Relaxing Video Games May Calm Players in Real Life

By Mary Staub, TechNewsDaily Contributor

13 June 2011 10:55 AM ET
(originally published at www.technewsdaily.com)

Video games may soon join the ranks of yoga and meditation as sources of calm and compassion, according to a new study that finds video games can have many psychological benefits.

“Our research shows that playing relaxing video games puts people in a better mood,” said Brad Bushman, a professor of communication and psychology at Ohio State University and co-author of the study.

“These games don’t only have a positive effect on the person who plays them — the effect reaches other people too because people who are in a good mood state are more willing to help others.”

Although Bushman has long studied the link between violent games and aggressive behaviors, this is his first foray into the effects of relaxing video games because, he said, this type of game simply didn’t exist before.

“Only recently have games focused on calming people down,” Bushman said. “There’s a new market for this which you see across the board. For example, for years we’ve had plenty of energy drinks to energize, but now we also have drinks to calm you down.”

One game that caters to this market of calm is “Endless Oceans” for the Nintendo Wii, in which players explore a non-threatening ocean environment of exotic marine animals and deep-sea treasures. The Ohio researchers found that players of this type of game became more calm and considerate during the game.

For two experiments more than 100 college students were randomly assigned to play a video game that was either relaxing (such as “Endless Oceans”), neutral (such as “Wii Sports Resort”) or violent (such as “Resident Evil”). Students had previously rated all these games as being equally enjoyable and exciting to play.

During the first experiment, participants were asked to compete against another player — who did not actually exist — in pushing a button as quickly as possible. The winner would be awarded a small financial sum; the loser would be punished with a brief noise blast. Before each trial, participants could determine how much their competitors would receive if they won, and how strong a noise blast they would receive if they lost.

“Those people who had played violent games punished their partners the most and rewarded them the least,” Bushman said. “Those who had played relaxing games gave the lowest levels of noise and most amount of money.”

For a second experiment, participants rated how strongly they felt various emotional states (such as pride, love, happiness, anger) after they had played their respective video games (relaxing, neutral or violent). Then, their experimenter told them their study was over, but that he would welcome their help sharpening pencils.

“Sharpening pencils is a pretty boring task, but people who did relaxing games were willing to help in their free time,” Bushman said. Playing relaxing games both increased players’ positive mood states and their willingness to help others.

“These results are very encouraging,” Bushman said. “For example, as a parent, if you want children to relax and be more cooperative with siblings and more helpful, it’s much more useful to have them play relaxing games than violent ones. Maybe even they’ll sleep better at night.”

The research will be detailed in an upcoming issue of the journal Social Psychological and Personality Science.

Shielding Medical Implants from Cyberattacks

By Mary Staub, TechNewsDaily Contributor
17 June 2011 11:39 AM ET

(originally published at www.technewsdaily.com)

Millions of Americans rely on medical implants — defibrillators, pacemakers, drug pumps and more — and every year 300,000 more receive such devices worldwide. Most of these implants operate via wireless connections. This enables a patient’s doctor or caregiver to closely monitor vital statistics of a patient and administer and modify treatments as needed.

However, as with most any wireless device, these, too, can be hacked, researchers at the University of Massachusetts-Amherst found in 2008.

“You might have people listening to a signal from a patient’s device to get private medical information from the patient or even send commands to the device,” said Dina Katabi, an associate professor in MIT’s department of electrical engineering and computer science. Attackers could, for example, instruct an implant to administer a lethal amount of medication or electricity.

Although no such attacks have occurred thus far, the potential is there and it spurred Katabi and her colleagues to take action. The team has created a system, which they will present at the upcoming SIGCOMM conference, that can prevent such attacks from occurring.

The system employs a second transmitter — which the researchers call a “shield – to handle encryption and authentication of wireless communications so that unauthorized messages never reach the medical implant itself.  The shield would be controlled by a patient’s doctor (just like medical implants are today).

“The shield serves as a secure gateway between doctor and patient,” Katabi said. “A trusted external device (i.e. the patient’s caregiver) that wants to communicate with the implanted device communicates authenticated and encrypted messages to the shield.  The shield then conveys these messages to the medical implant and also prevents non-authenticated messages from reaching the implant.”

In other words, only those people who have the shield’s key can access the implanted defibrillator, pacemaker or other medical implants. Unauthorized messages would never get beyond the shield because they wouldn’t carry the secret key.
Furthermore, the shield conveys the medical device’s encrypted messages to the patient’s doctor (the trusted external device) while preventing others from obtaining these messages.

The researchers designed the shield as an outside device for various reasons.

First, separating the shield from the pacemaker or defibrillator would allow patients already outfitted with such implants to receive shields retroactively. Second, the researchers didn’t want to overburden the medical devices themselves.

“One challenge was protecting the medical device without having to access it and alter its own functions,” Katabi said. “You don’t want to put more functions on a device than necessary because things like battery life are very important. An outside device has more capability.”

And last, putting encryption on a medical implant itself could have lethal consequences in an emergency. But these shields would be small enough to be worn as a necklace, bracelet or brooch, Katabi said, and could easily be removed.

“If you put the secret [key] on the pacemaker, for example, only the doctor who knows the secret [key] can access the pacemaker,” Katabi said. “In an emergency, a patient may be taken to a foreign hospital where the doctor does not have access to the secret key. This could be fatal if the key is within the implanted device.” With the shield as external necklace or brooch, by contrast, an emergency doctor can simply remove the shield and treat the patient.

It remains to be seen whether medical companies will see the need to deploy such a system, given that so far no attacks have occurred.  “But perhaps this is good timing because it is always good to have a solution before the attack starts," Katabi said.

Robots beat us at engaging people on Twitter

Experiments show how good they are at creating human interaction on Net (originally published at www.technewsdaily.com 05/10/11)
By Mary Staub

Robots are better than humans at fomenting human interaction on the Internet and creating online communities, according to recent experiments in social engineering.

The research was conducted by the Web Ecology Project, a community of researchers dedicated to better understanding Web culture through quantitative research.

“We wanted to see if it’s possible to design bots that have a statistically significant and reliable effect on the way people are connecting and talking online,” said Tim Hwang, WEP’s director and an organizer of the experiment.

During the two-week experiment, Socialbots 2011, hundreds of targeted Twitter users unwittingly conversed with the tweets of a robot.

Three teams had designed software to bring forth as many human responses and interactions as possible.

“People always say that they’re great at building communities online, but people are limited in some ways,” Hwang said. For example, “they only have so many hours in a day.”

‘Rock on’ The winning "socialbot," JamesMTitus, kept interchanges going for a record of 12 consecutive tweets and garnered close to 200 overall responses from targeted Twitter users in less than a week. Humans who had created new Twitter accounts in a similar experiment garnered at most 60 responses, Hwang said.

To achieve this, Titus, a bot with a “very promiscuous, yet lovable persona” and who is “obsessed with his pet cat,” according to the blog of one of its creators, tweeted a generic question to one of the Twitter users being targeted about every seven minutes.

If the human responded, the robot replied with its own generic response. For example, when Titus asked one user what his favorite Dr. Seuss book was, the person responded, “the older cartoon of the Grinch, but not the Jim Carrey version.” “Rock on,” replied the robot.

But Titus did more than fool people into revealing their views on Dr. Seuss to a robot, and this is what truly intrigued the researchers at WEP. Not only did Titus’s tweets elicit responses, they also served as a bridge between individuals and communities. Twitter users unknown to one another began to interact because of the robot’s tweets, and in that sense, Titus had a more lasting and valuable effect on the Twitter landscape.

“Bots have been trying to get you to do something minor like click on a link or buy Viagra for years, so the coding is not too novel,” Hwang said. “But we’re trying to get them to talk to someone who will then talk to someone else.”

Hwang’s team is now working to get networking bots to stimulate more than random interaction between individuals and mobilize them in a more targeted way. Rather than just getting people to exchange trivial tweets, they’d be rallying behind a cause.

“My dream is to make bots targeted agents to connect particular groups,” Hwang said. “If we want people to be more civically engaged, for example, we can try to build a bot that would achieve this. In the future, you can design the kind of community that you need for a cause. Or a bot could be used to inject a news story into communities and thus control the news cycle.”

Peoplebots
If all of this sound too cunning for comfort, Hwang retorts that this is no different than advertising.

“If you’re opposed to something like bots, you should be opposed to advertising. It’s using mass communication as a (form) of persuasion. It could be of great use,” he said.

“Certain people are great connectors, but they’re few and far between. Maybe bots can provide a synthetic version of this and make cool things happen that wouldn’t otherwise happen. They can create the social scaffold that allows people to do things that they would have wanted to do anyway, if only they’d known the other community existed.”

At P.S. 133, Kindergarten Adopts a New Tradition

A dual-language program will immerse students in French and English

(Originally published on Patch.com)

Kindergarten is about to go bilingual. 

Next September, a dual-language French-English program will launch at on Fourth Avenue and Eighth Street, putting 12 francophone and 12 anglophone children in a class together. The children will join together into one multi-lingual, multi-cultural class, where they will spend half their day immersed in French, the other half immersed in English.

At P.S. 58, in nearby Carroll Gardens, a similar dual-language French program was launched in 2007 with great success. Next year the school will offer two such kindergarten classes, as well as classes in grades one through four, but there is demand for even more, said P.S. 133's principal, Heather Foster-Mann.

Foster-Mann said she first realized that parents in her school zone were interested in a bilingual education program when Pre-K parent Jean-Cosme Delaloye, who is French-speaking, came to her with the suggestion this past May.

"One of my Pre-K parents told our parent coordinator he had some ideas and wanted to speak with me about them," Foster-Mann said. "We're a small school, so it's all about talking to parents and finding out what their needs are. He showed me that there were parents who were interested in a dual-language program, so I made some phone calls."

"Having parent support behind this has really propelled it," she added.

Children for the dual-language class will be selected through a lottery in which children already attending pre-K at P.S. 133 and coming from the P.S. 133 school zone will receive priority. Francophone children will first be assessed for basic language skills such as their ability to follow basic instructions or talk about a book in French.

Thus far, parents from Bay Ridge to Fort Greene have shown interest, according to Delaloye. When he realized that his now four year-old son had slim chances of attending P.S. 58, because he lived outside that school's zone, he reached out to other parents in an attempt to rally interest for a program in his own zone.

"I sent out an e-mail to parents to see if they were interested," Delaloye said. "Within three days I got about 40 parents."

Parents interested in P.S. 133's dual-language program can attend an information session at the school in January, which will touch upon curriculum, dual-language learning, daily schedules, the selection process, and more.

A recent general open house at the school turned out more than 50 parents, Foster-Mann estimates, many of whom came from beyond the school zone.

The interest for such programs, it seems, reaches far beyond Park Slope, and understandably so. Not only will children gain proficiency in more than one language and acquaintance with more than one culture, but, according to educational studies utilized by the Center for Applied Linguistics, such dual-language instruction also enhances a child's creativity and capacity for critical and analytical thinking.

"Most people agree that for kids it's a huge advantage to learn other languages at an early age," Delaloye said. Having grown up in Switzerland, which has four official languages, he can speak from experience.

But for a more a concrete look at how children from dual-language programs perform, parents may want to follow test results for the upcoming school year from P.S. 58.

 "Children who are testing this school year at P.S. 58 have been at it for about four years," said Foster-Mann, "so it will be interesting to see what results are."

With a Little Luck, Freddy's Just Might Usher in the New Year

After being forced out of Prospect Heights, the legendary Freddy's Bar sets up shop in Park Slope

(Originally published on Patch.com) Brooklyn, NY

After a brief hiatus, Freddy's is back.

By month's end, if all goes according to bar co-owner Donald O'Finn's hopes, Fifth Avenue's South Slope will be graced with an amped up version Freddy's Bar and Backroom, which earlier this year was forced from its longstanding Prospect Heights home on Dean Street by Bruce Ratner's Atlantic Yards project.

This legendary community hangout was always for the people, but its new incarnation is also by the people. Many of Freddy's regulars—builders, artists—are chipping in to help shape the space.

"Freddy's is very much about community, but now its also being built by the community," O'Finn said in between working with plumbers and painters at the bar's new location. "That's what Freddy's was always about. Community."

But the Freddy's, which O'Finn dreams will pour its first drink at the strike of midnight on New Year's Eve, won't just be a replica of its old, iconic self. It will be bigger, and, possibly, even better.

"I see it as Freddy's on steroids; everything is amped up a bit," said O'Finn, who was once the spot's manager, but is now co-owner, along with Matt Kuhn and Matt Kimmett, both former Freddy's bartenders.

Ownership isn't the only thing that's changed. For the first time, Freddy's Bar will serve food and Kuhn will hold the reins on fare. "It'll be Freddy's-appropriate, pub grub, nothing fancy, something to fill the hole in your stomach," Kuhn said. "We just knew we had to take advantage of the kitchen in this space."

Much, of course, will also remain the same at Freddy's new South Slope location between 17th and 18th streets, where the short-lived Ellis Bar used to make its home.

According to O'Finn, the distinctive 1940s red mahogany bar, the booths and bar stools that gave the place its saloon-like quality will continue as central fixtures. And of course, Freddy's' famous backroom will continue to let artists, musicians, and installationists show off their creative works

But the road to South Slope has been bumpy. First, after an unsuccessful fight against the wrecking ball of eminent domain, which lasted some seven years, O'Finn, Kuhn and Kimmett, had to clear out the over 70 year-old bar in just two weeks. On the bars website the trio affectionately refer to the Atlantic Yards project as the "Death Star."

 "I used to say I couldn't get my emotions out of that building in just two weeks," said O'Finn, let alone all the tchotchkes that made Freddy's, well, Freddy's. "The last thing I did was literally kissed that building … and then punched it."

Finding an affordable new space wasn't easy–and the venue they've settled on is still three or four times as expensive as their old location, according to Kuhn and O'Finn. The trio inspected at least 15 locales and got serious about half of them, according to Kuhn, but they all fell through for one reason or another–costs were too high, the spaces were too bare-bones for their budget (which Kuhn likes to joke is 39 cents), the steps weren't high enough to be approved for a liquor license.

They liked South Slope for being more affordable and less developed than its northern Park Slope neighbor, yet built-up enough so that they wouldn't have to start from scratch with wiring, plumbing, heating. Also, they liked its diversity. "It's a mixed neighborhood. There's and ethnic quotient, but also people who have been here for generations," said O'Finn. "There are doctors, lawyers, artists, blue-collar workers."

Kuhn predicts that many Freddy's regulars will follow they're move, at least initially, to the Slope. But then it'll be time to shake new hands and make new friends.

 "We can lay down some roots here and be a go-to spot in the neighborhood; there aren't that many bars," Kuhn said. "We'll make this block a destination block."

Much of Freddy's essence they attribute to the flurry of followers who are helping them out. "There are so many fine folks who have stepped up," said Kuhn.

"Whether builders or artists, whether we give them half bar tab and half money, we're working it out. As Donald always says, 'now the inmates run the asylum.'" And what he means, of course, is that it's a win-win to have people who know the place create the place.

"Freddy's just bled soul. When Ratner and boys threw us out, we moved everything, every yellow paper taped behind the bar," Kuhn said with a hint of disbelief.

Still, for the bar, life goes on. "We're doing a good job so far of capturing the essence of what Freddy's was."

Defying Expectations in Life and Dance

Brooklyn-based dance artist Miguel Gutierrez explores our nation’s unrealistic expectations through cultural icon James Dean
by Mary Staub
www.encoremag.com

Many of our nation’s most enticing artists refuse to be boxed in. They work hard to defy the roles society ascribes them, by which they are marked, categorized, classified, and tied down. James Dean—who died 54 years ago this September—is one artist who tried, but didn’t live long enough to succeed. The Brooklyn-based dance artist Miguel Gutierrez is one who has thus far succeeded. This September, the two artists come together in Gutierrez’s newest work, Last Meadow, September 15–19 at the Dance Theater Workshop.

Shortly after Dean’s death at age 24, he was widely cited as having told his friend and co-star Dennis Hopper that he had had enough of acting and wanted to direct. Hopper was oft-quoted recalling that Dean couldn’t stand “being treated like a puppet. We had pretty much seen the end of James Dean on the screen, even if he had lived. He couldn’t stand being interrupted every five seconds by some idiot behind the camera. He was too caught up in the role to be stopped abruptly and made to start again.”

Dean wanted to define who he was, and not be told. As it stands, though, any desires he had to cut loose were halted by the freak car accident that ended his life and he lives on in our nation’s cultural imagination as the rebellious youth he played in Rebel Without a Cause.

It is this iconic image that Gutierrez makes use of in Last Meadow. Inspired by Dean’s classic films and the emblem we have made of him, Gutierrez explores how we, as a nation, cast unrealistic expectations upon our own identity as a nation. Together with long-time collaborators Michelle Boulé and Tarek Halaby, Gutierrez takes us to an America in a state of collapse and confronts us with the perpetual state of waiting, where what you need never comes.

By no means new to exploring existential questions in the theatrical realm, Gutierrez’s work is often fraught with questions about who we are and why we are here. It is these questions, and also the exploration of how a dance performance might give insight into them, that drive Gutierrez’s work. The Powerful People—the name by which Gutierrez and his collaborators are known—explore these complexities with a sense of urgency that both captivates and disconcerts.

Part of what makes Gutierrez’s work so enticing is that each project pulsates with a fresh urgency and Gutierrez, who refers to himself as a dance and music artist, seems to rediscover his own identity each time anew.

For more information dancetheaterworkshop.org or miguelgutierrez.org.

An Exploration of Love

Juliette Binoche and Akram Khan launch BAM’s Next Wave Festival
by Mary Staub
www.encoremag.com

Juliette Binoche is one of France’s most celebrated actresses. She’s recognized world-wide and has worked with a disparate array of directors including Anthony Minghella, Louis Malle and Michael Haneke. Across the English Channel, Akram Khan, an award-winning British choreographer and dancer, has worked with his own disparate set of artists, including ballerina Sylvie Guillem and pop-singer Kylie Minogue.

Neither of them shies away from unconventional collaborations. But they both broach new waters in a full-evening dance work, In-I, in which they jointly explore the boundless territories of love. In it, Khan dives into emotion with singing and acting, while Binoche explores movement. The result, In-I, which premiered in London in 2008, kicks off the Brooklyn Academy of Music’s Next Wave Festival September 15–26.

In-I, in many ways, is about risks. Risks in life and risks in love. Both artists dared to delve into new creative territories and got to know their own expressivity anew. Khan, known for choreography that mixes contemporary dance and classical Indian khatak, had to put himself in Binoche’s body, untrained as a dancer, and explore a whole new movement vocabulary which would allow them to seamlessly communicate with one another onstage. Also, he had to take on more overtly emotional stances than he’s accustomed to, and work with words. Binoche, therewhile, had to dance.

In In-I they both bring to life a couple who confront the pains and pleasures—the risks—of love. A high, free-standing wall of shifting colors and moods, part of a set design by the Turner Prize-winning artist Anish Kapoor, seems to symbolize a constant divider between self and other.

“How do you dare to love, how do you find the courage to love?” Khan commented in a short video about the piece. And Binoche said: “When two people love each other, there’s a way of reaching yourself more than in any other circumstance because the other one pushes you in places you’ve never been before. The purpose of being in a couple is to meet yourself, to understand yourself.”

It seems appropriate, then, that these two artists should both have explored new expressive terrain for In-I. In this exploration they, too, were pushed to places they’d never been before. “We had to let go of a lot of things,” Binoche commented. “In fact, it created some conflict and some doors were slammed. But we gained a lot of trust.”

Their collaboration sounds not unlike any partnership of love, wherein exploration precedes conflict, precedes understanding, precedes trust.