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https://medium.com/@engashora11/a-discuss-the-primary-issue-that-mills-is-facing-and-explain-the-related-issues-by-explaining-how-469641531938	medium.com	A- Discuss the primary issue that Mills is facing and explain the related issues by explaining how…	B- Critically evaluate Mills’ strategy stating both strengths and weaknesses. (Up to 25% Marks)	الأستاذ 00966597837185	https://medium.com/@engashora11	469641531938	null	0 min	2018-11-03T22:31:03.765000	2018-11-03T22:36:11.624000	2018-11-03T22:36:11.624000	0	0	en	Photography	<section> <p><strong>A-</strong> Discuss the primary issue that Mills is facing and explain the related issues by explaining how management preference has influenced Mills’ choices. <strong>(Up to 25% Marks)</strong></p> <p><strong>B-</strong> Critically evaluate Mills’ strategy stating both strengths and weaknesses.<strong> (Up to 25% Marks)</strong></p> </section>	حل واجب b716a — 00966597837185 — b716a حلول واجبات b716a الجامعة b716a العربية b716a المفتوحة A- Discuss the primary issue that Mills is facing and explain the related issues by explaining how management preference has influenced Mills’ choices. (Up to 25% Marks) B- Critically evaluate Mills’ strategy stating both strengths and weaknesses. (Up to 25% Marks)	1c683a11-7a7c-54be-b348-6665889f7935	25/08/2025 18:01:58
https://medium.com/@tedyoungs/charlotte-the-seasick-queen-and-the-birth-of-virtual-reality-c8428075d54b	medium.com	Charlotte the Seasick Queen and the Birth of Virtual Reality	Like many a fairy tale, ours begins with a Queen…Queen Charlotte Mecklenberg-Streilitz of the United Kingdom and Ireland who reigned from…	Ted Youngs	https://medium.com/@tedyoungs	c8428075d54b	https://miro.medium.com/…wrKIu1MRRQpg.png	6 min	2016-01-21T18:13:12.252000	2016-01-21T19:47:23.632000	2018-04-13T23:31:56.052000	1	4	en	Panorama,Virtual Reality,History	<section> <img src="https://miro.medium.com/max/988/1Kfvd4tk-Q-wrKIu1MRRQpg.png" width="988" height="671" loading="lazy" /> <p>Like many a fairy tale, ours begins with a Queen…Queen Charlotte Mecklenberg-Streilitz of the United Kingdom and Ireland who reigned from 1761 to 1818.</p> <p>Historians remember Charlotte for importing the Christmas tree to the UK. For us, she is of particular interest as the first individual with a documented case of <em>virtual reality sickness</em>.</p> <p>Virtual reality sickness is similar to motion sickness in its symptoms — headache, nausea — but is induced when an individual reacts poorly to an artificial environment, such as a flight simulator or a pair of VR goggles.</p> <p>The term Virtual Reality itself was coined in 1938 by the French playwright Antonin Artaud to describe the theater. The first digital instances of virtual reality came into being in the late-1970s and early-1980s.</p> <p>How then could a Queen who died almost two hundred years ago have suffered from a malady before the technology that produced the illness existed?</p> <h3>The Birth of Virtual Reality</h3> <p>To answer this question, we must return to the work of the painter Robert Barker. Unfortunately, no photos exist of Mr. Barker as he died before the camera was invented. He was a man though with values that would feel contemporary — a tremendous entrepreneurial visionary who coupled technology and design. Though we have no image of Barker, below is an image of one his works of art. It is a piece that changed his life and — in the process — created one of the greatest consumer trends of the 18th and 19th century.</p> <img src="https://miro.medium.com/max/1323/1h_lvjnfO8rtuOW_osJOwUQ.png" width="1323" height="178" loading="lazy" /> <p>This is a panoramic view — Barker coined the term — of Edinburgh, Scotland. The painting is massive. Reportedly over 300 feet long and 50 feet high.</p> <p>To provide perspective on the size of this painting, I’ve placed an image of Leonardo da Vinci’s <em>Mona Lisa</em> (which is slightly less than 3 feet high and 2 feet wide) on the left-hand side of his canvas at scale.</p> <img src="https://miro.medium.com/max/1343/14pU95omP29qQfjFwpACgwQ.png" width="1343" height="483" loading="lazy" /> <p>Can you see her? Let’s zoom in again.</p> <img src="https://miro.medium.com/max/1349/1wtpJJWYeO6jGlU3ahJxeQw.png" width="1349" height="658" loading="lazy" /> <p>There she is! On the chimney beneath the black arrow.</p> <p>In 1792, Barker brought his painting of Edinburgh to London and put it on public display. The opening response was tepid, but either his intuition or the 18th century version of user feedback pushed him to try again, and he painted a second giant canvas, this time of London itself as viewed from Albion Mills.</p> <img src="https://miro.medium.com/max/1024/1mzOG6OUBGmYpVKxMDpZ2nQ.jpeg" width="1024" height="156" loading="lazy" /> <p>In his own back yard, just off Charing Cross Road, Barker custom-built a structure to house the painting. When he opened the doors, Londoners streamed in. The exhibit remained open for 3 years.</p> <p>Of course, Barker was a man of his time (or perhaps a man of ours). Three years wasn’t enough. Three years was just the beginning!</p> <p>For as the London panorama showed in his backyard, he set out to build the perfect rotunda to house his paintings just across the street in Leicester Square.</p> <p>The Leicester Square Panorama was massive with two distinct circular viewing rooms from which to admire panoramic paintings. This is a cut out view of its interior.</p> <img src="https://miro.medium.com/max/649/1V2FC6IZ15pA3DJjRB7xVPA.gif" width="649" height="478" loading="lazy" /> <p>Let’s pause on this image to review the four things that made this building into the ultimate virtual reality of its day.</p> <p>+First, the viewing platform (at center) limited how closely a spectator could approach the painting. This hid blemishes and tricks of perspective in the painting while creating a uniform 360 degree view. Meanwhile, the platform itself was slightly raised above the surrounding countryside giving the viewer a sense of power or omnipotence and the feeling, as well, of being at the center of the attraction.</p> <p>+Second, the drop ceiling (above), like blinders on a horse, hid the top edge of the painting from the spectator’s view so that it was possible to imagine that the panoramic painting had no end and extended up into the heavens.</p> <p>+Third, fixtures such as railings and the landscape in the foreground were switched out with each new panorama so that, for example, a ship’s mast on the horizon would be echo’d with the railing of a poop deck on the viewing platform. You were <em>in</em> the experience, not merely viewing it.</p> <p>+Finally, the entry to the panorama was a long, dimly-lit and disorienting corridor (bottom right). The cylindrical rotunda itself was not visible from the street. A viewer’s transition from central London via this tunnel to the side of Mount Vesuvius or the Battle of Waterloo was disorienting and invigorating in the extreme.</p> <p>In Leicester Square, Barker had created an almost perfect architectural illusion, a virtual reality. It was here that our heroine, Queen Charlotte, and Barker entangled.</p> <p>In the days before the inauguration of the Panorama she and her husband, King George the III, were invited to a preview. When they entered onto the viewing platform, they looked out upon a depiction of the British fleet moored at Spithead. The Queen was surrounded on all sides by naval vessels under sail or at anchor. And the open water of the English Channel engulfed the southeastern view. The King, it is said, was quite animated. Queen Charlotte, however, hung to a guard rail and resisted the urge to vomit.</p> <p>And this is the first recorded instance of Virtual Reality Sickness…or panorama sickness as it came to be known at the time.</p> <h3>Here Comes the Future</h3> <p>I bring this up not so much to make light of a Queen’s unease but to talk about what came next.</p> <p>Barker’s Leicester Square Panorama sold views of the world — of Sicily of Lisbon of Berlin — to the denizens of London until late in the 19th Century. The public paid 1 shilling per entry (or the equivalent of 7 dollars today) to be immersed in an illusion. Across the United States and Europe, tens of custom build panoramas were constructed….</p> <img src="https://miro.medium.com/max/550/1mXg05vAhOdBrVFeReRRxPg.jpeg" width="550" height="366" loading="lazy" /> <p>in Holland…</p> <img src="https://miro.medium.com/max/3872/1HvfJ3pW7cjW8Msd8SwWRZA.jpeg" width="3872" height="2592" loading="lazy" /> <p>in Belgium…</p> <img src="https://miro.medium.com/max/800/1ArnjPrYwOIpza02vGXDRPg.jpeg" width="800" height="600" loading="lazy" /> <p>in Poland…</p> <img src="https://miro.medium.com/max/624/1Kf9u7R0GJbwiSKJgUreH5Q.jpeg" width="624" height="324" loading="lazy" /> <p>Boston…</p> <img src="https://miro.medium.com/max/1009/1SgDadPdw9pOVFQNZABHHTQ.jpeg" width="1009" height="673" loading="lazy" /> <p>and Quebec.</p> <p>Panoramic paintings traveled from locale to locale and a massive trade opened up for painters, draftsmen, and engineers. A trade that flourished for the better part of a century.</p> <img src="https://miro.medium.com/max/320/1QVJNx3Jd5MgQgSTOnmFvEg.jpeg" width="320" height="481" loading="lazy" /> <p>Two hundred years later — with Oculus and Vive, Cardboard and Sony — as we walk through this dimly lit corridor and up a set of stairs to this new era of virtual reality, I hope none of you feel the same queasiness as Queen Charlotte, but instead butterflies of excitement deep in the gut. Because the experiences that we’ll see and build in the years to come could never have been imagined in the time of Robert Barker or Charlotte the Seasick Queen.</p> <p>Here comes the future.</p> <p>(This post is altered from a talk originally given at New Highs in Design — Virtual Reality at Facebook’s Seattle offices on January 20th, 2016.)</p> </section>	Charlotte the Seasick Queen and the Birth of Virtual Reality Queen Charlotte Mecklenberg-Streilitz of the United Kingdom and Ireland Like many a fairy tale, ours begins with a Queen…Queen Charlotte Mecklenberg-Streilitz of the United Kingdom and Ireland who reigned from 1761 to 1818. Historians remember Charlotte for importing the Christmas tree to the UK. For us, she is of particular interest as the first individual with a documented case of virtual reality sickness. Virtual reality sickness is similar to motion sickness in its symptoms — headache, nausea — but is induced when an individual reacts poorly to an artificial environment, such as a flight simulator or a pair of VR goggles. The term Virtual Reality itself was coined in 1938 by the French playwright Antonin Artaud to describe the theater. The first digital instances of virtual reality came into being in the late-1970s and early-1980s. How then could a Queen who died almost two hundred years ago have suffered from a malady before the technology that produced the illness existed? The Birth of Virtual Reality To answer this question, we must return to the work of the painter Robert Barker. Unfortunately, no photos exist of Mr. Barker as he died before the camera was invented. He was a man though with values that would feel contemporary — a tremendous entrepreneurial visionary who coupled technology and design. Though we have no image of Barker, below is an image of one his works of art. It is a piece that changed his life and — in the process — created one of the greatest consumer trends of the 18th and 19th century. Robert Barker’s Panorama of Edinburgh from Carlton Hill This is a panoramic view — Barker coined the term — of Edinburgh, Scotland. The painting is massive. Reportedly over 300 feet long and 50 feet high. To provide perspective on the size of this painting, I’ve placed an image of Leonardo da Vinci’s Mona Lisa (which is slightly less than 3 feet high and 2 feet wide) on the left-hand side of his canvas at scale. Can you see her? Let’s zoom in again. There she is! On the chimney beneath the black arrow. In 1792, Barker brought his painting of Edinburgh to London and put it on public display. The opening response was tepid, but either his intuition or the 18th century version of user feedback pushed him to try again, and he painted a second giant canvas, this time of London itself as viewed from Albion Mills. Robert Barker’s Panoramic view of London, from the top of Albion Mills In his own back yard, just off Charing Cross Road, Barker custom-built a structure to house the painting. When he opened the doors, Londoners streamed in. The exhibit remained open for 3 years. Of course, Barker was a man of his time (or perhaps a man of ours). Three years wasn’t enough. Three years was just the beginning! For as the London panorama showed in his backyard, he set out to build the perfect rotunda to house his paintings just across the street in Leicester Square. The Leicester Square Panorama was massive with two distinct circular viewing rooms from which to admire panoramic paintings. This is a cut out view of its interior. Leicester Square Panorama, London England Let’s pause on this image to review the four things that made this building into the ultimate virtual reality of its day. +First, the viewing platform (at center) limited how closely a spectator could approach the painting. This hid blemishes and tricks of perspective in the painting while creating a uniform 360 degree view. Meanwhile, the platform itself was slightly raised above the surrounding countryside giving the viewer a sense of power or omnipotence and the feeling, as well, of being at the center of the attraction. +Second, the drop ceiling (above), like blinders on a horse, hid the top edge of the painting from the spectator’s view so that it was possible to imagine that the panoramic painting had no end and extended up into the heavens. +Third, fixtures such as railings and the landscape in the foreground were switched out with each new panorama so that, for example, a ship’s mast on the horizon would be echo’d with the railing of a poop deck on the viewing platform. You were in the experience, not merely viewing it. +Finally, the entry to the panorama was a long, dimly-lit and disorienting corridor (bottom right). The cylindrical rotunda itself was not visible from the street. A viewer’s transition from central London via this tunnel to the side of Mount Vesuvius or the Battle of Waterloo was disorienting and invigorating in the extreme. In Leicester Square, Barker had created an almost perfect architectural illusion, a virtual reality. It was here that our heroine, Queen Charlotte, and Barker entangled. In the days before the inauguration of the Panorama she and her husband, King George the III, were invited to a preview. When they entered onto the viewing platform, they looked out upon a depiction of the British fleet moored at Spithead. The Queen was surrounded on all sides by naval vessels under sail or at anchor. And the open water of the English Channel engulfed the southeastern view. The King, it is said, was quite animated. Queen Charlotte, however, hung to a guard rail and resisted the urge to vomit. And this is the first recorded instance of Virtual Reality Sickness…or panorama sickness as it came to be known at the time. Here Comes the Future I bring this up not so much to make light of a Queen’s unease but to talk about what came next. Barker’s Leicester Square Panorama sold views of the world — of Sicily of Lisbon of Berlin — to the denizens of London until late in the 19th Century. The public paid 1 shilling per entry (or the equivalent of 7 dollars today) to be immersed in an illusion. Across the United States and Europe, tens of custom build panoramas were constructed…. in Holland… in Belgium… in Poland… Boston… and Quebec. Panoramic paintings traveled from locale to locale and a massive trade opened up for painters, draftsmen, and engineers. A trade that flourished for the better part of a century. Two hundred years later — with Oculus and Vive, Cardboard and Sony — as we walk through this dimly lit corridor and up a set of stairs to this new era of virtual reality, I hope none of you feel the same queasiness as Queen Charlotte, but instead butterflies of excitement deep in the gut. Because the experiences that we’ll see and build in the years to come could never have been imagined in the time of Robert Barker or Charlotte the Seasick Queen. Here comes the future. (This post is altered from a talk originally given at New Highs in Design — Virtual Reality at Facebook’s Seattle offices on January 20th, 2016.)	d1d756e3-7f64-54c1-83dc-574aa27a5b1b	25/08/2025 18:01:58

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