Are tourists who take more photos happier? Our study investigates the relationship between tourists’ photographing and happiness based on two proposed theories: photographing as a behavior that society expects from tourists, and photographing as a mechanism for social interaction. Questionnaires measuring photographic behavior and components of happiness such as positive emotions and life satisfaction were collected from 417 tourists at three destinations in the Netherlands. Additionally, we carried out participant observation to explore the potential roles of fulfilling cultural expectations and social interactions. We found a positive relationship between photography and tourists’ levels of happiness. People who take more pictures on holiday and rate photographing to be important experience more positive emotions and a higher life satisfaction, respectively. The participant observation data reveal that this relationship is strengthened when photography is used to build relationships, but weakened when people photograph to fulfill cultural expectations.
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Introduction:A space’s atmosphere is an important factor in how that space is experienced. In fact, festival visitors consider the atmosphere as the most important factor in how they experience a festival (Van Vliet 2012). Atmosphere is also what distinguishes physical shops from online web shops (Van Vliet, Moes & Schrandt 2015). Much research underlines the influence of atmosphere on cognitive and emotional processes. As early as 1956, research showed that an assessment of facial expressions in photographs depended on the atmosphere of the space in which the photos were viewed (Maslow & Mintz 1956). The importance of atmosphere inspired the search for ways to influence visitors and allowing them to react to, and even (co-)design, a space’s atmosphere – from museum spaces (Noordegraaf 2012) to urban spaces, from consciously-manipulated spaces to the now inevitable layer of digital information that has entered the public sphere (Mitchell 2005). Researchers have been studying the influence of atmosphere for decades, particularly through the lens of environmental psychology, which focuses on the interplay between humans and their environment (Mehrabian & Russell 1974; Steg, Van den Berg & De Groot 2012). A milestone in atmosphere research was the introduction of the concept of ‘atmospherics’ by Kotler (1973). From here, research into atmosphere mainly took place in the context of marketing research into consumer behaviour in shops and service environments such as restaurants, hotels, museums and festivals (Van Vliet 2014). The question here is whether these gathered insights contribute to understanding how atmosphere works in open public spaces.
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Background Inconsistent descriptions of Lumbar multifidus (LM) morphology were previously identified, especially in research applying ultrasonography (US), hampering its clinical applicability with regard to diagnosis and therapy. The aim of this study is to determine the LM-sonoanatomy by comparing high-resolution reconstructions from a 3-D digital spine compared to standard LM-ultrasonography. Methods An observational study was carried out. From three deeply frozen human tissue blocks of the lumbosacral spine, a large series of consecutive photographs at 78 µm interval were acquired and reformatted into 3-D blocks. This enabled the reconstruction of (semi-)oblique cross-sections that could match US-images obtained from a healthy volunteer. Transverse and oblique short-axis views were compared from the most caudal insertion of LM to L1. Results Based on the anatomical reconstructions, we could distinguish the LM from the adjacent erector spinae (ES) in the standard US imaging of the lower spine. At the lumbosacral junction, LM is the only dorsal muscle facing the surface. From L5 upwards, the ES progresses from lateral to medial. A clear distinction between deep and superficial LM could not be discerned. We were only able to identify five separate bands between every lumbar spinous processes and the dorsal part of the sacrum in the caudal anatomical cross-sections, but not in the standard US images. Conclusion The detailed cross-sectional LM-sonoanatomy and reconstructions facilitate the interpretations of standard LM US-imaging, the position of the separate LM-bands, the details of deep interspinal muscles, and demarcation of the LM versus the ES. Guidelines for electrode positioning in EMG studies should be refined to establish reliable and verifiable findings. For clinical practice, this study can serve as a guide for a better characterisation of LM compared to ES and for a more reliable placement of US-probe in biofeedback.
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National forestry Commission (SBB) and National Park De Biesbosch. Subcontractor through NRITNational parks with large flows of visitors have to manage these flows carefully. Methods of data collection and analysis can be of help to support decision making. The case of the Biesbosch National Park is used to find innovative ways to figure flows of yachts, being the most important component of water traffic, and to create a model that allows the estimation of changes in yachting patterns resulting from policy measures. Recent policies oriented at building additional waterways, nature development areas and recreational concentrations in the park to manage the demands of recreation and nature conservation offer a good opportunity to apply this model. With a geographical information system (GIS), data obtained from aerial photographs and satellite images can be analyzed. The method of space syntax is used to determine and visualize characteristics of the network of leisure routes in the park and to evaluate impacts resulting from expected changes in the network that accompany the restructuring of waterways.
In this project, the AGM R&D team developed and refined the use of a facial scanning rig. The rig is a physical device comprising multiple cameras and lighting that are mounted on scaffolding around a 'scanning volume'. This is an area at which objects are placed before being photographed from multiple angles. The object is typically a person's head, but it can be anything of this approximate size. Software compares the photographs to create a digital 3D recreation - this process is called photogrammetry. The 3D model is then processed by further pieces of software and eventually becomes a face that can be animated inside in Unreal Engine, which is a popular piece of game development software made by the company Epic. This project was funded by Epic's 'Megagrant' system, and the focus of the work is on streamlining and automating the processing pipeline, and on improving the quality of the resulting output. Additional work has been done on skin shaders (simulating the quality of real skin in a digital form) and the use of AI to re/create lifelike hair styles. The R&D work has produced significant savings in regards to the processing time and the quality of facial scans, has produced a system that has benefitted the educational offering of BUas, and has attracted collaborators from the commercial entertainment/simulation industries. This work complements and extends previous work done on the VIBE project, where the focus was on creating lifelike human avatars for the medical industry.
