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Change isn’t coming - it’s here. The workplace, our communities and society are evolving so swiftly that many of us feel frustrated, confused and unsure of what’s next. Adapting in Motion hits change head-on, bringing readers through an arc of awareness, preparedness, learning and wisdom. Pairing personal stories of Jim’s challenges with the practical advice he shares from his experience as a Fortune 500 executive and business coach, we learn that conquering macro change requires a focus on micro you. This is a book for those who want to evolve and stay relevant amid the change; who may feel lost on their corporate or entrepreneurial journey. It’s for those individuals with untapped potential who are looking to define their journey, gain recognition and feel value for their work. Jim understands the feeling well. This is the new way to tackle change management and be successful: be able to adapt, while in motion. To find yourself in the new economy, start here.
This book offers a survey of the state of the art in the field of motion sickness. It begins by describing the historical background and the current definition of motion sickness, then discusses the prevalence among individuals, along with the physiological and psychological concomitants of the disorder. It reviews the incidence of motion sickness in numerous provocative motion environments and discusses various personal factors that appear to influence this aspect. Various characteristics of provocative motion stimuli are also described, together with the results of studies conducted in the laboratory, on motion simulators and at sea. Laboratory tests that could potentially be used to assess an individual’s susceptibility to motion sickness and his or her ability to adapt to motion environments are presented in detail, together with the ways in which individuals might be trained to prevent motion sickness or more effectively cope with motion environments. In closing, the book reports on the cognitive-behavioral approach developed by the author (Dobie, 1963) as well as the various desensitization programs employed in military settings, and discusses the relative effectiveness of these methods in comparison to cognitive-behavioral counseling.
Motion perception lies at the heart of the scientific study of vision. The motion aftereffect (MAE) is the appearance of directional movement in a stationary object or scene after the viewer has been exposed to viusal motion in the opposite direction. For example, after one has looked at a waterfall for a period of time, the scene beside the waterfall may appear to move upward when one's gaze is transfered to it. Although the phenomenon seems simple, research has revealed copmlexities in the underlying mechanisms, and offered general lessons about how the brain processes visual information. In the 1990s alone, more than 200 papers have been published on MAE, largely inspired by improved techniques for examining brain electrophysiology and by emerging new theories of motion perception.
• Motivation It is our dream to understand the principles of animals’ remarkable ability for adaptive motion and to transfer such abilities to a robot. Up to now, mechanisms for generation and control of stereotyped motions and adaptive motions in well-known simple environments have been formulated to some extentandsuccessfullyappliedtorobots.However,principlesofadaptationto variousenvironmentshavenotyetbeenclari?ed,andautonomousadaptation remains unsolved as a seriously di?cult problem in robotics. Apparently, the ability of animals and robots to adapt in a real world cannot be explained or realized by one single function in a control system and mechanism. That is, adaptation in motion is induced at every level from thecentralnervoussystemtothemusculoskeletalsystem.Thus,weorganized the International Symposium on Adaptive Motion in Animals and Machines(AMAM)forscientistsandengineersconcernedwithadaptation onvariouslevelstobebroughttogethertodiscussprinciplesateachleveland to investigate principles governing total systems. • History AMAM started in Montreal (Canada) in August 2000. It was organized by H. Kimura (Japan), H. Witte (Germany), G. Taga (Japan), and K. Osuka (Japan), who had agreed that having a small symposium on motion control, with people from several ?elds coming together to discuss speci?c issues, was worthwhile. Those four organizing committee members determined the scope of AMAM as follows.
Plumb the depths of core motion design fundamentals and harness the essential techniques of this diverse and innovative medium. Combine basic art and design principles with creative storytelling to create compelling style frames, design boards, and motion design projects. Here, in one volume, Austin Shaw covers all the principles any serious motion designer needs to know in order to make their artistic visions a reality and confidently produce compositions for clients, including: Illustration techniques Typography Compositing Cinematography Incorporating 3D elements Matte painting Concept development, and much more Lessons are augmented by illustrious full color imagery and practical exercises, allowing you to put the techniques covered into immediate practical context. Industry leaders and pioneers, including Karin Fong, Bradley G Munkowitz (GMUNK), Will Hyde, Erin Sarofsky, Danny Yount, and many more, contribute their professional perspectives, share personal stories, and provide visual examples of their work. Additionally, a robust companion website (www.focalpress.com/cw/shaw) features project files, video tutorials, bonus PDFs, and rolling updates to keep you informed on the latest developments in the field.
"The perception of motion is a fundamental visual process. Observers are amazingly sensitive to motion information, and use it for a number of purposes besides motion perception per se. However, these tasks vary greatly in both their goals and the computations necessary to successfully complete them. As a result, a stimulus that is useful for one task may not provide relevant information for another one. This dissertation explores the way observers flexibly process motion information to support such varied behavior. First, we demonstrated perceptual adaptation to motion following just tens of milliseconds of stimulation, roughly two orders of magnitude less than has been previously reported, and occurs even when observers are unable to discriminate the motion of the adapting stimuli (Glasser et al., 2011). Our behavioral findings match physiological data from cortical area MT, and suggest that this rapid adaptation could play an important role in everyday vision. Next, we show that while psychophysical spatial suppression prevents observers from discriminating large, high-contrast moving stimuli, the processing of second-order motion cues is spared (Glasser & Tadin, 2011). Similarly, the oculomotor system is able to take advantage of perceptually suppressed motion signals (Glasser & Tadin, in review). Trial-by-trial analysis is consistent with independent processing of motion for the purposes of perception and the oculomotor system. We believe these differences reflect distinct functional roles for first- and secondorder motion, as well as the different goals of the perceptual and oculomotor systems. Finally, we demonstrate a surprising consequence of spatial suppression, perceptual reversal of brief moving stimuli, which has the potential to further link behavior to the properties of receptive fields in area MT. Together these results are consistent with the principle of modularity. Breaking large, complicated tasks down into more specialized computations allows the most informative signals to be selectively processed, ensuring high sensitivity across the many uses for motion information"--Pages v-vi.
When most of us hear the title Gentlemen Prefer Blondes, we think of Marilyn Monroe and Jane Russell’s iconic film performance. Few, however, are aware that the movie was based on Anita Loos’s 1925 comic novel by the same name. What does it mean, Women Adapting asks, to translate a Jazz Age blockbuster from book to film or stage? What adjustments are necessary and what, if anything, is lost? Bethany Wood examines three well-known stories that debuted as women’s magazine serials—Gentlemen Prefer Blondes, Edith Wharton’s The Age of Innocence, and Edna Ferber’s Show Boat—and traces how each of these beloved narratives traveled across publishing, theatre, and film through adaptation. She documents the formation of adaptation systems and how they involved women’s voices and labor in modern entertainment in ways that have been previously underappreciated. What emerges is a picture of a unique window of time in the early decades of the twentieth century, when women in entertainment held influential positions in production and management. These days, when filmic adaptations seem endless and perhaps even unoriginal, Women Adapting challenges us to rethink the popular platitude, “The book is always better than the movie.”
Provides advice for aspiring screenwriters on how to write scripts for television and motion pictures, including what topics are popular, how to rework scenes, and how to sell screenplays in Hollywood.