INTRODUCTION: Critical public opinion, based on information that is made available to the public through
different systems, has led companies that operate in the environment to continually improve their social, environmental, and ethical performance.

OBJECTIVES: This paper aims to propose a fuzzy-logic-based model for the analysis of social corporate responsibility in cases of environmental accidents.

METHODS: Our study employs techniques derived from social network analysis. The data was collected from the online database of The New York Times for the timespan from March 24, 1989, to September 1, 2017.

RESULTS: The results show that the proposed model can be replicated, after some adjustments.

CONCLUSION: We conclude that, despite the complexity of an analysis of this kind in which the model is applied considering isolated words in the text and not the semantic aspects, the proposed model based on fuzzy logic is
adequate for the analysis of social corporate responsibility.

This paper presents an analysis of unified systems for traction and battery charging of electric vehicles (EVs), regarding operation modes and implementation cost, when compared to dedicated systems that perform the same functionalities. Concerning the interface of the EV battery charging system with the power grid, four operation modes are analyzed: (1) grid-to-vehicle (G2V); (2) vehicle-to-grid (V2G); (3) vehicle-to-home (V2H); and (4) vehicle-for-grid (V4G), which, by using a unified system for traction and battery charging, can be linked both to single-phase and three-phase power grids. Moreover, a cost estimation is performed for EV unified systems and for dedicated systems that can perform the same functionalities when connected to the power grid, in order to prove the advantages of the system unification. The cost estimation is based on two power levels, namely 6 kW (single-phase), related to domestic installations and slow battery charging, and 50 kW (three-phase), related to industrial installations and fast battery charging. The relevance of unified systems for traction and battery charging of EVs is proven for single-phase and three-phase power grids both in terms of operationality and implementation cost.

This paper presents a load-shift system with advanced functionalities for the power grid. When compared with the conventional approach, an advanced load-shift system allows the compensation of power quality problems on the power grid side, namely problems related to current harmonics, current imbalances, and low power factor. The advanced load-shift system is composed by a bidirectional ac-dc converter to interface the power grid and by a bidirectional dc-dc converter to interface an energy storage system. Since the main innovation is related with the power grid interface, the focus of this work is on the analysis of the ac-dc converter, which is based on a three-phase four-leg voltage source converter. A theoretical study and the details concerning the control algorithm are presented and discussed along the paper. A laboratory prototype of the advanced load-shift system was developed, and the main details of implementation are described in the paper. Experimental results obtained with the developed prototype prove that the advanced load-shift system contributes for the technology progress in this area, validating a new operation concept concerning the power quality on the power grid side. For all the operation modes, the system operates with high power factor and the currents on the power grid side are balanced with a low total harmonic distortion and in phase with the respective power grid voltages.

INTRODUCTION: One of the fastest developing technologies in the present world is the Virtual assistants. These assistants could manage with the medical-related tasks and helps both the providers as well as the patients. Through Artificial Intelligence, users can communicate through voice or text interface with the chatbot and also receive responses based on that. Basically, a chatbot can converse with a real person.

OBJECTIVES: In this paper, a chatbot named Medbot stands for Medical Diagnosis System using Artificial Intelligence mainly focusing of skin and eye related problems.

METHODS: The Medbot helps in connecting the available patients, make their appointments, helps in finding the specialized person and provide them access to get the accurate treatment.

RESULTS: This Medbot helps in providing healthcare support online for 24×7 and it also responds to common and precise questions.

CONCLUSION: It helps in generating the leads and forwarding them to the sales automatically. By querying the patients sequentially, it guides them with the problem they are facing with.

Performance art has long been used as a means for challenging various social constructs, such as ethics and personhood, and sometimes in ways which from the outside can appear traumatic for the performer – perhaps the most famous example being Marina Abramović’s (1974). Moreover, the nature of such constructs and our experiences when they are challenged have become arguably more complex with the digital world and the ever increasing amount of our lives spent in virtual environments. In this paper, we present a mixed reality performance installation inspired by in which the subjective experiences of both a human performer, used as an interface for mediating visual and aural outcomes in this space, and the participants interacting with the body of this performer, are gathered through a shared narrative interview following six separate performances. We evaluated the experiences of both the performer and participants through a qualitative analysis centered around the specific words and statements used with respect to performing objecthood from the perspective of the performer and cognitive absorption from the perspective of the participants. Our analysis is supplemented by methods used in information retrieval for assessing the amount of similarity in the respective transcripts of the performer’s and participants’ interviews.

In this paper, guidelines are presented for creating video-based guided tours that employ 360° video content and produce the feeling of augmented reality. The benefit of the approach presented in this paper is that it does not rely on heavy technological requirements but can be implemented by anyone with a consumer level camera capable of making 360° video recordings, in a variety of locations with low cost and modest technological prowess. Principle application areas are for example museum and city tours, wayfinding applications and crafted narrative experiences. The guidelines were derived via a pilot implementation of the tour experience, which was initially ideated using workshop methods. The evaluation of the pilot showed that the approach is promising as a new way to experience locations, and provides us with guidelines that can be classified as essential, recommended and needing consideration for developing and applied such technology. Our guidelines describe and specify a novel method of creating 360° video recordings using low-cost and readily available hardware. The method can be employed by a wide variety of actors to create services administering AR-like experiences in a cost and time effective manner.

This paper will discuss two installation pieces created for acetate vinyl and multiple turntables. The two works and should be considered as spatially immersive, generative, and interactive sound sculptured objects that investigate degrading surface material and remediation as the basis for a structural composition. The turntable has been regarded as a legacy technology but has recently seen a resurgence even among emerging technologies such as ‘XR’ ‘Network Art’ and ‘Live Coding’. This paper will discuss how the turntable is itself a dialogic key between mediation and materiality of sound. It’s tactile and kinaesthetic nature invite interactivity in a very unique and singular manner. Firstly, I will address correlational aspects by developing the conceptual and aesthetic context in an effort to delineate and explain the term before addressing the affordances of the creative use of the turntable. I will then explore how prominent artists conflated this medium’s initial purpose and telos before going on to discuss the concept of . This will be followed by an in-depth commentary of the use of acetate material in terms of investigating real-time recursive disintegration of analogue sound recording on this soft and malleable material. Intermediality and reappropriation of sonic material will also be discussed in relation to the compositional approach with a particular emphasis on

We are currently witnessing an increase of virtual reality sections at several major film festivals exhibiting a growing number of experiences combining cinema and VR (this field is also known as cinematic virtual reality (CVR)). However, we are still lacking a homogeneous exhibition modus for these hybrid experiences. Moreover, the installation’s context is further complicated when some CVR experiences make use of additional media including scenography, spatial sound, and live performance to transition their audience into the virtual experience. As such, special attention is given to the exhibition modus of the work, and therefore the installation must be considered part of the experience design. This paper investigates some trends within installation design at film festivals exemplified by a selection of six works exhibited at the Venice 2019 VR selection. These works are initially divided according to the design strategies of ‘the story room’, ‘the attraction window’ and ‘the performance space’. Through interviews with industry professionals about their retrospective thoughts on the installation design for the experiences, the paper uncovers some design considerations and strategies, including consideration of installations as a transitional element of the audience experience design, how to approach audience put-through and spectatorship, ways to ensure transportability and distribution of design, and dealing with venue specificity and adaptability of the installation, among others.

In this publication, we present artistic and technical developments in creating and presenting dance performances in media art, where embodiment is crucial in the artistic process. We study and compare three distinct performances with dancers and one choreographer in the same dance company between 2009 and 2020. The degree of immersion in performance is then compared between the three pieces, created at Balleteatro, in Porto, addressing the transition from the real to the virtual in the performance perspective, with practical cases and direct observations in the way the audience learns different states of body representation through technological means. We initially present the NUVE performance (2010), interpreted by Né Barros, Co:Lateral (2016–2019), a performance that crosses different realities, and, finally, the transition to the UNA work (2020) that takes place in total virtuality. This publication focuses on the developments, the public experience, and the results obtained in more than 20 exhibitions in different locations, either in theater or auditorium and in conference venues.

In recent years, virtual reality (VR) technologies for positive change have emerged as a way to combat various physical and mental issues, such as anxiety and depression, which have been linked to an increased use of digital technologies. Moreover, a state of in VR has been shown to have positive effects on human well-being. When designing for such VR technologies that can support positive change, feedback through aural and visual stimuli as well as interaction through movement have been suggested. However, evaluations of cognitive flow when using such technologies and with those designed for creative and artistic expression are lacking. In this paper, we present the multimodal VR system, , which encourages creative and artistic expression through bodily movement that is used to generate aural and visual feedback. In particular, participants’ experiences with Synergia were evaluated using the Flow State Scale (FSS) in conjunction with semi-structured interviews. Our results indicate that Synergia shows promising potential for inducing aspects of cognitive flow related to increased concentration and an autotelic experience. Furthermore, these findings highlight the importance of multi-modalities to the flow experience but suggest also that visual-sound mappings may present a problem when designing for similar systems in the future.