Two different characterizations of POV measures with commutative range are compared using a representation of some stochastic operators by (weak) Markov kernels. A representation by Choquet theorem is obtained as an integral over functions of a sharp observable appearing in one of the characterizations. A Naimark extension is constructed.

Previous studies have highlighted that temporal source memory can be influenced by factors such as the individual’s age and the emotional valence of the event to be remembered. In this study, we investigated how the different points of view (POVs) from which an event is presented could interact with the relationship between age-related differences and emotional valence on temporal source memory. One hundred and forty-one younger adults (aged 18–30) and 90 older adults (aged 65–74) were presented with a series of (...) emotional videos shot from different POVs (first vs. third-person) in three sessions. In the fourth session, participants were asked to indicate in which session (1, 2, or 3) they viewed each video. The results indicated that the first-person POV amplified the effects of the emotional valence on temporal source memory. Only in this experimental condition, older adults “pushed away” negative stimuli by perceiving them as more distant in time, and “kept closer” positive stimuli by perceiving them as more recent. In comparison, younger adults “kept closer” positive stimuli. These findings add to the existing literature on the positivity effect on temporal source memory and highlighted the importance of considering the POV in relation to the emotional valence. (shrink)

I discuss the interpretation of spontaneous collapse theories, with particular reference to Bell's suggestion that the stochastic jumps in the evolution of the wave function should be considered as local beables of the theory. I develop this analogy in some detail for the case of non-relativistic GRW-type theories, using a generalisation of Bell's notion of beables to POV measures. In the context of CSL-type theories, this strategy appears to fail, and I discuss instead Ghirardi and co-workers' mass-density interpretation and its (...) relation to Schrödinger's original charge-density interpretation. This discussion is extended to relativistic CSL-type theories. A few remarks on Everett's interpretation conclude the paper. (shrink)

The aim in this chapter is to explore the similarities and differences between the city symphony film genre of the 1920s and 1930s and the contemporary virtual city walking tours that are popular on YouTube these days, eventually discussing the change in representation of the individual in daily life over a century. The city symphony was born with modernism in the early 20th century initially to present an interpretation of the city with daily activities, human beings, their interaction with industrial (...) technology and the urban environment. A significant and pioneering film of the genre is by Walter Ruttmann titled Berlin: Symphony of a Metropolis (1927) which I will try to analyze its filmic elements in order to draft a summary of the style and vision of the director and his contemporaries. On the other hand, the virtual city walking tours on YouTube represent a very different representation of urban exploration. These videos show various cities through the act of simple walking recorded in a long one-take POV shot with a gimbal-camera. Despite minor differences in terms of commentary and music use, these videos are quite similar to each other when compared to city symphony films in general. The methodological approach for analyzing and interpreting these films and videos is guided by the neoformalist approach proposed by Bordwell and Thompson in the 1980s, along with Noël Carroll’s view on critical evaluation. Since this post-theoretical approach is non-formulaic in terms of its methodology, it fits the two examples I will provide that are stylistically very distant. After establishing the form and style of the works, I will try to follow Carroll’s suggestions in order to critically interpret, analyze and evaluate the works. The comparison between the city symphony film and virtual city walking tour reveals a complex interplay between continuity and change in regards to the individual. While both share a rather common goal of capturing the essence of urban life their differences are to be found in their stylistic choices and their interpretations of the goal itself. The city films of the 1920s and 30s were avant-garde expressions that combined artistic innovation with socio-political commentary. They were often experimental, using montage sequences, juxtaposition and abstract imagery to convey the ever changing industrialized modern city life. Ruttmann’s Berlin is emblematic of this approach, offering a poetic and critical reflection on urban existence. In contrast, the virtual city walking tours on YouTube are more accessible and immediate. They provide a first-person perspective that allows viewers to virtually traverse different cities, experiencing sights and sounds without the mediation of artistic abstraction. The similarity in these videos suggests a standardized format that prioritizes immersion over critique. This article offers a valuable contribution to the understanding of urban representation of the individual in film and digital media. By comparing the city symphony film with virtual city walking tours, I try to illuminate the evolving relationship between art, technology and urban life. I argue that not only is there a completely different representation of the individual within the frame, but there is also ethical considerations to be put forth regarding the one that makes the frame, or the camera. In the end I argue that the human-ness of a work of art or any type of video is more important than immersiveness. (shrink)

– Foundation: Probabilistic Confirmation (c) from a Logical POV ∗ cph, eq as a “relevant” quantitative generalization of pe  hq ∗ cph, eq, so understood, is not Prpe  hq or Prph | eq, etc. ∗ cph, eq is something akin (ordinally) to the likelihood ratio..

In this article the author makes the case for a hybrid sourcehood–leeway compatibilist account of free will. To do so, she draws upon Lehrer’s writing on free will, including his preference-based compatibilist account and Frankfurt-style cases from the perspective of the cognizant agent. The author explores what distinguishes kinds of intentional influence in manipulation cases and applies this distinction to a new perspectival variant of Frankfurt cases, those from the perspective of the counterfactual intervenor. She argues that it matters what (...) kind of intentional influence is at issue in the counterfactual intervention and, further, that our judgments about desert of praise are affected by occupying the POV of the counterfactual intervenor. The author concludes that such attention to perspectival variants of Frankfurt cases supports the view that compatibilist sourcehood accounts of moral responsibility require an additional compatibilist could-have-done-otherwise condition to capture a more robust sense of moral responsibility. (shrink)

Working in stochastic spin space and using POV measures as in the Davies and Lewis measurement scheme, we construct a formalism to describe the simultaneous measurement of incompatible spin components. The methods are illustrated with a new analysis of the Stern-Gerlach experiment, and with a discussion of spin dynamics in stochastic spin space. We also present a new short proof of a theorem on representations of spin-1/2 systems, find a joint spectral family for (noncommuting) spin components, and indicate the connection (...) of our result with the Riesz extension theorem. (shrink)

This dissertation interprets Leibniz’ notion of perception through abilities, agency, and action. In chapter 1, I characterize the differences between kinds of Leibnizian perception by considering their relationship to different abilities. I focus on lower cognition, where Leibniz distinguishes bare perception from sensation by their degrees of distinctness and memory. I read this relationship, between kinds of perception and qualities of perception, through actions. I begin with complete lacks of distinctness and memory and how they relate to stupors as an (...) inability to act. I then turn to a range of incrementally more advanced cases of perceptions and actions to highlight the role of distinctness and memory in each. The cases reveal how differences in kinds of action depend on differences in kinds of perception in Leibniz’ system. My approach breaks with traditional readings that invoke consciousness to account for the differences, and it builds in some ways on readings that lead with representation. I also comment on the prospects of such an abilities based approach for 21st century theories of perception. In chapter 2, I articulate the point of view or perspectival nature of Leibnizian perception through expression and agency. I establish some conditions that Leibniz sets on perspectival expression for individual perceivers, and on the particular way that perceptions belong to their perceivers in Leibniz’ system. I argue that spatial, geometrical notions of perspective, though useful, ultimately give way to a deeper, agential notion of perspective for Leibniz. I make a case for including an agential side of POV in perception, beyond the phenomenal flow of perception. I then articulate how agency is unique and fundamental to Leibniz’ notion of perspective or point of view, both in internal action and in the activity and passivity of external action. In chapter 3, I ask about the limits of perceivers in Leibniz’ system—where they arise and where they don’t. I set the question adjacent to Leibniz' celebrated mill argument. I consider readings of the argument that invoke action, and build on them to include questions about how action relates to interaction in different kinds of perceivers. One question concerns the lack of perception in primary matter, and another concerns the lack of perception in an aggregate of secondary matter. After milling through some considerations, I settle on a notion of organic unity, underpinned by a notion of action, that can draw lines between Leibnizian perceivers and non-perceivers. (shrink)

While nobody will ever know what it may be like to be God, there is a more basic question one may try to answer: does God have phenomenal consciousness, does He have experiences within a conscious point of view (POV)? Drawing on recent debates within philosophy of mind, I argue that He doesn’t: if God exists, ‘He’ is not phenomenally conscious, at least in the sense that there is no ‘divine subjectivity’. The article aims at displaying an incompatibility between God’s (...) being truly omnipresent on the one hand, and God’s having a genuine conscious POV on the other. This is shown by introducing the concept of ‘experiential location’ to clarify what shall be meant by ‘conscious POV’, then by exposing an inconsistency in the traditional concept of omnipresence, and finally by arguing that a consistent though weaker understanding of omnipresence is incompatible with God’s having a conscious POV. This paves the way for a ‘processual’ or computational conception of God, which may have its own metaphysical benefit. (shrink)

Cinematic virtual reality (CVR) offers filmmakers a wide range of possibilities to explore new techniques regarding movie scripting, shooting and editing. Despite the many experiments performed so far both with both live action and computer-generated movies, just a few studies focused on analyzing how the various techniques actually affect the viewers’ experience. Like in traditional cinema, a key step for CVR screenwriters and directors is to choose from which perspective the viewers will see the scene, the so-called point of view (...) (POV). The aim of this paper is to understand to what extent watching an immersive movie from a specific POV could impact the narrative engagement (NE), i.e., the viewers’ sensation of being immersed in the movie environment and being connected with its characters and story. Two POVs that are typically used in CVR, i.e., first-person perspective (1-PP) and external perspective (EP), are investigated through a user study in which both objective and subjective metrics were collected. The user study was carried out by leveraging two live action 360° short films with distinct scripts. The results suggest that the 1-PP experience could be more pleasant than the EP one in terms of overall NE and narrative presence, or even for all the NE dimensions if the potential of that POV is specifically exploited. (shrink)

ABSTRACT Science fiction is a literary genre that has spread around the world due, among other reasons, to its popularity; narratives contain exotic characters and fantastic intrigue. It is considered by the circle of scholars and critics, however, a “minor” literature; for discourse linguists, its aesthetic attributes remain in the background. The theory of points of view (POV), for example, can contribute to a better assessment of the genre. This article aims to study this literary genre via enunciation. First, we (...) talk about studies in narratology to delimit the place of science fiction (or sf) in the universe of narratives. Secondly, we talk about concepts and notations from POV theory within narratological studies to trigger a dialogical analysis of literary discourse. Thirdly, we analyze a fragment from Dune, by Frank Herbert, in its version into Brazilian Portuguese (2017). Finally, we propose that “superpowers” held by characters in this genre can be explained linguistically. (shrink)

Children are affected by poverty more often than adults, and growing up in poverty has severe and long-lasting negative consequences for a child’s well-being. How-ever, children are also in a very weak position, both to escape poverty on their own and to publicly and politically enforce their claims to a better life. Accordingly, children living in poverty are victims of two intersecting forms of powerlessness: they are children and they are poor. In this article, we analyze this particular type of (...) powerlessness from a children’s rights perspective and argue that, in order to effectively restore justice to children in pov-erty, the State has to implement a comprehensive children’s rights regime. We argue that the State is obliged to consider children’s best interests in all its policies – even those that are not directly related to children – in order to compensate for the lack of political agency during childhood. This demand reflects the particular social and political status of children, namely: that they are dependent on others for their well-being, that childhood is a phase of particular vulnerability and that (young) children lack certain competencies that are needed to enforce their claims. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 124-137 [Access article in PDF] Difference, Visual Narration, and "Point of View" in My Name is Red Feride Çiçekoglu This paper focuses on the difference between Eastern and Western ways of visual narration, taking as its frame of reference the novel My Name is Red, by Turkish author Orhan Pamuk, winner of the 2003 International IMPAC Dublin Literary Award, announced on May (...) 19, 2003 at Dublin Castle. 1This book is particularly important in terms of visual narration because it highlights the critical concept of "point of view" (POV). In his now internationally renowned novel, Pamuk's anachronistically created characters confront each other on ways of seeing and visual narration in the context of sixteenth-century Istanbul, when it was the capital of the Ottoman Empire. The visual narratives of miniature painting are elaborated in comparison with the contemporary Renaissance art, unfolding the differences in the depiction of faces, in particular. Style in visual narration is treated in the novel as a reflection of seeing and imaging the faces in their uniqueness and iscontrasted with the tradition of Islamic book illumination where all faces appear to be the same. Western concerns with individuality and the uniqueness of the POV as revealed in one-point-perspective, suggests it is an indispensable aspect of style. In that sense, My Name is Red highlights portraiture in the visual arts as a reflection of character in visual narration; reflecting both the subject and the artist whose individuality is represented in the style of painting. Pamuk's novel, constructed as a symphony of many different voices, is well-suited in its form to its subject matter since it elaborates the concept of POV in fictional narrative structure. Through his characters, Pamuk's readers enter a world where Renaissance perspectivism — a dominance of vision — confronts the ultimate vision of blindness, presented in the novel as the self-imposed fate of the miniaturists at the peak of their careers. The worry about point of view is thus contrasted with its opposite — the absence of vision as supreme achievement within the Islamic-Turkic tradition. [End Page 124]This essay discusses issues of portraiture and character, movement and time, and story and space with reference to the narrative structure in fiction film. It aims to contribute to the discussion on POV in visual narration, dealing with the narrative structure of film as a continuation and interaction of different traditions in East and West. "Point of View" Revisited As a key concept in the narrative structure of both film and literary fiction, POV has been controversial. As a technical term in film practice, however, it is defined rather clearly: POV is a camera concept which describes what is seen by the camera. Where one puts the camera and what the camera sees defines the frame and the image. When one wants to tell a story with a sequence of images, one has to consider how one will use the camera, both for the whole sequence and for each image. From whose point of view, or from which different points of view will the story be told? Will it originate with a omniscient point of view or with the point of view of one of the characters, diving into the story from the inside? Will the camera be placed at the top of the room, on a crane, or under the table from where a child can see only the legs of the grown-ups? One has to make a series of technical and artisticdecisions relevant to the policy of points of view from which to narrate. This is similar to a comic strip, except that in visual narration with a camera, the frames follow one another in time rather than in space, creating the illusion that the images are moving when projected.We take this premise so much for granted in an age flooded withimages — seeing almost as a camera ourselves — that we tend to overlook the fact that once there were other ways of seeing and narrating. Narratives... (shrink)

This book review describes and analyzes the basic ideas in Edward Branigan's book POINT OF VIEW IN THE CINEMA. -/- The review points out the importance of the topic, as well as the various kinds of POV shots used in film "language." -/- Although a few (relatively minor) challenges are raised, for the most part this review proclaims Branigan's encyclopedic treatment of POV to be EXTREMELY valuable to cinema scholars and students alike. So much so that I recommend further research (...) on the subject matter. (shrink)

There has been a lot of interest in generalizing orthodox quantum mechanics to include POV measures as observables, namely as unsharp obserrables. Such POV measures are related to symmetric operators. We have argued recently that only maximal symmetric operators should describe observables.1 This generalization to maximal symmetric operators has many physical applications. One application is in the area of quantization. We shall discuss a scheme, to he called quantization by parts,which can systematically deal with what may be called quantum circuits. (...) As a specific application we shall present a novel derivation of the famous Josephson equation for the supercurrent through a Josephson junction in a superconducting circuit. An interesting effect emerges from our quantization scheme when applied to a superconducting Y-shape circuit configuration. We also propose an experimental test for this effect which is expected to shed light on some conceptual problems on the quantum nature of the condensate. (shrink)

Remote sensing image simulation is a very effective method to verify the feasibility of sensor devices for ground observation. The key to remote sensing image application is that simultaneous interpreting of remote sensing images can make use of the different characteristics of different data, eliminate the redundancy and contradiction between different sensors, and improve the timeliness and reliability of remote sensing information extraction. The hotspots and difficulties in this direction are based on remote sensing image simulation of 3D scenes on (...) the ground. Therefore, constructing the 3D scene model on the ground rapidly and accurately is the focus of current research. Because different scenes have different radiation characteristics, therefore, when using MATLAB to write a program generated by 3D scenes, 3D scenes must be saved as different text files according to different scene types, and then extension program of the scene is written to solve the defect that the calculation efficiency is not ideal due to the huge amount of data. This paper uses POV ray photon reverse tracking software to simulate the imaging process of remote sensing sensors, coordinate transformation is used to convert a triangle text file to POV ray readable information and input the RGB value of the base color based on the colorimetry principle, and the final 3D scene is visualized. This paper analyzes the thermal radiation characteristics of the scene and proves the rationality of the scene simulation. The experimental results show that introducing the chroma in the visualization of the scene model makes the whole scene have not only fidelity, but also radiation characteristics in shape and color. This is indispensable in existing 3D modeling and visualization studies. Compared with the complex radiation transmission method, using the multiple angle two-dimensional image generated by POV rays to analyze the radiation characteristics of the scene, the result is intuitive and easy to understand. (shrink)

According to Vázquez and Liz (Found Sci 16(4): 383–391, 2011), Points of View (PoV) can be considered in two different ways. On the one hand, they can be explained following the model of propositional attitudes. This model assumes that the internal structure of a PoV is constituted by a subject, a set of contents, and a set of relations between the subject and those contents. On the other hand, we can analyze points of view taking as a model the notions (...) of location and access. If we choose to follow the second approach, instead of the first one, the internal structure of a PoV is not directly addressed, and the emphasized features of PoV are related to the function that PoV are intended to have. That is, PoV are directly identified by their role and they can solely be understood as ways of accessing the world that bring some kind of perspective about it. Having this in mind, we would like to propose a notation that explains how to understand such access as a sort of models (that can allow the creation of concepts), independently of whether the precise PoV under consideration is impersonal or non-impersonal, its kind of content, and its subjective or objective character. First, we will present an account of some previous approaches to the study of points of view. Then, we will analyze what kind of structure the world is assumed to posses and how the access to it is possible. Third, we will develop a notation that explains PoV as qualitative dimensions by means of which it is possible to valuate objects and states of the world. (shrink)

This book offers a comprehensive and accessible characterisation of the first-person shooter videogame genre. After providing an overview of the history of the first-person shooter videogame genre, Alberto Oya comments on the various defining peculiarities of this genre, namely the first-person perspective, the shooting gaming mechanics, the heroic in-game narrative or background story, and multiplayer gaming. Oya also argues that educators can use first-person shooter videogames to encourage their students to reflect on historical and philosophical issues.