We are developing robots that can smoothly help workers inside the retail stores in terms of transportation of stocking shelves

MUSE

Scientific American, Volume XXIV., No. 12, March 18, 1871 by Various, is part of the HackerNoon Books Series. You can jump to any chapter in this book . A MUSEUM OF ART AND NATURAL HISTORY. here A MUSEUM OF ART AND NATURAL HISTORY. Our recent articles on "Scientific Destitution in New York" and "The Scientific Value of the Central Park," have called forth numerous letters from correspondents, and have been extensively noticed by the press. We now learn that the legislature of the State has taken the matter in hand, and there is some prospect, with an honest administration of the appropriations, of something being done to relieve our city of the opprobrium that rests upon it. A bill is pending, before the Senate, authorizing the Park Commissioners to build, equip, and furnish, on Manhattan Square, or any other public square or park, suitable fire-proof buildings, at a cost not exceeding $500,000 for each corporation, for the purpose of establishing a museum of art, by the Metropolitan Museum of Art, and of a museum of natural history, by the American Museum of Natural History, two societies recently incorporated by the Legislature. This is a million dollars to begin with, and an ample site, without cost, to the aforementioned corporations. Manhattan Square extends from Seventy-seventh to Eighty-first streets, and from Eighth to Ninth avenues, and spans about eighteen acres. Until it was set apart by the state Board of Commissioners, for the purposes of a Zoological Garden, it was proposed, by a number of enlightened citizens of New York, to devote it to the uses of four of our existing corporations, giving to each one a corner, and an equal share in the allotment of space. The societies were, "the Academy of Design," for art, "the Historical Society," for public records and libraries, "the Lyceum of Natural History," for science, and "the American Institute," for technology. These have been incorporated for many years, and are known to include the leading artists, men of letters, science, and the arts, of the city, on their lists of members. The committee went so far as to have plans of the building drawn by competent architects; but, like many other well-meant schemes, want of money compelled the originators of the plan to abandon any further attempts. In the meantime, the Legislature chartered the American Botanical and Zoological Society, and gave the Commissioners of the Park authority to set apart a portion of it, not exceeding sixty acres, for the use of the Society, for the establishment of a zoological and botanical garden. This society was duly organized under the act, and Mr. Hamilton Fish was made its president, and considerable sums of money were subscribed. But, according to the sixth annual report of the Board of Commissioners, "the society never manifested its desire for an allotment of ground." It appears to have died, and made no sign. Some of our citizens, fearing that the Central Park would go the way of every other public work in the city, made strenuous effort to revive the Zoological Society, for the purpose of obtaining a perpetual lease of a suitable site, on which to establish a zoological garden, similar to those in London, Paris, Amsterdam, and Cologne. Their object was to remove this part of the Park beyond the reach of political intrigue. Subsequent events have shown that the fears of these gentlemen were well founded. The Legislature of the State, on the 25th of March, 1862, gave ample powers to the New York Historical Society to establish a Museum of Antiquity and Science, and a Gallery of Art, in the Central Park. They have submitted designs for a building, but, for some reason, no decisive steps have been taken towards its construction. The Lyceum of Natural History was also negotiating with the Commissioners, for the use of the upper rooms of the arsenal for its collections, and there is no doubt that an arrangement to this effect would have been made, if a fire had not destroyed the entire collections of the Lyceum. The Lyceum made great effort to raise money to purchase a new collection, but without avail; and, although this is the oldest scientific society in New York, and has inrolled in its list of members, nearly every professional scientist of the city, it is probably the poorest, in income and resources, of any academy of sciences in the world. We do not know that the Academy of Design has ever applied for a home in the Central Park; and we cannot speak for the American Institute, nor for the Geographical Society, in this particular. As we stated in our former article, the old Board of Commissioners appears to have become weary of the unsuccessful attempts on the part of numerous societies to divide up and apportion the Central Park, and they applied to the Legislature for authority to conduct matters in their own way. An act was duly passed, authorizing the Board "to erect, establish, conduct, and maintain, on the Central Park, a Meteorological and Astronomical Observatory, a Museum of Natural History, and a Gallery of Art, and the buildings therefor, and to provide the necessary instruments, furniture, and equipments for the same." Here would seem to be ample power for the establishment of museums of science and art, but nothing is said about the manner of raising the money. One would suppose, however, that, by means of the "Central Park Improvement Fund," abundant means could have been raised. The bill now before the Legislature puts matters in a new light. If it does not conflict with previous enactments, nor destroy vested rights, it has the appearance of being a thoroughly practical way of solving the question of art and science for the city. The Metropolitan Museum of Art and the American Museum of Natural History are in the hands of the most respectable citizens of New York. It would not be possible to find a body of men of more unimpeachable integrity and greater worth, than the gentlemen who have founded these two societies. It is impossible that they should lend their names to anything that will not bear the closest scrutiny; hence the proposition, now before the Legislature, to put up buildings for them, at a cost of a million dollars, must attract unusual attention. If the State would appropriate the money to these corporations, giving them the control of its expenditure, we should have considerably more confidence in its honest administration than, we are grieved to say, we can feel under the present circumstances; and if we knew what other institutions are to have the remaining portions of Manhattan Square, it would be a great relief to our minds. "We fear the Greeks bringing gifts," but are willing to accept the gifts, if the officers of the two organizations are certain that it is all right. The need of a Museum of Natural History, and of a Gallery of Art, in New York, is so pressing that there is some danger of our accepting the appropriations without a proper regard to consequences. The Court House is not yet finished, and the foundations of the Post-office are scarcely laid. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. Various (2006). Scientific American, Volume XXIV., No. 12, March 18, 1871. Urbana, Illinois: Project Gutenberg. Retrieved https://www.gutenberg.org/cache/epub/19180/pg19180-images.html This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at , located at . www.gutenberg.org https://www.gutenberg.org/policy/license.html

A MUSEUM OF ART AND NATURAL HISTORY

Art has always been a potent medium for communication and self-expression. Today, in the era of artificial intelligence, we are witnessing a captivating evolution in the world of art – AI Art. In this blog post, we will explore how to use and give due credit to mesmerizing art pieces from the . HackerNoon AI Image Gallery What is the HackerNoon AI Image Gallery? At HackerNoon, we highly value the power of technology and its transformative effects on all aspects of life, including art. The is an intersection of AI and human creativity. This space showcases AI-created images stimulated by human imagination. It stands as a testament to the exciting potential of human-machine collaboration with the objective of inspiring and provoking thought within our community. HackerNoon AI Image Gallery In our gallery, you can view all the AI images created by our users, the prompts used, and even reuse these Stable Diffusion creations. Test it out for yourself: browse through all the designs or search for a specific prompt using the search bar. Keep an eye out for this message "💁 " at the top left corner of your screen on /gallery. This link opens a new draft with the uploader set to the stable diffusion prompt, as shown below: Try text to image here How to Use Images from the Gallery While these images are free to use, there are some usage guidelines you need to adhere to: : Remember to give credit by linking back to the prompter, the individual or group who inspired the AI to create the image, and to HackerNoon. This acknowledgment recognizes the creative process and supports our community of innovators. Accreditation : The images are ideal for personal or educational use. If you intend to use them commercially, please get in touch with us for more details and information. Non-Commercial Use : Let's maintain respect and decency. Please do not manipulate the images or use them in any offensive or disrespectful manner. Remember, a real person contributed their creative input to each image. Respect for the Art Feel free to appreciate the art, give credit where it's due, use the images responsibly, and thoroughly enjoy exploring the gallery! Other AI Improvements Apart from our gallery, there have been numerous other enhancements to our AI-generated image features. Starting with the ability to add AI-generated images throughout your story instead of just as a featured image, this tool allows you to enhance your text with art. Just click the + button on Editor 3.0 and select "Image" to access the image selector board and all the image-uploading options, including . Stable Diffusion Here’s a quick demo: Another noteworthy feature is our new AI image generator model, Kandinsky 2, which uses visual embeddings as an intermediate representation in the generation process to produce vivid and artistic creations, like these: On the topic of Stable Diffusion, have you noticed the option in the image below? That's a new feature! It allows you to instruct the AI about what you don't want in your generated image. negative prompt That's all for now. Enjoy browsing!

The HackerNoon Museum: AI Image Art Gallery

হ্যাকারনুন মিউজিয়াম: এআই ইমেজ আর্ট গ্যালারি

Das HackerNoon Museum: AI Image Art Gallery

Museo HackerNoon: galería de arte de imágenes de IA

Le musée HackerNoon : galerie d'art d'images AI

हैकरनून संग्रहालय: एआई इमेज आर्ट गैलरी

The HackerNoon Museum: AI イメージ アート ギャラリー

HackerNoon 박물관: AI 이미지 아트 갤러리

HackerNoon Müzesi: Yapay Zeka Resim Sanat Galerisi

Bảo tàng HackerNoon: Phòng trưng bày nghệ thuật hình ảnh AI

HackerNoon 博物馆：AI 图像艺术画廊

This Museum Was Built on Native American Burial Mounds: What to Know About the Dickson Mounds Museum

As more and more artists and collectors turn to are starting to take notice. Digital artworks offer museums new opportunities and new challenges. NFTs - museums MONETIZATION There are a few ways for museums to monetize, including gift shops, though they often rely on donations to support their operations. While some mind that selling world-famous masterpieces as NFTs is a copyright infringement, we should take a closer look into museums’ gift shops where those masterpieces are displayed on pens, umbrellas, and notebooks. Museums can use NFTs to monetize their collections or create new revenue streams. And NFT mints can help them expand their global audience. PRESERVATION There are some concerns in terms of the preservation of NFTs at museums. One of the primary issues is ensuring the long-term stability and accessibility of the NFT artworks. Because NFTs rely on blockchain technology for their authentication, it is important to ensure that the blockchain remains secure and accessible over time. This is a young technology that is still working on its standards, so the liability issue might take some time to circumvent. EXISTING SCENARIOS OF NFTs IN MUSEUMS of modern and contemporary art, acquired from 13 renowned French and international artists, including Bruce Nauman and Bill Viola. This marks the first NFT acquisition by a major French public museum, with support from the French Ministry of Culture and Pompidou’s director, Xavier Rey. France's Centre Pompidou adds 18 NFTs to its collection , each a reproduction of the masterpiece, at the time for €1,850 or 0.65 ETH. Each tile is an inimitable piece of the painting, with NFT certificates showing the exact part purchased. Vienna's Belvedere Palace Museum sold 10,000 digital tiles The joins this growing list with a notable collection of 22 digital artwork pieces Among the pieces is the highly sought-after CryptoPunks NFT #3831, previously sold for $2.1 million worth of ETH in 2021. Los Angeles Country Museum of Art donated by well-known Twitter personality, Cozomo de’ Medici. Last but not least, sold NFTs of its art to raise funds. An encrypted Michelangelo painting of the holy family, Doni Tondo, sold for €140,000. Each piece includes a signed certificate of authenticity by the museum’s director, Eike Schmidt. Florence's Uffizi Gallery Ultimately, the integration of NFTs into museum exhibitions is an exciting and transformative development that has the potential to bring art to new audiences. We can look forward to exploring this rapidly evolving art in museums!

How Museums are Using NFTs to Monetize and Preserve Art 

Traditional digital art is experiencing a real revolution thanks to the use of NFTs (Non-Fungible Tokens) where these unique and non-editable tokens are changing the way art is sold, preserved, and valued. But How Do NFTs Affect Museums and Their Ability to Conserve and Enhance Digital Art? What Is an NFT? An NFT is a unique and unchangeable digital token, created through a smart contract, which represents the ownership of a digital artwork. Thanks to blockchain technology, NFTs guarantee authenticity (when it comes directly from the museum itself) and ownership of digital artwork (as I can know who owns that NFT), making it possible to sell and keep it safe and transparent. Museums and Digital Art Museums have always faced the challenge of conserving and enhancing art, but with the advent of NFTs, this challenge is becoming easier and easier. On the one hand, NFTs offer museums the ability to create and conserve works of art safely and transparently, and on the other hand, they can monetize the same NFTs created in multiple copies, allowing museums to bear their maintenance costs. Conservation of Art in Museums To conserve art adequately, museums have to face various challenges, such as correct cataloging, having adequate spaces, and also qualified personnel who can allow a correct and adequate process to current legislation. Not to mention conservation where often, due to lack of suitable space in the museum, the various works of art are kept on shelves in old warehouses, waiting to be exhibited and show off their splendor. The Promotion of Art in Museums The enhancement of art in museums is still an underexplored and fragmented territory, as not all museums follow the same logic or have the same means, and let us not forget that most museums do not even have a good website or update. But with the advent of NFTs, museums can begin to see the opportunities offered by this new form of communication, valorization, and even monetization given that, as we have said, NFTs dedicated to sale can be created. The Opportunities Offered by NFTs to Museums NFTs offer museums many opportunities to enhance and promote art innovatively and these are some possible and viable examples: Sale of digital lithographs - NFTs allow museums to sell authentic digital lithographs to visitors, offering them the possibility of becoming the owners of a limited series digital lithograph, also allowing them to resell it at a later time, by circulating the digital lithograph hand in hand and all over the world. Virtual exhibitions - NFTs allow museums to create virtual exhibitions of works of art, offering visitors the opportunity to admire art from anywhere in the world, as digital lithographs only need a monitor where they can be displayed. Online presence - Thanks to the creation of NFTs, real online pages are also created where users can admire and purchase these digital lithographs. And among other things, any user in the world can view these pages, thus allowing to reach more people in the world who are interested in art. Immersive experiences - NFTs can be used to create immersive experiences for users from all over the world, offering the possibility of interacting with digital art in a new and innovative way, such as a blockchain video game playable on any platform and from home. Digital art is experiencing a revolution thanks to the use of NFTs, and museums have the opportunity to take advantage of this change. From the safe and transparent conservation of art to the options to enhance it in innovative ways, NFTs offer museums many opportunities, as we have seen, to explore and promote art in a new and engaging way. Here is a small summary video that I made: https://youtu.be/dpXAnCmp4Y4?embedable=true Also published here

How NFTs and Museums are Creating A Digital Art Revolution

A Short History of the World, by H. G. Wells, is part of the HackerNoon Books Series. You can jump to any chapter in this book here . THE MUSEUM AND LIBRARY AT ALEXANDRIA THE MUSEUM AND LIBRARY AT ALEXANDRIA Before the time of Alexander Greeks had already been spreading as merchants, artists, officials, mercenary soldiers, over most of the Persian dominions. In the dynastic disputes that followed the death of Xerxes, a band of ten thousand Greek mercenaries played a part under the leadership of Xenophon. Their return to Asiatic Greece from Babylon is described in his Retreat of the Ten Thousand, one of the first war stories that was ever written by a general in command. But the conquests of Alexander and the division of his brief empire among his subordinate generals, greatly stimulated this permeation of the ancient world by the Greeks and their language and fashions and culture. Traces of this Greek dissemination are to be found far away in central Asia and in north-west India. Their influence upon the development of Indian art was profound. For many centuries Athens retained her prestige as a centre of art and culture; her schools went on indeed to 529 A.D., that is to say for nearly a thousand years; but the leadership in the intellectual activity of the world passed presently across the Mediterranean to Alexandria, the new trading city that Alexander had founded. Here the Macedonian general Ptolemy had become Pharaoh, with a court that spoke Greek. He had become an intimate of Alexander before he became king, and he was deeply saturated with the ideas of Aristotle. He set himself, with great energy and capacity, to organize knowledge and investigation. He also wrote a history of Alexander’s campaigns which, unhappily, is lost to the world. Alexander had already devoted considerable sums to finance the enquiries of Aristotle, but Ptolemy I was the first person to make a permanent endowment of science. He set up a foundation in Alexandria which was formerly dedicated to the Muses, the Museum of Alexandria. For two or three generations the scientific work done at Alexandria was extraordinarily good. Euclid, Eratosthenes who measured the size of the earth and came within fifty miles of its true diameter, Apollonius who wrote on conic sections, Hipparchus who made the first star map and catalogue, and Hero who devised the first steam engine are among the greater stars of an extraordinary constellation of scientific pioneers. Archimedes came from Syracuse to Alexandria to study, and was a frequent correspondent of the Museum. Herophilus was one of the greatest of Greek anatomists, and is said to have practised vivisection. For a generation or so during the reigns of Ptolemy I and Ptolemy II there was such a blaze of knowledge and discovery at Alexandria as the world was not to see again until the sixteenth century A.D. But it did not continue. There may have been several causes of this decline. Chief among them, the late Professor Mahaffy suggested, was the fact that the Museum was a “royal” college and all its professors and fellows were appointed and paid by Pharaoh. This was all very well when Pharaoh was Ptolemy I, the pupil and friend of Aristotle. But as the dynasty of the Ptolemies went on they became Egyptianized, they fell under the sway of Egyptian priests and Egyptian religious developments, they ceased to follow the work that was done, and their control stifled the spirit of enquiry altogether. The Museum produced little good work after its first century of activity. Ptolemy I not only sought in the most modern spirit to organize the finding of fresh knowledge. He tried also to set up an encyclopædic storehouse of wisdom in the Library of Alexandria. It was not simply a storehouse, it was also a book-copying and book-selling organization. A great army of copyists was set to work perpetually multiplying copies of books. Here then we have the definite first opening up of the intellectual process in which we live to-day; here we have the systematic gathering and distribution of knowledge. The foundation of this Museum and Library marks one of the great epochs in the history of mankind. It is the true beginning of Modern History. ARISTOTLE From Herculaneum, probably Fourth Century B.C. Photo: Dr. Singer Both the work of research and the work of dissemination went on under serious handicaps. One of these was the great social gap that separated the philosopher, who was a gentleman, from the trader and the artisan. There were glass workers and metal workers in abundance in those days, but they were not in mental contact with the thinkers. The glass worker was making the most beautifully coloured beads and phials and so forth, but he never made a Florentine flask or a lens. Clear glass does not seem to have interested him. The metal worker made weapons and jewellery but he never made a chemical balance. The philosopher speculated loftily about atoms and the nature of things, but he had no practical experience of enamels and pigments and philters and so forth. He was not interested in substances. So Alexandria in its brief day of opportunity produced no microscopes and no chemistry. And though Hero invented a steam engine it was never set either to pump or drive a boat or do any useful thing. There were few practical applications of science except in the realm of medicine, and the progress of science was not stimulated and sustained by the interest and excitement of practical applications. There was nothing to keep the work going therefore when the intellectual curiosity of Ptolemy I and Ptolemy II was withdrawn. The discoveries of the Museum went on record in obscure manuscripts and never, until the revival of scientific curiosity at the Renascence, reached out to the mass of mankind. Nor did the Library produce any improvements in book making. That ancient world had no paper made in definite sizes from rag pulp. Paper was a Chinese invention and it did not reach the western world until the ninth century A.D. The only book materials were parchment and strips of the papyrus reed joined edge to edge. These strips were kept on rolls which were very unwieldy to wind to and fro and read, and very inconvenient for reference. It was these things that prevented the development of paged and printed books. Printing itself was known in the world it would seem as early as the Old Stone Age; there were seals in ancient Sumeria; but without abundant paper there was little advantage in printing books, an improvement that may further have been resisted by trades unionism on the part of the copyists employed. Alexandria produced abundant books but not cheap books, and it never spread knowledge into the population of the ancient world below the level of a wealthy and influential class. STATUETTE OF MAITREYA: THE BUDDHA TO COME A Græco-Buddhist sculpture of the Third Century A.D. (From Malakand, N. W. Province, now in the India Museum) So it was that this blaze of intellectual enterprise never reached beyond a small circle of people in touch with the group of philosophers collected by the first two Ptolemies. It was like the light in a dark lantern which is shut off from the world at large. Within the blaze may be blindingly bright, but nevertheless it is unseen. The rest of the world went on its old ways unaware that the seed of scientific knowledge that was one day to revolutionize it altogether had been sown. Presently a darkness of bigotry fell even upon Alexandria. Thereafter for a thousand years of darkness the seed that Aristotle had sown lay hidden. Then it stirred and began to germinate. In a few centuries it had become that widespread growth of knowledge and clear ideas that is now changing the whole of human life. THE DEATH OF BUDDHA Græco-Buddhist carving from Sivat Valley, N. W. Province, probably A.D. 350 India Mus. Alexandria was not the only centre of Greek intellectual activity in the third century B.C. There were many other cities that displayed a brilliant intellectual life amidst the disintegrating fragments of the brief empire of Alexander. There was, for example, the Greek city of Syracuse in Sicily, where thought and science flourished for two centuries; there was Pergamum in Asia Minor, which also had a great library. But this brilliant Hellenic world was now stricken by invasion from the north. New Nordic barbarians, the Gauls, were striking down along the tracks that had once been followed by the ancestors of the Greeks and Phrygians and Macedonians. They raided, shattered and destroyed. And in the wake of the Gauls came a new conquering people out of Italy, the Romans, who gradually subjugated all the western half of the vast realm of Darius and Alexander. They were an able but unimaginative people, preferring law and profit to either science or art. New invaders were also coming down out of central Asia to shatter and subdue the Seleucid empire and to cut off the western world again from India. These were the Parthians, hosts of mounted bowmen, who treated the Græco-Persian empire of Persepolis and Susa in the third century B.C. in much the same fashion that the Medes and Persians had treated it in the seventh and sixth. And there were now other nomadic peoples also coming out of the northeast, peoples who were not fair and Nordic and Aryan- speaking but yellow-skinned and black-haired and with a Mongolian speech. But of these latter people we shall tell more in a subsequent chapter. About HackerNoon Book Series: We bring you the most important technical, scientific, and insightful public domain books. This book is part of the public domain. H. G. Wells (2011). A Short History of the World. Urbana, Illinois: Project Gutenberg. Retrieved October 2022, from https://www.gutenberg.org/files/11870/11870-h/11870-h.htm This eBook is for the use of anyone anywhere at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org , located at https://www.gutenberg.org/policy/license.html .

THE MUSEUM AND LIBRARY AT ALEXANDRIA

Earlier this year, I created a really fun project that I called "Brain to the Cloud" where I saved my brain data to the cloud while playing Call of Duty so that I could analyze the relationship between my cognitive function and video game performance. I wrote up a three-part blog post series and created some fun videos to summarize my findings on that project. If you'd like to check those out, you can refer to the links at the bottom of this post. A few months after I published that project, I started working at Twitch as the lead Developer Advocate for Amazon Interactive Video Service (Amazon IVS) - a fully managed solution for creating live, interactive video streaming solutions (check out to learn more). The next step of my "Brain to the Cloud" project was obvious - I needed to my brain. this series live stream Broadcasting My Brain Before we look at the code, let's see the final product. There are 2 views for the application: a broadcasting view, and a playback view. In the broadcasting view, we can preview the live video, start the broadcast, and connect the Muse headband to stream the brain data obtained from the headband. In the playback view, we display the live stream with a element, and chart the brain data in real-time <video> Project Overview There are 5 steps to this project: Broadcast live stream Capture brain data Publish brain data as timed metadata within the live stream Playback live stream Listen for timed metadata and render brain data in a chart in real-time If you prefer graphical depictions of such things, here's how this looks: Building the Project I used React for this project. Why? Well, I've got plenty of experience with Vue and Angular, but I'm probably one of the last developers on earth to try React. I figured it was about time to figure out what all the hype was about, and I knew that this would not be a difficult project to build with it. Due to my lack of prior experience, I'm not what you'd call an "advanced" user of the framework, but I have to say that I'm pretty happy with what I see so far. I found the process enjoyable and did not find myself "fighting" with the framework. But this blog post isn't about my opinion on JavaScript frameworks, so I'll save that for a future post. Instead, let's talk about how I broadcast my brain! The Hardware In my original "Brain to the Cloud" project, I used a "vintage" EEG headset called a MindFlex to capture my brain readings. It worked fairly well but required me to "hack" the device by adding an ESP-12 microcontroller in order to pull the readings off of the device and send them to the cloud. This time I reached for something slightly newer - and something that I could use with no modifications. After a bit of research, I settled on the . Thankfully, there is a really awesome open-source library called which lets me access the brain readings directly in a web browser with Web Bluetooth (in supported browsers, of course). Muse S Headband muse-js The Live Stream Broadcast Until recently, live streaming with IVS required us to use a third-party client to broadcast our streams as RTMPS. But we recently launched a game-changer: the . As the name implies, this SDK gives us the ability to broadcast our live stream via WebRTC directly from a web browser. Clearly, this was a perfect fit for live streaming my brain since it means that I can create an "all-in-one" solution for broadcasting my brain data along with my live stream without relying on third-party software or external scripts. Amazon Amazon IVS Web Broadcast SDK Adding Web Broadcast to the React App We're not going to look at every single step required to utilize the Web Broadcast SDK in this post. Instead, we'll look at the highlights to get a general idea of how it works. Don't worry - I've got another post coming soon where we'll dig into the "step-by-step" process for using the Web Broadcast SDK, so stay tuned for that. That said, let's take a quick journey to see how I used the SDK in this project. My first step was to use a web broadcast to install the module. Using your favorite package management tool, run: amazon-ivs-web-broadcast $ npm install amazon-ivs-web-broadcast Next, we need to import it into our component. In my Broadcast.jsx component, I added: import IVSBroadcastClient, { STANDARD_LANDSCAPE } from 'amazon-ivs-web-broadcast' ; We can create an instance of the IVSBroadcastClient with the desired stream configuration and ingest the endpoint from our Amazon IVS channel and set it into our component's state. })
}); this .setState({ broadcastClient : IVSBroadcastClient.create({ streamConfig : STANDARD_LANDSCAPE, ingestEndpoint : this .state.ingestEndpoint, Now that we've got an instance of the client, we can add our camera to the client. For this we use . navigator.mediaDevices.getUserMedia() }, },
    },
}); const streamConfig = STANDARD_LANDSCAPE; const videoStream = await navigator.mediaDevices.getUserMedia({ video : { deviceId : { exact : this .state.selectedVideoDeviceId }, width : { ideal : streamConfig.maxResolution.width, max : streamConfig.maxResolution.width, height : { ideal : streamConfig.maxResolution.height, max : streamConfig.maxResolution.height, this .state.broadcastClient.addVideoInputDevice(videoStream, 'camera1' , { index : 0 }); Adding the user's microphone to the client follows a similar pattern. },
}); const audioStream = await navigator.mediaDevices.getUserMedia({ audio : { deviceId : this .state.selectedAudioDeviceId this .state.broadcastClient.addAudioInputDevice(audioStream, 'mic1' ); Because of the browser security model, we need to get permissions to access the user's camera and microphone. Refer to the for more information on this, and to see how I captured a list of devices and presented them in a dialog to allow the user to choose the broadcast device if multiple options are available. Note: project source on GitHub Now we can add a live preview to the page so that we can see what our viewers will ultimately see on the player side of things. <canvas ref={ this .previewRef} id= 'broadcast-preview' ></canvas> And attach the preview to the : broadcastClient this .state.broadcastClient.attachPreview( this .previewRef.current); To start the broadcast, add a button to the page, and in the handler for the button call on the (passing the necessary ). onClick startBroadcast() broadcastClient streamKey this .state.broadcastClient.startBroadcast( this .state.streamKey); Obtaining My Brain Data As I mentioned above, I used the library, which provides the ability to connect to the headband and pull the raw data. However, does not calculate the absolute band powers for the EEG data. For this, I needed to reach for : . muse-js muse-js another library eeg-pipes The first step is to add and import the libraries. $ npm install @neurosity/pipes $ npm install muse-js import { zipSamples, MuseClient } from 'muse-js' ; import { powerByBand, epoch, fft } from '@neurosity/pipes' ; Next, I added a button with a click handler. In the handler, I connect to the headset, start listening for data, and subscribe to the stream. zipSamples(client.eegReadings)
  .pipe( powerByBand(),
  )
  .subscribe( }
); const client = new MuseClient(); await client.connect(); await client.start(); epoch({ duration : 1024 , interval : 250 , samplingRate : 256 }), fft({ bins : 256 }), ( data ) => { const ch0 = [data.delta[ 0 ], data.theta[ 0 ], data.alpha[ 0 ], data.beta[ 0 ], data.gamma[ 0 ]]; const ch1 = [data.delta[ 1 ], data.theta[ 1 ], data.alpha[ 1 ], data.beta[ 1 ], data.gamma[ 1 ]]; const ch2 = [data.delta[ 2 ], data.theta[ 2 ], data.alpha[ 2 ], data.beta[ 2 ], data.gamma[ 2 ]]; const ch3 = [data.delta[ 3 ], data.theta[ 3 ], data.alpha[ 3 ], data.beta[ 3 ], data.gamma[ 3 ]]; const meta = [ch0, ch1, ch2, ch3]; //publish metadata Publishing my Brain Data as Timed Metadata Now that I've got a handler that collects my brain data from the Muse headband, it's time to publish that data as timed metadata in the live stream. The awesome thing about is that it is directly embedded in the video stream, and remains a permanent part of that stream. That means that it exists even in recorded versions, meaning that even in on-demand playback we can listen for and respond to the events. timed metadata The Web Broadcast SDK does not support publishing timed metadata from the client side, so we'll have to use ( ) via the . For this, I created an AWS Lambda function. putMetadata docs AWS SDK for JavaScript }); }, }; } } } } }; } response.body = err.stack; }

}; const AWS = require ( 'aws-sdk' ); const ivs = new AWS.IVS({ apiVersion : '2020-07-14' , region : 'us-east-1' exports .send = async (event, context, callback) => { // response object const response = { 'statusCode' : 200 , 'headers' : { 'Access-Control-Allow-Origin' : '*' , 'Access-Control-Allow-Methods' : 'OPTIONS,GET,PUT,POST,DELETE' , 'Content-Type' : 'application/json' 'body' : '' , 'isBase64Encoded' : false // parse payload let payload; try { payload = JSON .parse(event.body); catch (err) { response.statusCode = 500 ; response.body = JSON .stringify(err); callback( null , response); return ; // validate payload if (!payload || !payload.channelArn || !payload.metadata) { response.statusCode = 400 ; response.body = 'Must provide, channelArn and metadata' ; callback( null , response); return ; // check payload size let byteLength = Buffer.byteLength(payload.metadata, 'utf8' ); if (byteLength > 1024 ) { response.statusCode = 400 ; response.body = 'Too big. Must be less than or equal to 1K' ; callback( null , response); return ; // putmetadata input let params = { channelArn : payload.channelArn, metadata : payload.metadata try { await ivs.putMetadata(params).promise(); response.statusCode = 200 ; response.body = JSON .stringify({ 'published' : true }, '' , 2 ); callback( null , response); catch (err) { response.statusCode = 500 ; callback( null , response); return ; To publish my brain data as timed metadata, I created an Amazon API Gateway to invoke the function and modify the method above to call the AWS Lambda function. subscribe() .pipe( powerByBand(),
  )
  .subscribe( fetch(LAMBDA_URL, { }, })
        });
      }
    }
  ); zipSamples(client.eegReadings) epoch({ duration : 1024 , interval : 250 , samplingRate : 256 }), fft({ bins : 256 }), ( data ) => { const ch0 = [data.delta[ 0 ], data.theta[ 0 ], data.alpha[ 0 ], data.beta[ 0 ], data.gamma[ 0 ]]; const ch1 = [data.delta[ 1 ], data.theta[ 1 ], data.alpha[ 1 ], data.beta[ 1 ], data.gamma[ 1 ]]; const ch2 = [data.delta[ 2 ], data.theta[ 2 ], data.alpha[ 2 ], data.beta[ 2 ], data.gamma[ 2 ]]; const ch3 = [data.delta[ 3 ], data.theta[ 3 ], data.alpha[ 3 ], data.beta[ 3 ], data.gamma[ 3 ]]; const meta = [ch0, ch1, ch2, ch3]; // put metadata if broadcasting if ( this .state.isBroadcasting) { 'method' : 'POST' , 'mode' : 'no-cors' , 'headers' : { 'Content-Type' : 'application/json' , 'body' : JSON .stringify({ channelArn : this .state.channelArn, metadata : JSON .stringify(meta) Building the Live Stream Playback and Charting My Brain Data Once the live stream with brain data broadcast view was complete, it was time to create a playback experience that would display the live stream and chart the brain data in real time as it came in via timed metadata. Creating The Live Stream Player We can use the IVS Web Player SDK via NPM, but since it uses WebAssembly . To avoid that trickiness, I find it easier to use the web player via a tag and I added that to my in my React app. things can get tricky <script> index.html <script src= "https://player.live-video.net/1.12.0/amazon-ivs-player.min.js" ></script> In my component, I grab a reference to the player and some necessary elements. Playback.jsx const { IVSPlayer } = window ; const { create : createMediaPlayer, isPlayerSupported, PlayerEventType, PlayerState } = IVSPlayer; const { ENDED, PLAYING, READY, BUFFERING } = PlayerState; const { TEXT_METADATA_CUE, ERROR } = PlayerEventType; For playback, we use the native tag. <video> <video ref={ this .videoRef} controls playsInline></video> And to initialize the player and start playback: this .playerRef.current = createMediaPlayer(); this .playerRef.current.attachHTMLVideoElement( this .videoRef.current); this .playerRef.current.load(STREAM_URL); this .playerRef.current.play(); Listening and Responding to Timed Metadata Now that we're playing the live stream, we can listen for and respond to the incoming brain data. this .playerRef.current.addEventListener(TEXT_METADATA_CUE, this .onPlayerMetadata); Set the brain data into our component state: });
  });
}; onPlayerMetadata = ( e ) => { //console.log(e); const data = JSON .parse(e.text); this .setState( state => { state.ch0.datasets[ 0 ].data = data[ 0 ]; state.ch1.datasets[ 0 ].data = data[ 1 ]; state.ch2.datasets[ 0 ].data = data[ 2 ]; state.ch3.datasets[ 0 ].data = data[ 3 ]; this .chartReferenceCh0.current.data.datasets[ 0 ].data = state.ch0.datasets[ 0 ].data; this .chartReferenceCh1.current.data.datasets[ 0 ].data = state.ch1.datasets[ 0 ].data; this .chartReferenceCh2.current.data.datasets[ 0 ].data = state.ch2.datasets[ 0 ].data; this .chartReferenceCh3.current.data.datasets[ 0 ].data = state.ch3.datasets[ 0 ].data; return ({ ch0 : state.ch0, ch1 : state.ch1, ch2 : state.ch2, ch3 : state.ch3 And render it with a bar chart (with Chart.js): options={
    { }, } 
    }
  } /> <Bar data={ this .state.ch0} ref={ this .chartReferenceCh0} aspectRatio : 1 , title : { display : true , text : 'Channel: ' + channelNames[ 0 ] }, responsive : true , tooltips : { enabled : false legend : { display : false The visualization is cool, and certainly provides a fun way to see my brain data while I'm live streaming a game, but doesn't provide a ton of context. So I figured it would make sense to include some calculations to give insight into what the data actually means. For that, I found some calculations in the which included some formulas that can be used to calculate factors like relaxation (alpha divided by delta), and concentration (beta divided by theta). Another a way to derive fatigue ((theta + alpha) / beta). I wrapped these calculations up in a handy, reusable component. muse-lsl project on GitHub great blog post I found highlighted </Col> </Row> <Row className= 'mb-2' > { /* Delta: 0 Theta: 1 Alpha: 2 Beta: 3 Gamma: 4 */ } <Col xs={ 12 } xxl={ 4 } className= 'align-items-center mb-2 mb-xxl-0' > < Badge className = 'fs-6 w-100' bg = 'info' > Relaxation: < span className = 'fw-bold' > < NumberFormat value = {this.props.dataset.data[0] ? ( this.props.dataset.data [ 2 ] / this.props.dataset.data [ 0 ]) : 0 } decimalScale = {2} displayType = { ' text '} /> </ span > </ Badge > < Col xs = {12} xxl = {4} className = 'align-items-center mb-2 mb-xxl-0' > < Badge className = 'fs-6 w-100' bg = 'info' > Fatigue: < span className = 'fw-bold' > < NumberFormat value = { this.props.dataset.data [ 3 ] ? ( ( this.props.dataset.data [ 1 ] + this.props.dataset.data [ 2 ]) / this.props.dataset.data [ 3 ] ) : 0 } decimalScale = {2} displayType = { ' text '} /> </ span > </ Badge > </ Col > < Col xs = {12} xxl = {4} className = 'align-items-center mb-2 mb-xxl-0' > < Badge className = 'fs-6 w-100' bg = 'info' > Focus: < span className = 'fw-bold' > < NumberFormat value = {this.props.dataset.data[1] ? ( this.props.dataset.data [ 3 ] / this.props.dataset.data [ 1 ]) : 0 } decimalScale = {2} displayType = { ' text '} /> </ span > </ Badge > </ Col > Summary In this post, we looked at how I created a React application to live stream my brain data with Amazon IVS. If you'd like to learn more about Amazon IVS, please check out the series here on dev.to. If you're interested in trying out the application or just checking out the full source for the application, check it out on . Your comments, questions and feedback is always welcome, so leave a comment here or connect with me on Getting Started with Amazon Interactive Video Service GitHub Twitter Links Brain to the Cloud - Part I - Project Intro and Architectural Overview Brain to the Cloud - Part II - How I Uploaded My Brain to the Cloud Brain to the Cloud - Part III - Examining the Relationship Between Brain Activity and Video Game Performance Project Source Code First Published . here

How I Live Stream My Brain with Amazon IVS, a Muse Headband and React

Cómo transmito en vivo mi cerebro con Amazon IVS, una diadema Muse y React

Comment je diffuse en direct mon cerveau avec Amazon IVS, un bandeau Muse et React

मैं कैसे अपने दिमाग को Amazon IVS, एक सरस्वती हेडबैंड और रिएक्ट के साथ लाइव स्ट्रीम करता हूं

Amazon IVS、Muse ヘッドバンド、React を使用して脳をライブ ストリーミングする方法

Como eu transmito meu cérebro ao vivo com o Amazon IVS, uma bandana Muse e React

Cách tôi phát trực tiếp bộ não của mình với Amazon IVS, Muse Headband và React

我如何使用 Amazon IVS、Muse 头带和 React 直播我的大脑

How are museums using NFTs, and perhaps just as intriguing, why are they using NFTs? Because it’s more than just a revenue stream to make money. In fact, if museums just think of museums in terms of dollars and cents (or, in this case, crypto), then they will most likely fail to make a real and lasting impact. For hundreds of years, museums are institutions that collect, protect and interprets object, artifacts and other material evidence of human history, as well as of nature and make them available to the general public. The rise of NFTs has coincided with the spread of the pandemic. While wasn’t the only reason for the popularity of NFTs and blockchain technology, it shows just how fast the industry is growing and how many people are embracing NFTs and their potential implications. COVID While celebrities, brands and sports companies have been early adopters, museums are generally slow to take on anything new. However, the shutdown of tourism and world travel has forced them to think outside of the box. NFTs are the perfect opportunity and have all but fallen into the laps of those looking to not only raise funds for museums but offer a new experience to patrons and museum-lovers who can’t travel. Last year, the British Museum in London converted Japanese painter Hokusai's famous works into NFTs. And recently, the museum announced that it is extending its partnership with LaCollection to digitize . William Turner's artworks The idea is that users get to purchase these digital tokens, which represent the artwork. These can then be displayed on digital walls as an NFT. A portion of the proceeds from these token sales will go towards the museum itself. In this way, they fundraise and generate income without resorting to selling physical assets. So how are museums using NFTs and perhaps just as intriguing, why? Because it’s more than just a revenue stream to make money. In fact, if museums just think of museums in terms of dollars and cents (or, in this case, crypto), then they will most likely fail to make a real and lasting impact. The Revolt Against Tradition Manhattan's New Museum was one of the first to adopt the technology by announcing a program of events meant to open discussions about the prospect of transitioning to the digital world. While the museum, in itself, is already a symbol of change in the art industry, this new program is a showcase that it's willing to break tradition. According to the museum's website, the initiative is a call to action for artists, technologists, and other cultural producers to consider how they might work together to create new structures for supporting the production, dissemination, and collection of art in the digital age. This is a revolt against convention. At the forefront of this shift are NFTs, the most significant technological innovation in the art world since the internet. The rise of NFTs has led to a new way of thinking about value, authenticity, and ownership. It has also called into question the very idea of an art object and what it could be. Virtual Experiences Many prominent museums have been offering making it possible to visit Paris, New York and Florence from your computer. These include online tours, 3D renderings, and even augmented reality (AR) and virtual reality (VR) simulations. virtual experiences But there's more they can do than just upgrade a visitor's virtual experience. For example, the world's first-ever full-time NFT museum, the Seattle NFT Museum, opened its doors early this year, intending to explore the potential of this technology. The museum hosts exhibitions and events that feature a variety of NFT-based artworks. These include everything from audio recordings and videos to 3D-printed sculptures. The museum's "Climate Conversation" exhibit features artworks sold as NFTs with the option of being printed in physical form. Fundraising But of all the motivations for embracing NFTs, nothing is more apparent than the fundraising potential. The possibility of creating a new revenue stream is too great for museums to ignore. Russia's Hermitage Museum leads the way in this regard – at least before the sanctions. The institution minted a substantial portion of its massive artwork collection (including a Da Vinci) into and sold them in their digital form. Driven by the instinct to survive, the museum may have even defied its country's long-standing aversion toward anything that resembles crypto. NFTs Fundraising through NFTs makes sense on many fronts. For one, it allows museums to generate income without selling any of their assets. Likewise, it also allows them to engage with a new and growing community of art collectors and enthusiasts. And it's not merely about the money. Embracing NFTs through a new platform for marketing their collections to a wider audience. With the help of blockchain technology, these NFTs can be authenticated and tracked. This gives rise to a new level of transparency that can help build trust between the institution and its supporters. fundraisers efforts To Educate Perhaps even more noble than making a new revenue source is the fact that some museums are opening their doors to help educate the public about NFTs. It brings about a sigh of relief, knowing that a historically traditional industry ultimately gives in to change for the betterment of all. In May of last year, the Smithsonian's Hirshhorn Museum conducted a comprised of entrepreneurs, artists, and curators to talk about the impact of NFTs in the art world. The focal point was the question of whether NFTs are a fad or will it be the art's future. panel discussion In the same month, the Brattleboro Museum invited prominent author Anne Spalter along with a few local artists and academics, to discuss the in the art market while also exploring the potential of new art forms brought by this change. impact of NFTs When museums take the initiative in exploring the implications of NFTs, it says a lot about how this revolution will eventually unfold. Preserving Culture NFTs are indeed the complete opposite of how traditional art and museums operate. But it doesn't mean they can't find a way to co-exist. Museums are some of the most important cultural institutions in the world. They preserve and promote art, culture, and history. In a rapidly changing world, museums are more important than ever to stay relevant. And one way they're doing that is by embracing new technologies like NFTs. NFTs offer a way for museums to collect, curate, and exhibit art by engaging with the public in a new platform and educating them about the ever-changing art world. NFTs also allow cultures to protect what is lost. During the war in Ukraine, there is a massive amount of destruction. The World Bank has estimated at least of damage has been done so far. Unfortunately, it’s impossible to know how much art has been lost (and perhaps we’ll never know the full extent) but it’s safe to say a significant amount will never be seen again.  In 2012, several buildings in Timbuktu, including 14 priceless mausoleums which were part of the World Heritage site, were . These are just two recent prominent examples. There are many more. While nothing can replace the physical buildings and works of art, at least if they are preserved through NFTs, they might be part of the new metaverse so it can be enjoyed by future generations. $60 billion worth destroyed by war Last Thoughts There are many reasons museums should be embracing NFTs but perhaps the most important is they are the future. NFT technology is here to stay and will only get adopted by more people, brands, and institutions. It won’t be long before people can hop into the metaverse and visit all their favourite museums from the comfort of their own living room. This should be something that all museums should be moving towards. By Hussein Hallak

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