuum of struggle for meaning within image-worlds. Thinking in terms of continuums lessens the distinctions between subjects and objects and makes it possible to examine modes of influence among a variety of connected experiences. (113) It is precisely this preoccupation to lessen any (or most) distinctions between subjects and objects, and between real and virtual spaces, that lays at the core of every artistic experiment under the AR rubric. The fact that this distinction is never entirely erased—as Living-Room 2 proves—is part of the very condition of AR. The ambition to create a continuum is after all not about producing perfectly homogenous spaces, but, as Ron Burnett points out (113), “about modalities of interaction and dialogue” between real worlds and virtual images. Another way to frame the same problematic of creating a provisional spatial continuum between reality and virtuality, but this time in a non-immersive fashion (i.e. with projective interface means), occurs in Rafael Lozano-Hemmer’s Under Scan (2005-2008). The work, part of the larger series Relational Architecture, is an interactive video installation conceived for outdoor and indoor environments and presented in various public spaces. It is a complex system comprised of a powerful light source, video projectors, computers, and a tracking device. The powerful light casts shadows of passers-by within the dark environment of the work’s setting. A tracking device indicates where viewers are positioned and permits the system to project different video sequences onto their shadows. Shot in advance by local videographers and producers, the filmed sequences show full images of ordinary people moving freely, but also watching the camera. As they appear within pedestrians’ shadows, the figurants interact with the viewers, moving and establishing eye contact. Figure 3: Rafael Lozano-Hemmer, Under Scan (Relational Architecture 11), 2005. Shown here: Trafalgar Square, London, United Kingdom, 2008. Photo by: Antimodular Research. Courtesy of the artist. Figure 4: Rafael Lozano-Hemmer, Under Scan (Relational Architecture 11), 2005. Shown here: Trafalgar Square, London, United Kingdom, 2008. Photo by: Antimodular Research. Courtesy of the artist. One of the most interesting attributes of this work with respect to the question of AR’s (im)possible perceptual spatial continuity is its ability to create an experientially stimulating and conceptually sophisticated play between illusion and subversion of illusion. In Under Scan, the integration of video projections into the real environment via the active body of the viewer is aimed at tempering as much as possible any disparities or dialectical tensions—that is, any successive or alternative reading—between real and virtual. Although non-immersive, the work fuses the two levels by provoking an intimate but mute dialogue between the real, present body of the viewer and the virtual, absent body of the figurant via the ambiguous entity of the shadow. The latter is an illusion (it marks the presence of a body) that is transcended by another illusion (video projection). Moreover, being “under scan,” the viewer inhabits both the “here” of the immediate space and the “there” of virtual information: “the body” is equally a presence in flesh and bones and an occurrence in bits and bytes. But, however convincing this reality-virtuality pseudo-continuum would be, the spatial and temporal fragmentations inevitably persist: there is always a certain break at the phenomenological level between the experience of real space, the bodily absence/presence in the shadow, and the displacements and delays of the video image projection. Figure 5: John Craig Freeman and Will Pappenheimer, Hans RichtAR, augmented reality installation included in the exhibition “Hans Richter: Encounters”, Los Angeles County Museum of Art, 2013. Courtesy of the artists. Figure 6: John Craig Freeman and Will Pappenheimer, Hans RichtAR, augmented reality installation included in the exhibition “Hans Richter: Encounters”, Los Angeles County Museum of Art, 2013. Courtesy of the artists. The third example of an AR artwork that engages the problem of real-virtual spatial convergence as a play between perceptual continuity and discontinuity, this time with the use of hand-held mobile interface is Hans RichtAR by John Craig Freeman and Will Pappenheimer. The work is an AR installation included in the exhibition “Hans Richter: Encounters” at Los Angeles County Museum of Art, in 2013. The project recreates the spirit of the 1929 exhibition held in Stuttgart entitled Film und Foto (“FiFo”) for which avant-garde artist Hans Richter served as film curator. Featured in the augmented reality is a re-imaging of the FiFo Russian Room designed by El Lissitzky where a selection of Russian photographs, film stills and actual film footage was presented. The users access the work through tablets made available at the exhibition entrance. Pointing the tablet at the exhibition and moving around the room, the viewer discovers that a new, complex installation is superimposed on the screen over the existing installation and gallery space at LACMA. The work effectively recreates and interprets the original design of the Russian Room, with its scaffoldings and surfaces at various heights while virtually juxtaposing photography and moving images, to which the authors have added some creative elements of their own. Manipulating and converging real space and the virtual forms in an illusionist way, AR is able—as one of the artists maintains—to destabilize the way we construct representation. Indeed, the work makes a statement about visuality that complicates the relationship between the visible object and its representation and interpretation in the virtual realm. One that actually shows the fragility of establishing an illusionist continuum, of a perfect convergence between reality and represented virtuality, whatever the means employed. AR: A Different Spatial Practice Regardless the degree of “perfection” the convergence process would entail, what we can safely assume—following the examples above—is that the complex nature of AR operations permits a closer integration of virtual images within real space, one that, I argue, constitutes a new spatial paradigm. This is the perceptual outcome of the convergence effect, that is, the process and the product of consolidating different—and differently situated—elements in real and virtual worlds into a single space-image. Of course, illusion plays a crucial role as it makes permeable the perceptual limit between the represented objects and the material spaces we inhabit. Making the interface transparent—in both proper and figurative senses—and integrating it into the surrounding space, AR “erases” the medium with the effect of suspending—at least for a limited time—the perceptual (but not ontological!) differences between what is real and what is represented. These aspects are what distinguish AR from other technological and artistic endeavors that aim at creating more inclusive spaces of interaction. However, unlike the CAVE experience (a display solution frequently used in VR applications) that isolates the viewer within the image-space, in AR virtual information is coextensive with reality. As the example of the Living-Room 2 shows, regardless the degree of immersivity, in AR there is no such thing as dismissing the real in favor of an ideal view of a perfect and completely controllable artificial environment like in VR. The “redemptive” vision of a total virtual environment is replaced in AR with the open solution of sharing physical and digital realities in the same sensorial and spatial configuration. In AR the real is not denounced but reflected; it is not excluded, but integrated. Yet, AR distinguishes itself also from other projects that presuppose a real-world environment overlaid with data, such as urban surfaces covered with screens, Wi-Fi enabled areas, or video installations that are not site-specific and viewer inclusive. Although closely related to these types of projects, AR remains different, its spatiality is not simply a “space of interaction” that connects, but instead it integrates real and virtual elements. Unlike other non-AR media installations, AR does not only place the real and virtual spaces in an adjacent position (or replace one with another), but makes them perceptually convergent in an—ideally—seamless way (and here Hans RichtAR is a relevant example). Moreover, as Lev Manovich notes, “electronically augmented space is unique – since the information is personalized for every user, it can change dynamically over time, and it is delivered through an interactive multimedia interface” (225-6). Nevertheless, as our examples show, any AR experience is negotiated in the user-machine encounter with various degrees of success and sustainability. Indeed, the realization of the convergence effect is sometimes problematic since AR is never perfectly continuous, spatially or temporally. The convergence effect is the momentary appearance of continuity that will never take full effect for the viewer, given the internal (perhaps inherent?) tensions between the ideal of seamlessness and the mostly technical inconsistencies in the visual construction of the pieces (such as real-time inadequacy or real-virtual registration errors). We should note that many criticisms of the AR visualization systems (being them practical applications or artworks) are directed to this particular aspect related to the imperfect alignment between reality and digital information in the augmented space-image. However, not only AR applications can function when having an estimated (and acceptable) registration error, but, I would state, such visual imperfections testify a distinctive aesthetic aspect of AR. The alleged flaws can be assumed—especially in the artistic AR projects—as the “trace,” as the “tool’s stroke” that can reflect the unique play between illusion and its subversion, between transparency of the medium and its reflexive strategy. In fact this is what defines AR as a different perceptual paradigm: the creation of a convergent space—which will remain inevitably imperfect—between material reality and virtual information.References Azuma, Ronald T. “A Survey on Augmented Reality.” Presence: Teleoperators and Virtual Environments 6.4 (Aug. 1997): 355-385. < http://www.hitl.washington.edu/projects/knowledge_base/ARfinal.pdf >. Benayoun, Maurice. World Skin: A Photo Safari in the Land of War. 1997. Immersive installation: CAVE, Computer, video projectors, 1 to 5 real photo cameras, 2 to 6 magnetic or infrared trackers, shutter glasses, audio-system, Internet connection, color printer. Maurice Benayoun, Works. < http://www.benayoun.com/projet.php?id=16 >. Bimber, Oliver, and Ramesh Raskar. Spatial Augmented Reality. Merging Real and Virtual Worlds. Wellesley, Massachusetts: AK Peters, 2005. 71-92. Burnett, Ron. How Images Think. Cambridge, Mass.: MIT Press, 2004. Campbell, Jim. Hallucination. 1988-1990. Black and white video camera, 50 inch rear projection video monitor, laser disc players, custom electronics. Collection of Don Fisher, San Francisco. Campus, Peter. Interface. 1972. Closed-circuit video installation, black and white camera, video projector, light projector, glass sheet, empty, dark room. Centre Georges Pompidou Collection, Paris, France. Courchesne, Luc. Where Are You? 2005. Immersive installation: Panoscope 360°. a single channel immersive display, a large inverted dome, a hemispheric lens and projector, a computer and a surround sound system. Collection of the artist. < http://courchel.net/# >. Davies, Char. Osmose. 1995. Computer, sound synthesizers and processors, stereoscopic head-mounted display with 3D localized sound, breathing/balance interface vest, motion capture devices, video projectors, and silhouette screen. Char Davies, Immersence, Osmose. < http://www.immersence.com >. Farman, Jason. Mobile Interface Theory: Embodied Space and Locative Media. New York: Routledge, 2012. Graham, Dan. Present Continuous Past(s). 1974. Closed-circuit video installation, black and white camera, one black and white monitor, two mirrors, microprocessor. Centre Georges Pompidou Collection, Paris, France. Grau, Oliver. Virtual Art: From Illusion to Immersion. Translated by Gloria Custance. Cambridge, Massachusetts, London: MIT Press, 2003. Hansen, Mark B.N. New Philosophy for New Media. Cambridge, Mass.: MIT Press, 2004. Harper, Douglas. Online Etymology Dictionary, 2001-2012. < http://www.etymonline.com >. Manovich, Lev. “The Poetics of Augmented Space.” Visual Communication 5.2 (2006): 219-240. Milgram, Paul, Haruo Takemura, Akira Utsumi, Fumio Kishino. “Augmented Reality: A Class of Displays on the Reality-Virtuality Continuum.” SPIE [The International Society for Optical Engineering] Proceedings 2351: Telemanipulator and Telepresence Technologies (1994): 282-292. Naimark, Michael, Be Now Here. 1995-97. Stereoscopic interactive panorama: 3-D glasses, two 35mm motion-picture cameras, rotating tripod, input pedestal, stereoscopic projection screen, four-channel audio, 16-foot (4.87 m) rotating floor. Originally produced at Interval Research Corporation with additional support from the UNESCO World Heritage Centre, Paris, France. < http://www.naimark.net/projects/benowhere.html >. Nauman, Bruce. Live-Taped Video Corridor. 1970. Wallboard, video camera, two video monitors, videotape player, and videotape, dimensions variable. Solomon R. Guggenheim Museum, New York. Novak, Marcos. Interview with Leo Gullbring, Calimero journalistic och fotografi, 2001. < http://www.calimero.se/novak2.htm >. Sermon, Paul. Telematic Dreaming. 1992. ISDN telematic installation, two video projectors, two video cameras, two beds set. The National Museum of Photography, Film & Television in Bradford England. Shaw, Jeffrey, and Theo Botschuijver. Viewpoint. 1975. Photo installation. Shown at 9th Biennale de Paris, Musée d'Art Moderne, Paris, France.

IntroductionIn Nancy Meyers’s 2015 film The Intern a particular kind of masculinity is celebrated through the material accoutrements of Ben Whittaker (Robert De Niro). A retired 70-year-old manager, Ben takes up a position as a “senior” Intern in an online clothing distribution company run by Jules Ostin (Anne Hathaway). Jules’s company, All About Fit, is the embodiment of the Gen Y creative workplace operating in an old Brooklyn warehouse. Ben’s presence in this environment is anachronistic and yet also stylishly retro in an industry where “vintage” is a mode of dress but also offers alternative ethical values (Veenstra and Kuipers). The alternative that Ben offers is figured through his sartorial style, which mobilises a specific kind of retro masculinity made available through his senior white male body. This paper investigates how and why retro masculinity is materialised and embodied as both a set of values and a set of objects in The Intern.Three particular objects are emblematic of this retro masculinity and come to stand in for a body of desirable masculine values: the business suit, the briefcase, and the handkerchief. In the midst of an indie e-commerce garment business, Ben’s old-fashioned wardrobe registers a regular middle class managerial masculinity from the past that is codified as solidly reliable and dependable. Sherry Turkle reminds us that “material culture carries emotions and ideas of startling intensity” (6), and these impact our thinking, our emotional life, and our memories. The suit, briefcase, and handkerchief are material reminders of this reliable masculine past. The values they evoke, as presented in this film, seem to offer sensible solutions to the fast pace of twenty-first century life and its reconfigurations of family and work prompted by feminism and technology.The film’s fetishisation of these objects of retro masculinity could be mistaken for nostalgia, in the way that vintage collections elide their political context, and yet it also registers social anxiety around gender and generation amid twenty-first century social change. Turner reminds us of the importance of film as a social practice through which “our culture makes sense of itself” (3), and which participates in the ongoing negotiation of the meanings of gender. While masculinity is often understood to have been in crisis since the advent of second-wave feminism and women’s mass entry into the labour force, theoretical scrutiny now understands masculinity to be socially constructed and changing, rather than elemental and stable; performative rather than innate; fundamentally political, and multiple through the intersection of class, race, sexuality, and age amongst other factors (Connell; Butler). While Connell coined the term “hegemonic masculinity,” to indicate “masculinity which occupies the hegemonic position in a given pattern of gender relations” (76), it is always intersectional and contestable. Ben’s hegemonic position in The Intern might be understood in relation to what Buchbinder identifies as “inadequate” or “incompetent” masculinities, which offer a “foil for another principal character” (232), but this movement between margin and hegemony is always in process and accords with the needs that structure the story, and its attendant social anxieties. This film’s fetishising of Ben’s sartorial style suggests a yearning for a stable and recognisable masculine identity, but in order to reinstall these meanings the film must ignore the political times from which they emerge.The construction of retro masculinity in this case is mapped onto Ben’s body as a “senior.” As Gilleard notes, ageing bodies are usually marked by a narrative of corporeal decline, and yet for men of hegemonic privilege, non-material values like seniority, integrity, wisdom, and longevity coalesce to embody “the accumulation of cultural or symbolic capital in the form of wisdom, maturity or experience” (1). Like masculinity, then, corporeality is understood to be a set of unstable signifiers produced through particular cultural discourses.The Business SuitThe business suit is Ben Whittaker’s habitual work attire, so when he comes out of retirement to be an intern at the e-commerce company he re-adopts this professional garb. The solid outline of a tailored and dark-coloured suit signals a professional body that is separate, autonomous and impervious to the outside world, according to Longhurst (99). It is a body that is “proper,” ready for business, and suit-ed to the professional corporate world, whose values it also embodies (Edwards 42). In contrast, the costuming code of the Google generation of online marketers in the film is defined as “super cas[ual].” This is a workplace where the boss rides her bicycle through the open-space office and in which the other 219 workers define their individuality through informal dress and decoration. In this environment Ben stands out, as Jules comments on his first day:Jules: Don’t feel like you have to dress up.Ben: I’m comfortable in a suit if it’s okay.Jules: No, it’s fine. [grins] Old school.Ben: At least I’ll stand out.Jules: I don’t think you’ll need a suit to do that.The anachronism of a 70-year-old being an intern is materialised through Ben’s dress code. The business suit comes to represent Ben not only as old school, however, but as a “proper” manager.As the embodiment of a successful working woman, entrepreneur Jules Ostin appears to be the antithesis of the business-suit model of a manager. Consciously not playing by the book, her company is both highly successful, meeting its five-year objectives in only nine months, and highly vulnerable to disasters like bedbugs, delivery crises, and even badly wrapped tissue. Shaped in her image, the company is often directly associated with Jules herself, as Ben continually notes, and this comes to include the mix of success, vulnerability, and disaster. In fact, the success of her company is the reason that she is urged to find a “seasoned” CEO to run the company, indicating the ambiguous, simultaneous guise of success and disaster.This relationship between individual corporeality and the corporate workforce is reinforced when it is revealed that Ben worked as a manager for 40 years in the very same warehouse, reinforcing his qualities of longevity, reliability, and dependability. He oversaw the printing of the physical telephone book, another quaint material artefact of the past akin to Ben, which is shown to have literally shaped the building where the floor dips over in the corner due to the heavy printers. The differences between Ben and Jules as successive generations of managers in this building operate as registers of social change inflected with just a little nostalgia. Indeed, the name of Jules’s company, All About Fit, seems to refer more to the beautifully tailored “fit” of Ben’s business suit than to any of the other clothed bodies in the company.Not only is the business suit fitted to business, but it comes to represent a properly managed body as well. This is particularly evident when contrasted with Jules’s management style. Over the course of the film, as she endures a humiliating series of meetings, sends a disastrous email to the wrong recipient, and juggles her strained marriage and her daughter’s school schedule, Jules is continuously shown to teeter on the brink of losing control. Her bodily needs are exaggerated in the movie: she does not sleep and apparently risks “getting fat” according to her mother’s research; then when she does sleep it is in inappropriate places and she snores loudly; she forgets to eat, she cries, gets drunk and vomits, gets nervous, and gets emotional. All of these outpourings are in situations that Ben remedies, in his solid reliable suited self. As Longhurst reminds us,The suit helps to create an illusion of a hard, or at least a firm and “proper,” body that is autonomous, in control, rational and masculine. It gives the impression that bodily boundaries continually remain intact and reduce potential embarrassment caused by any kind of leakage. (99)Ben is thus suited to manage situations in ways that contrast to Jules, whose bodily emissions and emotional dramas reinforce her as feminine, chaotic, and emotionally vulnerable. As Gatens notes of our epistemological inheritance, “women are most often understood to be less able to control the passions of the body and this failure is often located in the a priori disorder or anarchy of the female body itself” (50). Transitioning these philosophical principles to the 21st-century workplace, however, manifests some angst around gender and generation in this film.Despite the film’s apparent advocacy of successful working women, Jules too comes to prefer Ben’s model of corporeal control and masculinity. Ben is someone who makes Jules “feel calm, more centred or something. I could use that, obviously,” she quips. After he leads the almost undifferentiated younger employees Jason, Davis, and Lewis on a physical email rescue, Jules presents her theory of men amidst shots at a bar to celebrate their heist:Jules: So, we were always told that we could be anything, do anything, and I think guys got, maybe not left behind but not quite as nurtured, you know? I mean, like, we were the generation of You go, Girl. We had Oprah. And I wonder sometimes how guys fit in, you know they still seem to be trying to figure it out. They’re still dressing like little boys, they’re still playing video games …Lewis: Well they’ve gotten great.Davis: I love video games.Ben: Oh boy.Jules: How, in one generation, have men gone from guys like Jack Nicholson and Harrison Ford to … [Lewis, Davis, and Jason look down at themselves]Jules: Take Ben, here. A dying breed. Look and learn boys, because if you ask me, this is what cool is.Jules’s excessive drinking in this scene, which is followed by her vomiting into a rubbish bin, appears to reinforce Ben’s stable sobriety, alongside the culture of excess and rapid change associated with Jules through her gender and generation.Jules’s adoption of Ben as the model of masculinity is timely, given that she consistently encounters “sexism in business.” After every meeting with a potential CEO Jules complains of their patronising approach—calling her company a “chick site,” for example. And yet Ben echoes the sartorial style of the 1960s Mad Men era, which is suffused with sexism. The tension between Ben’s modelling of old-fashioned chivalry and those outdated sexist businessmen who never appear on-screen remains linked, however, through the iconography of the suit. In his book Mediated Nostalgia, Lizardi notes a similar tendency in contemporary media for what he calls “presentist versions of the past […] that represent a simpler time” (6) where viewers are constructed as ”uncritical citizens of our own culture” (1). By heroising Ben as a model of white middle-class managerial masculinity that is nostalgically enduring and endearing, this film betrays a yearning for such a “simpler time,” despite the complexities that hover just off-screen.Indeed, most of the other male characters in the film are found wanting in comparison to the retro masculinity of Ben. Jules’s husband Matt appears to be a perfect modern “stay-at-home-dad” who gives up his career for Jules’s business start-up. Yet he is found to be having an affair with one of the school mums. Lewis’s clothes are also condemned by Ben: “Why doesn’t anyone tuck anything in anymore?” he complains. Jason does not know how to speak to his love-interest Becky, expecting that texting and emailing sad emoticons will suffice, and Davis is unable to find a place to live. Luckily Ben can offer advice and tutelage to these men, going so far as to house Davis and give him one of his “vintage” ties to wear. Jules endorses this, saying she loves men in ties.The BriefcaseIf a feature of Ben’s experienced managerial style is longevity and stability, then these values are also attached to his briefcase. The association between Ben and his briefcase is established when the briefcase is personified during preparations for Ben’s first day: “Back in action,” Ben tells it. According to Atkinson, the briefcase is a “signifier of executive status […] entwined with a ‘macho mystique’ of concealed technology” (192). He ties this to the emergence of Cold War spy films like James Bond and traces it to the development of the laptop computer. This mix of mobility, concealment, glamour, and a touch of playboy adventurousness in a mass-produced material product manifested the values of the corporate world in latter 20th-century work culture and rendered the briefcase an important part of executive masculinity. Ben’s briefcase is initially indicative of his anachronistic position in All About Fit. While Davis opens his canvas messenger bag to reveal a smartphone, charger, USB drive, multi-cable connector, and book, Ben mirrors this by taking out his glasses case, set of pens, calculator, fliptop phone, and travel clock. Later in the film he places a print newspaper and leather bound book back into the case. Despite the association with a pre-digital age, the briefcase quickly becomes a product associated with Ben’s retro style. Lewis, at the next computer console, asks about its brand:Ben: It’s a 1973 Executive Ashburn Attaché. They don’t make it anymore.Lewis: I’m a little in love with it.Ben: It’s a classic Lewis. It’s unbeatable.The attaché case is left over from Ben’s past in executive management as VP for sales and advertising. This was a position he held for twenty years, during his past working life, which was spent with the same company for over 40 years. Ben’s long-serving employment record has the same values as his equally long-serving attaché case: it is dependable, reliable, ages well, and outlasts changes in fashion.The kind of nostalgia invested in Ben and his briefcase is reinforced extradiagetically through the musical soundtracks associated with him. Compared to the undifferentiated upbeat tracks at the workplace, Ben’s scenes feature a slower-paced sound from another era, including Ray Charles, Astrud Gilberto, Billie Holiday, and Benny Goodman. These classics are a point of connection with Jules, who declares that she loves Billie Holiday. Yet Jules is otherwise characterised by upbeat, even frantic, timing. She hates slow talkers, is always on the move, and is renowned for being late for meetings and operating on what is known as “Jules Standard Time.” In contrast, like his music, Ben is always on time: setting two alarm clocks each night, driving shorter and more efficient routes, seeing things at just the right time, and even staying at work until the boss leaves. He is reliable, steady, and orderly. He restores order both to the office junk desk and to the desk of Jules’s personal assistant Becky. These characteristics of order and timeliness are offered as an alternative to the chaos of 21st-century global flows of fashion marketing. Like his longevity, time is measured and managed around Ben. Even his name echoes that veritable keeper of time, Big Ben.The HandkerchiefThe handkerchief is another anachronistic object that Ben routinely carries, concealed inside his suit rather than flamboyantly worn on the outside pocket. A neatly ironed square of white hanky, it forms a notable part of Ben’s closet, as Davis notices and enquires about:Davis: Okay what’s the deal with the handkerchief? I don’t get that at all.Ben: It’s essential. That your generation doesn’t know that is criminal. The reason for carrying a handkerchief is to lend it. Ask Jason about this. Women cry Davis. We carry it for them. One of the last vestiges of the chivalrous gent.Indeed, when Jules’s personal assistant Becky bursts into tears because her skills and overtime go unrecognised, Ben is able to offer the hanky to Jason to give her as a kind of white flag, officially signaling a ceasefire between Becky and Jason. This scene is didactic: Ben is teaching Jason how to talk to a woman with the handkerchief as a material prop to prompt the occasion. He also offers advice to Becky to keep more regular hours, and go out and have fun (with Jason, obviously). Despite Becky declaring she “hates girls who cry at work,” this reaction to the pressures of a contemporary work culture that is irregular, chaotic, and never-ending is clearly marking gender, as the handkerchief also marks a gendered transaction of comfort.The handkerchief functions as a material marker of the “chivalrous gent” partly due to the number of times women are seen to cry in this film. In one of Ben’s first encounters with Jules she is crying in a boardroom, when it is suggested that she find a CEO to manage the company. Ben is clearly embarrassed, as is Jules, indicating the inappropriateness of such bodily emissions at work and reinforcing the emotional currency of women in the workplace. Jules again cries while discussing her marriage crisis with Ben, a scene in which Ben comments it is “the one time when he doesn’t have a hanky.” By the end of the film, when Jules and Matt are reconciling, she suggests: “It would be great if you were to carry a handkerchief.” The remaking of modern men into the retro style of Ben is more fully manifested in Davis who is depicted going to work on the last day in the film in a suit and tie. No doubt a handkerchief lurks hidden within.ConclusionThe yearning that emerges for a masculinity of yesteryear means that the intern in this film, Ben Whittaker, becomes an internal moral compass who reminds us of rapid social changes in gender and work, and of their discomfits. That this should be mapped onto an older, white, heterosexual, male body is unsurprising, given the authority traditionally invested in such bodies. Ben’s retro masculinity, however, is a fantasy from a fictional yesteryear, without the social or political forces that render those times problematic; instead, his material culture is fetishised and stripped of political analysis. Ben even becomes the voice of feminism, correcting Jules for taking the blame for Matt’s affair. Buchbinder argues that the more recent manifestations in film and television of “inadequate or incomplete” masculinity can be understood as “enacting a resistance to or even a refusal of the coercive pressure of the gender system” (235, italics in original), and yet The Intern’s yearning for a slow, orderly, mature, and knowing male hero refuses much space for alternative younger models. Despite this apparently unerring adulation of retro masculinity, however, we are reminded of the sexist social culture that suits, briefcases, and handkerchiefs materialise every time Jules encounters one of the seasoned CEOs jostling to replace her. The yearning for a stable masculinity in this film comes at the cost of politicising the past, and imagining alternative models for the future.ReferencesAtkinson, Paul. “Man in a Briefcase: The Social Construction of the Laptop Computer and the Emergence of a Type Form.” Journal of Design History 18.2 (2005): 191-205. Buchbinder, David. “Enter the Schlemiel: The Emergence of Inadequate of Incompetent Masculinities in Recent Film and Television.” Canadian Review of American Studies 38.2 (2008): 227-245.Butler, Judith. Gender Trouble. New York: Routledge, 1990.Connell, R.W. Masculinities. 2nd ed. Cambridge: Polity Press, 2005.Edwards, Tim. Fashion in Focus: Concepts, Practices and Politics. London: Routledge, 2010.Gatens, Moira. Imaginary Bodies: Ethics, Power and Corporeality. New York: Routledge, 1996.Gilleard, Chris, and Paul Higgs. Ageing, Corporeality and Embodiment. London: Anthem, 2014.Lizardi, Ryan. Mediated Nostalgia: Individual Memory and Contemporary Mass Media. London: Lexington Books, 2015.Longhurst, Robyn. Bodies: Exploring Fluid Boundaries. London: Routledge, 2001.Meyers, Nancy, dir. The Intern. Warner Bros. Pictures, 2015.Turkle, Sherry. “The Things That Matter.” Evocative Objects: Things We Think With. Ed. Sherry Turkle. Cambridge MA: MIT Press, 2007.Turner, Graeme. Film as Social Practice. 3rd ed. London: Routledge, 2002.Veenstra, Aleit, and Giselinde Kuipers. “It Is Not Old-Fashioned, It Is Vintage: Vintage Fashion and the Complexities of 21st Century Consumption Practices.” Sociology Compass 7.5 (2013): 355-365.

Alfred Hermida recently posited ‘ambient journalism’ as a new framework for para- and professional journalists, who use social networks like Twitter for story sources, and as a news delivery platform. Beginning with this framework, this article explores the following questions: How does Hermida define ‘ambient journalism’ and what is its significance? Are there alternative definitions? What lessons do current platforms provide for the design of future, real-time platforms that ‘ambient journalists’ might use? What lessons does the work of Brian Eno provide–the musician and producer who coined the term ‘ambient music’ over three decades ago? My aim here is to formulate an alternative definition of ambient journalism that emphasises craft, skills acquisition, and the mental models of professional journalists, which are the foundations more generally for journalism practices. Rather than Hermida’s participatory media context I emphasise ‘institutional adaptiveness’: how journalists and newsrooms in media institutions rely on craft and skills, and how emerging platforms can augment these foundations, rather than replace them. Hermida’s Ambient Journalism and the Role of Journalists Hermida describes ambient journalism as: “broad, asynchronous, lightweight and always-on communication systems [that] are creating new kinds of interactions around the news, and are enabling citizens to maintain a mental model of news and events around them” (Hermida 2). His ideas appear to have two related aspects. He conceives ambient journalism as an “awareness system” between individuals that functions as a collective intelligence or kind of ‘distributed cognition’ at a group level (Hermida 2, 4-6). Facebook, Twitter and other online social networks are examples. Hermida also suggests that such networks enable non-professionals to engage in ‘communication’ and ‘conversation’ about news and media events (Hermida 2, 7). In a helpful clarification, Hermida observes that ‘para-journalists’ are like the paralegals or non-lawyers who provide administrative support in the legal profession and, in academic debates about journalism, are more commonly known as ‘citizen journalists’. Thus, Hermida’s ambient journalism appears to be: (1) an information systems model of new platforms and networks, and (2) a normative argument that these tools empower ‘para-journalists’ to engage in journalism and real-time commentary. Hermida’s thesis is intriguing and worthy of further discussion and debate. As currently formulated however it risks sharing the blind-spots and contradictions of the academic literature that Hermida cites, which suffers from poor theory-building (Burns). A major reason is that the participatory media context on which Hermida often builds his work has different mental models and normative theories than the journalists or media institutions that are the target of critique. Ambient journalism would be a stronger and more convincing framework if these incorrect assumptions were jettisoned. Others may also potentially misunderstand what Hermida proposes, because the academic debate is often polarised between para-journalists and professional journalists, due to different views about institutions, the politics of knowledge, decision heuristics, journalist training, and normative theoretical traditions (Christians et al. 126; Cole and Harcup 166-176). In the academic debate, para-journalists or ‘citizen journalists’ may be said to have a communitarian ethic and desire more autonomous solutions to journalists who are framed as uncritical and reliant on official sources, and to media institutions who are portrayed as surveillance-like ‘monitors’ of society (Christians et al. 124-127). This is however only one of a range of possible relationships. Sole reliance on para-journalists could be a premature solution to a more complex media ecology. Journalism craft, which does not rely just on official sources, also has a range of practices that already provides the “more complex ways of understanding and reporting on the subtleties of public communication” sought (Hermida 2). Citizen- and para-journalist accounts may overlook micro-studies in how newsrooms adopt technological innovations and integrate them into newsgathering routines (Hemmingway 196). Thus, an examination of the realities of professional journalism will help to cast a better light on how ambient journalism can shape the mental models of para-journalists, and provide more rigorous analysis of news and similar events. Professional journalism has several core dimensions that para-journalists may overlook. Journalism’s foundation as an experiential craft includes guidance and norms that orient the journalist to information, and that includes practitioner ethics. This craft is experiential; the basis for journalism’s claim to “social expertise” as a discipline; and more like the original Linux and Open Source movements which evolved through creative conflict (Sennett 9, 25-27, 125-127, 249-251). There are learnable, transmissible skills to contextually evaluate, filter, select and distil the essential insights. This craft-based foundation and skills informs and structures the journalist’s cognitive witnessing of an event, either directly or via reconstructed, cultivated sources. The journalist publishes through a recognised media institution or online platform, which provides communal validation and verification. There is far more here than the academic portrayal of journalists as ‘gate-watchers’ for a ‘corporatist’ media elite. Craft and skills distinguish the professional journalist from Hermida’s para-journalist. Increasingly, media institutions hire journalists who are trained in other craft-based research methods (Burns and Saunders). Bethany McLean who ‘broke’ the Enron scandal was an investment banker; documentary filmmaker Errol Morris first interviewed serial killers for an early project; and Neil Chenoweth used ‘forensic accounting’ techniques to investigate Rupert Murdoch and Kerry Packer. Such expertise allows the journalist to filter information, and to mediate any influences in the external environment, in order to develop an individualised, ‘embodied’ perspective (Hofstadter 234; Thompson; Garfinkel and Rawls). Para-journalists and social network platforms cannot replace this expertise, which is often unique to individual journalists and their research teams. Ambient Journalism and Twitter Current academic debates about how citizen- and para-journalists may augment or even replace professional journalists can often turn into legitimation battles whether the ‘de facto’ solution is a social media network rather than a media institution. For example, Hermida discusses Twitter, a micro-blogging platform that allows users to post 140-character messages that are small, discrete information chunks, for short-term and episodic memory. Twitter enables users to monitor other users, to group other messages, and to search for terms specified by a hashtag. Twitter thus illustrates how social media platforms can make data more transparent and explicit to non-specialists like para-journalists. In fact, Twitter is suitable for five different categories of real-time information: news, pre-news, rumours, the formation of social media and subject-based networks, and “molecular search” using granular data-mining tools (Leinweber 204-205). In this model, the para-journalist acts as a navigator and “way-finder” to new information (Morville, Findability). Jaron Lanier, an early designer of ‘virtual reality’ systems, is perhaps the most vocal critic of relying on groups of non-experts and tools like Twitter, instead of individuals who have professional expertise. For Lanier, what underlies debates about citizen- and para-journalists is a philosophy of “cybernetic totalism” and “digital Maoism” which exalts the Internet collective at the expense of truly individual views. He is deeply critical of Hermida’s chosen platform, Twitter: “A design that shares Twitter’s feature of providing ambient continuous contact between people could perhaps drop Twitter’s adoration of fragments. We don’t really know, because it is an unexplored design space” [emphasis added] (Lanier 24). In part, Lanier’s objection is traceable back to an unresolved debate on human factors and design in information science. Influenced by the post-war research into cybernetics, J.C.R. Licklider proposed a cyborg-like model of “man-machine symbiosis” between computers and humans (Licklider). In turn, Licklider’s framework influenced Douglas Engelbart, who shaped the growth of human-computer interaction, and the design of computer interfaces, the mouse, and other tools (Engelbart). In taking a system-level view of platforms Hermida builds on the strength of Licklider and Engelbart’s work. Yet because he focuses on para-journalists, and does not appear to include the craft and skills-based expertise of professional journalists, it is unclear how he would answer Lanier’s fears about how reliance on groups for news and other information is superior to individual expertise and judgment. Hermida’s two case studies point to this unresolved problem. Both cases appear to show how Twitter provides quicker and better forms of news and information, thereby increasing the effectiveness of para-journalists to engage in journalism and real-time commentary. However, alternative explanations may exist that raise questions about Twitter as a new platform, and thus these cases might actually reveal circumstances in which ambient journalism may fail. Hermida alludes to how para-journalists now fulfil the earlier role of ‘first responders’ and stringers, in providing the “immediate dissemination” of non-official information about disasters and emergencies (Hermida 1-2; Haddow and Haddow 117-118). Whilst important, this is really a specific role. In fact, disaster and emergency reporting occurs within well-established practices, professional ethics, and institutional routines that may involve journalists, government officials, and professional communication experts (Moeller). Officials and emergency management planners are concerned that citizen- or para-journalism is equated with the craft and skills of professional journalism. The experience of these officials and planners in 2005’s Hurricane Katrina in the United States, and in 2009’s Black Saturday bushfires in Australia, suggests that whilst para-journalists might be ‘first responders’ in a decentralised, complex crisis, they are perceived to spread rumours and potential social unrest when people need reliable information (Haddow and Haddow 39). These terms of engagement between officials, planners and para-journalists are still to be resolved. Hermida readily acknowledges that Twitter and other social network platforms are vulnerable to rumours (Hermida 3-4; Sunstein). However, his other case study, Iran’s 2009 election crisis, further complicates the vision of ambient journalism, and always-on communication systems in particular. Hermida discusses several events during the crisis: the US State Department request to halt a server upgrade, how the Basij’s shooting of bystander Neda Soltan was captured on a mobile phone camera, the spread across social network platforms, and the high-velocity number of ‘tweets’ or messages during the first two weeks of Iran’s electoral uncertainty (Hermida 1). The US State Department was interested in how Twitter could be used for non-official sources, and to inform people who were monitoring the election events. Twitter’s perceived ‘success’ during Iran’s 2009 election now looks rather different when other factors are considered such as: the dynamics and patterns of Tehran street protests; Iran’s clerics who used Soltan’s death as propaganda; claims that Iran’s intelligence services used Twitter to track down and to kill protestors; the ‘black box’ case of what the US State Department and others actually did during the crisis; the history of neo-conservative interest in a Twitter-like platform for strategic information operations; and the Iranian diaspora’s incitement of Tehran student protests via satellite broadcasts. Iran’s 2009 election crisis has important lessons for ambient journalism: always-on communication systems may create noise and spread rumours; ‘mirror-imaging’ of mental models may occur, when other participants have very different worldviews and ‘contexts of use’ for social network platforms; and the new kinds of interaction may not lead to effective intervention in crisis events. Hermida’s combination of news and non-news fragments is the perfect environment for psychological operations and strategic information warfare (Burns and Eltham). Lessons of Current Platforms for Ambient Journalism We have discussed some unresolved problems for ambient journalism as a framework for journalists, and as mental models for news and similar events. Hermida’s goal of an “awareness system” faces a further challenge: the phenomenological limitations of human consciousness to deal with information complexity and ambiguous situations, whether by becoming ‘entangled’ in abstract information or by developing new, unexpected uses for emergent technologies (Thackara; Thompson; Hofstadter 101-102, 186; Morville, Findability, 55, 57, 158). The recursive and reflective capacities of human consciousness imposes its own epistemological frames. It’s still unclear how Licklider’s human-computer interaction will shape consciousness, but Douglas Hofstadter’s experiments with art and video-based group experiments may be suggestive. Hofstadter observes: “the interpenetration of our worlds becomes so great that our worldviews start to fuse” (266). Current research into user experience and information design provides some validation of Hofstadter’s experience, such as how Google is now the ‘default’ search engine, and how its interface design shapes the user’s subjective experience of online search (Morville, Findability; Morville, Search Patterns). Several models of Hermida’s awareness system already exist that build on Hofstadter’s insight. Within the information systems field, on-going research into artificial intelligence–‘expert systems’ that can model expertise as algorithms and decision rules, genetic algorithms, and evolutionary computation–has attempted to achieve Hermida’s goal. What these systems share are mental models of cognition, learning and adaptiveness to new information, often with forecasting and prediction capabilities. Such systems work in journalism areas such as finance and sports that involve analytics, data-mining and statistics, and in related fields such as health informatics where there are clear, explicit guidelines on information and international standards. After a mid-1980s investment bubble (Leinweber 183-184) these systems now underpin the technology platforms of global finance and news intermediaries. Bloomberg LP’s ubiquitous dual-screen computers, proprietary network and data analytics (www.bloomberg.com), and its competitors such as Thomson Reuters (www.thomsonreuters.com and www.reuters.com), illustrate how financial analysts and traders rely on an “awareness system” to navigate global stock-markets (Clifford and Creswell). For example, a Bloomberg subscriber can access real-time analytics from exchanges, markets, and from data vendors such as Dow Jones, NYSE Euronext and Thomson Reuters. They can use portfolio management tools to evaluate market information, to make allocation and trading decisions, to monitor ‘breaking’ news, and to integrate this information. Twitter is perhaps the para-journalist equivalent to how professional journalists and finance analysts rely on Bloomberg’s platform for real-time market and business information. Already, hedge funds like PhaseCapital are data-mining Twitter’s ‘tweets’ or messages for rumours, shifts in stock-market sentiment, and to analyse potential trading patterns (Pritchett and Palmer). The US-based Securities and Exchange Commission, and researchers like David Gelernter and Paul Tetlock, have also shown the benefits of applied data-mining for regulatory market supervision, in particular to uncover analysts who provide ‘whisper numbers’ to online message boards, and who have access to material, non-public information (Leinweber 60, 136, 144-145, 208, 219, 241-246). Hermida’s framework might be developed further for such regulatory supervision. Hermida’s awareness system may also benefit from the algorithms found in high-frequency trading (HFT) systems that Citadel Group, Goldman Sachs, Renaissance Technologies, and other quantitative financial institutions use. Rather than human traders, HFT uses co-located servers and complex algorithms, to make high-volume trades on stock-markets that take advantage of microsecond changes in prices (Duhigg). HFT capabilities are shrouded in secrecy, and became the focus of regulatory attention after several high-profile investigations of traders alleged to have stolen the software code (Bray and Bunge). One public example is Streambase (www.streambase.com), a ‘complex event processing’ (CEP) platform that can be used in HFT, and commercialised from the Project Aurora research collaboration between Brandeis University, Brown University, and Massachusetts Institute of Technology. CEP and HFT may be the ‘killer apps’ of Hermida’s awareness system. Alternatively, they may confirm Jaron Lanier’s worst fears: your data-stream and user-generated content can be harvested by others–for their gain, and your loss! Conclusion: Brian Eno and Redefining ‘Ambient Journalism’ On the basis of the above discussion, I suggest a modified definition of Hermida’s thesis: ‘Ambient journalism’ is an emerging analytical framework for journalists, informed by cognitive, cybernetic, and information systems research. It ‘sensitises’ the individual journalist, whether professional or ‘para-professional’, to observe and to evaluate their immediate context. In doing so, ‘ambient journalism’, like journalism generally, emphasises ‘novel’ information. It can also inform the design of real-time platforms for journalistic sources and news delivery. Individual ‘ambient journalists’ can learn much from the career of musician and producer Brian Eno. His personal definition of ‘ambient’ is “an atmosphere, or a surrounding influence: a tint,” that relies on the co-evolution of the musician, creative horizons, and studio technology as a tool, just as para-journalists use Twitter as a platform (Sheppard 278; Eno 293-297). Like para-journalists, Eno claims to be a “self-educated but largely untrained” musician and yet also a craft-based producer (McFadzean; Tamm 177; 44-50). Perhaps Eno would frame the distinction between para-journalist and professional journalist as “axis thinking” (Eno 298, 302) which is needlessly polarised due to different normative theories, stances, and practices. Furthermore, I would argue that Eno’s worldview was shaped by similar influences to Licklider and Engelbart, who appear to have informed Hermida’s assumptions. These influences include the mathematician and game theorist John von Neumann and biologist Richard Dawkins (Eno 162); musicians Eric Satie, John Cage and his book Silence (Eno 19-22, 162; Sheppard 22, 36, 378-379); and the field of self-organising systems, in particular cyberneticist Stafford Beer (Eno 245; Tamm 86; Sheppard 224). Eno summed up the central lesson of this theoretical corpus during his collaborations with New York’s ‘No Wave’ scene in 1978, of “people experimenting with their lives” (Eno 253; Reynolds 146-147; Sheppard 290-295). Importantly, he developed a personal view of normative theories through practice-based research, on a range of projects, and with different creative and collaborative teams. Rather than a technological solution, Eno settled on a way to encode his craft and skills into a quasi-experimental, transmittable method—an aim of practitioner development in professional journalism. Even if only a “founding myth,” the story of Eno’s 1975 street accident with a taxi, and how he conceived ‘ambient music’ during his hospital stay, illustrates how ambient journalists might perceive something new in specific circumstances (Tamm 131; Sheppard 186-188). More tellingly, this background informed his collaboration with the late painter Peter Schmidt, to co-create the Oblique Strategies deck of aphorisms: aleatory, oracular messages that appeared dependent on chance, luck, and randomness, but that in fact were based on Eno and Schmidt’s creative philosophy and work guidelines (Tamm 77-78; Sheppard 178-179; Reynolds 170). In short, Eno was engaging with the kind of reflective practices that underpin exemplary professional journalism. He was able to encode this craft and skills into a quasi-experimental method, rather than a technological solution. Journalists and practitioners who adopt Hermida’s framework could learn much from the published accounts of Eno’s practice-based research, in the context of creative projects and collaborative teams. In particular, these detail the contexts and choices of Eno’s early ambient music recordings (Sheppard 199-200); Eno’s duels with David Bowie during ‘Sense of Doubt’ for the Heroes album (Tamm 158; Sheppard 254-255); troubled collaborations with Talking Heads and David Byrne (Reynolds 165-170; Sheppard; 338-347, 353); a curatorial, mentor role on U2’s The Unforgettable Fire (Sheppard 368-369); the ‘grand, stadium scale’ experiments of U2’s 1991-93 ZooTV tour (Sheppard 404); the Zorn-like games of Bowie’s Outside album (Eno 382-389); and the ‘generative’ artwork 77 Million Paintings (Eno 330-332; Tamm 133-135; Sheppard 278-279; Eno 435). Eno is clearly a highly flexible maker and producer. Developing such flexibility would ensure ambient journalism remains open to novelty as an analytical framework that may enhance the practitioner development and work of professional journalists and para-journalists alike.Acknowledgments The author thanks editor Luke Jaaniste, Alfred Hermida, and the two blind peer reviewers for their constructive feedback and reflective insights. References Bray, Chad, and Jacob Bunge. “Ex-Goldman Programmer Indicted for Trade Secrets Theft.” The Wall Street Journal 12 Feb. 2010. 17 March 2010 ‹http://online.wsj.com/article/SB10001424052748703382904575059660427173510.html›. Burns, Alex. “Select Issues with New Media Theories of Citizen Journalism.” M/C Journal 11.1 (2008). 17 March 2010 ‹http://journal.media-culture.org.au/index.php/mcjournal/article/view/30›.———, and Barry Saunders. “Journalists as Investigators and ‘Quality Media’ Reputation.” Record of the Communications Policy and Research Forum 2009. Eds. Franco Papandrea and Mark Armstrong. 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