Saturday, October 30, 2010
Friday, October 29, 2010
Thursday, October 28, 2010
The Navy Seal Trident Pin
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Sunday, October 24, 2010
Saturday, October 23, 2010
Friday, October 22, 2010
Thursday, October 21, 2010
Wednesday, October 20, 2010
My Father Will Guide Me Up a Rope to the Sky | *SWANS Are Not Dead
My Father Will Guide Me Up a Rope to the Sky - SWANS
Digi-Pack CD / LP / MP3
Available September 21 2010
Digi-pack CD
8 tracks YG43 $14 temporarily unavailable
LP + MP3 download card
8 tracks YG43-LP $17 temporarily unavailable
MP3 download
8 tracks YG43-MP3 $10 temporarily unavailable
Eden Prison [listen to full track]
Swans - 'Eden Prison' by theQuietus
After years of pursuing Angels of Light and recording and producing a diverse roster of artists for his Young God label, Michael Gira has decided to reconvene his legendary group Swans. As he says: “THIS IS NOT A REUNION. It’s not some dumb-ass nostalgia act. It is not repeating the past. After 5 Angels Of Light albums, I needed a way to move FORWARD, in a new direction, and it just so happens that revivifying the idea of Swans is allowing me to do that. “
The core group constituting Swans for this phase is Michael Gira / guitar / voice / mendicant friar act (original swans); Norman Westberg – guitar (original swans); Christoph Hahn – guitar (mid period swans and most angels); Phil Puleo – drums, percussion, dulcimer etc (final swans tour and most angels); Chris Pravdica – bass and gadgets (flux information sciences / services/ gunga din); Thor Harris - drums, percussion, vibes, dulcimer, curios, keys (angels, now also with Shearwater)…
This highly anticipated album is as powerful and diverse as anything Gira’s done, in Swans or otherwise. It opens with the epic, soul-crushing (bone crushing?) No Words/No Thoughts, but quickly veers to more pastoral terrain, then on to ever-ascending mono-tonal grooves, a filmic-folk idyll featuring Devendra Banhart on lead vocal that abruptly shifts to cataclysm, then on to more airplane-taking-off ascensions, art songs, and more lethal sonic pummeling. In short, this is the new SWANS album, a significant advance from where Swans left off and as challenging and emotionally demanding as ever.
Increasing frustrated by the (self imposed) constraints he’d set for himself in Angels of Light, Gira decided that the direction he wanted his music to take would be more appropriate under the moniker of the group he started in 1982 and retired in 1997. Though the new album retains an attention to detail in orchestration, and an underlying sense of melody on many of the songs, there’s a deliberate shift towards sonic intensity, relentless, maniacal rhythms and alternately abrasive and soaring waves of electric guitar, qualities those familiar with the always-shifting sonic approach of Swans over the (now first) 15 years of its’ existence will recognize. This record immediately feels like Swans but is also obviously unique and moving into new territory.
Here’s what Gira says about the moment he decided to reconvene Swans:
“There was a point a few years ago during a particular show when I was on tour with Angels of Light, with Akron/Family serving as the backing band. It was during the song The Provider. Seth’s guitar was sustaining one open chord (very loudly), rising to a peak, then crashing down again in a rhythm that could have been the equivalent of a deep and soulful act of copulation. The whole band swayed with this arc. Really was like riding waves of sound. I thought right then, “You know, Michael, Swans wasn’t so bad after all...” - ha ha! It brought back – in a flood – memories, or maybe not memories, more a tangible re-emersion in the sensation of Swans music rushing through my body in waves, lifting me up towards what, I can only assume, will be my only experience of heaven. It’s difficult – and probably pointless – to try to describe this experience. It’s ecstatic, I suppose – a force of simultaneous self negation and rebirth. Really, I probably only experienced this a handful of times to such an extreme extent during the entire 15 year history of Swans. All the elements have to align perfectly, and you can’t force it, though you might constantly strive for it. I don’t mean to be too lofty here, but it’s a fact. I’m talking about my own experience of the music (though I’d hope people in the audiences along the way might have experienced a similar episode). When I ask myself if I believe in God, I start to say NO, but then I remember that sensation, and I’m not so sure. So I want more of that, before my body breaks down to such an extent that it won’t be possible any more. So I’m doing it. “
The original art for the album is by Beatrice Pediconi http://www.beatricepediconi.com
The recording of this record was made possible by the sale of a limited edition of 1000, handmade CD/DVD package exclusively at younggodrecords.com. The music CD consisted of Gira’s acoustic demos of several songs under consideration for the new Swans album and the DVD was 2 live shows of Gira solo. Gira hand printed the edition - named I Am Not Insane - (with wood block), hand colored each one individually, and assembled the 1000 copies himself. The expectation was that it would take 3 or 4 months to sell out through the limited venue of the YGR website. It sold out in 2 weeks.
Since the musicians live in different places on the planet, the idea of rehearsal for the recordings was both impractical and expensive. They had all heard the material in demo form, so were basically familiar with the material. In order to both allow time to work out the songs as a band with a distinct personality, and to ensure freshness in the performance, they recorded the basic tracks for one song per day over a period of 12 – 14 hours each day.
Once they’d reached a peak, having hashed the songs over (and over) and reconfigured them from their original demo form into something unique to the group, the engineer hit record. Basic overdubs were done at the end of the same day.
Additional subsequent overdubs were done later and guests included: Bill Rieflin (long-time Swans and Angels of Light contributor and currently drummer for REM and Robyn Hitchcock).
Bill played piano, synthesizer, organ, acoustic and electric guitar, drums/percussion and more; Grasshopper (Mercury Rev) – Mr. Grass played a swarm of mandolins; Devendra Banhart -
Devendra sang the lead vocal – accompanied by Gira’s 3 ½ year old daughter Saoirse – to the song You Fucking People Make Me Sick.
Swans will begin touring late September and will continue touring in 2 to 3 week stints for the next 18 months.
original art by beatrice pediconi / beatricepediconi.com
A FEW ADVANCE STORIES ABOUT THE RECORD HERE:
http://stereogum.com/452821/swans-eden-prison-stereogum-premiere/franchises/h...
and here:
http://thequietus.com/articles/04724-michael-gira-review-new-swans-album-my-f...
HERE’S AN EARLY REVIEW:
from ATTN Magazine UK
http://www.attnmagazine.co.uk/music/2428
by Jack Chuter
It is with a severe level of excitement that I present my review of the new Swans LP – My Father Will Guide Me Up a Rope to the Sky.
Incredibly, it’s been 14 years since the release of the last full-length. Soundtracks for the Blind was a daunting and thorough two-disc collage – a seemingly conclusive statement, appearing to wring out the last of what Gira wished to express under the Swans moniker via an extensive array of means – soundscapes, live cuts, drones, electronic beats, post-rock, deceptively pretty synthesisers, spoken word passages, with Michael’s distinctive singing voice a haunting and recurrent theme.
In terms of sound, My Father… doesn’t exactly pick up from there. Nor would it slip comfortably under Gira’s Angels of Light project, which has been running since the initial de-activation of Swans. There are strong elements of both, but as Gira said himself, the Swans idea was revived as a means to move forward, and ultimately, the album does just that.
Those who picked up I Am Not Insane (a collection of Gira’s initial album ideas, presented as solo pieces for voice and acoustic guitar) will be soon to realise just how skeletal those versions were. Their transformation is astonishing – although most of the melodies and lyrics remain just about intact, these early sketches are almost unrecognisable in amongst the heaps of instrumentation and collaborative ideas that have been piled on top by the rest of the line up. A towering atmosphere has gathered to decorate the bare bones of what Gira brought to the table, and it’s unmistakably Swans – clattering and rickety and unstable – forever ominous and occasionally plainly terrifying.
“No Words/No Thoughts” was my easily my least favourite track from I Am Not Insane, but here it’s a brutally brilliant opener, exploding from the initial introduction of glistening chimes as a thundering one-chord catastrophe. It’s left as a pummelling loop for a full three minutes, featuring warped electronics, backwards cymbals and what sounds like trombones screaming in piercing slides, before breaking down and allowing Gira to finally makes his vocal entry. It’s at the point that his perfectly executed baritone drawl enters the piece that it becomes beyond doubt that Swans have continued to maintain the high standard left by Soundtracks for the Blind back in 1996. He is on blinding form.
Elsewhere there’s “Jim”, lurching forward on a heave-ho rhythm that rattles and thuds on piano and guitar battered in unison. Personally I hear a likeness to “All Souls’ Rising” by Angels of Light for the way in which it almost stops and starts in these hefty lumbering steps, with an organic intensity that arises out of the musician – the velocity and anger behind each hit and strum, not just the timbre of the instrument.
“You Fucking People Make Me Sick” is the only track that wasn’t present on I Am Not Insane and it’s probably the most unnerving piece of the lot. Contorted vocals from Devendra Banhart are echoed in a twisted child-like tone and scattered across minor-chord guitar jangle, before the piece cuts abruptly into a brilliant interplay between percussive stomp and a juddering flourish of piano dissonance. After countless listens, I’ve yet to fully “get” the nightmarish and bizarre first half, but find myself in absolute awe of the harrowing noise of the second. A lot of these pieces are left to spiral off on their own accord, often giving way to freakish atonal experimentation and leaving the sound of a band completely enveloped in their own grooves, playing off of each other with an unspoken musical understanding. It’s fascinating to hear, if not always immediately accessible.
After the thudding locomotive of “Eden Prison”, “Little Mouth” closes the album on a weary melancholy deeply rooted in Angels of Light, with a thick chorus of backing vocals guiding it forward. The final minute sees the instruments away to leave Michael singing into silence – a particularly beautiful highlight from I Am Not Insane that was thankfully retained for the final product. In fact, it’s these closing stages that highlight a particular worry I had prior to going into my first listen. Would the full band versions of these tracks do justice to the strength of the song-writing at work on I Am Not Insane? I needn’t have given it a moment thought. Swans Are Not Dead.
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Tuesday, October 19, 2010
Thursday, October 14, 2010
Lux Strategic Marketing
Reward Winning Marketing
Everyone wants the pat on the back, or in the case of a dog, a pat on the head. At Lux our mission is to bring our clients "reward winning" marketing moments. Partnering with you on scintillating strategy, design, direct, social media and interactive marketing efforts that really move the ROI and impact meter is our strong suit. And as an extension of your marketing team, we will present strategic marketing solutions that are smarter, stronger and provide long-term vision. After all, your success is our success.
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Wednesday, October 13, 2010
Untitled
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Saturday, October 09, 2010
I'm diggin' G00gles tribute to, John.
Thursday, October 07, 2010
This is a bad-ass Tumblr layout.
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Wednesday, October 06, 2010
the Nihilophiliac cuddlebunny2 by ~KillianSkarr on deviantART
: What is a -Primitive Torture Device-?
A -Primitive Torture Device- is a morbidly rendered carapace, designed to achieve maximum psychological disturbance, carved into a form intended for the function of restraint and torture.
A -Primitive Torture Device- is composed of sinister, organic structures imposed upon wood and leather and metal by the obscure and bizarre methods of Killian Skarr.
A -Primitive Torture Device- is a thing which persists in space and time like a perversion upon this world. But its existence preceded its physical manifestation deep within the insanity of Killian Skarr.
In that mind so prone to bouts of madness, self-induced and otherwise, the conception took its evil form by way of its primary function. To achieve both the power to restrain and torture as well as impregnate the senses and disturb the mind with its foreboding inter-dimensional structure.
A -Primitive Torture Device- is any one of a series of fully functional, exquisitely rendered, aesthetically mesmerizing devices designed by Killian Skarr for restraint and torture. The first example in the series being the “Nihilophiliac Cuddlebunny” or “ Slut machine #1”.
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This via @factortwice | Uncon 2010 | Events | Fortean Times UK
Fortean Times is proud to present UnConvention 2010
After a year off, we're back - and we'd like to invite you to join us for two weirdness-packed days of talks, workshops, experiments, music, comedy and lively discussion...
We'll be ranging far and wide across the world of strange phenomena - from conspiracy theory to cryptozoology, from magic to monsters, from religion to rocket science...
We'll be celebrating the 30th anniversary of the Rendlesham UFO encounter, going in search of the Blue Dogs of Texas and exploring the fortean themes of Doctor Who - not to mention enjoying bawdy ballads from the 17th century and investigating ghostly encounters of the sexual kind!
There will be fortean shopping opportunities galore with a wide range of dealers, full cafe facilities and (watch this space!) some surprise extra events!
So - mark your diaries, book your tickets and join us for the most extraordinary weekend of the year!
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Drakkar Noir Type Honey Glycerin Skull with by @SpookyGrrrl on Etsy
Perfect for that spooky guy in your life!
Made with hunky honey glycerin, this skull is colored with activated charcoal which is thought to remove impurities of the skin. This is a nice, masculine, spicy and slightly woodsy scent great for that guy who loves nice bath products but doesn't want to lose man points. He can display this soap proudly in his bathroom and his friends will wish they had their own bar!
Vegans do not use honey, so if you'd like a vegan friendly version of this soap, let me know and I will be happy to do a custom order for you.
honey sweetened glycerin ingredients: saponified vegetable oils mainly coconut oil, glycerine (kosher, of vegetable origin), honey, purified water, sorbitol (from berries, moisturizer), sorbitan oleate (emulsifier), soybean protein (conditioner)
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Three Little Skullies Set by SpookyGrrrl on Etsy
I just love spooky things! Cute little skulls are fun any time of year, and this little set will put joy in any spooky guy or girl's heart.
A trio of yummy skin loving soaps, included is one Amber Dawn Glycerin Golden Skully, one Sweet and Yummy Cupcake Oatmeal Skully, and one Cider Snap Cocoa Butter Skully. All are vegan friendly too!
Give a little spooky cute to someone you love, or keep them for yourself. ;)
Cocoa Butter Ingredients: Cocos Nucifera (Coconut) Oil, Elaeis Guineensis (Palm) Oil, Carthamus Tinctorius (Safflower) Seed Oil, Glycerin (kosher, of vegetable origin), Theobroma Cacao (Cocoa) Seed Butter (unrefined), Purified Water, Sodium Hydroxide (saponifying agent), Sorbitol (moisturizer), Sorbitan oleate (emulsifier), Soy bean protein (conditioner), Titanium Dioxide (mineral whitener used in opaque soaps)
Oatmeal Ingredients: Cocos Nucifera (Coconut) Oil, Elaeis Guineensis (Palm) Oil, Carthamus Tinctorius (Safflower) Seed Oil, Glycerin (kosher, or vegetable origin), Purified Water, Avena Sativa (Oatmeal), Sodium Hydroxide (saponifying agent), Sorbitol (moisturizer), Sorbitan oleate (emulsifier), Soy bean protein (conditioner), Titanium Dioxide (mineral whitener used in opaque soaps)
Glycerin Ingredients: Coconut Oil, Palm Oil, Safflower Oil, Glycerin (kosher, of vegetable origin), Purified Water, Sodium Hydroxide (saponifying agent), Sorbitol (moisturizer), Sorbitan oleate (emulsifier), Soy bean protein (conditioner)
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Tuesday, October 05, 2010
Monday, October 04, 2010
Augmented Reality
Augmented reality
From Wikipedia, the free encyclopedia
Wikitude World Browser on the iPhone 3GS uses GPS and solid state compass
AR Tower Defense game on the Nokia N95 smartphone (Symbian OS) uses fiduciary markers
Augmented reality (AR) is a term for a live direct or indirect view of a physical real-world environment whose elements are augmented by virtual computer-generated imagery. It is related to a more general concept called mediated reality in which a view of reality is modified (possibly even diminished rather than augmented) by a computer. As a result, the technology functions by enhancing one’s current perception of reality.
In the case of Augmented Reality, the augmentation is conventionally in real-time and in semantic context with environmental elements, such as sports scores on TV during a match. With the help of advanced AR technology (e.g. adding computer vision and object recognition) the information about the surrounding real world of the user becomes interactive and digitally usable. Artificial information about the environment and the objects in it can be stored and retrieved as an information layer on top of the real world view. The term augmented reality is believed to have been coined in 1990 by Thomas Caudell, an employee of Boeing at the time[1].
Augmented reality research explores the application of computer-generated imagery in live-video streams as a way to expand the real-world. Advanced research includes use of head-mounted displays and virtual retinal displays for visualization purposes, and construction of controlled environments containing any number of sensors and actuators.
Contents [hide]
1 Definition
2 Examples
3 History
4 Technology
4.1 Hardware
4.1.1 Display
4.1.1.1 Head Mounted Displays
4.1.1.2 Handheld Displays
4.1.1.3 Spatial Displays
4.1.2 Tracking
4.1.3 Input devices
4.1.4 Computer
4.2 Software
5 Applications
5.1 Current applications
5.2 Future applications
6 Notable researchers
7 Conferences
8 Software
8.1 Free software
8.2 Commercial software
8.3 Non-commercial use
9 Books
10 In popular culture
10.1 Television & film
10.2 Literature
10.3 Games
11 See also
12 References
[edit]Definition
There are two commonly accepted definitions of Augmented Reality today. One was given by Ronald Azuma in 1997 [2]. Azuma's definition says that Augmented Reality
combines real and virtual
is interactive in real time
is registered in 3D
Additionally Paul Milgram and Fumio Kishino defined Milgram's Reality-Virtuality Continuum in 1994 [3]. They describe a continuum that spans from the real environment to a pure virtual environment. In between there are Augmented Reality (closer to the real environment) and Augmented Virtuality (is closer to the virtual environment).
Milgram's Continuum
Mediated Reality continuum showing four points: Augmented Reality, Augmented Virtuality, Mediated Reality, and Mediated Virtuality on the Virtuality and Mediality axes
This continuum has been extended into a two-dimensional plane of "Virtuality" and "Mediality"[4]. Taxonomy of Reality, Virtuality, Mediality. The origin R denotes unmodified reality. A continuum across the Virtuality axis V includes reality augmented with graphics (Augmented Reality), as well as graphics augmented by reality (Augmented Virtuality). However, the taxonomy also includes modification of reality or virtuality or any combination of these. The modification is denoted by moving up the mediality axis. Further up this axis, for example, we can find mediated reality, mediated virtuality, or any combination of these. Further up and to the right we have virtual worlds that are responsive to a severely modified version of reality. (at right) Mediated reality generalizes the concepts of mixed reality, etc.. It includes the virtuality reality continuum (mixing) but also, in addition to additive effects, also includes multiplicative effects (modulation) of (sometimes deliberately) diminished reality. Moreover, it considers, more generally, that reality may be modified in various ways. The mediated reality framework describes devices that deliberately modify reality, as well as devices that accidentally modify it.
More recently, the term augmented reality has been blurred a bit due to the increased interest of the general public in AR.
[edit]Examples
This section does not cite any references or sources.
Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2010) (Find sources: Augmented reality – news, books, scholar)
Commonly known examples of AR are the yellow "first down" lines seen in television broadcasts of American football games using the 1st & Ten system, and the colored trail showing location and direction of the puck in TV broadcasts of ice hockey games. The real-world elements are the football field and players, and the virtual element is the yellow line, which is drawn over the image by computers in real time. Similarly, rugby fields and cricket pitches are branded by their sponsors using Augmented Reality; giant logos are inserted onto the fields when viewed on television. In some cases, the modification of reality goes beyond mere augmentation. For example, advertisements may be blocked out (partially or wholly diminished) and replaced with different advertisements. Such replacement is an example of Mediated reality, a more general concept than AR.
Television telecasts of swimming events also often have a virtual line which indicates the position of the current world record holder at that time.
Another type of AR application uses projectors and screens to insert objects into the real environment, enhancing museum exhibitions for example. The difference to a simple TV screen for example, is that these objects are related to the environment of the screen or display, and that they often are interactive as well.
Many first-person shooter video games simulate the viewpoint of someone using AR systems. In these games the AR can be used to give visual directions to a location, mark the direction and distance of another person who is not in line of sight, give information about equipment such as remaining bullets in a gun, and display a myriad of other images based on whatever the game designers intend. This is also called the head-up display.
In some current applications like in cars or airplanes, this is usually a head-up display integrated into the windshield.
The F-35 Lightning II has no head-up display. This is because all targets are tracked by the aircraft's situational awareness and the sensor fusion is presented in the pilot's helmet mounted display. The helmet mounted display provides an augmented reality system that allows the pilot to look through his own aircraft as if it wasn't there.[citation needed]
[edit]History
1957-62: Morton Heilig, a cinematographer, creates and patents a simulator called Sensorama with visuals, sound, vibration, and smell.[5]
1966: Ivan Sutherland invents the head-mounted display suggesting it was a window into a virtual world.
1975: Myron Krueger creates Videoplace that allows users to interact with virtual objects for the first time.
1989: Jaron Lanier coins the phrase Virtual Reality and creates the first commercial business around virtual worlds.
1992: Tom Caudell coins the phrase Augmented Reality while at Boeing helping workers assemble cables into aircraft.
1992: L.B. Rosenberg develops one of the first functioning AR systems, called VIRTUAL FIXTURES, at the U.S. Air Force Armstrong Labs, and demonstrates benefit on human performance.[6][7]
1992: Steven Feiner, Blair MacIntyre and Doree Seligmann present first major paper on an AR system prototype, KARMA, at the Graphics Interface conference. Widely cited version of the paper is published in Communications of the ACM next year.
1994: Julie Martin creates first Augmented Reality Theater production,Dancing In Cyberspace funded by Australian Federal Government, Australia Council For The ArtsFeatures, dancers and acrobats manipulating full body sized virtual object in real time, projected into the same physical space and performance plane. The acrobats appeared immersed within the virtual object and environments. naked eye installation powered by Silicon Graphic Computer and Polhemus sensing system.
1999: Hirokazu Kato (加藤 博一) created ARToolKit at HITLab, where AR later is further developed by other HITLab scientists and it is demonstrated at SIGGRAPH that year.
2000: Bruce H. Thomas develops ARQuake, the first outdoor mobile AR game, and is demonstrated in the International Symposium on Wearable Computers.
2008: Wikitude AR Travel Guide launches on Oct. 20, 2008 with the G1 Android phone.
2009: Wikitude Drive - AR Navigation System launches on Oct. 28, 2009 for the Android platform.
2009: AR Toolkit is ported to Adobe Flash (FLARToolkit) by Saqoosha, bringing augmented reality to the web browser.
[edit]Technology
[edit]Hardware
The main hardware components for augmented reality are: display, tracking, input devices, and computer. Combination of powerful CPU, camera, accelerometers, GPS and solid state compass are often present in modern smartphones, which make them prospective platforms for augmented reality.
[edit]Display
There are three major display techniques for Augmented Reality:
Head Mounted Displays
Handheld Displays
Spatial Displays
[edit]Head Mounted Displays
A Head Mounted Display (HMD) places images of both the physical world and registered virtual graphical objects over the user's view of the world. The HMD's are either optical see-through or video see-through in nature. An optical see-through display employs half-silver mirror technology to allow views of physical world to pass through the lens and graphical overlay information to be reflected into the user's eyes. The HMD must be tracked with a six degree of freedom sensor.This tracking allows for the computing system to register the virtual information to the physical world. The main advantage of HMD AR is the immersive experience for the user. The graphical information is slaved to the view of the user. The most common products employed are as follows: MicroVision Nomad, Sony Glasstron, and I/O Displays.
[edit]Handheld Displays
Handheld Augment Reality employs a small computing device with a display that fits in a user's hand. All handheld AR solutions to date have employed video see-through techniques to overlay the graphical information to the physical world. Initially handheld AR employed sensors such as digital compasses and GPS units for its six degree of freedom tracking sensors. This moved onto the use of fiducial marker systems such as the ARToolKit for tracking. Today vision systems such as SLAM or PTAM are being employed for tracking. Handheld display AR promises to be the first commercial success for AR technologies. The two main advantages of handheld AR is the portable nature of handheld devices and ubiquitous nature of camera phones.
[edit]Spatial Displays
Instead of the user wearing or carrying the display such as with head mounted displays or handheld devices; Spatial Augmented Reality (SAR) makes use of digital projectors to display graphical information onto physical objects. The key difference in SAR is that the display is separated from the users of the system. Because the displays are not associated with each user, SAR scales naturally up to groups of users, thus allowing for collocated collaboration between users. SAR has several advantages over traditional head mounted displays and handheld devices. The user is not required to carry equipment or wear the display over their eyes. This makes spatial AR a good candidate for collaborative work, as the users can see each other’s faces. A system can be used by multiple people at the same time without each having to wear a head mounted display. Spatial AR does not suffer from the limited display resolution of current head mounted displays and portable devices. A projector based display system can simply incorporate more projectors to expand the display area. Where portable devices have a small window into the world for drawing, a SAR system can display on any number of surfaces of an indoor setting at once. The tangible nature of SAR makes this an ideal technology to support design, as SAR supports both a graphical visualisation and passive haptic sensation for the end users. People are able to touch physical objects, and it is this process that provides the passive haptic sensation. [2] [8] [9] [10]
[edit]Tracking
Modern mobile augmented reality systems use one or more of the following tracking technologies: digital cameras and/or other optical sensors, accelerometers, GPS, gyroscopes, solid state compasses, RFID, wireless sensors. Each of these technologies have different levels of accuracy and precision. Most important is the tracking of the pose and position of the user's head for the augmentation of the user's view. The user's hand(s) can be tracked or a handheld input device could be tracked to provide a 6DOF interaction technique. Stationary systems can employ 6DOF track systems such as Polhemus, ViCON, A.R.T, or Ascension.
[edit]Input devices
This is a current open research question. Some systems, such as the Tinmith system, employ pinch glove techniques. Another common technique is a wand with a button on it. In case of a smartphone, the phone itself could be used as 3D pointing device, with 3D position of the phone restored from the camera images.
[edit]Computer
Camera based systems require powerful CPU and considerable amount of RAM for processing camera images. Wearable computing systems employ a laptop in a backpack configuration. For stationary systems a traditional workstation with a powerful graphics card. Sound processing hardware could be included in augmented reality systems.
[edit]Software
For consistent merging real-world images from camera and virtual 3D images, virtual images should be attached to real-world locations in visually realistic way. That means a real world coordinate system, independent from the camera, should be restored from camera images. That process is called Image registration and is part of Azuma's definition of Augmented Reality.
Augmented reality image registration uses different methods of computer vision, mostly related to video tracking. Many computer vision methods of augmented reality are inherited form similar visual odometry methods.
Usually those methods consist of two parts. First interest points, or fiduciary markers, or optical flow detected in the camera images. First stage can use Feature detection methods like Corner detection, Blob detection, Edge detection or thresholding and/or other image processing methods.
In the second stage, a real world coordinate system is restored from the data obtained in the first stage. Some methods assume objects with known 3D geometry(or fiduciary markers) present in the scene and make use of those data. In some of those cases all of the scene 3D structure should be precalculated beforehand. If not all of the scene is known beforehand SLAM technique could be used for mapping fiduciary markers/3D models relative positions. If no assumption about 3D geometry of the scene made structure from motion methods are used. Methods used in the second stage include projective(epipolar) geometry, bundle adjustment, rotation representation with exponential map, kalman and particle filters.
[edit]Applications
This section is in a list format that may be better presented using prose. You can help by converting this section to prose, if appropriate. Editing help is available. (February 2008)
[edit]Current applications
Advertising: Marketers started to use AR to promote products via interactive AR applications. For example, at the 2008 LA Auto Show, Nissan unveiled the concept vehicle Cube and presented visitors with a brochure which, when held against a webcam, showed several versions of the vehicle[11]. In August 2009, Best Buy ran a circular with an augmented reality code that allowed users with a webcam to interact with the product in 3D.[12] In 2010 Walt Disney used mobile augmented reality to connect a movie experience to outdoor advertising.
Support with complex tasks: Complex tasks such as assembly, maintenance, and surgery can be simplified by inserting additional information into the field of view. For example, labels can be displayed on parts of a system to clarify operating instructions for a mechanic who is performing maintenance on the system. [13] AR can include images of hidden objects, which can be particularly effective for medical diagnostics or surgery. Examples include a virtual X-ray view based on prior tomography or on real time images from ultrasound and microconfocal probes[14] or open NMR devices. A doctor could observe the fetus inside the mother's womb [15].See also Mixed reality.
Navigation devices: AR can augment the effectiveness of navigation devices for a variety of applications. For example, building navigation can be enhanced for the purpose of maintaining industrial plants. Outdoor navigation can be augmented for military operations or disaster management. Head-up displays or personal display glasses in automobiles can be used to provide navigation hints and traffic information. These types of displays can be useful for airplane pilots, too. Head-up displays are currently used in fighter jets as one of the first AR applications. These include full interactivity, including eye pointing.
Industrial Applications: AR can be used to compare the data of digital mock-ups with physical mock-ups for efficiently finding discrepancys between the two sources. It can further be employed to safeguard digital data in combination with existing real prototypes, and thus save or minimize the building of real prototypes and improve the quality of the final product.
Military and emergency services: AR can be applied to military and emergency services as wearable systems to provide information such as instructions, maps, enemy locations, and fire cells.
Prospecting: In the fields of hydrology, ecology, and geology, AR can be used to display an interactive analysis of terrain characteristics. Users could use, and collaboratively modify and analyze, interactive three-dimensional maps.[citation needed]
Art: AR can be incorporated into artistic applications that allow artists to create art in real time over reality such as painting, drawing, modeling, etc. One such example of this phenomenon is called Eyewriter that was developed in 2009 by Zachary Lieberman and a group formed by members of Free Art and Technology (FAT), OpenFrameworks and the Graffiti Research Lab to help a graffiti artist, who became paralyzed, draw again.[16]
Architecture: AR can be employed to simulate planned construction projects.[17]
Sightseeing: Models may be created to include labels or text related to the objects/places visited. With AR, users can rebuild ruins, buildings, or even landscapes as they previously existed.[18]
Collaboration: AR can help facilitate collaboration among distributed team members via conferences with real and virtual participants. The Hand of God is a good example of a collaboration system [19] Also see Mixed reality.
Entertainment and education: AR can be used in the fields of entertainment and education to create virtual objects in museums and exhibitions, theme park attractions (such as Cadbury World), games (such as ARQuake) and books[20]. Also see Mixed reality.
Music: Pop group Duran Duran included interactive AR projections into their stage show during their 2000 Pop Trash concert tour.[21] Sydney band Lost Valentinos launched the world's first interactive AR music video on 16 October 2009, where users could print out 5 markers representing a pre-recorded performance from each band member which they could interact with live and in real-time via their computer webcam and record as their own unique music video clips to share via YouTube.[22][23]
[edit]Future applications
It is important to note that augmented reality is a costly development in technology. Because of this, the future of AR is dependent on whether or not those costs can be reduced in some way. If AR technology becomes affordable, it could be very widespread but for now major industries are the sole buyers that have the opportunity to utilize this resource.
Expanding a PC screen into the real environment: program windows and icons appear as virtual devices in real space and are eye or gesture operated, by gazing or pointing. A single personal display (glasses) could concurrently simulate a hundred conventional PC screens or application windows all around a user
Virtual devices of all kinds, e.g. replacement of traditional screens, control panels, and entirely new applications impossible in "real" hardware, like 3D objects interactively changing their shape and appearance based on the current task or need.
Enhanced media applications, like pseudo holographic virtual screens, virtual surround cinema, virtual 'holodecks' (allowing computer-generated imagery to interact with live entertainers and audience)
Virtual conferences in "holodeck" style
Replacement of cellphone and car navigator screens: eye-dialing, insertion of information directly into the environment, e.g. guiding lines directly on the road, as well as enhancements like "X-ray"-views
Virtual plants, wallpapers, panoramic views, artwork, decorations, illumination etc., enhancing everyday life. For example, a virtual window could be displayed on a regular wall showing a live feed of a camera placed on the exterior of the building, thus allowing the user to effectually toggle a wall's transparency
With AR systems getting into mass market, we may see virtual window dressings, posters, traffic signs, Christmas decorations, advertisement towers and more. These may be fully interactive even at a distance, by eye pointing for example.
Virtual gadgetry becomes possible. Any physical device currently produced to assist in data-oriented tasks (such as the clock, radio, PC, arrival/departure board at an airport, stock ticker, PDA, PMP, informational posters/fliers/billboards, in-car navigation systems, etc.) could be replaced by virtual devices that cost nothing to produce aside from the cost of writing the software. Examples might be a virtual wall clock, a to-do list for the day docked by your bed for you to look at first thing in the morning, etc.
Subscribable group-specific AR feeds. For example, a manager on a construction site could create and dock instructions including diagrams in specific locations on the site. The workers could refer to this feed of AR items as they work. Another example could be patrons at a public event subscribing to a feed of direction and information oriented AR items.
AR systems can help the visually impaired navigate in a much better manner (combined with a text-to-speech software).
Computer games which make use of position and environment information to place virtual objects, opponents, and weapons overlaid in the player's visual field.
[edit]Notable researchers
This section needs additional citations for verification.
Please help improve this article by adding reliable references. Unsourced material may be challenged and removed. (September 2009)
Steven Feiner, Professor at Columbia University, is a leading pioneer of augmented reality, and author of the first paper on an AR system prototype, KARMA (the Knowledge-based Augmented Reality Maintenance Assistant), along with Blair MacIntyre and Doree Seligmann.[24]
L.B. Rosenberg developed one of the first known AR systems, called Virtual Fixtures, while working at the U.S. Air Force Armstrong Labs in 1991, and published first study of how an AR system can enhance human performance.[6][7]
Mark Billinghurst and Daniel Wagner jump started the field of AR on mobile phones. They developed the first marker tracking systems for mobile phones and PDAs.[25]
Bruce H. Thomas and Wayne Piekarski develop the Tinmith system in 1998. They along with Steve Feiner with his MARS system pioneer outdoor augmented reality.
[edit]Conferences
1st International Workshop on Augmented Reality, IWAR'98, San Francisco, Nov. 1998.
2nd International Workshop on Augmented Reality (IWAR'99), San Francisco, Oct. 1999.
1st International Symposium on Mixed Reality (ISMR'99), Yokohama, Japan, March 1999.
2nd International Symposium on Mixed Reality (ISMR'01), Yokohama, Japan, March 2001.
1st International Symposium on Augmented Reality (ISAR 2000), Munich, Oct. 2000.
2nd International Symposium on Augmented Reality (ISAR 2001), New York, Oct. 2001.
1st International Symposium on Mixed and Augmented Reality (ISMAR 2002), Darmstadt, Oct. 2002.
2nd International Symposium on Mixed and Augmented Reality (ISMAR 2003), Tokyo, Oct. 2003.
3rd International Symposium on Mixed and Augmented Reality (ISMAR 2004), Arlington, VA, Nov. 2004.
4th International Symposium on Mixed and Augmented Reality (ISMAR 2005), Vienna, Oct. 2005.
5th International Symposium on Mixed and Augmented Reality (ISMAR 2006) Santa Barbara, Oct. 2006.
6th International Symposium on Mixed and Augmented Reality (ISMAR 2007) Nara, Japan, Nov. 2007.
7th International Symposium on Mixed and Augmented Reality (ISMAR 2008) Cambridge, United Kingdom, Sep. 2008.
8th International Symposium on Mixed and Augmented Reality (ISMAR 2009) Orlando, Oct. 2009.
Augmented Reality Developer Camp (AR DevCamp) in Mountain View, Dec. 2009.
[edit]Software
[edit]Free software
ARToolKit is a Cross-platform Library for the creation of augmented reality applications, developed by Hirokazu Kato in 1999 [26] and was released by the University of Washington HIT Lab. Currently it is maintained as an opensource project hosted on SourceForge [27] with commercial licenses available from ARToolWorks[28].
ATOMIC Authoring Tool is a Cross-platform Authoring Tool software, for Augmented Reality Applications, which is a Front end for the ARToolKit library. Was developed for non-programmers, to create small and simple, Augmented Reality applications, released under the GNU GPL License.
ATOMIC Web Authoring Tool Is a children project from: ATOMIC Authoring Tool that enables the creation of Augmented Reality applications and export it, to any website. Developed as A front end (Graphic Interface) for the Flartoolkit library. And it's licensed under the GNU GPL License.
OSGART - a combination of ARToolKit and OpenSceneGraph
ARToolKitPlus - extended version of ARToolKit, only targeted to handheld users and developers of AR-oriented software. No longer developed.
Mixed Reality Toolkit (MRT) - University College London
FLARToolKit - an ActionScript 3 port of ARToolKit for Flash 9+.
SLARToolkit - a Silverlight port of NyARToolkit.
NyARToolkit - an ARToolkit class library released for virtual machines, particularly those which host Java, C# and Android.
ARDesktop - ARToolKit class library that creates a three-dimensional desktop interface with controls and widgets.
AndAR - A native port of ARToolkit to the Android platform.
mixare - Open-Source (GPLv3) Augmented Reality Engine for Android. It works as a completely autonomous application and is available as well for the development of own implementations.
OpenMAR - Open Mobile Augmented Reality component framework for the Symbian platform, released under EPL
[edit]Commercial software
D'Fusion - Augmented Reality platform and SDK for PC, Mac, Web, Flash, Android and iOS, developed by Total Immersion
[edit]Non-commercial use
PTAM
ARTag
[edit]Books
Woodrow Barfield, and Thomas Caudell, eds. Fundamentals of Wearable Computers and Augmented Reality. Mahwah, NJ: Lawrence Erlbaum, 2001. ISBN 0-8058-2901-6.
Oliver Bimber and Ramesh Raskar. Spatial Augmented Reality: Merging Real and Virtual Worlds. A K Peters, 2005. ISBN 1-56881-230-2.
Michael Haller, Mark Billinghurst and Bruce H. Thomas. Emerging Technologies of Augmented Reality: Interfaces and Design. Idea Group Publishing, 2006. ISBN 1-59904-066-2 , publisher listing
Rolf R. Hainich. "The end of Hardware : A Novel Approach to Augmented Reality" 2nd ed.: Booksurge, 2006. ISBN 1-4196-5218-4. 3rd ed. ("Augmented Reality and Beyond"): Booksurge, 2009, ISBN 1-4392-3602-X.
Stephen Cawood and Mark Fiala. Augmented Reality: A Practical Guide, 2008, ISBN 1-934356-03-4
[edit]In popular culture
[edit]Television & film
The television series Dennō Coil depicts a near-future where children use AR glasses to enhance their environment with games and virtual pets.
The television series Firefly depicts numerous AR applications, including a real-time medical scanner which allows a doctor to use his hands to manipulate a detailed and labeled projection of a patient's brain.
In the 1993 ABC miniseries Wild Palms, a Scientology-like organization used holographic projectors to overlay virtual reality images over physical reality.
In the movie Iron Man, Tony Stark (Robert Downey Jr.) uses an augmented reality system to design his super-powered suit.
In the video game Heavy Rain, Norman Jayden, an FBI profiler, possesses a set of experimental augmented reality glasses called an "Added Reality Interface", or ARI. It allows him to rapidly investigate crime scenes and analyze evidence.
In the Philippines, during their first automated elections (2010), ABS-CBN News and Current Affairs used augmented reality during the counting of votes for all National and Local Candidates and in delivering news reports.
In Minority Report Tom Cruise stands in front of a supercomputer using AR technology.
[edit]Literature
The books Halting State by Charles Stross and Rainbows End by Vernor Vinge include augmented reality primarily in the form of virtual overlays over the real world. Halting State mentions Copspace, which is used by cops, and the use by gamers to overlay their characters onto themselves during a gaming convention. Rainbows End mentions outdoor overlays based on popular fictional universes from H. P. Lovecraft and Terry Pratchett among others.
The term "Geohacking" has been coined by William Gibson in his book Spook Country, where artists use a combination of GPS and 3D graphics technology to embed rendered meshes in real world landscapes.
In The Risen Empire, by Scott Westerfeld, most - if not all - people have their own "synesthesia". An AR menu unique to the user that is projected in front of them, but they can only see their own synesthesia menus. It is controlled by hand gestures, blink patterns, where the user is looking, clicks of the tongue, etc.
In the Greg Egan novel Distress, the 'Witness' software used to record sights and sounds experienced by the user can be set-up to scan what the user is seeing and highlight people the user is looking out for.
In the Revelation Space series of novels, Alastair Reynolds characters frequently employ "Entoptics" which are essentially a highly developed form of augmented reality, going so far as to entirely substitute natural perception.
[edit]Games
The table top role-playing game, Shadowrun, introduced AR into its game world. Most of the characters in the game use viewing devices to interact with the AR world most of the time.
Cybergeneration, a table top role-playing game by R. Talsorian, includes "virtuality", an augmented reality created through v-trodes, cheap, widely available devices people wear at their temples.
[edit]See also
Alternate reality game
ARQuake
Augmented browsing
Augmented virtuality
Augmented Reality-based testing
Bionic contact lens
Camera resectioning
Computer-mediated reality
Cyborg
Head-mounted display
Mixed reality
Mediated reality
Simulated reality
Virtual retinal display
Virtuality Continuum
Virtual reality
Wearable computer
[edit]References
^ The interactive system is no longer a precise location, but the whole environment; interaction is no longer simply a face-to-screen exchange, but dissolves itself in the surrounding space and objects. Using an information system is no longer exclusively a conscious and intentional act. Brian X. Chen (2009-08-25). "If You’re Not Seeing Data, You’re Not Seeing". Wired Magazine. Retrieved 2009-08-26.
^ a b R. Azuma, A Survey of Augmented Reality Presence: Teleoperators and Virtual Environments, pp. 355–385, August 1997.
^ P. Milgram and A. F. Kishino, Taxonomy of Mixed Reality Visual Displays IEICE Transactions on Information and Systems, E77-D(12), pp. 1321-1329, 1994.
^ Mediated Reality with implementations for everyday life, 2002 August 6th, Presence Connect, the on line companion to the MIT Press journal PRESENCE: Teleoperators and Virtual Environments, MIT Press
^ http://www.google.com/patents?q=3050870
^ a b L. B. Rosenberg. The Use of Virtual Fixtures As Perceptual Overlays to Enhance Operator Performance in Remote Environments. Technical Report AL-TR-0089, USAF Armstrong Laboratory, Wright-Patterson AFB OH, 1992.
^ a b L. B. Rosenberg, "The Use of Virtual Fixtures to Enhance Operator Performance in Telepresence Environments" SPIE Telemanipulator Technology, 1993.
^ Ramesh Raskar, Spatially Augmented Reality, First International Workshop on Augmented Reality, Sept 1998
^ David Drascic of the University of Toronto is a developer of ARGOS: A Display System for Augmenting Reality. David also has a number of AR related papers on line, accessible from his home page.
^ Augmented reality brings maps to life July 19, 2005
^ company website
^ Best Buy goes 3D, even augmented reality isn't safe from advertising
^ Steve Henderson, Steven Feiner. "ARMAR:Augmented Reality for Maintenance and Repair (ARMAR)". Retrieved 2010-01-06.
^ Peter Mountney, Stamatia Giannarou, Daniel Elson and Guang-Zhong Yang. "Optical Biopsy Mapping for Minimally Invasive Cancer Screening. In proc MICCAI(1), 2009, pp. 483-490". Retrieved 2010-07-07.
^ "UNC Ultrasound/Medical Augmented Reality Research". Retrieved 2010-01-06.
^ Zachary Lieberman. "THE EYEWRITER". Retrieved 2010-04-27.
^ Anish Tripathi. "AUGMENTED REALITY : AN APPLICATION FOR ARCHITECTURE". Retrieved 2010-01-06.
^ Patrick Dähne, John N. Karigiannis. "Archeoguide: System Architecture of a Mobile Outdoor Augmented Reality System". Retrieved 2010-01-06.
^ Aaron Stafford, Wayne Piekarski, and Bruce H. Thomas. "Hand of God". Retrieved 2009-12-18.
^ Jose Fermoso. "Make Books ‘Pop’ With New Augmented Reality Tech". Retrieved 2010-10-01.
^ Pair, J., Wilson, J., Chastine, J., Gandy, M. "The Duran Duran Project: The Augmented Reality Toolkit in Live Performance". The First IEEE International Augmented Reality Toolkit Workshop, 2002. (photos and video)
^ Gizmodo: Sydney Band Uses Augmented Reality For Video Clip
^ cnet: Augmented reality in Aussie film clip
^ "Knowledge-based augmented reality". ACM. July, 1993.
^ Wagner, Daniel (September 29, 2009). "First Steps Towards Handheld Augmented Reality". ACM. Retrieved 2009-09-29.
^ Kato, H., Billinghurst, M. "Marker tracking and hmd calibration for a video-based augmented reality conferencing system.",In Proceedings of the 2nd IEEE and ACM International Workshop on Augmented Reality (IWAR 99), October 1999.
^ ARToolKit SourceForge page
^ ARToolWorks company website
Media related to Augmented reality at Wikimedia Commons
[hide]
v • d • e
Virtual and Mixed reality
Concepts
Virtual · Augmented reality · Augmented virtuality · Real life (meatspace) · Projection augmented model · Virtuality Continuum · Artificial reality · Simulated reality · Ubiquitous computing · Virtual world (Persistent world) · Multimodal interaction · telepresence
Technology
Compositing · Camera resectioning · Head-mounted display · Head-up display · Image-based modeling and rendering · Real-time computer graphics · Virtual retinal display · Wearable computer · Stereoscopy (Computer stereo vision) · Chroma key · Visual hull · Omnidirectional treadmill
Tracking
Motion capture · Tracking system · Types: optical, inertial, magnetic · Devices: Wired glove, Sixense TrueMotion, Gametrak
Applications
Alternate reality game · ARToolKit · Interactive art (Virtual Graffiti) · Cave Automatic Virtual Environment
See also
Simulated reality in fiction
Categories: Virtual reality | Mixed reality | User interface techniques | Applications of computer vision | Augmented reality
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Posted via email from Get it?
Saturday, October 02, 2010
Friday, October 01, 2010
"The King is dead. Long live the King."
From Wikipedia, the free encyclopedia
Jump to: navigation, searchThis article is about the traditional proclamation. For other uses, see The King is Dead.The King is dead. Long live the King (French: Le Roi est mort, vive le Roi!)[1] is a traditional proclamation made following the accession of a new monarch in various countries, such as the United Kingdom.
[edit] Etymology
The original phrase was translated from the French Le Roi est mort. Vive le Roi!, which was first declared upon the coronation of Charles VII following the death of his father Charles VI in 1422. In France, the declaration was traditionally made by the Duc d'Uzès, a senior Peer of France, as soon as the coffin containing the remains of the previous king descended into the vault of Saint Denis Basilica. The phrase arose from the law of le mort saisit le vif—that the transfer of sovereignty occurs instantaneously upon the moment of death of the previous monarch. "The King is dead" is the announcement of a monarch who has just died. "Long live the King!" refers to the heir who immediately succeeds to a throne upon the death of the preceding monarch.
At the time, French was the primary language of aristocrats in England, and the proclamation was quickly taken up as ideally representing the same tradition — which in England dates back to 1272, when Henry III died while his son, Edward I, was fighting in the Crusades. To avoid any chance of a civil war erupting over the order of succession, the Royal Council proclaimed "The throne shall never be empty; the country shall never be without a monarch." Thus, Edward was declared king immediately, and he ruled in absentia until news of his father's death reached him and he returned to England. Another example is among the French royalty. In France, King Louis XV was the predecessor of King Louis XVI. Immediately upon Louis XV's death at around 11:00 pm at night on May 10, 1774, heir-presumptive Louis-Auguste, Duke of Berry immediately became King Louis XVI of France. This quick transition of sovereignty was made within the phrase: "The King is dead. Long live the King!"
[edit] Usage
While "The King is dead. Long live the King" is commonly believed to be part of the official text of the Proclamation of Accession read out following the decision of the Accession Council as to the rightful heir to the throne, it is in fact only tradition that causes it to be recited immediately after the proclamation is read aloud in many villages and towns.[citation needed]
In Denmark a similar proclamation is made by the Prime Minister upon the death of a monarch. The Prime Minister's proclamation is made from the balcony of Christiansborg Palace (the Danish Parliament building). The proclamation is delivered, to every corner of the world.[2]
In some monarchies, such as the United Kingdom, an interregnum is usually avoided by using the idea of immediate transferral of power behind the phrase, i.e. the heir to the throne becomes a new monarch immediately on his predecessor's death. This famous phrase signifies the continuity of sovereignty, attached to a personal form of power named Auctoritas. This is not so in other monarchies where the new monarch's reign begins only with coronation or some other formal or traditional event. In the Polish-Lithuanian Commonwealth for instance, kings were elected, which often led to relatively long interregna. During that time it was the Polish primate who served as an interrex (ruler between kings). Ernst Kantorowicz's famous theory of the Kings's Two Bodies (1957) showed how auctoritas (Kantorowicz used the synonym term - here - of dignitas) was transferred from the defunct sovereign to the new one.
Given the memorable nature of the phrase (owing to epanalepsis), as well as its historic significance, the phrase crops up regularly as a headline for articles, editorials, or advertisements on themes of succession or replacement.
[edit] Notes
Retrieved from "http://en.wikipedia.org/wiki/The_King_is_dead._Long_live_the_King."
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