#virtual design and construction companies

[bim-outsourcing-services]

We are committed to offering our Revit Content Creation services and VDC (Virtual design construction) services leading to efficient, sustained, and growth-oriented development to help our clients.

[silviakundera]

Did a speedrun through modern cdrama Everyone Loves Me because I'm a fan of both leads. A fairly well constructed romcom for a specific trope, AND also one of the most valid examples of the critique that cdrama storylines are pointlessly over-extended. This would have been a great modern drama at 12 episodes. Unfortunately, it's at least 10 episodes too long. The literal gaming (characters interacting while playing videogames) is very light - it's an initiating plot device piece but doesn't consume much actual screen time. The real genre is IT workplace romance with Hidden Identity trope.

Do you like:

* Capable & ambitious female lead x male lead with a competency kink whose turn-offs are white lotus & green tea girls and turn-ons are brash ladies who can cuss you out; dressing up to impress is not required

* Romantic dynamic of equal partners (2 strong personalities, not active/passive)

* "We don't know yet who is going to be the breadwinner. My goal is to be a CEO."

* Low heat (just a few kisses),

* modern workplace dramas (so much working)

[heavy spoilers below]

The actual set up & outline are:

* Online friend group who casually game together, in the last days of university. One of the guys starts catching feelings for the girl, our FL (let's call him Gamer Friend). FL isn't romantically considering Gamer Friend at all, because she has a crush on a guy from her uni.

* This crush is Gamer Friend in rl! 😮

* ML isn't open to being crushed on by anyone at rl uni, because he is already hung up on FL (as his online friend) 🙈

* FL asks for advice from her gaming buds on how to pursue her rl crush. Gamer Friend doesn't want her to succeed, because he wants to win her heart, so he keeps giving terrible advice to chase him by acting out the soft-spoken innocent maiden archetype (the opposite of FL's real boisterous & brash personality)

* This creates a comedy of errors where ML in rl is being pursued by the woman he's in love with, but he's shooting her down left & right. This culminates in her confessing and he publically rejects her in a harsh manner. When she comes crying (and vengeful) to the group, the guys all realize the identity confusion. Appropriately horrified, bros have no idea what to do. (This whole scene is gold tbh.)

* This plotline covers 7 episodes, but should have been dealt with in 4.

* Next 5 episodes (should have been 2!): Gamer Friend, toiling under karma, tries to be virtually supportive of his beloved while in person desperately making gestures to show remorse & have her less willing to obliterate his RL person. (this is all complicated by them both hired into the same company post-grad; there's a whole gaming dev & art design subplot - like in Lighter & Princess, the writers did the research so the setting is reality-based). This arc ends with identity reveal: she finally knows irl crush = Gamer Friend

* Next 6-7 episodes lead her from being (rightfully) furious and humiliated to them finally becoming friendly & supportive of each other. He waits to ask for more until he feels truly forgiven for the shakespearean hijinks that kept them apart. Includes work drama and fake-dating For Reasons. This arc, again, could have been 3-4 episodes.

* Final 5 episode arc is dating era and culmination of the gaming dev plotline. Heavy emphasis on work drama. Only 2 out of the last 5 episodes had significant romance material for the main couple, which was the major flaw in the drama. Avoided the separation cliche but also no marriage scenes at the end - we just see that they're still close, supportive partners a year later. Should have been 3 episodes ;)

The structure is right for a simple rom com set up of: one party pursues, gets rejected, then the other party pursues & corrects their mistake. The misunderstandings are logical enough; FL is assertive and we see evidence of her talent (not just told); ML likes her for herself & doesn't want a childish, obedient woman like the idol dramas represent; they are shown to make a good team & respect each other; the wronged party isn't a push over and their forgiveness has to be earned. It's clear why they like each other and that they work as a couple. (Though the emphasis is on compatibility & domesticity rather than sexual heat.)

The showrunner just needed to compress each arc and spend a lot less time on corporate minutiae. The way I engage with this type of drama is to binge, skip all 2nd couple scenes, and liberal use of fast forward ⏩⏩.

[beardedmrbean]

More than a dozen states and the District of Columbia have filed lawsuits against TikTok on Tuesday, alleging the popular short-form video app is harming youth mental health by designing its platform to be addictive to kids.

The lawsuits stem from a national investigation into TikTok, which was launched in March 2022 by a bipartisan coalition of attorneys general from many states, including New York, California, Kentucky and New Jersey. All of the complaints were filed in state courts.

At the heart of each lawsuit is the TikTok algorithm, which powers what users see on the platform by populating the app’s main “For You” feed with content tailored to people’s interests. The lawsuits also emphasize design features that they say make children addicted to the platform, such as the ability to scroll endlessly through content, push notifications that come with built-in “buzzes” and face filters that create unattainable appearances for users.

In its filings, the District of Columbia called the algorithm “dopamine-inducing,” and said it was created to be intentionally addictive so the company could trap many young users into excessive use and keep them on its app for hours on end. TikTok does this despite knowing that these behaviors will lead to “profound psychological and physiological harms,” such as anxiety, depression, body dysmorphia and other long-lasting problems, the complaint said.

“It is profiting off the fact that it's addicting young people to its platform,” District of Columbia Attorney General Brian Schwalb said in an interview.

“We strongly disagree with these claims, many of which we believe to be inaccurate and misleading. We’re proud of and remain deeply committed to the work we’ve done to protect teens and we will continue to update and improve our product," said TikTok spokesman Alex Haurek in a reply to the lawsuits. "We’ve endeavored to work with the Attorneys General for over two years, and it is incredibly disappointing they have taken this step rather than work with us on constructive solutions to industrywide challenges.”

The social media firm does not allow children under 13 to sign up for its main service and restricts some content for everyone under 18. But Washington and several other states said in their filing that children can easily bypass those restrictions, allowing them to access the service adults use despite the company's claims that its platform is safe for children.

“TikTok claims that is safe for young people, but that is far from true. In New York and across the country, young people have died or gotten injured doing dangerous TikTok challenges and many more are feeling more sad, anxious, and depressed because of TikTok’s addictive features,” New York Attorney General Letitia James said in a statement.

Their lawsuit also takes aim at other parts of the company’s business.

The district alleges TikTok is operating as an “unlicensed virtual economy" by allowing people to purchase TikTok Coins – a virtual currency within the platform – and send “Gifts” to streamers on TikTok LIVE who can cash it out for real money. TikTok takes a 50% commission on these financial transactions but hasn’t registered as a money transmitter with the U.S. Treasury Department or authorities in the district, according to the complaint.

Officials say teens are frequently exploited for sexually explicit content through TikTok’s LIVE streaming feature, which has allowed the app to operate essentially as a “virtual strip club" without any age restrictions. They say the cut the company gets from the financial transactions allows it to profit from exploitation.

The 14 attorneys general say the goal of their lawsuits is to stop TikTok from using these features, impose financial penalties for their alleged illegal practices and collect damages for users that have been harmed.

Many states have filed lawsuits against TikTok and other tech companies over the past few years as a reckoning grows against prominent social media platforms and their ever-growing impact on young people’s lives. In some cases, the challenges have been coordinated in a way that resembles how states previously organized against the tobacco and pharmaceutical industries.

Last week, Texas Attorney General Ken Paxton sued TikTok, alleging the company was sharing and selling minors' personal information in violation of a new state law that prohibits these practices. TikTok, which disputes the allegations, is also fighting against a similar data-oriented federal lawsuit filed in August by the Department of Justice.

Several Republican-led states, such as Nebraska, Kansas, New Hampshire, Kansas, Iowa and Arkansas, have also previously sued the company, some unsuccessfully, over allegations it is harming children's mental health, exposing them to “inappropriate” content or allowing young people to be sexually exploited on its platform. Arkansas has brought a legal challenge against YouTube, as well as Meta Platforms, which owns Facebook and Instagram and is being sued by dozens of states over allegations its harming young people's mental health. New York City and some public school districts have also brought their own lawsuits.

TikTok, in particular, is facing other challenges at the national level. Under a federal law that took effect earlier this year, TikTok could be banned from the U.S. by mid-January if its China-based parent company ByteDance doesn't sell the platform by then.

Both TikTok and ByteDance are challenging the law at an appeals court in Washington. A panel of three judges heard oral arguments in the case last month and are expected to issue a ruling, which could be appealed to the U.S. Supreme Court.

[fatehbaz]

At Vauxhall Gardens, [...] giant paintings were erected in the “Pillared Saloon” of seemingly geographically opposed colonial wars: one painting of The Battle of Plassey (1757), which secured Bengal for the British East India Company, hung next to another symmetrical work that portrayed the British capture of Montreal and, later, Canada itself. That these and other sizable aesthetic works were “designed to be an immersive virtual-reality experience” testifies to Cohen’s larger claim in The Global Indies that 18th-century fashion, rank, sociability, and class were intimately bound up with race and colonialism, particularly through the period’s joint imaginary of the  “Indies.”

The Indies describes a shared fantasy - and unquestionable material reality - of wealth accumulation that yoked together the “West” (the Caribbean and North America) and “East” (the Indian subcontinent) Indies in late 18th-century British culture, a conceptual proximity so thorough and unrelenting that its effects reverberate [today] throughout the contemporary [...].

---

The prelude to Ashley L. Cohen’s The Global Indies opens in a pleasure garden - not just any such garden, but the largest and most spectacular of these 18th-century sites of fashionable culture [...]: London’s Vauxhall Garden. At Vauxhall, Londoners who could afford the entrance fee were treated to an array of wonders and excesses. A well-known chapter entitled “Vauxhall” in William Makepeace Thackeray’s Vanity Fair (1847–’48), for example, finds Jos Sedley, an “indolent” officer of the East India Company recently returned to London, drunk off the garden’s signature "rack punch.”  “Everybody had rack punch at Vauxhall,” [...]. Lest a reader mistake punch for a mere artifact of the pleasure garden or a one-off comedic incident, “that bowl of rack punch was the cause of all this history,” the narrator stresses about his unfolding novel. [...] Punch, an alcoholic drink popular with colonial officers of the East India Company, was usually made with a combination of five ingredients including sugar cane and spices, and probably derives from the Sanskrit word “pancha,” meaning five (and invites an etymological link with the Persian panj and with Bengali five-spice mix, panch phoreen). Rack punch’s association with Vauxhall, with India, and with Vanity Fair’s narrative construction was hardly a stretch for Thackeray’s Victorian readers, and probably registered as quite natural, though it carried more than a whiff of the unseemly. But then again, to 18th-century Britons, “natural and a little unseemly” could easily describe the “worldwide empire that stretched from the East to the West Indies” [...].

---

It’s tricky business to think seriously inside of the 18th-century’s analytic tools, but The Global Indies pulls it off, not least because Cohen is appropriately blunt [...], reminding readers of the everyday racism of the Georgians and their fashionable sociability. The book benefits, too, from a rich body of existing work [...] [by] scholars like Edward Said and Srinivaas Aravamudan. [...] [T]he “Indies mentality” enters a critical landscape that has lately taken up the connections between geographically far-flung events in modernity: North American settler colonialism, Atlantic slavery, colonialism in India, and the migration of Chinese and South Asian indentured labor.

Lest these all seem like separate histories that have produced separate discursive notions of race, critics like Lisa Lowe, Jodi Byrd, Tao Leigh Goffe, and now Cohen assure us that they are not, and that our modern ideas about race are intimately shaped by the interconnected and forced movements of Black and brown people across the world. [...]

Cohen spells out how British liberal reformers and abolitionists found a solution to ending West Indian slavery in the continuation of so-called “free” wage labor in Bengal. Sugar produced by Bengali peasants laboring under the threat of starvation came to replace sugar produced on West Indian plantations well into the 19th and 20th centuries. One only has to look up the multiple Bengal famines (1769–1770, and 1943) to calculate its effects. [...] 

[T]he architects of the [American transcontinental] railroad “imagined a new era of US hegemony in a mold cast by the imaginative geographies of British imperialism.”

---

All text above by: Ronjaunee Chatterjee. “The Colonial Mentality, Past and Present.” LA Review of Books. 3 September 2021. Published online at: lareviewofbooks.org/article/the-colonial-mentality-past-and-present/ [Bold emphasis and some paragraph breaks/contractions added by me. Presented here for commentary, teaching, criticism purposes.]

[sids-a-brick-house]

Senior House Courtyard (LEGO Contracting Gig™) (2021)

In early May 2021, some of us were only starting to get our first COVID vaccinations, so Steer Roast, the annual tradition from the MIT dorm Senior House since 1963, was virtual for the second year in a row. I took advantage of this to host a virtual event that I billed as "Your friendly neighborhood LEGO contractor--you think it, I build it!" It turned out to be a popular event, inspiring my ever-upcoming plans to do this again on Twitch. The people who came were inspired by the nostalgia of Steer Roasts past, and component by component people described parts of the Senior House Courtyard they wanted me to build. As I built, I would explain my design decisions and ideas, and respond to feedback as I built. So let's dive into this resulting eclectic scene!

First let's talk about this centerpiece--the eponymous steer being roasted. I originally made it a hunk of read meat (ie, a red brick construction featuring red bricks with round holes connected by red 2x4 plates on an axle). I was informed that we actually roast steer legs, and due to a comical miscommunication, I just added red legs to the hunk of meat, having understood that legs are involved somewhere in the process. The spit was over a fire pit comprised of loose red, orange, and yellow 1x1 plates, some smooth, some studded, some angled, to give the impression of embers below. And of course there had to be a few flames shooting up.

The feedback I give myself by building something gives me ideas for general improvements. The constraint as a LEGO contractor is, of course, finding the right bricks in a timely manner. I was able to switch things out and use red bricks with axle holes so that making a rotating spit actually...rotated what was on the spit (wild).

When that was built to everyone's satisfaction, the next suggestion was the courtyard's legendary tire swing. This hopefully answers your question from watching the previous video and wondering what that blue guy is doing. (Disclaimer: blue guy is actually from a Power Rangers Mega Blocks set. Apologies to the LEGO company. My bricks are all from sets I was gifted, and I never get to use a Power Ranger in any context other than here, at virtual Roast, since at in-person Roast several people wear costumes and whatnot. I haven't seen a Power Ranger at Roast though--we usually go for original, unlicensed ideas.) Anyway, just like in real life, the tire swing was attached to a very tall tree with branches very high up.

I am so glad I was organized enough to find the one brick I have with the "rope" (well, string, at this scale) with the hook. I don't really remember which set it came from. Might've been an Avatar: The Last Airbender set. Regardless, I used that and a small rubber wheel to complete the task. (The wheel's size was the best it was going to get in terms of scale and wheels I owned, since the others were too big, but in real life the person would fit into the hole of the wheel.)

The name of the video comes from an...encouragement of sorts throughout the dorm's history. "Give blood to the tree". And wrapping around the tree is indeed how the swinging was done, so, one could see that happening easily. Finally, there was the tree on the left--the courtyard's magnolia tree. I admit, as you can tell from all the previous builds on my blog, I hadn't spent any time making trees before this. Regardless, like with everything else I'd built so far, I talked to the attendees about my build decisions while I was making them, and ended up actually quite satisfied with the results, given the constraints. I knew I had several brown arches and hinges and whatnot, so the real question was just how to compose them organically.

Part of the organic nature of the scene is having a loose flower on the ground, as one would in real life. The flowers were comprised of red translucent round 1x1 plates and white opaque 1x1s, either round or square (depending on how much the flower had bloomed). The leaf details were limited by what I had available, but I think that at least also adds an organic touch to the tree, so i distributed the green 1x1 plates semi-randomly. An important note here is that I had no reference image, so the details of the flowers came from one of the attendees (or, I suppose, one of my clients) describing it verbally as she watched me build. Overall, for the constraints (time, primarily, to think quickly in response to suggestions and work within the limitations of the bricks I already own), I think it turned out pretty well, and all of my clients gave positive reviews. Maybe I'll make some business cards for this gig.

[spewagepipe]

Dev Pipeline: Firmament and the Red Dragon's Tale

I had told my brother that the Lego Corporation would not get my money unless they took it from my corpse. For my birthday, he pooled budgets with a few other co-conspirators to buy me... not the official Lego product, but a virtually-identical, brick-for-brick knock-off of the kit made by a Chinese company (thus, in his view, satisfying my condition).

From a purely consumerist standpoint, this was an extremely good idea. Two of the 3700 bricks were misshapen, and several unique specialty parts (magic swords, armour, hairstyles, etc) were substituted with default alternatives – but at about 1/5th the price point (before shipping), it's still an overwhelmingly better purchase than the official Lego kit. I can't speak to the labour practices or other ethical concerns, but the knowledge that I might be able to cheaply obtain large quantities of nearly-perfect bricks will be important later in this story.

And yes, this post is something of a product review, but I promise all the details will also bear some relevance to the development process.

If you're into Lego-as-display-piece, it must be remarked that the kit looks amazing – but I'm not, and as a toy, it's quite underwhelming. Except for the largely empty meadow and the totally empty bridge, all of the playable spaces are extremely crowded, cramped, and awkward to manipulate. Only a few of them disassemble in ways that offer better access, and they are almost all constructed to be accessed from the side (like a dollhouse), which means that foreground objects obstruct background ones, and it's hard to apply the downward pressure needed to anchor a figure to the floor studs.

It's not an accident, apparently, that traditional dungeon crawl games used a top-down perspective for mapping. Thanks to gravity, most objects rest against the floor of a dungeon, and relatively few things are suspended in the air – so foreground occlusion is less frequent if you view the dungeon from above. Regardless, I also made note of the fact that spaces in a physical model need to be large enough to accommodate fingers and hands in between the walls, furniture, and figurines.

Finally, the kit also includes a disastrous, plot-hole-ridden, and debatably-broken D&D module authored by Chris Perkins that reads like a rushed first draft. In the process of completely rewriting it for my usual play group, I also converted it for use with Into the Odd, since I can't stand to play D&D anymore. If anyone is interested in that, send me an ask. The results of this little playtest were interesting: while the group agreed with my various criticisms above, they all felt that the physical interactivity of the dungeon module held incredible potential – and that a creating a purpose-built dungeon and system would be a very worthwhile endeavour.

I suddenly realized that the little game I had been designing for my niece actually had a much broader appeal.

[omegaphilosophia]

The Philosophy of Social Media

The philosophy of social media examines the profound impact of social media platforms on human interaction, identity, and society. This interdisciplinary field intersects with ethics, epistemology, sociology, and media studies, exploring how digital technologies shape our communication, perceptions, and behaviors. By analyzing the philosophical implications of social media, we gain insights into the nature of digital life and its influence on contemporary society.

Key Themes in the Philosophy of Social Media

Digital Identity and Self-Presentation:

Social media allows users to construct and curate their online personas, raising questions about authenticity, self-expression, and the nature of identity.

Philosophers explore how the digital environment influences self-perception and the distinction between online and offline selves.

Epistemology and Information:

The spread of information and misinformation on social media platforms presents challenges to traditional epistemology.

Discussions focus on the credibility of sources, the role of algorithms in shaping information, and the impact of echo chambers on knowledge and belief formation.

Ethics of Communication and Behavior:

The ethical implications of online behavior, including issues of privacy, cyberbullying, and digital harassment, are central to this field.

Philosophers examine the moral responsibilities of individuals and platforms in fostering respectful and ethical online interactions.

Social Media and Society:

Social media's role in shaping public discourse, political engagement, and social movements is a significant area of inquiry.

The influence of social media on democracy, public opinion, and collective action is critically analyzed.

Privacy and Surveillance:

The balance between privacy and surveillance on social media platforms raises important ethical and philosophical questions.

The implications of data collection, user tracking, and digital surveillance on personal freedom and autonomy are explored.

The Nature of Virtual Communities:

Social media creates new forms of community and social interaction, prompting philosophical inquiries into the nature and value of virtual communities.

The concepts of digital solidarity, community building, and the social dynamics of online interactions are examined.

Aesthetics of Social Media:

The visual and aesthetic dimensions of social media, including the impact of images, videos, and memes, are considered.

Philosophers analyze how aesthetic choices and digital art forms influence perception and communication in the digital age.

Addiction and Mental Health:

The psychological effects of social media use, including addiction, anxiety, and the impact on mental health, are significant areas of study.

Philosophers explore the ethical considerations of designing platforms that may contribute to addictive behaviors.

Algorithmic Bias and Justice:

The role of algorithms in shaping social media experiences raises questions about bias, fairness, and justice.

Philosophers critically assess the implications of algorithmic decision-making and its impact on social equality and discrimination.

Commercialization and Consumerism:

The commercialization of social media platforms and the commodification of user data are key concerns.

Discussions focus on the ethical implications of targeted advertising, consumer manipulation, and the economic dynamics of social media companies.

The philosophy of social media provides a comprehensive framework for understanding the complexities of digital interaction and its impact on contemporary life. By examining issues of identity, epistemology, ethics, and societal influence, this field offers valuable insights into the ways social media shapes our world. It encourages a critical and reflective approach to digital life, emphasizing the need for ethical considerations and responsible use of technology.

[manishaasinfratecho]

BUILDING THE FUTURE: HOW MITS LEVERAGES TECHNOLOGY FOR EXCEPTIONAL DESIGN AND CONSTRUCTION ?

MITS, a leading construction company in Noida, dives into the world of 3D modeling, BIM, and other cutting-edge advancements to revolutionize design, construction, and project management. Discover how MITS builds smarter, not just harder.Building on a Legacy of Excellence

At MITS, a premier construction company in Noida, we're passionate about exceeding expectations. We believe that the key to achieving exceptional results lies in embracing innovation. That's why we leverage the power of technology throughout every stage of the construction process, from initial design to final project delivery.

Revolutionizing Design with 3D Modeling and 3D Architecture

Gone are the days of flat, two-dimensional blueprints. MITS utilizes advanced 3D modeling software to create comprehensive, digital representations of your project. Imagine a virtual walk-through of your future building, allowing you to visualize spaces, layouts, and design details with unparalleled clarity. This collaborative approach empowers you to make informed decisions early on, minimizing the risk of costly changes later.

Enhanced Collaboration and Efficiency with BIM

Building Information Modeling (BIM) is at the heart of MITS' technological advantage. BIM goes beyond 3D modeling by integrating critical project data into the model itself. This includes information on materials, specifications, costs, and even scheduling. Imagine a single, intelligent model that serves as the central hub for all project stakeholders – architects, engineers, contractors, and you, the client. With BIM, everyone works from the same source of truth, fostering seamless collaboration, improved communication, and reduced errors.

Optimizing Project Management with Advanced Technology

The benefits of technology extend far beyond design. MITS utilizes project management software that streamlines workflows, automates tasks, and provides real-time project insights. Imagine having instant access to project schedules, budgets, and resource allocation at your fingertips. This level of transparency allows for proactive decision-making, efficient resource utilization, and the ability to identify and address potential issues before they escalate.

Beyond 3D Modeling and BIM: Embracing the Future

At MITS, we're constantly exploring the potential of new technologies. We are actively integrating virtual reality (VR) into our design process, allowing for even more immersive client experiences. Additionally, we are investigating the possibilities of drone technology for enhanced site surveying and progress monitoring.

Building a Better Tomorrow with Technology

By harnessing the power of 3D modeling, BIM, and other advancements, MITS delivers exceptional construction experiences for our clients. Our commitment to technology translates to:

Enhanced Design Quality: 3D visualization and BIM enable us to create more efficient, functional, and aesthetically pleasing designs.

Improved Project Efficiency: Integrated technologies streamline communication, minimize errors, and optimize resource allocation.

Reduced Costs and Risks: Proactive problem-solving and early decision-making lead to cost savings and reduced project risks.

Increased Client Satisfaction: Transparency, collaboration, and real-time project updates foster a positive and trusted client experience.

At MITS, we believe that the future of construction is built on a foundation of innovation. By embracing technology, we are building smarter, not just harder, to deliver exceptional results for our clients and shape a brighter future for Noida's architectural landscape.

[priyankashares]

Breaking Boundaries: How Metaverse Development Companies are Shaping the Future

In today’s fast-paced digital world, the idea of the Metaverse has transformed from a mere fiction into a real and engaging space that is set to revolutionize how we interact with technology. Leading the charge are the metaverse development companies, who are shaping the future. They are pushing limits, questioning norms, and building the groundwork for a future where the lines between the real and virtual worlds fade away.

The metaverse has become a hot topic, grabbing the attention of tech experts, investors, and fans. It’s a virtual reality world where people can interact with 3D environments and each other, opening up endless opportunities and exciting possibilities.

“In January 2023, Google saw about 1.9 million searches worldwide for the word ‘metaverse’.”

With the rising popularity of the metaverse, there’s a growing demand for companies specializing in metaverse development to build and manage these virtual worlds.

Creating immersive and lifelike environments is crucial in metaverse development. This involves a strong grasp of technical and creative elements to create virtual worlds that feel real. A Metaverse development company needs a skilled team capable of everything from 3D modeling and animation to programming and interface design, ensuring captivating user experiences.

In this article, we’ll discuss the importance of metaverse development and the key role played by Metaverse Development Companies in shaping this advanced digital world.

What Is Metaverse?

The Metaverse is a collective virtual shared space, created by the convergence of virtual reality (VR), augmented reality (AR), the internet, and other emerging technologies. It’s essentially a digital universe where users can interact with each other and digital objects in real-time, often through avatars.

The concept originated from science fiction but is now becoming a reality with the advancement of technology. It’s envisioned as a persistent, immersive, and interconnected virtual world with limitless possibilities for socializing, gaming, business, education, and much more.

Important Statistics Showing the Metaverse’s Success:

By 2027, the global metaverse market is projected to expand at a Compound Annual Growth Rate (CAGR) of 47.2%, from $61.8 billion to an impressive $426.9 billion.

In the metaverse, real estate worth over $500 million has already been sold.

Nearly 400 million users actively engage with the metaverse every month.

The metaverse is currently under active development by over 500 companies.

Research predicts that by 2026, at least 25% of people will spend at least one hour daily in the metaverse, whether for work, shopping, education, or entertainment.

Why are new entrepreneurs investing in metaverse development companies?

Let’s explore how metaverse developers can assist businesses in various ways:

Creating a unique virtual world

Metaverse development companies help businesses in creating a unique and captivating virtual environment. They contribute to designing its appearance, integrating interactive features, and programming functionalities to enhance user immersion and enjoyment, ultimately setting them apart from competitors.

Building a social platform

Metaverse development companies can assist entrepreneurs in constructing a social platform within their virtual world. This platform enables users to interact and form communities, fostering a sense of belonging and community spirit. Such initiatives often result in increased user engagement and loyalty.

Generating revenue from the virtual world

Metaverse experts can aid entrepreneurs in monetizing their virtual world using strategies like in-world advertisements, virtual currencies, and other monetization methods. This approach can generate income for the entrepreneur and establish a sustainable business model for their virtual world.

Technical Support

Metaverse experts can assist entrepreneurs with technical support for maintaining, updating, and troubleshooting their virtual world. This support allows entrepreneurs to focus on community building and monetization efforts without worrying about technical issues.

Creating Networking Opportunities

Metaverse developers can facilitate networking for entrepreneurs by connecting them with other professionals in their industry or potential investors. This networking can significantly contribute to the growth of their business.

Fostering Innovation

Metaverse developers aid entrepreneurs in staying at the forefront of technology and innovation. This support enables entrepreneurs to remain competitive and attract new users.

Therefore, a metaverse development company can assist entrepreneurs in establishing and sustaining a thriving virtual world that appeals to users and generates revenue. They offer comprehensive services covering technical and creative aspects, enabling entrepreneurs to concentrate on expanding their businesses and communities.

How Metaverse Development Companies are Shaping the Future?

Metaverse development companies are driving a significant shift across industries, leveraging cutting-edge technology to redefine how we experience and interact with the world. Let’s explore how these companies are shaping tomorrow’s world today.

Real Estate

Virtual property tours have become a game-changer in the real estate industry, with a staggering 49% increase in sales attributed to these immersive experiences. These tours allow potential buyers to explore properties remotely, providing a comprehensive view of the space without the need for physical visits. Enhanced visualization tools further augment this experience, enabling buyers to customize virtual spaces and visualize potential renovations or designs. As a result, decision-making processes are streamlined, leading to quicker transactions and a 30% reduction in time-to-sale.

Healthcare

Metaverse development companies are making significant strides in healthcare by leveraging virtual reality (VR) technology. VR therapy sessions, for instance, have shown remarkable results, with a 65% improvement in patient outcomes compared to traditional therapy methods. Telemedicine platforms powered by the Metaverse enable healthcare providers to conduct virtual consultations, reaching and serving remote patients effectively. Furthermore, training simulations using VR technology are enhancing medical education and skills development among healthcare professionals.

Education

The education sector is witnessing a transformational shift with the integration of Metaverse technology. Immersive learning experiences within virtual environments have led to a remarkable 78% rise in student engagement. Virtual classrooms break down geographical barriers, providing students worldwide with access to quality education and expert instructors. Interactive simulations offer hands-on learning opportunities, facilitating better understanding and retention of complex concepts across various subjects.

Gaming

Metaverse development companies are at the forefront of revolutionizing the gaming industry. Virtual worlds created by these companies offer unparalleled levels of immersion and social interaction for gamers. In-game economies driven by virtual currencies are fostering a new wave of virtual commerce and entrepreneurship. The rise of eSports tournaments within the Metaverse has attracted millions of viewers and lucrative sponsorships, cementing gaming as a major entertainment and economic force in the digital realm.

Fashion

Fashion is embracing the Metaverse with innovative experiences such as virtual try-on sessions. These experiences not only reduce returns but also enhance customer satisfaction by allowing individuals to visualize how clothing and accessories look on them before making a purchase. Digital fashion shows hosted in virtual environments are expanding the reach of designers and brands globally, democratizing access to fashion events. Additionally, the use of non-fungible tokens (NFTs) is revolutionizing ownership and authenticity within the fashion industry, creating new avenues for creators and collectors alike.

Finance

Metaverse development companies are reshaping the financial landscape through virtual banking and investment platforms. These platforms offer personalized experiences tailored to individual financial needs and goals. Blockchain technology, integral to the Metaverse, ensures secure and transparent transactions, enhancing trust and efficiency in financial services. Metaverse assets, including virtual real estate and digital collectibles, are becoming valuable investment opportunities and diversification tools for individuals and institutions alike. Each of these industries showcases how Metaverse development companies are driving innovation, improving experiences, and shaping the future of business and interaction.

Conclusion

As the metaverse evolves and captures the interest of people and businesses, Metaverse Development Companies play a vital role. They act as the creators of the virtual world, blending various technologies to craft immersive, connected, and socially engaging digital experiences. With the rising need for metaverse development, partnering with a trusted Metaverse Development Company is crucial for those aiming to lead in this transformative digital era. Embracing the metaverse now opens doors to endless possibilities in the future.

ibentos is a leading Metaverse Development Company renowned for its innovative approach and expertise in creating dynamic virtual environments. With a focus on cutting-edge technology and user-centric design, Ibentos empowers entrepreneurs to unlock the full potential of the metaverse, from building captivating virtual worlds to implementing revenue-generating strategies. For those ready to embark on their metaverse journey and harness the power of this digital frontier, partnering with Ibentos ensures access to top-notch development solutions and industry-leading expertise. Take the first step towards a vibrant metaverse presence with Ibentos today!

Source: https://ibentos.com/blogs/breaking-boundaries-how-metaverse-development-companies-are-shaping-the-future/

[alexhwriting]

Bloodborne: A Study of Environmental Narratives and Ludonarrative Harmony.

VII. Conclusion

While this paper only addresses Bloodborne as far as concerns about ludonarrative harmony go, that is far from the extent of the concept’s applications within the field of video game studies going forward. Engaging with games and looking for this blending between the ludic and narrative elements proves fruitful as an exploration of developer intention and whether or not those marks have been missed. Without ludonarrative harmony, players are faced with disjointed and un-immersive experiences in their narrative games. Games that deemphasize narrative are, of course, less concerned about ludonarrative harmony, though the vast majority of things being produced by gaming companies as of this paper’s writing to involve some form of narrative progression.

To summarize, Bloodborne gives its players a sense of harmony between its narrative themes and its gameplay by blending its environmental storytelling, narrative elements, and gameplay into a cohesive whole. This paper looked at how each of these elements worked, moving from the most broad, environmental storytelling, to the most complicated and narrow, ludonarrative harmony. Through an exploration of the narrative expectations of Bloodborne and comparing those with the gameplay, we can see that the game emphasizes its narrative themes throughout the play experience by utilizing elements like health damage, enemies, and item descriptions to effectively blur the line between what is narrative and what is gameplay.

Bibliography

Aarseth, Espen. “A Hollow World: World of Warcraft as Spatial Practice.” In Digital Culture, Play and Identity: A World of Warcraft Reader, edited by Hilde G Corneliussen and Jill Walker Rettberg, 111–22. Cambridge, MA: MIT Press, 2008.

Christopher, David, and Aidan Leuszler. “Horror Video Games and the ‘Active-Passive’ Debate.” Games and Culture, April 27, 2022. https://doi.org/10.1177/15554120221088115.

FromSoftware. Bloodborne. Bandai Namco. Xbox One/PC/PlayStation. 2015

Green, Amy M. Storytelling in Video Games. McFarland, 2017.

Grodel, Torben. “Video Games and the Pleasures of Control.” Media Entertainment, 2000, 209–26.

Hocking, Clint. “Ludonarrative Dissonance in Bioshock.” Click Nothing, October 7, 2007. https://clicknothing.typepad.com/click_nothing/2007/10/ludonarrative-d.html.

Jenkins, Henry. “Game Design as Narrative Architecture.” In First Person: New Media as Story, Performance, and Game, edited by Pat Harrington and Noah Frup, 118–30. Cambridge, MA: MIT Press, 2004.

Kirkland, Ewan. “Storytelling in Survival Horror Video Games.” In Horror Video Games: Essays on the Fusion of Fear and Play, edited by Bernard Perron, 62–78. Jefferson, NC: McFarland & Company, 2009.

Kocurek, Carly A. “Who Hearkens to the Monster’s Scream? Death, Violence, and the Veil of the Monstrous in Video Games.” Visual Studies 30, no. 1 (January 2, 2015): 79–89. https://doi.org/10.1080/1472586x.2015.996402.

Krzywinska, Tanya. “Blood Scythes, Festivals, Quests, and Backstories.” Games and Culture 1, no. 4 (October 2006): 383–96. https://doi.org/10.1177/1555412006292618.

Ruberg, Bonnie. Video Games Have Always Been Queer. New York: New York University Press, 2019.

Ryan, Marie-Laure. Narrative as Virtual Reality 2: Revisiting Immersion and Interactivity in Literature and Electronic Media. Baltimore: Johns Hopkins University Press, 2015.

Soriani, Alessandro, and Stefano Caselli. “Visual Narratives in Videogames: How Videogames Tell Stories through Graphical Elements.” Img Journal 3 (2020): 474–99.

Thon, Jan-Noël. “Transmedial Narratology Revisited: On the Intersubjective Construction of Storyworlds and the Problem of Representational Correspondence in Films, Comics, and Video Games.” Narrative 25, no. 3 (2017): 286–320. https://doi.org/10.1353/nar.2017.0016.

Wolf, Mark J. P. “Beyond Immersion: Absorption, Saturation, and Overflow in the Building of Imaginary Worlds.” In World Building, Transmedia, Fans, Industries, edited by Marta Boni, 204–14. Amsterdam: Amsterdam University Press, 2017.

[gaminggazette]

Relation of the K/DA group as a promotional technique with the 5 core concepts of media literacy

As an advertisement, K/DA embodies the five core concepts of media literacy, which help consumers critically analyze and interpret media messages.

Media messages are constructed: K/DA represents a carefully crafted media message designed to capture the attention of gamers and K-pop enthusiasts alike. The group's members, Ahri, Kai'Sa, Evelynn, and Akali, are fictional characters brought to life through animations and performances. The music videos, song lyrics, and social media content are all meticulously designed to create a compelling narrative and promote the League of Legends universe.

Media messages have embedded values and points of view: K/DA's promotion subtly embeds values and points of view that align with the League of Legends brand. By blending K-pop culture with gaming, it promotes inclusivity, creativity, and the idea of players being part of a larger, exciting virtual world. The virtual group also encourages players to identify with their favorite characters and foster a sense of belonging to the game's community.

Different people experience the same media message differently: K/DA's impact on individuals can vary depending on their cultural background, personal interests, and prior exposure to K-pop or League of Legends. Some may appreciate the blending of gaming and music culture, while others might view it as just a marketing ploy. Media literacy encourages individuals to understand and respect diverse perspectives on media messages.

Media messages are created for specific purposes: K/DA's primary purpose is to attract and engage players within the League of Legends community, increase the game's popularity, and promote in-game purchases. By using popular music, vibrant visuals, and a connection to K-pop fandom, Riot Games aims to broaden their audience and deepen player engagement.

Media messages are influenced by economic and political factors: K/DA's creation and promotion by Riot Games are influenced by economic factors such as profit generation and brand expansion. The virtual group's success impacts the game's monetization and the company's revenue. Furthermore, political factors such as copyright and licensing agreements may also play a role in how the characters and music are utilized.

K/DA serves as a prime example of how media messages are constructed and utilized for specific purposes, often embedded with values and points of view.

[bim-outsourcing-services]

Benefits of Point Cloud to Revit Modeling for Architectural Projects

Point cloud to Revit modeling is a process where three-dimensional (3D) point cloud data, obtained from laser scanning or other reality capture methods, is converted into a BIM services model using Autodesk Revit software. This approach offers several benefits for architectural projects:

1. Accurate Representation of Existing Conditions:

Point clouds provide a highly accurate representation of the existing physical conditions of a structure or site. This ensures that the Scan to Revit model is based on real-world data, reducing the likelihood of errors in design and construction.

2. Time and Cost Efficiency:

Using point cloud data to create a Revit model can save time and costs compared to traditional surveying methods. The detailed information captured by laser scanning reduces the need for manual measurements and site visits, speeding up the modeling process.

3. Complex Geometry and As-Built Documentation:

Point clouds enable the capture of complex geometric details, irregular shapes, and intricate architectural bim services features. This is particularly valuable for modeling existing structures, heritage buildings, or buildings with unique designs. It facilitates accurate as-built documentation for renovation or retrofit projects.

4. Enhanced Collaboration:

Combining point cloud data with Revit allows architects, engineers, and other stakeholders to work collaboratively on a shared digital platform. This improves communication and coordination among team members, reducing the risk of misunderstandings and conflicts during the design and construction phases.

5. Streamlined Retrofit and Renovation Projects:

For retrofit and renovation projects, point cloud data helps in accurately capturing the as-built conditions. This ensures that the new design integrates seamlessly with the existing structure, minimizing errors and rework during construction.

6. Visualization and Analysis:

Point clouds provide a rich source of visual information that can be used for analysis and decision-making. Architects can visualize the existing conditions more realistically, facilitating better design decisions and evaluations of the impact of proposed changes.

7. Facility Management:

The accurate as-built information in the Revit model, derived from point cloud data, is valuable for facility management. It aids in maintenance planning, space management, and other aspects of facility operations.

8. Comprehensive Data Capture:

Point clouds capture not only the external surfaces of structures but also interior spaces, allowing for a comprehensive representation of buildings. This is beneficial for HVAC BIM Services, plumbing, and electrical components.

9. Sustainability and Energy Analysis:

The detailed information obtained from point cloud data can be used for energy analysis and sustainability assessments. This is crucial in modern architectural practices that prioritize environmentally friendly and energy-efficient designs.

10. Regulatory Compliance:

Accurate as-built documentation supported by point cloud data ensures compliance with regulatory requirements. This is particularly important for projects where adherence to existing conditions is critical.

In summary, utilizing point cloud data in Revit modeling enhances the accuracy, efficiency, and collaboration in architectural projects, especially when dealing with existing structures or complex geometries.

[thursdayisbetterthanfriday]

Applied AI - Integrating AI With a Roomba

AKA. What have I been doing for the past month and a half

Everyone loves Roombas. Cats. People. Cat-people. There have been a number of Roomba hacks posted online over the years, but an often overlooked point is how very easy it is to use Roombas for cheap applied robotics projects.

Continuing on from a project done for academic purposes, today's showcase is a work in progress for a real-world application of Speech-to-text, actionable, transformer based AI models. MARVINA (Multimodal Artificial Robotics Verification Intelligence Network Application) is being applied, in this case, to this Roomba, modified with a Raspberry Pi 3B, a 1080p camera, and a combined mic and speaker system.

The hardware specifics have been a fun challenge over the past couple of months, especially relating to the construction of the 3D mounts for the camera and audio input/output system.

Roomba models are particularly well suited to tinkering - the serial connector allows the interface of external hardware - with iRobot (the provider company) having a full manual for commands that can be sent to the Roomba itself. It can even play entire songs! (Highly recommend)

Scope:

Current:

The aim of this project is to, initially, replicate the verbal command system which powers the current virtual environment based system.

This has been achieved with the custom MARVINA AI system, which is interfaced with both the Pocket Sphinx Speech-To-Text (SpeechRecognition · PyPI) and Piper-TTS Text-To-Speech (GitHub - rhasspy/piper: A fast, local neural text to speech system) AI systems. This gives the AI the ability to do one of 8 commands, give verbal output, and use a limited-training version of the emotional-empathy system.

This has mostly been achieved. Now that I know it's functional I can now justify spending money on a better microphone/speaker system so I don't have to shout at the poor thing!

The latency time for the Raspberry PI 3B for each output is a very spritely 75ms! This allows for plenty of time between the current AI input "framerate" of 500ms.

Future - Software:

Subsequent testing will imbue the Roomba with a greater sense of abstracted "emotion" - the AI having a ground set of emotional state variables which decide how it, and the interacting person, are "feeling" at any given point in time.

This, ideally, is to give the AI system a sense of motivation. The AI is essentially being given separate drives for social connection, curiosity and other emotional states. The programming will be designed to optimise for those, while the emotional model will regulate this on a seperate, biologically based, system of under and over stimulation.

In other words, a motivational system that incentivises only up to a point.

The current system does have a system implemented, but this only has very limited testing data. One of the key parts of this project's success will be to generatively create a training data set which will allow for high-quality interactions.

The future of MARVINA-R will be relating to expanding the abstracted equivalent of "Theory-of-Mind". - In other words, having MARVINA-R "imagine" a future which could exist in order to consider it's choices, and what actions it wishes to take.

This system is based, in part, upon the Dyna-lang model created by Lin et al. 2023 at UC Berkley ([2308.01399] Learning to Model the World with Language (arxiv.org)) but with a key difference - MARVINA-R will be running with two neural networks - one based on short-term memory and the second based on long-term memory. Decisions will be made based on which is most appropriate, and on how similar the current input data is to the generated world-model of each model.

Once at rest, MARVINA-R will effectively "sleep", essentially keeping the most important memories, and consolidating them into the long-term network if they lead to better outcomes.

This will allow the system to be tailored beyond its current limitations - where it can be designed to be motivated by multiple emotional "pulls" for its attention.

This does, however, also increase the number of AI outputs required per action (by a magnitude of about 10 to 100) so this will need to be carefully considered in terms of the software and hardware requirements.

Results So Far:

Here is the current prototyping setup for MARVINA-R. As of a couple of weeks ago, I was able to run the entire RaspberryPi and applied hardware setup and successfully interface with the robot with the components disconnected.

I'll upload a video of the final stage of initial testing in the near future - it's great fun!

The main issues really do come down to hardware limitations. The microphone is a cheap ~$6 thing from Amazon and requires you to shout at the poor robot to get it to do anything! The second limitation currently comes from outputting the text-to-speech, which does have a time lag from speaking to output of around 4 seconds. Not terrible, but also can be improved.

To my mind, the proof of concept has been created - this is possible. Now I can justify further time, and investment, for better parts and for more software engineering!

[tagbin]

The Future of Experiential Design: Exploring Emerging Technologies and Trends

Since the advent of technology, there has been an astounding degree of advancement that surpassed the expectations of even the most eminent minds. Out of a myriad of industries, one domain that has excelled at a significant pace is experiential design. For more than a decade, experiential brand marketing has emerged as a pioneering alternative in contrast to the traditional or conventional approaches. It has been a game-changer for several brands that yearn to construct an emotional connection between their potential customers and their products with technology and creativity at their back. 

However, it does beg the question, what exactly is Experiential design, and what future does it hold for every experiential design company?

Experiential Design is an orchestra of multisensory environments born from extraordinary creativity fused with advanced technology. It teleports a participant beyond passive observation by creating interactive engagements and compelling narratives from spaces. This endeavour aims to evoke the participants' emotions and inquisitiveness, where the entire narrative revolves around them. Herein, Tagbin, which is often hailed as the best tech experiential company in India, has created several benchmarking projects that make every pair of eyes marvel at its grandeur. 

The Emerging Technologies

While advanced technologies, such as Artificial Intelligence and Machine Learning, are deemed fashionable concepts in the modern world for many, for every experiential design company, they serve as an indispensable tool in their arsenal. These technologies are the very source of driving captivating narratives by analyzing the visitor’s behaviour, preferences, etc. As a result, every engagement experienced by a visitor is not identical to the other, but rather it is the content that is personalized and adjusted to create an enthralling experience. 

One of the pillars that steered Tagbin toward being the best tech experiential company in India is their efficiency in utilizing technological prowess to craft lasting memories in the minds of a visitor. One such emerging technology wielded by Tagbin in its projects that has redefined the boundaries of possibilities is spatial transformation. Herein, the physical spaces are interchanged by transporting visitors to new dimensions through interactive projections and a dynamic environment. It makes one rethink the feats that could be achieved through the optimal exercising of technology, wherein every space is an interactive canvas meant for exploration, transcending passive observation. 

How Experiential Marketing is Driving Sales and Leads

Gone are the days when consumers were mere passive recipients of advertising; today's audiences and brands seek never-seen-before experiences that stretch their eyes with wonder and touch their emotions. Experiential brand marketing companies utilize state-of-the-art technologies to deliver a whole new meaning and perception toward marketing and the brand's presence in the market. One such prime example is hologram projections, wherein projecting lifelike images and scenes doesn't just engage the senses; they spark conversations and leave unforgettable memories

Tagbin, being an experiential design company, goes beyond the ordinary and facilitates an engaging environment that not only speaks length about the brand’s product but also immerses the visitors to a degree where they themselves become the brand’s advocates. Experiential brand marketing is a beacon of innovation in a world disbursed with information, offering a path to authentic connections and meaningful engagement. 

Live Spectator Events & Art Installations

Various technologies are a requisite for making live spectator events a great success. In addition to resorting to AI, ML, and spatial transformation, Augmented Reality and Virtual reality are the architects of alternate realities, which is crucial for every live spectator event. The harmonizing of the virtual and real world makes the experience surreal, which speaks to the gravity of the future that experiential design holds in engagement and marketing. 

Before the era of experiential technology, art installations were merely perceived as visually appealing. However, owing to leading companies, such as Tagbin, they are also narratives told through innovative mediums, making powerful statements and evoking emotions through storytelling. Herein, sculptures morph, transform, and interact with the audience, creating a convergence of physical and digital artistry that fosters a sense of participation and connectivity.

Why Tagbin Is Emerging As The Leading Experiential Design

Tagbin, an experiential design company that has surpassed both the expectations and the boundaries of experiential designing, has been a beacon light for several entities in determining the magnitude of experiential design and its future. Time and again, Tagbin has revolutionized different fields and a brand’s effectiveness with its innovative creations. 

Pradhanmantri Sanghralaya

This remarkable project of Tagbin is a museum dedicated to the Prime Ministers of India. It exhibits India's journey of 75 years through the eyes of the Prime Ministers. Displaying art and history, an epic 7.5 hours of content is crafted using tech, such as AR, VR, and Robotics.

The entertainment zone, called Anubhuti and the AR-integrated exhibit are the special highlights of this project, wherein everything circles around the visitor, allowing them to engage and play. Several AR-integrated exhibits enable them to walk alongside their preferred Prime Ministers. Additionally, by using VR-integrated helicopter rides, people can glimpse the futuristic projects while also having the luxury of receiving a personalized letter signed by their favourite PM through an AI-built handwriting robot.

Tagbin Teleportation Bus

This bus provides a virtual experience facilitated by technologies such as Group Virtual Reality and 4K transparent screens powered by CPU and GPU systems that showcase 3D content on all four sides, including the sunroof.

G20 DEWG Digital Experience Centre

Tagbin conceptualized a Digital Experience Centre at the G20 DEWG meeting held in India. Herein, they showcased the key initiatives under the programme through several AI-based interactive installations. One such exhibit was 'Ask AI', wherein an interactive LED wall with the projection of an AI face answered the tech-based questions of the users. 

Similarly, another interactive AI installation offered solutions to life-based crises, stretching to the spiritual levels. The most standing interactive was the AI avatar that enabled visitors to see themselves in avatars never imagined before. It also involved a mixture of advanced technologies, such as Augmented Reality, VR, ML, and so on, to create eleven knowledgeable experiences for the visitors.

With each innovation and project, such as those of Tagbin, we inch closer to environments that are not only informative but also transformative. The future of experiential design promises a symphony of imagination and technology where the boundaries of possibility are continually redefined. It is a strong message for industries to embrace emerging technologies and pioneer new frontiers. With Tagbin, the only limit that could ever be to experiential designing is the extent of one’s imagination.

[chirsu]

Curiously enough, if we can look to history to provide us with some context, the reasons for building labyrinth have varied substantially over the ages. For example, the English hedgerow maze at Longleat was designed to amuse garden party attendants, while Amenemhet III of the XII dynasty in Egypt built for his mortuary temple a labyrinth near lake Moeris to protect his soul. Most famous of all, however, was the labyrinth Daedalus constructed for King Minos. It served as a prison. Purportedly located on the island of Crete in the city of Knossos, the maze was built to incarcerate the Minotaur, a creature born from an illicit encounter between the queen and a bull. As most school children learn, this monster devoured more than a dozen Athenian youths every few years before Theseus eventually slew it. 123*

*123

At the risk of stating the obvious

no woman can mate with a bull and produce a child.

Recognizing this simple scientific fact, I am led to a somewhat interesting suspicion: King Minos did not build the labyrinth to imprison a monster but to conceal a deformed child — his child.

While the Minotaur has often been depicted as a creature with the body of a bull but the torso of a man — centaur like — the myth describes the Minotaur as simply having the head of a bull and the body of a man, or in other words, a man with a deformed face. I believe pride would not allow Minos to accept that the heir to the throne had a horrendous appearance.

Consequently, he dissolved the right of ascension by publicly accusing his wife of fornicating with a male bovine.

Having enough conscience to keep from murdering his own flesh and blood, Minos had a labyrinth constructed, complicated enough to keep his son from escaping but without bars to suggest a prison. (It is interesting to note how the myth states most of the Athenian youth "fed" to the Minotaur actually starved to death in the labyrinth, thus indicating their deaths had more to do with the complexity of the maze and less to do with the presumed ferocity of the Minotaur.

I am convinced Minos' maze really serves as a trope for repression. My published thoughts on this subject (see "Birth Defects in Knossos" Sunny Won't Wait Flyer, Santa Cruz, 1968) inspired the playwright Taggert Chielitz to author a play called The Minotaur for The Seattle Repertory Company. As only eight people, including the doorman, got a chance to see the production, I produce here a brief summary:

Chielitz begins his play with Minos entering the labyrinth late one evening to speak with his son. As it turns out, the Minotaur is a gentle and misunderstood creature, while the so called Athenian youth are convicted criminals who were already sentenced to death back in Greece. Usually King Minos has them secretly executed and then publicly claims their deaths were caused by the terrifying Minotaur thus ensuring that the residents of Knossos will never get too close to the labyrinth. Unfortunately this time, one of the criminals has escaped into the maze, encountered Mint (as Chieletz refers to the Minotaur) and nearly murdered him. Had Minos himself not rushed in and killed the criminal, his son would have perished. Sufficient to say that Minos is furious. He has caught himself caring for his son and the resulting guilt and sorrow incenses him to no end. As the play progresses, the King slowly sees past his son's deformities, eventually discovering an elegiac spirit, an artistic sentiment and most importantly a visionary understanding of the world. Soon a deep parental love grows in the King's heart and he begins to conceive of a way to reintroduce the Minotaur back into society. Sadly, the stories the King has spread throughout the world concerning the terrifying beast prove the seeds of tragedy. Soon enough, a bruiser named Theseus arrives (Chiclitz describes him as a drunken, virtually retarded, frat boy) who without a second thought hacks the Minotaur into little pieces. In one of the play's most moving scenes, King Minos, with tears streaming down his face, publicly commends Theseus' courage. The crowd believes the tears as a sign of gratitude while we the audience understand they are tears of loss. The King's heart breaks, and while he will go on to be an extremely just ruler, it is a justice informed by the deepest kind of agony.

Note: Struck passage indicate what Zampanò tried to get rid of, but which I, with a little bit of turpentine and a good old magnifying glass managed to resurrect.

— House Of Leave, Mark Z. Danielewski

[robotikaile]

Las Vegas Sphere Eğlence Merkezinde Yeni Bir Gösteri Mekanı

Boyutları 112x157 Metre LED yüzeyi 15.000 m2 Çözünürlüğü 16K Programlanabilir Aydınlatma 54.000 m2 Maliyet 2,3 Milyar $ MSG Sphere Las Vegas, Las Vegas Strip'teki bir eğlence mekanıdır. Bu gösteri mekanı, The Madison Square Garden Company (MSG) tarafından inşa edilmektedir. MSG Sphere, 18.000 kişi kapasiteli bir konser ve etkinlik mekanı olacak şekilde tasarlanmıştır. Ancak MSG Sphere'ün en dikkat çekici özelliği, içerideki devasa bir küre şeklindeki ekran sistemidir. Bu dev küre, 360 derece görüntüleme sağlayarak izleyicilere benzersiz bir deneyim sunmayı hedeflemektedir. MSG Sphere, en son teknolojileri kullanarak yüksek çözünürlükte video ve ses gösterileri sunacak. İçerideki ekran sistemi sayesinde, izleyiciler tamamen sürükleyici bir deneyim yaşayacaklar. Ayrıca, sanal gerçeklik ve artırılmış gerçeklik gibi interaktif deneyimler de sunulması planlanmaktadır. MSG Sphere Las Vegas, büyük etkinliklere ev sahipliği yapmanın yanı sıra, konserler, gösteriler, spor etkinlikleri, konferanslar ve diğer özel etkinlikler için de kullanılacaktır. Ayrıca, mekanın restoranlar, barlar ve ticaret alanları gibi ek tesisleri olması planlanmaktadır. MSG Sphere Las Vegas'ın inşası hala devam etmektedir ve tamamlanması için belirli bir tarih henüz açıklanmamıştır. Ancak, tamamlandığında, Las Vegas'ın turistik cazibe merkezlerinden biri olması ve benzersiz gösterileriyle dikkat çekmesi beklenmektedir. 🎥 @wynnlasvegas & @spherevegas

LED surface area 15,000 m2 Resolution 16K Programmable Lighting 54,000 m2 Cost 2.3 Billion $

MSG Sphere Las Vegas is an entertainment venue located on the Las Vegas Strip. This show venue is being built by The Madison Square Garden Company (MSG). MSG Sphere is designed to be a concert and event venue with a capacity of 18,000 people. However, the most striking feature of MSG Sphere is its massive spherical screen system inside. This giant sphere aims to provide viewers with a unique experience by offering 360-degree viewing. MSG Sphere will present video and audio shows in high resolution using the latest technologies. Thanks to the interior screen system, the audience will have a completely immersive experience. Additionally, interactive experiences such as virtual reality and augmented reality are also planned to be offered. In addition to hosting major events, MSG Sphere Las Vegas will also be used for concerts, shows, sports events, conferences, and other special events. Furthermore, the venue is planned to have additional facilities such as restaurants, bars, and commercial areas. The construction of MSG Sphere Las Vegas is still ongoing, and a specific completion date has not yet been announced. However, once completed, it is expected to become one of Las Vegas' tourist attractions and draw attention with its unique shows.