LEADER 05924nam 2200601 450 001 9910258751203321 005 20210828004529.0 010 $a3-11-047378-X 024 7 $a10.1515/9783110473780 035 $a(CKB)3710000000844766 035 $a(DE-B1597)463775 035 $a(OCoLC)979751242 035 $a(OCoLC)980193241 035 $a(DE-B1597)9783110473780 035 $a(Au-PeEL)EBL4810088 035 $a(CaPaEBR)ebr11349284 035 $a(OCoLC)974584804 035 $a(MiAaPQ)EBC4810088 035 $a(EXLCZ)993710000000844766 100 $a20190125d2016 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 04$aThe psychology of social networking $epersonal experience in online communities /$fGiuseppe Riva, Brenda K. Wiederhold, Pietro Cipresso (editors) ; managing editor, Aneta Przepiorka ; language editor, Matthew Coleshill 210 1$aWarsaw ;$aBerlin :$cDe Gruyter Open,$d2016. 215 $a1 online resource (213 pages) 300 $apa? omslaget: The psychology of social networking, Volume 1. 311 $a3-11-047377-1 327 $tFrontmatter --$tContents --$tList of Contributing Authors --$tIntroduction /$rRiva, Giuseppe / Wiederhold, Brenda K. / Cipresso, Pietro --$t1. Psychology Of Social Media: From Technology To Identity /$rRiva, Giuseppe / Wiederhold, Brenda K. / Cipresso, Pietro --$t2. Peer and Professional Online Support for Parents /$rNieuwboer, C.C. / Fukkink, R.G. --$t3. Online Counseling for Migrant Workers: Challenges and Opportunities /$rHechanova, Ma. Regina M. / Tuliao, Antover P. / Alianan, Arsenio S. / Teh, Lota --$t4. Using Facebook: Good for Friendship But Not So Good for Intimate Relationships /$rHammond, Ron / Chou, Hui-Tzu Grace --$t5. Communicatively Integrated Model of Online Community: A Conceptual Framework and Empirical Validation on a Case of a Health- Related Online Community /$rPetri?, Gregor --$t6. Effects of Network Connections on Deception and Halo Effects in Linkedin /$rGuillory, Jamie E. / Hancock, Jeffrey T. --$t7. The Dark Side of Social Networking Sites in Romantic Relationships /$rFox, Jesse --$t8. Making and Keeping the Connection: Improving Consumer Attitudes and Engagement in E-Mental Health Interventions /$rCasey, Leanne M. / Clough, Bonnie A. --$t9. Intersubjectivity in Video Interview /$rHaddouk, Lise --$t10. Ethical and Regulatory Considerations For Social Media Research /$rMoreno, Megan / Goniu, Natalie / Moreno, Peter / Diekema, Doug --$t11. Media Theories and the Facebook Influence Model /$rMoreno, Megan A / Koff, Rosalind --$t12. Social Networking and Romantic Relationships: A Review of Jealousy and Related Emotions /$rMuscanell, Nicole / Guadagno, Rosanna --$t13. What is Lurking? A Literature Review of Research on Lurking /$rEdelmann, Noella --$t14. Can Social Media Photos Influence College Students' Sexual Health Behaviors? /$rYoung, Sean D. / Jordan, Alexander H. --$t15. Social Networks as a Communication Tool from Children's Perspective: A Twitter Experience /$rGunuc, Selim / Misirli, Ozge / Odabasi, H. Ferhan --$t16. The Influence of Extraversion on Individuals' SNS Use /$rDeng, Shengli --$tList of Figures --$tList of Tables 330 $aUsing a novel approach to consider the available literature and research, this book focuses on the psychology of social media based on the assumption that the experience of being in a social media has an impact on both our identity and social relationships. In order to 'be online', an individual has to create an online presence - they have to share information about themselves online. This online self is presented in different ways, with diverse goals and aims in order to engage in different social media activities and to achieve desired outcomes. Whilst this may not be a real physical presence, that physicality is becoming increasingly replicated through photos, video, and ever-evolving ways of defining and describing the self online. Moreover, individuals are using both PC-based and mobile-based social media as well as increasingly making use of photo and video editing tools to carefully craft and manipulate their online self. This book therefore explores current debates in Cyberpsychology, drawing on the most up-to-date theories and research to explore four main aspects of the social media experience (communication, identity, presence and relationships). In doing so, it considers the interplay of different areas of psychological research with current technological and security insight into how individuals create, manipulate and maintain their online identity and relationships. The social media are therefore at the core of every chapter, with the common thread throughout being the very unique approach to considering diverse and varied online behaviours that may not have been thus far considered from this perspective. It covers a broad range of both positive and negative behaviours that have now become integrated into the daily lives of many westernised country's Internet users, giving it an appeal to both scholarly and industry readers alike. 606 $aOnline social networks$xPsychological aspects 610 $aBehavior. 610 $aMedia Modeling. 610 $aMedia psychology. 610 $aSNSs. 610 $aSocial Networking. 615 0$aOnline social networks$xPsychological aspects. 676 $a302.30285 700 $aRiva$b Giuseppe, $4aut$4http://id.loc.gov/vocabulary/relators/aut$080682 702 $aRiva$b Giuseppe 702 $aWiederhold$b B. K. 702 $aCipresso$b Pietro 702 $aPrzepio?rka$b Aneta 702 $aColeshill$b Matthew 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910258751203321 996 $aThe Psychology of Social Networking$92229170 997 $aUNINA LEADER 10603nam 2200481 450 001 9910794644703321 005 20220620150842.0 010 $a1-78491-306-5 035 $a(CKB)4100000012027210 035 $a(MiAaPQ)EBC6728783 035 $a(Au-PeEL)EBL6728783 035 $a(EXLCZ)994100000012027210 100 $a20220529d2016 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$a3D delineation $ea modernisation of drawing methodology for field archaeology /$fJustin J. L. Kimball 210 1$aOxford, England :$cArchaopress Publishing Limited,$d[2016] 210 4$d©2016 215 $a1 online resource (77 pages) 320 $aIncludes bibliographical references. 327 $aCover -- Copyright Information -- Contents -- Abstract -- Preface -- 1 - Introduction -- 2 - State of the Art -- FIGURE 1 - A drawing detailing the various line types as established by the Museum of London Archaeology for use in the single context method of archaeological drawing. (Redrawn by J.J.L. Kimball 2014, symbology established by Museum of London Archaeology -- FIGURE 2 - An example of early archaeological photography -- pictured is the apex of the excavation of the Oseberg Ship, Norway. (Photograph © Kulturhistorisk Museum, UiO 2014). -- FIGURE 3 - Another example of early archaeological photography -- pictured are the excavators and archaeologists, in the background the Oseberg Ship, Norway. (Photograph © Kulturhistorisk Museum, UiO 2014). -- 3 - Theory -- 4 - Methodology -- 4.1 - Review of Established Methodologies and Associated Technologies -- 4.2 - Introduction to Utilised Technologies -- 4.2.1 - Camera Systems -- 4.2.2 - Adobe Photoshop Lightroom 5.4 -- 4.2.3 - Agisoft's Photoscan 1.0.4 -- 4.2.4 - EDM Total Station -- 4.2.5 - ArcGIS 10.2.1 -- 4.3 - Limitations -- FIGURE 4 - A visual depiction of the pipeline of technologies used in this work's experiment. Included in the above list are the following: (A) the physical archaeological object -- (B) digital SLR camera -- (C) control points for geospatial recording -- (D) RA -- FIGURE 5 - (Screen-captures of a 3D model) Steps in MSR production with Photoscan -- (top) estimation of internal camera parameters and camera projections -- (left) dense-point cloud -- (right) mesh. (Image by J.J.L. Kimball 2014 -- 3D model by J.J.L. Kimball 201 -- FIGURE 6 - (Screen-capture of a 3D Model) The final stage of MSR-a photorealistic 3D model of the runestone DR 330 "Gårdstångastenen 2" located in Lund, Sweden. (Image by J.J.L. Kimball 2014 -- 3D model by J.J.L. Kimball 2014). 327 $a5 - Experiment: 3D Delineation -- 5.1 - General Background of Uppåkra -- 5.2 - Documentation Methodology at Uppåkra since 2011 -- 5.3 - State of the Art: 3D Modelling at Uppåkra -- 5.4 - Experiment Overview -- 5.5 - Experiment Methodology -- 5.6 - Results Concerning 3D Archaeological Drawings -- (Photograph © J.J.L. Kimball 2013). -- FIGURE 7 - A photograph looking southward over top of several of the 2013 excavation trenches. -- FIGURE 8 - A photograph from one of the acquisition campaigns around Trench 5 -- note the markers along the edges of the trench. (Photograph © J.J.L. Kimball 2013). -- FIGURE 9 - (Screen-capture) The 3D models located within their proper geospatial locations within ArcScene. (Image by J.J.L. Kimball 2014 -- 3D models and GIS implementation by N. Dell'Unto and the Department of Archaeology and Ancient History, Lund Univers -- (Image by J.J.L. Kimball 2014). -- FIGURE 10 - A short example of some of the database fields and values during the input stage. -- (Photograph © J.J.L. Kimball 2013). -- FIGURE 11 - A photograph displaying some of the complexities faced in Trench 5. -- FIGURE 12 - (Screen-capture of a 3D Model/3D drawing) this example show the general range of complexities to be drawn -- the green polyline denotes a small and relatively non-complex layer whereas the blue polyline denotes a large and complex layer. (Image -- FIGURE 13 - (Screen-capture of 3D models/3D drawing) Here the same model and drawings as are displayed in the above figure are shown in their geospatial relation to other 3D models within the GIS. (Image by J.J.L. Kimball 2014 -- 3D drawings by J.J.L. Kimba. 327 $aFIGURE 14 - (Composite screen-capture image of a 3D Model/3D drawing) An example showing the development of the drawing process overtop of the stone-packing layer. Notice the increase of orange polylines between the top and bottom images. (Image by J.J.L. -- (Images by J.J.L. Kimball 2014 -- 3D models/3D drawings by J.J.L. Kimball 2014). -- FIGURE 15 - (Composite screen-capture image of a 3D model showing/3D drawing) (i) stone-packing with no drawing -- (ii) stone-packing delineated by polylines -- and (iii) stone-packing visualised only as polygons. -- FIGURE 16 - This image shows a comparison between traditional methods and digital methods. The top image is a 3D representation of the stone-packing layer -- to the left is a hand-drawn plan -- and to the right is a 3D drawing in plan perspective. (Image by J -- (Image by J.J.L. Kimball 2014 -- 3D models/3D drawings by J.J.L. Kimball 2014). -- FIGURE 17 - (Screen-capture of 3D model/3D drawing) a composite image showing the relationship between a 3D model and its 3D drawing. Starting in the bottom left corner is an oval shape of the 3d model without any drawings -- the next oval shape outward is -- (Image by J.J.L. Kimball 2014 -- 3D model/3D drawings by J.J.L. Kimball 2014). -- FIGURE 18 - (Screen-capture of a 3D model/3D drawing -- section perspective) This image was captured during the drawing process. At first glance, one might believe that these nodes have been accurately placed upon the surface of the model, allowing for the -- FIGURE 19 - (Screen-capture of a 3D model/3D drawing -- Slightly oblique plan perspective) This image was captured after the drawing process had been completed. On closer inspection, some nodes have 'lifted' off of the surface, creating a very tedious task -- FIGURE 20 - (Screen-capture of a 3D drawing. 327 $asection perspective) This image was captured after the drawing process had been completed. A major drawback of drawing in 3D with polygons is that the polygon is projected as individually segregated pieces-note -- FIGURE 21 - (Screen-capture of a 3D model/3D drawing) the only examples where polygons were used successfully to distinguish between layers. The model itself has been made more transparent to help the reader see the complete extents of the section drawing -- FIGURE 22 - (Screen-capture of 3D Drawings). This image shows a variety of contexts and sections projected in the same environment and in relation to one another. (image and 3D drawing by J.J.L. Kimball 2014. Reference 3D model by N. Dell'Unto 2013). -- FIGURE 23 - (Screen-capture) Here are two examples of the current drawing methodology at Uppåkra. [left] a plan drawing of contexts acquired via total station -- [right] a digitised section drawing. By design these drawings must be viewed out of context fro -- FIGURE 24 - (Screen-capture of a 3D Model/3D Drawing) An example of chronological layering: a model of a younger phase of the excavation is reduced in transparency and superimposed over top of a drawing of rock-packing (an older phase). (Image and 3D draw -- FIGURE 25 - (Screen-capture of 3D models) Another example of chronological layering: this time the overlaying 3D model is significantly reduced in transparency so that the base model can be seen. To help delineate the location of the overlay model's featu -- FIGURE 26 - (Screen-capture of 3D model/3D Drawing) Here the 3D drawing has been slightly transparent and overlayed on top of the first 3D model of trench 5. (Image and 3D drawing by J.J.L. Kimball 2014 -- 3D model by N. Dell'Unto). 327 $aFIGURE 27 - (Screen-capture of 3D model/3D drawing) The top image shows completed 3D drawing for the second 3D model of Trench 5. The bottom image shows a transparent overlay of the 3D drawing overtop of 3D model. (Images by J.J.L. Kimball 2014 -- 3D models -- FIGURE 28 - (Screen-capture of 3D models) 3D drawings of the latest stage of excavations in Trench 5 displayed in their geospatial relation to other 3D models within the GIS. (Image and 3D drawing by J.J.L. Kimball 2014 -- Base 3D model for Trench 5 by J.J. -- 6 - Discussion -- 6.1 - Statement of Perceived Impact -- 6.1.1 - Guidelines and Symbologies for 3D Archaeological Drawing -- 6.2 - Cautions and Limitations -- 6.3 - Concerns Regarding the Photographic Process -- FIGURE 29 - (Screen-capture of a 3D drawing) One of the measure tool features in Arcscene: here the tool has been used to measure diagonally across the stone-packing layer which provides a result of 1.959 meters across. (Image by J.J.L. Kimball 2014 -- Refe -- FIGURE 30 - (Composite screen-capture of 3D models) Shown here is how ArcScene projects lines. the top image is a simple line that is easily projected -- bottom is a complex line which ArcScene cannot project. For both images, the corresponding line symbolo -- FIGURE 31 - A proposed standard symbology for 3D drawing: (A) limit of excavation -- (B) extent of context -- (C) edge of context truncated by latter intrusion -- and (D) extent uncertain. (Image by J.J.L. Kimball 2014). -- FIGURE 32 - (Screen-capture of 3D drawing) Despite placing the nodes in a logical sequence, the resulting polygon is not correctly projected. Instead of a single polygon, ArcScene breaks it into nine different pieces or 'parts'-each with its own specific. 327 $aFIGURE 33 - (Photograph) Buckets, strings, finds markers, range poles-all of these must be cleared from the site to ensure as clean a model as possible. (Photograph © J.J.L. Kimball 2013). 330 $aHow can 3D models be integrated more fully alongside other forms of archaeological documentation? This work presents a method that combines the interpretative power of traditional archaeological drawings and the realistic visualisation capacity of 3D digital models. 606 $aThree-dimensional imaging in archaeology 606 $aArchaeology$xComputer simulation 615 0$aThree-dimensional imaging in archaeology. 615 0$aArchaeology$xComputer simulation. 676 $a930.1028 700 $aKimball$b Justin J. L.$01492789 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910794644703321 996 $a3D delineation$93715474 997 $aUNINA LEADER 03318nam 22006253a 450 001 9910595096203321 005 20250417125628.0 024 8 $ahttps://doi.org/10.30819/5365 035 $a(PPN)284387568 035 $a(CKB)5680000000080805 035 $a(oapen)https://directory.doabooks.org/handle/20.500.12854/92173 035 $a(ScCtBLL)71922ba3-13a8-41f4-9fa8-1ea52e51d19e 035 $a(oapen)doab92173 035 $a(oapen)doab92264 035 $a(EXLCZ)995680000000080805 100 $a20231108i20222022 uu 101 0 $aeng 135 $aurmn|---annan 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 04$aThe World We Want to Live In $eCompendium of Digitalisation, Digital Networks, and Artificial Intelligence /$fFrank Schmiedchen, Klaus Peter Kratzer, Jasmin S. A. Link, Heinz Stapf-Finé 210 $aBerlin$cLogos Verlag Berlin$d2022 210 1$a[s.l.] :$cLogos Verlag Berlin,$d2022. 215 $a1 electronic resource (295 pages) 311 08$a9783832553654 311 08$a3832553657 330 $aDigitalisation, digital networks, and artificial intelligence are fundamentally changing our lives! We must understand the various developments and assess how they interact and how they affect our regular, analogue lives. What are the consequences of such changes for me personally and for our society? Digital networks and artificial intelligence are seminal innovations that are going to permeate all areas of society and trigger a comprehensive, disruptive structural change that will evoke numerous new advances in research and development in the coming years. Even though there are numerous books on this subject matter, most of them cover only specific aspects of the profound and multifaceted effects of the digital transformation. An overarching assessment is missing. In 2016, the Federation of German Scientists (VDW) has founded a study group to assess the technological impacts of digitalisation holistically. Now we present this compendium to you. We address the interrelations and feedbacks of digital innovation on policy, law, economics, science, and society from various scientific perspectives. Please consider this book as an invitation to contemplate with other people and with us, what kind of world we want to live in! 606 $aMedia studies$2bicssc 606 $aDigital lifestyle$2bicssc 606 $aBusiness ethics & social responsibility$2bicssc 606 $aIndustry & industrial studies$2bicssc 606 $aTechnology: general issues$2bicssc 606 $aComputer hardware$2bicssc 610 $aDigitalisation 610 $aDigital Networks 610 $aArtificial Intelligence 610 $aTranshumanism 610 $aIndustry 4.0 615 7$aMedia studies 615 7$aDigital lifestyle 615 7$aBusiness ethics & social responsibility 615 7$aIndustry & industrial studies 615 7$aTechnology: general issues 615 7$aComputer hardware 702 $aSchmiedchen$b Frank 702 $aKratzer$b Klaus 702 $aLink$b Jasmin S. A. 702 $aStapf-Fine?$b Heinz 801 0$bScCtBLL 801 1$bScCtBLL 906 $aBOOK 912 $a9910595096203321 996 $aThe World We Want to Live In$93877996 997 $aUNINA