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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 interdisciplinary account of the different types of flexible living presents work by Modernist and contemporary architects and designers, contrasting them with the flexible houses and installations featured in non-European cultures.
External-beam radiotherapy has long been challenged by the simple fact that patients can (and do) move during the delivery of radiation. Recent advances in imaging and beam delivery technologies have made the solution-adapting delivery to natural movement-a practical reality. Adaptive Motion Compensation in Radiotherapy provides the first detailed
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.
Books in Motion addresses the hybrid, interstitial field of film adaptation. The introductory essay integrates a retrospective survey of the development of adaptation studies with a forceful argument about their centrality to any history of culture--any discussion, that is, of the transformation and transmission of texts and meanings in and across cultures. The thirteen especially composed essays that follow, organised into four sections headed 'Paradoxes of Fidelity', 'Authors, Auteurs, Adaptation', 'Contexts, Intertexts, Adaptation' and 'Beyond Adaptation', variously illustrate that claim by problematising the notion of fidelity, highlighting the role played by adaptation in relation to changing concepts of authorship and auteurism, exploring the extent to which the intelligibility of film adaptations is dependent on contextual and intertextual factors, and making a claim for the need to transcend any narrowly-defined concept of adaptation in the study of adaptation. Discussion ranges from adaptations of established classics like A Tale of Two Cities, Frankenstein, Henry V, Le temps retrouvé, Mansfield Park, Pride and Prejudice, 'The Dead' or Wuthering Heights, to contemporary (popular) texts/films like Bridget Jones's Diary, Fools, The Governess, High Fidelity, The Hours, The Orchid Thief/Adaptation, the work of Doris Dörrie, the first Harry Potter novel/film, or the adaptations made by Alfred Hitchcock, Stanley Kubrick and Walt Disney. This book will appeal to both a specialised readership and to those accessing the dynamic field of adaptation studies for the first time.
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.
Basic elements - Adaptive agents - Echoing emergence - Simulating echo - Toward theory.
II. Sensation, Perception & Attention: John Serences (Volume Editor) (Topics covered include taste; visual object recognition; touch; depth perception; motor control; perceptual learning; the interface theory of perception; vestibular, proprioceptive, and haptic contributions to spatial orientation; olfaction; audition; time perception; attention; perception and interactive technology; music perception; multisensory integration; motion perception; vision; perceptual rhythms; perceptual organization; color vision; perception for action; visual search; visual cognition/working memory.)
The two-volume set LNCS 8618 and 8619 constitutes the refereed proceedings of the 9th International Conference EuroHaptics 2014, held in Versailles, France, in June 2014. The 118 papers (36 oral presentations and 82 poster presentations) presented were carefully reviewed and selected from 183 submissions. Furthermore, 27 demos were exhibited, each of them resulting in a short paper included in the volumes. These proceedings reflect the multidisciplinary nature of EuroHaptics and cover topics such as human-computer interaction, human-robot interactions, neuroscience, perception and psychophysics, biomechanics and motor control, modelling and simulation; and a broad range of applications in medicine, rehabilitation, art, and design.
The author argues that the process of incrementally constructing perceptual representations, solving the binding problem (determining which properties go together), and, more generally, grounding perceptual representations in experience arise from the nonconceptual capacity to pick out and keep track of a small number of sensory individuals. He proposes a mechanism in early vision that allows us to select a limited number of sensory objects, to reidentify each of them under certain conditions as the same individual seen before, and to keep track of their enduring individuality despite radical changes in their properties--all without the machinery of concepts, identity, and tenses. This mechanism, which he calls FINSTs (for "Fingers of Instantiation"), is responsible for our capacity to individuate and track several independently moving sensory objects--an ability that we exercise every waking minute, and one that can be understood as fundamental to the way we see and understand the world and to our sense of space.