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Ballet Dancers




Hello STRUT Performers. Feel free to get familiar with your STRUT 2020 Soundrack.

Modern Dancers

STRUT Performers Group

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Peninah Njeri Mwangi
Peninah Njeri Mwangi

Inner Distortion Prototype Project V2 - DiSTORT...


So in 2017, the team built a prototype version of rift that had mechanical varifocal displays that could deliver proper depth of focus that used eye tracking to tell what you were looking at real time distortion correction to compensate for the magnification, moving the lenses on in the blur. So that way, only the things that you were looking at, were in focus just like the physical world, Zuckerberg said.

After prolonged exposure to a distorted face with expanded or contracted inner features, a subsequently presented normal face appears distorted toward the opposite direction. This phenomenon, termed as face distortion aftereffect (FDAE), is thought to occur as a result of changes in the mechanisms involved in higher order visual processing. However, the extent to which FDAE is mediated by face-specific configural processing is less known. In the present study, we investigated whether similar aftereffects can be induced by stimuli lacking all the typical characteristics of a human face except for its first-order configural properties. We found a significant FDAE after adaptation to a stimulus consisting of three white dots arranged in a triangular fashion and placed in a gray oval. FDAEs occurred also when the adapting and test stimuli differed in size or when the contrast polarity of the adaptor image was changed. However, the inversion of the adapting image as well as the reduction of its contrast abolished the aftereffect entirely. Taken together, our results suggest that higher-level visual areas, which are involved in the processing of facial configurations, mediate the FDAE. Further, while adaptation seems to be largely invariant to contrast polarity, it appears sensitive to orientation and to lower level manipulations that affect the saliency of the inner features.

Advanced users can move objects as if they were telekinetic by controlling the gravity through space, which also can be used to enhance their own physical abilities, such as strength and speed. Users would also be capable of creating subspaces that can trap objects or be used as powerful projectiles. They can also use this ability to levitate in the air. At an ultimate level, users would be able to manipulate space in a very complex way such as (i.e. a room appearing bigger on the inside than it is on the outside, a never-ending corridor), phenomena, and other distortions that affect things at a universal level. They would also be able to manipulate other forms of esoteric space that has properties completely different from space in the real world, allowing them to achieve a plethora of effects, some even on nigh-omnipotent levels.

Inspired by the experience, Snoddy and fellow Nashville audio engineer Revis Hobbs developed and patented a prototype distortion effect box. They sold the design to the musical instrument company Gibson, who marketed it as the Maestro Fuzz-Tone guitar pedal. The Fuzz-Tone, however, failed to catch on until the pedal got into the hands of a Rolling Stone.

A design collaboration for developing and testing the T1MES phantom and its prototypes was established, consisting of clinicians, physicists, national metrology institutes (the US National Institute of Standards and Technology [NIST] and the German Physikalisch-Technische Bundesanstalt [PTB]) and a small-medium enterprise familiar with phantom production (Resonance Health [RH], Perth, Australia). Funding was secured including a grant from the European Association of Cardiovascular Imaging. Time and expertise was provided for free by the partnership. To engage a global community with constrained funding, the phantoms were gifted (first come, first served) to centers with the proviso that they: a) scan them fortnightly for 1 year and upload the results; b) engage with the partnership to explore any unexpected results; c) do not do anything that could potentially compromise (a) or (b) (e.g. deconstruct the phantom object); and d) give proper reference to the T1MES project if the


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