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Rafzanjani Bintang, Muhammad Arizafa. "Penciptaan Karya Film Animasi “Sky Land” Dengan Teknik Dua Dimensi." Journal of Animation & Games Studies 3, no. 2 (February 14, 2018): 151. http://dx.doi.org/10.24821/jags.v3i2.1857.
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Animasi bertemakan fantasi tidak hanya dalam bentuk cerita, namun dari segi karakter visual dan environment. Dari segi karakter ada yang berupa sesosok anak kecil hingga dewasa sampai dengan berbagai jenis monster, serta tak jarang terdapat karakter dan environment yang tidak dijumpai dimuka bumi.Animasi pendek “Sky Land” menceritakan Sena seorang gadis kecil pengumpul kayu yang menemukan sebuah kayu ajaib di sebuah hutan yang mampu mengeluarkan benda-benda ajaib, hingga membawanya ke negeri fantasi di atas awan dan membawanya berpetualang.Animasi pendek “Sky Land” ingin lebih memperlihatkan sense of art didalamnya, maka animasi ini diproduksi menggunakan teknik animasi dua dimensi (2D) digital hand drawing, yaitu menggambar frame by frame secara langsung dengan komputer baik karakter maupun background. Kata kunci: Fantasi, Animasi 2D, Sky Land Abstract Fantasy-themed animations are not only in story form, but in terms of visual and environmental characters. In terms of character there is a form of a small child to adult up to various types of monsters, and not infrequently there are characters and environments that are not encountered in the earth.The short animation of "Sky Land" tells Sena a small girl who collects a magical wood in a forest capable of removing magical objects, bringing her to a fantasy land on a cloud and taking her on an adventure.Short animation "Sky Land" wants to show more sense of art in it, then this animation is produced using two dimensional animation technique (2D) digital hand drawing, that is drawing frame by frame directly with computer both character and background. Keywords: Fantasy, 2D Animation, Sky Land
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Shchehelska, Yu. "ПРОБЛЕМАТИКА ЗАСТОСУВАННЯ ТРИВИМІРНОЇ АНІМАЦІЇ ТА СПЕЦИФІКА ЇЇ СПРИЙНЯТТЯ В ДОДАНІЙ РЕАЛЬНОСТІ: КОМУНІКАЦІЙНИЙ АСПЕКТ." State and Regions. Series: Social Communications, no. 2(42) (March 18, 2020): 132. http://dx.doi.org/10.32840/cpu2219-8741/2020.2(42).20.
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<p><em>This study elucidates the main communication issues that arise from audiences’ interaction with three-dimensional animation of different types in augmented reality, as well as identifies the major 3D animations’ varieties used by brands to create AR and MR promotional campaigns. </em></p><p><em>The results of the study are based, in particular, on the analysis of AR cases of 27 commercial and social brands that used 3D animation for promotional purposes in 2010–2019.</em></p><p><em>It is ascertained that in the promotional practice there is used 3D predefined animation of a cartoon type, as well as 3D predefined and procedural non-homomorphic photorealistic animation. At the same time, three-dimensional procedural animation of cartoon type, as well as photorealistic animation of people (either predefined or procedural), was not used by any of the studied brands for the purpose of promotion.</em></p><p><em>The research revealed that in the field of promotion three-dimensional photorealistic animation of people, primarily of procedural type, is not used because it creates the majority of communication problems in the interaction of the audience with it. Real people’s displeasure with the animated ones arises, first of all, because of the “uncanny valley effect”, which is caused, in particular, by the technical difficulties with 3D rendering of human emotions and body language in real-time (including proxemics in a virtual environment); visual tracking of human movements by animated character; the naturalness and synchronicity of the language (above all, the content of the cues) and the sound of the voice of three-dimensional persons (its timbre, rhythmics, emotionality).</em></p><p><em>In general, today from a technical point of view photorealistic non-homomorphic animation is the most advanced 3D animation type, which explains the popularity of its use in the practice of promotional communications. Its predefined variety is most commonly used by automotive brands to create AR-campaigns, whereas procedural one is used in creating MR-campaigns, mainly for cosmetic and interior brands.</em></p><p><em>The predefined 3D animation of cartoon type was used to promote those commercial brands, which final consumers were, above all, children. However, some companies have used this kind of animation to create AR-based adult promotional events held in conjunction with the holiday and symbolic dates. The popularity of the use of 3D animation of cartoon type in the field of promotion is explained, first of all, by the fact that people at a subconscious level have a positive attitude towards cartoon characters as such.</em></p><strong><em>Key words:</em></strong><em> augmented reality (AR), mixed reality (MR), 3D animation, promotional communications.</em>
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Mozgovyi, Viktor. "Pedagogical Animation: Educational Practices of Ukraine and Poland." Comparative Professional Pedagogy 9, no. 2 (June 1, 2019): 1–6. http://dx.doi.org/10.2478/rpp-2019-0012.
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Abstract The article analyzes the essential characteristics of the concept of pedagogical animation in the context of Ukrainian and Polish educational practices, specifies the peculiarities of pedagogical animation, studies the vectors of developing the phenomenon under study and compares relevant approaches to its implementation in the systems of the Ukrainian and Polish teacher education. The conducted analysis on the interpretation of the concept of pedagogical animation concludes that the Ukrainian education system unilaterally uses the functionality of this phenomenon. Pedagogical animation is mainly a part of the problems of socio-pedagogical, socio-cultural, cultural and leisure nature and issues of physical education organization. The underestimated importance of the phenomenon under study in the context of the educational process can significantly affect the implementation of the analyzed programme for updating the system of general secondary education. The use of pedagogical animation as a method of interaction between teachers and students based on child-centeredness and partner pedagogy contribute to implementing the main components of the Concept of the New Ukrainian School. The range of using pedagogical animation in educational practices of Polish teachers is more expanded. Along with the traditional socio-cultural and activity-based one, pedagogical animation is an integral part of the educational process. High social standards in the country urge pedagogical science and practice to implement a variety of training programmes, which incorporate animation skills as components of professional competencies. The variability of special pedagogies in Polish educational practices highlights the issue of pedagogical animation development both at theoretical and methodological levels. The results of the comparative analysis show that the use of pedagogical animation in Ukrainian and Polish educational practices contributes to developing pedagogical interaction at various stages of education, namely from preschool education to adult education. The development of pedagogical animation and its justification as a didactic structure will help to bring this phenomenon to a new level of educational significance and promote it as advanced pedagogical experience.
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Waszkiel, Halina. "The Puppet Theatre in Poland." Problems of Interaction Between Arts, Pedagogy and the Theory and Practice of Education 51, no. 51 (October 3, 2018): 164–79. http://dx.doi.org/10.34064/khnum1-51.09.
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Background, problems and innovations of the study. The modern Puppet Theater in Poland is a phenomenon that is very difficult for definition and it opposes its own identification itself. Problems here start at the stage of fundamental definitions already. In English, the case is simpler: “doll” means a doll, a toy, and “puppet” is a theatrical puppet, as well as in French functions “poupée” and “marionette” respectively. In Polish, one word serves both semantic concepts, and it is the reason that most identify the theater of puppets with theater for children, that is a big mistake. Wanting to get out of this hassle, some theaters have thrown out their puppet signage by skipping their own names. Changes in names were intended only to convey information to viewers that in these theaters do not always operate with puppets and not always for the children’s audience. In view of the use of the word “animation” in Polish, that is, “vitalization”, and also the “animator”, that is, “actor who is animating the puppet”, the term “animant” is suggested, which logically, in our opinion, is used unlike from the word “puppet”. Every subject that is animated by animator can be called an animant, starting with classical puppets (glove puppets, cane puppets, excretory puppets, silhouette puppets, tantamarees, etc.) to various plastic shapes (animals, images of fantastic creatures or unrelated to any known), any finished products (such as chairs, umbrellas, cups), as well as immaterial, which are animated in the course of action directed by the actor, either visible to viewers or hidden. In short, the animator animates the animant. If the phenomenon of vitalization does not come, that is, the act of giving “the animant” the illusion of life does not occur, then objects on the stage remain only the requisite or elements of scenography. Synopsis of the main material of the study. In the past, puppet performances, whether fair or vernacular, were seen by everyone who wanted, regardless of age. At the turn of the XIX–XX centuries, the puppet theater got divided into two separate areas – theater for adults and the one for children. After the war, the professional puppet theater for adults became a branch of the puppet theater for children. In general, little has changed so far. The only puppet theater that plays exclusively for adults is “Theater – the Impossible Union”, under the direction of Mark Khodachinsky. In the Polish puppet theater the literary model still dominates, that is, the principle of starting to work on the performance from the choice of drama. There is no such literary work, old or modern, which could not be adapted for the puppet theater. The only important thing is how and why to do it, what significance carries the use of animants, and also, whether the applying of animation does the audience mislead, as it happens when under the name of the puppet theater at the festival shows performances that have nothing in common with puppets / animations. What special the puppet theater has to offer the adult audience? The possibilities are enormous, and in the historical perspective may be many significant achievements, but this does not mean that the masterpieces are born on the stones. The daily offer of theaters varies, and in reality the puppet theaters repertoire for adults is quite modest. The metaphorical potential of puppets equally well justifies themselves, both in the classics and in modern drama. The animants perfectly show themselves in a poetry theater, fairy-tale, conventional and surrealistic. The puppet theater has an exceptional ability to embody inhuman creatures. These can be figures of deities, angels, devils, spirits, envy, death. At the puppet scenes, also animals act; come alive ordinary household items – chairs, umbrellas, fruits and vegetables, whose animation gives not only an interesting comic effect or grotesque, but also demonstrates another, more empathic view of the whole world around us. In the theater of dolls there is no limit to the imagination of creators, because literally everything can became an animant. You need only puppeteers. The puppet theater in Poland, for both children and adults, has strong organizational foundations. There are about 30 institutional theaters (city or voivodship), as well as an increasing number of “independent theaters”. The POLUNIMA, that is, the Polish branch of the UNIMA International Union of Puppets, operates. The valuable, bilingual (Polish–English) quarterly magazine “Puppet Theater” is being issued. The number of puppet festivals is increasing rapidly, and three of them are devoted to the adult puppet theater: “Puppet is also a human” in Warsaw, “Materia Prima” in Krakow, “Metamorphoses of Puppets” in Bialystok. There is no shortage of good dramas for both adults and children (thanks to the periodical “New Art for Children and Youth” published by the Center for Children’s Arts in Poznan). Conclusions. One of the main problems is the lack of vocational education in the field of the scenography of the puppet theater. The next aspect – creative and now else financial – the puppet show is more difficult, in general more expensive and more time-consuming in preparation than the performance in the drama theater. Actor-puppeteer also gets a task those three times heavier: to play live (as an actor in a drama theater), while playing a puppet and with a puppet. Consequently, the narrative of dramatic story on the stage is triple: the actor in relation to the viewer, the puppet in relation to the viewer, the actor in relation to the puppet. The director also works double – both the actor and the puppet should be led. It is necessary to observe the effect that arises from the actions of both stage partners. So the second threat seems to be absurd, but, alas, it is very real – the escape of puppeteers from puppets. The art of the puppet theater requires hard work, and by its nature, it is more chamber. This art is important for gourmets, poets, admirers of animation skills, as well as the searchers for new artistic ways in the theater, in wide understanding. Fortunately, there are some real fans of the puppet theater, and their admiration for the miracle of animation is contagious.
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Houston, John M., Cynthia L. Joiner, Francis Uddo, Christina Harper, and Alison Stroll. "Computer Animation in Mock Juries' Decision Making." Psychological Reports 76, no. 3 (June 1995): 987–93. http://dx.doi.org/10.2466/pr0.1995.76.3.987.
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This experiment examined the effect of different presentation modes of demonstrative evidence on mock jurors' perceptions of defendants' responsibility for a fatal accident. The experiment involved opening arguments of a mock civil lawsuit based on facts derived from an actual commercial jet crash. 72 adult students formed mock juries and were presented demonstrative evidence in one of three modes: (1) a computer simulation of the accident, (2) an audiotape and written transcript of the cockpit voice recorder, or (3) an individual reading the transcript of the cockpit voice recorder. The juries' ratings of the responsibility of the airline flight crew were significantly lower in the computer-simulation condition. Surprisingly, no differences in recognition of accident information were found across the three conditions. The findings are discussed in terms of potential attribution bias and empathy caused by the pilot's-eye perspective used in the computer animation.
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McGillion, Chris. "Animation as a Science Communication Tool in Timor-Leste." Science Communication 39, no. 2 (March 25, 2017): 278–85. http://dx.doi.org/10.1177/1075547017696164.
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This article examines the trial of animated video to disseminate new agricultural knowledge among subsistence farmers in Timor-Leste, a small underdeveloped country in Southeast Asia. The aim of the trial was to test the potential for this approach to supply clear, accurate, and engaging information to rural communities where rates of adult illiteracy are high and mass media consumption is low. The findings point to the potential for animation to be used to communicate scientific knowledge in situations where approaches regularly employed in developing countries are unavailable or would be limited in their reach.
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Fubara-Manuel, Irene. "Revolting Animation: The Hierarchy of Masculinities in the Representation of Race and Male Same-Sex Desire in Adult Cartoons." Networking Knowledge: Journal of the MeCCSA Postgraduate Network 10, no. 3 (October 17, 2017): 71–82. http://dx.doi.org/10.31165/nk.2017.103.517.
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This article examines the representations of race and male same-sex desire portrayed by black gay male characters on the adult animated television show, The Boondocks (2005). Centralizing its analysis of The Boondocks as a canonical text of black gay representation within animation, this paper highlights the signs of the male matriarch, booty warrior, and homothug and their iterations in three other animated TV shows—The Cleveland Show (2009), American Dad! (2005), and Chozen (2014). This article posits that these signs connote the ideology of hegemonic masculinity and its racial ordering. Drawing on Halberstam’s (2011) ‘revolting animation’, Ngai’s (2005) ‘animatedness’, and Wells’ (1998) ‘hierarchies of masculinities’, this article addresses these contradicting signs of black gay masculinities within the aforementioned animated television shows, situating them within respective sexual and racial politics in the United States.
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Lee, Claire Shinhea, and Jihee Choi. "Early Childhood and Media Representation: How does South Korean Animation Pororo the Little Penguin Reproduce Patriarchal Family Ideology?" Animation 13, no. 2 (July 2018): 116–30. http://dx.doi.org/10.1177/1746847718783643.
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This study examines the deeper cultural and social meaning of a South Korean popular edutainment animation Pororo the Little Penguin by analyzing 50 of its episodes. The article expands upon earlier studies of Pororo by not only analyzing gender stereotypes in Pororo’s narratives and aesthetics but also investigating these features within the larger frame of social discourse. The authors found that, despite the fact that Pororo seems to display friendship formation among children without adults’ intervention, it really reflects family relationships in South Korea and functions to reveal adults’ perspectives on them. Through positioning adult and children characters within the typical patriarchal Korean family, they argue that Pororo reproduces the patriarchal family ideology of today’s South Korea. This study therefore contributes to the field of children’s media and gender representation and the sociology of childhood.
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Andriyanto, Sidhiq, M. Suyanto, and Sukoco Sukoco. "Implementasi Metode Reynolds menggunakan Simulasi Kerumunan Bebek." INTENSIF 1, no. 2 (August 21, 2017): 75. http://dx.doi.org/10.29407/intensif.v1i2.788.
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"Simulation of Duck Crows Using Reynolds Method" is a study with the aim to find out the behavior of duck breeding crowd. The next goal is to make a crowd simulation using the Reynolds method. Limitations of this research variable is the object of research on adult duck Turi, the method used is Reynolds method. The simulations are made using Unity3D software in the form of 3D and the animation provided is just a running gesture. The method of analysis of this research is using research and development method. The result of the research is the data of duck walking in the crowd to be applied in 3D animation. The end result of the study is a simulation of duck crowds that run on flat fields. Destination directions are affected by mouse input and can avoid obstacles when walking. This simulation uses Reynolds basic rules of cohesion, alignment and separation.The conclusion of the research is that there is a similarity between the simulation of the crowd with the movement of the original duck crowd and the Reynolds method can be applied in the simulation of the duck crowd in 3D. Research produces 3D animation of duck crowds that are given the ability to avoid obstacles and target goals determined by mouse input.
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Reznik, Gabriela, and Luisa Massarani. "Gender and science in animation: analysis of the Anima Mundi Festival films." Journal of Science Communication 18, no. 02 (May 20, 2019): A08. http://dx.doi.org/10.22323/2.18020208.
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We used content analysis to analyse the representation of female scientists in animated short films on gender and science, selected from the Anima Mundi Festival, over 21 annual editions. In these films, female scientists are featured as ‘intelligent’, ‘dominant’ and ‘well respected’, adult, white, wearing a lab coat or uniform and working in laboratories and fieldwork. We identified a reconfiguration of the gender stereotype in films in which the female character is about to gain space and visibility. We also analysed films whose sexist foundations in the relationship between scientists and their interlocutors reinforce the reproduction of sexist and heteronormative stereotypes.
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Walden, Brian E., Allen A. Montgomery, and Robert A. Prosek. "Perception of Synthetic Visual Consonant-Vowel Articulations." Journal of Speech, Language, and Hearing Research 30, no. 3 (September 1987): 418–24. http://dx.doi.org/10.1044/jshr.3003.418.
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Synthetic speech-like articulations were presented to adult subjects via the visual modality, following the classic categorical perception experimental paradigm (Liberman, Harris, Hoffman, & Griffith, 1957). Animations were generated on a computer-based graphics system. Stimuli consisted of representations of the syllables /b/,/v b/, and/w b/; as well as 6 linearly interpolated intermediate stimuli between each of the possible exemplar pairs, resulting in three 8-item continua. Three sets of observations were obtained for these stimuli. First, for each continuum, labeling data were obtained in which the subject assigned one or the other exemplar label to each of the stimuli. Next, ABX discrimination data were obtained for each continuum. In the final task, subjects assigned a rating of one through nine to each animation indicating the extent to which it was like the exemplar syllables. Although the labeling functions showed rather abrupt transitions from one response category to the other, the peaks in the discrimination functions did not coincide with the category boundaries. Further, the mean rating functions were relatively linear, and the distribution of rating responses revealed unimodal distributions whose peak locations differed depending on the stimulus.
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JI, YINGLIN, and JILL HOHENSTEIN. "The expression of caused motion by adult Chinese learners of English." Language and Cognition 6, no. 4 (April 15, 2014): 427–61. http://dx.doi.org/10.1017/langcog.2014.4.
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abstractAlthough spatial understanding by human beings tends to be universal, the linguistic system to represent one’s spatial experience varies significantly across languages. This study explores implications of this contrast in the field of second language acquisition by examining how adult Chinese learners of English express caused motion in an experimental situation in which they are asked to describe animation clips showing caused motion with varied types of Manner and Path to an imaginary remote addressee. Our findings showed that across proficiencies, L2 learners acclimated to the target system very rapidly and produced responses that were target-like with respect to the selection of motion components and the syntactic means to organize selected information components over an utterance. These results suggest that the acquisition process of caused motion can be facilitated when L1 and L2 share some typological properties and the target system to be acquired is the simple and unambiguous one of the two typological patterns concerned.
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Belyaeva, O. L., and T. S. Bogdanova. "DIDACTIC POTENTIAL OF CARTOON ANIMATION IN DEVELOPMENT OF SPEECH AMONG SENIOR PRESCHOOLERS WITH BISENSORY DISORDERS." Bulletin of Krasnoyarsk State Pedagogical University named after V.P. Astafiev 56, no. 2 (June 30, 2021): 18–29. http://dx.doi.org/10.25146/1995-0861-2021-56-2-268.
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Statement of the problem. Modern researchers emphasize the need for practical use of new tools, including the use of information and communication tools, learning and development of children with disabilities. One of the growing groups of children with disabilities is a group of preschoolers with simultaneous hearing and visual impairments. With regard to this group of children, the problem field for research is wide, and scientific developments are few. Therefore, the problem of finding means of comprehensive development of preschool children with bisensory impairments, and, in particular, their speech development, remains quite relevant in visual impairment pedagogy. One of such means, according to the authors of the article, is cartoon animation. The purpose of the article is to disclose the didactic potential of cartoon animation as a pedagogical tool in the development of speech among preschool children with significant hearing impairment and simultaneous visual impairment in the degree of visually impaired. Methodology (materials and methods) The research methodology is based on the fundamental scientific work of S.A. Zykov, revealing the essence of communicative-activity system and its leading role in the speech development of children with hearing impairment; it is also based on the analysis of foreign and Russian scientific works, revealing the content of innovative approaches in teaching children with bisensory impairment. Research results. The article reveals the didactic potential of cartoon animation as a means of speech development among children with significant hearing impairment corrected by hearing aids or cochlear implants and simultaneous visual impairment in the degree of amblyopia. It is shown that the essential content of the process of creating cartoons in the joint activity of children and adults, as well as the use of ready-made cartoons, plays an essential role in the complex process of speech development, namely, in the development of grammatical structure of speech, coherent speech, and enrichment of the vocabulary. We have developed an algorithm for the joint activities of an adult and a child with simultaneous hearing and vision impairment in the creation of cartoon films aimed at the speech development of this group of children. Conclusion. Cartoon animation, being a modern information and communication tool, has a high potential for application in defectology. The process of creating cartoons in the joint activity of preschool children with bisensory impairments and adults, as well as the use of ready-made cartoons they have created, is potentially one of the effective techniques of the communicative-activational system used in deaf-blind pedagogy and typhlo-surdopedagogy. The process of creating cartoons can be used as a means of developing all components of speech in preschool children with significant hearing impairment with correction by hearing aids or cochlear implants and simultaneous visual impairment of low vision.
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Kirkland, Ewan. "Contextualizing the bronies: Cult, quality, subculture and the contradictions of contemporary fandom." Journal of Popular Television 8, no. 1 (March 1, 2020): 87–104. http://dx.doi.org/10.1386/jptv_00012_1.
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This article critically situates My Little Pony: Friendship Is Magic (2010‐19) and the ‘brony’ following it has attracted in terms of age and fandom, discourses of quality television, cult media and interactions between fandoms and cultural producers. Far from unprecedented, the show’s unexpected male audience reflects adults’ historic appreciation of media for children, the increased mainstreaming of animation, and the already infantilized persona of media fans. Aspects of the reimagined series reproduce characteristics of ‘quality television’ concerning characterization, genre, authorship and political intentionality. Simultaneously the show corresponds with overlapping aspects of cult television and cult cinema, crucially affording both cultural and subcultural value. Finally, examples of the series deliberately courting adult fan audiences are presented as reflecting reciprocal relationships between show producers and its mature viewers. The brony following consequently reflects changes in contemporary fandom dynamics, and the increasing mobility of twenty-first-century television viewing.
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Peng, Honglu, Xuezheng Shen, and Chee-hoon Kim. "A Study on the Narrative of Chinese Adult Animation Films -In focus of 〈Have a Nice Day〉-." Cartoon and Animation Studies 65 (December 31, 2021): 215–56. http://dx.doi.org/10.7230/koscas.2021.65.215.
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Rejter, Dorota, Hanna Paulouskaya, and Angelina Gerus. "“It Never Hurts to Keep Looking for Sunshine”." Clotho 2, no. 2 (December 18, 2020): 127–54. http://dx.doi.org/10.4312/clotho.2.2.127-154.
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The paper analyzes a handful of works for children and youth that are based on mythology and deal with depression, a topic that is becoming more frequent in contemporary children’s and young adults’ culture, mainly because of the need to break the mental health taboo. These are the newest edition of Laura Orvieto’s Storie di bambini molto antichi (2014, first published in 1937), Rachel Smythe’s digital comics Lore Olympus (2018–2020), Patricia Satjawatcharaphong’s short animation Reflection (2010), and the webcomic series Therapy created by Anastasia Gorshkova (2019–2020). They provide examples from literary and audio-visual culture for very young readers and more adult teenagers and youth, raising the issue of deep sadness utilizing storytelling and not in a didactic way. Some of the protagonists struggling with the problem are far from lively characters in conventional interpretations of the myths (including Hades, Hydra, or Medusa), so the texts play upon stereotypes entrenched in the culture. It appears that children’s works inspired by classical antiquity have significant interpretative potential and educational value – as well as the ability to surprise the audience.
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Falvey, Eddie. "Situating Netflix’s Original Adult Animation: Observing Taste Cultures and the Legacies of ‘Quality’ Television through BoJack Horseman and Big Mouth." Animation 15, no. 2 (July 2020): 116–29. http://dx.doi.org/10.1177/1746847720933791.
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This article aims to expand upon a key aspect of Mareike Jenner’s work on Netflix original comedy by considering how the streaming network’s original adult animated series reflect developments occurring within the sitcom format post-TV III. Using Netflix original animations BoJack Horseman (2014–) and Big Mouth (2017–) as case studies, this article will consider how thematically complex, ostensibly ‘smart’ animated shows illustrate changing industrial dynamics and taste cultures. While exhibiting qualities found in preceding key adult animated shows such as South Park (Comedy Central 1997–) and Family Guy (Fox 1999–), including lewd humour, metatextual in-jokes and topicality, the knotty storytelling and ambiguous characterizations of the shows under discussion reflect links to other contexts of TV production. Exploring these links, this article uses BoJack Horseman and Big Mouth to explore current trends in animated television, situating their characteristics and reception within a broader network of influences. The author argues that the turn towards complex storytelling manifests both in inherited production tactics, changing taste cultures and in the multifaceted and multifarious potentialities provided by the medium itself.
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Gannon, Brittany, Rindcy Davis, Lisa M. Kuhns, Rafael Garibay Rodriguez, Robert Garofalo, and Rebecca Schnall. "A Mobile Sexual Health App on Empowerment, Education, and Prevention for Young Adult Men (MyPEEPS Mobile): Acceptability and Usability Evaluation." JMIR Formative Research 4, no. 4 (April 7, 2020): e17901. http://dx.doi.org/10.2196/17901.
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Background HIV incidence among young adult men who have sex with men (MSM), particularly among black and Latino men, continues to rise. As such, continued HIV prevention interventions for young MSM of color are of utmost importance. Male Youth Pursuing Empowerment, Education and Prevention around Sexuality (MyPEEPS) Mobile is a comprehensive HIV prevention and sexual health education smartphone app initially created to promote sexual health and HIV prevention among adolescent sexual minority young men aged 13 to 18 years. Objective The objective of this study was to critically appraise the acceptability and usability of MyPEEPS Mobile for young adult MSM aged 19 to 25 years. Methods Study participants used the mobile app, completed usability questionnaires and in-depth interviews, and reported their experience using the app. Analysis of interview data was guided by the Unified Theory of Acceptance and Use of Technology (UTAUT) to better understand the usability and acceptability of this intervention for young adults. Interview data were coded using the following constructs from the UTAUT model: performance expectancy, effort expectancy, and social influence. Results A total of 20 young adult MSM (n=10 in Chicago, Illinois, and n=10 in New York, New York) were enrolled in the study. Participants reported that MyPEEPS Mobile was free of functional problems (Health Information Technology Usability Evaluation Scale scores and Post-Study System Usability Questionnaire scores consistent with high usability), easy to use, and useful, with an engaging approach that increased acceptability, including the use of avatars and animation, and inclusive representation of the diverse identities by race and ethnicity, gender identity, and sexual orientation. Recommended areas for improving MyPEEPS Mobile for the target demographic included more adult-oriented graphics, advanced educational content, scenarios for youth with more sexual experience, and search function to increase accessibility of key content. Conclusions Overall, young adult MSM aged 19 to 25 years described the MyPEEPS Mobile as educational, informative, and usable for their sexual health education and HIV prevention needs, and they provided actionable recommendations to optimize its use and applicability for this age group.
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Volkova, T. N. "RECEPTIVE STRATEGIES OF Y. KLAVDIEV'S PLAY "THE YAKUZA DOGS"." Bulletin of Kemerovo State University, no. 2 (June 29, 2017): 184–88. http://dx.doi.org/10.21603/2078-8975-2017-2-184-188.
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The article discusses the play by contemporary playwright Yuri Klavdiev "TheYakuza Dogs." Here is a detailed (but not exhaustive) analysis of the cultural codes. According to the author of the study, the languages of animation, cinema, classical and fictional literature, computer games and eastern philosophy form in the play, a specific "dialect" addressed to its teenage reader. The article emphasizes that a reading teenager is different from a child-reader and an adult reader: their receptive capabilities are largely defined by puberty crisis. On the one hand, in fiction a teenager looks for dynamics and heroics, and, on the other hand, they are eager to face the social reality fierce with its innumerable conflicts. In the first case, the teenagers manifest themselves as a child-reader with their interest for action and the struggle between good and evil. In the second case, on the contrary, as an adult, since the ability to see the border that separates the tale from life belongs only to a well-formed reader.
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Sommers, Joseph Michael. "Animation, Opportunity, and an "Intro-view" with Gene Luen Yang on Making Actual Movement in Children's and Young Adult Literature." Children's Literature Association Quarterly 42, no. 4 (2017): 365–73. http://dx.doi.org/10.1353/chq.2017.0039.
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Plante, Courtney N., Stephen Reysen, Daniel Chadborn, Sharon E. Roberts, and Kathleen C. Gerbasi. "‘Get out of my fandom, newbie’: A cross-fandom study of elitism and gatekeeping in fans." Journal of Fandom Studies 8, no. 2 (June 1, 2020): 123–46. http://dx.doi.org/10.1386/jfs_00013_1.
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In the present article we discuss three studies aimed at better understanding elitism in the context of fan groups. The studies assess different facets of elitism, predictors of elitism and the potential outcomes associated with holding elitist beliefs. The survey studies were conducted on members of three distinct fan groups: furries (fans of media featuring anthropomorphized animal characters), bronies (adult fans of the television series My Little Pony) and anime fans (fans of Japanese animation). Elitism was found to include both self-inflation and other-derogation and is predicted by two components of fan identity (fanship and fandom). Elitism was also significantly associated with pro-gatekeeping attitudes and behaviours. Practical and theoretical implications for fan culture are discussed. We also discuss the limitations of the studies and their ability to contribute to a discussion about creating inclusive fan spaces.
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Dias, Rodrigo Carvalho, Edson Luiz Kraemer, and César De Oliveira Zica. "UMA PROPOSTA AO USO DO WINPLOT NO ENSINO DE FUNÇÕES QUADRÁTICAS NAS TURMAS DO PROEJA." Ciência e Natura 37 (August 7, 2015): 592. http://dx.doi.org/10.5902/2179460x14622.
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http://dx.doi.org/10.5902/2179460X14622In the light of the difficulties most first-year students at high school face regarding the learning of mathematics contents, this study proposes some activities aiming at teaching square function using the win-plot software as a tool. At the beginning these activities were designed to be applied in the first year of the PROEJA course (a high school course integrated to a technical one for adult learners) at Instituto Federal do Tocantins, however it can be useful for any student who is learning square function. The activities proposed do not intend to replace the formal and algebraic teaching of the subject, yet they aim to offer teachers and students an interesting option to build graphs in an interactive and agile way. Through graph animation tools, we intend to make some relations between the parameters and the behavior of the graph, always presenting the mathematics explanation of the relation observed at the end of the activity.
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Callinan, J., and I. Coyne. "Arts-based interventions to promote transition outcomes for young people with long-term conditions: A review." Chronic Illness 16, no. 1 (July 13, 2018): 23–40. http://dx.doi.org/10.1177/1742395318782370.
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Objectives To conduct a systematic review of arts-based interventions promoting transition from paediatric to adult services for young people (Note: The term young people refers to adolescents and young adults.) with long-term conditions and to explore their effectiveness. Interventions Arts-based interventions included studies of young people who were actively participating in the intervention rather than passive observers. Visual arts interventions included film/video production, time-based media, photography, animation, sculpture, audio, installation, sound recordings, painting, textiles, print, mixed media, multimedia. Arts-based interventions included creative writing, poetry, dance, choreography and storytelling. Main outcome measures We included all outcome measures relevant to transition and any chronic condition. These included: self-care knowledge and skills, autonomy, continuity of care, adherence to treatment and attendance at appointments. Results Seven studies reported arts-based interventions promoting outcomes that are relevant to transition. These studies showed that arts-based interventions may influence young people with long-term conditions self-esteem, confidence and self-expression. The findings must be treated with caution as the evidence was weak with studies using qualitative measures and of poor methodological quality. Conclusions There is a need for further research of arts-based interventions for children and adolescents with long-term conditions that incorporate objective measurements or validated tools to assess outcomes relevant to the transition process.
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Lewis, Celine, Saskia C. Sanderson, Jennifer Hammond, Melissa Hill, Beverly Searle, Amy Hunter, Christine Patch, and Lyn S. Chitty. "Development and mixed-methods evaluation of an online animation for young people about genome sequencing." European Journal of Human Genetics 28, no. 7 (January 2, 2020): 896–906. http://dx.doi.org/10.1038/s41431-019-0564-5.
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AbstractChildren and young people with rare and inherited diseases will be significant beneficiaries of genome sequencing. However, most educational resources are developed for adults. To address this gap in informational resources, we have co-designed, developed and evaluated an educational resource about genome sequencing for young people. The first animation explains what a genome is, genomic variation and genome sequencing (“My Genome Sequence”: http://bit.ly/mygenomesequence), the second focuses on the limitations and uncertainties of genome sequencing (“My Genome Sequence part 2”: http://bit.ly/mygenomesequence2). In total, 554 school pupils (11–15 years) took part in the quantitative evaluation. Mean objective knowledge increased from before to after watching one or both animations (4.24 vs 7.60 respectively; t = 32.16, p < 0.001). Self-rated awareness and understanding of the words ‘genome’ and ‘genome sequencing’ increased significantly after watching the animation. Most pupils felt they understood the benefits of sequencing after watching one (75.4%) or both animations (76.6%). Only 17.3% felt they understood the limitations and uncertainties after watching the first, however this was higher among those watching both (58.5%, p < 0.001). Twelve young people, 14 parents and 3 health professionals consenting in the 100,000 Genomes Project reported that the animation was clear and engaging, eased concerns about the process and empowered young people to take an active role in decision-making. To increase accessibility, subtitles in other languages could be added, and the script could be made available in a leaflet format for those that do not have internet access. Future research could focus on formally evaluating the animations in a clinical setting.
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Горбулева, Мария Сергеевна, Нина Андреевна Первушина, and Анна Николаевна Токарева. "PROSPECTS OF EDUTAINMENT IN PEDAGOGICAL BIOETHICS." ΠΡΑΞΗMΑ. Journal of Visual Semiotics, no. 4(30) (October 28, 2021): 312–25. http://dx.doi.org/10.23951/2312-7899-2021-4-312-325.
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В настоящее время ведущим элементом эдьютейнмента стали технологии анимации. Поскольку сам эдьютейнмент в большей степени предназначен для детского образования, то становится понятной предпочтительность данной технологии. Вместе с тем развлекательные и сюрпризные формы нашли свое применение и в образовании взрослых, в частности в создании различных ресурсов «цифрового» образования. Такой спектр реализации эдьютейнмента – от образования детей до образования взрослых – ставит проблему определения границ применения используемых способов визуализации. Для диагностики этих границ, имеющих семиотическую сущность, релевантностью обладают позиции и методологические инициативы педагогической биоэтики. Эти позиции и инициативы продиктованы определением взаимосвязи этических, коммуникативных и ценностных пределов различных локусов в образовательном пространстве, устанавливаемых с целью защиты индивидуальных жизненных ориентаций субъектов обучения и воспитания. Отмеченные обстоятельства отвечают направлениям модернизации образования: развитие современных детей с их собственным взглядом на мир, с их особенностями восприятия и усвоения нового опыта, знаний и умений, – а также отвечают социальным запросам к современному образованию: формирование личностей с уникальными способностями, прежде всего способностями к уникальной рецепции, акцептуации и интерпретации. Развитие этих способностей и, следовательно, формирование навыков игры разных коммуникативных ролей и самостоятельного выбора своей роли становятся способом адаптации к условиям неопределенности социальных сценариев, то есть к условиям настоящего и прогнозируемого будущего, в которых происходит жизнь современного человека. Анимация в качестве элемента эдьютейнмента считается универсальным образовательным инструментом, максимально приспособленным к трансляции игровых интерактивных методик обучения. Анимация очень важна для повышения эффективности наглядного обучения. Кроме того, довольно трудно выбрать вид визуального искусства, так пересекающий тезаурусы учеников, их законных представителей, будущих учителей и учителей. Представленные акценты в установленных резонансах эдьютейнмента и педагогической биоэтики позволили определить условия разработки образовательных технологий визуализации: визуализация служит только разъяснению, но не доказательности; в основе разработки должны быть заложены конкурирующие теории; результат разработки воплощает консенсус теоретической конкуренции. Currently, animation technologies have become the leading element of edutainment. Since edutainment is intended more for children’s education, the preference of this technology becomes clear. Entertaining and surprising forms have also found their application in adult education, in particular, in the creation of various resources for “digital” education. Such a spectrum of implementation of edutainment (from the education of children to the education of adults) poses the problem of determining the boundaries of the application of the visualization methods used. The diagnosis of these boundaries has a semiotic essence. Positions and methodological initiatives of pedagogical bioethics are relevant for the diagnosis of these boundaries. These positions and initiatives are dictated by the definition of the relationship between ethical, communicative, and value limits of various loci in the educational space. The limits are established in order to protect individual life orientations of subjects of training and education. The noted circumstances correspond to the directions of modernization in education: the development of modern children with their own view of the world, with their peculiarities of perception and assimilation of new experience, knowledge, and skills. The circumstances also meet the social needs of modern education: the formation of individuals with unique abilities, first of all, the ability for unique reception, acceptance, and interpretation. The development of these abilities and, consequently, the formation of the skills of playing different communicative roles and the independent choice of one’s role becomes a way of adaptation to the conditions of uncertainty in social scenarios, that is, to the conditions of the present and the predicted future, in which the life of a modern person takes place. As an element of edutainment, animation is a universal educational tool maximally adapted to broadcasting game interactive teaching methods. Animation is very important to improve the effectiveness of visual learning. In addition, it is rather difficult to choose a type of visual art that overlaps the thesauri of students, their legal representatives, future teachers, and teachers as much as animation does. The presented accents in the established resonances of edutainment and pedagogical bioethics made it possible to determine the conditions for the development of educational visualization technologies. These conditions are: (1) visualization serves only for clarification, but not for evidence; (2) competing theories should be at the core of development; (3) the design result embodies the consensus of theoretical competition.
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Fomin, Dmitry V. "Book Graphics by M.M. Tsekhanovsky. To the 130th Birth Anniversary of the Artist." Bibliotekovedenie [Library and Information Science (Russia)] 68, no. 5 (November 27, 2019): 493–504. http://dx.doi.org/10.25281/0869-608x-2019-68-5-493-504.
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The purpose of the article is to consider the book design works of the famous graphic artist and animation movie director M.M. Tsekhanovsky (1889—1965), using the complex of bibliological, art historical and historiographic methods, to identify the most characteristic features of his creative method, to reconstruct the important stage of biography of the master, analysing previously unpublished archival materials. Already in the very first illustrative cycles, the artist finds his theme: he gives a clear preference to inanimate heroes, spectacularly and clearly depicts the attributes of modern life, symbols of technological progress. Further, making illustrations to the works of S.Y. Marshak, B.S. Zhitkov, M. Ilyin, he refines his artistry and takes the prominent place among the creators of children’s “manufacturing”, technical, popular science books. He manages to adapt the extremely complex topics to the perception of a child, to fill dry language schemes, drawings or geographical maps with lively, exciting content and vivid imagery. The visual series of such graphic works is not a banal pictorial parallel of the text, its explanation, but it leads an independent party, significantly complements and enriches the content of the book. People appear quite rarely in these graphic series; they are treated very schematically and mechanistically, sometimes they seem to be the creations of the world of things and machines, so close to the artist. However, in the best works of M.M. Tsekhanovsky, and above all, in the illustrations to the famous “Post” by S.Y. Marshak, human images are shown generically, and at the same time individualized, endowed with characteristic, memorable features, clearly inscribed in the plot and rhythmic outline of the dynamic narrative. In the heritage of the master, there are also completely different works, indicating that he could become a remarkable animalist, illustrator of fairy tales or “adult” historical and revolutionary works. However, these sides of his talent were not demanded by the technocratic era of the 1920s. Transition of the artist from book graphics to cartoon animation was in some sense predetermined by the very nature of his talent: M.M. Tsekhanovsky was always interested in the problem of plastic transfer of movement and unification of disparate episodes into a coherent story.
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Wang, Chenggong, Yusheng Li, Yihe Hu, Hua Liu, Long Wang, Jie Xie, Han Xiao, Shilong Su, Fawei Gao, and Da Zhong. "The 3D animation shows the surgical procedure on the acetabular side of total hip arthroplasty for Crowe IV adult developmental hip dysplasia using patient-specific instrument." ASVIDE 8 (February 2021): 050. http://dx.doi.org/10.21037/asvide.2021.050.
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Wang, Chenggong, Yusheng Li, Yihe Hu, Hua Liu, Long Wang, Jie Xie, Han Xiao, Shilong Su, Fawei Gao, and Da Zhong. "The 3D animation shows the surgical procedure on the acetabular side of total hip arthroplasty for Crowe III adult developmental hip dysplasia using patient-specific instrument." ASVIDE 8 (February 2021): 049. http://dx.doi.org/10.21037/asvide.2021.049.
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Flannery, Eóin. "Ecology, Memory, and Speed in John McGahern's Memoir." Irish University Review 42, no. 2 (November 2012): 273–97. http://dx.doi.org/10.3366/iur.2012.0034.
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The speed with which homes and other human edifices ‘return’ to a state of wilderness is a concern of McGahern's, expressed towards the end of Memoir, and this alignment of the passage of time and ecology will be the focus of this essay. Memoir is a work of memory and navigates the lieux de memoires of McGahern's formative years, as well as much of his adult life. The act of autobiographical remembrance is facilitated by a slowing down of time and slowness enables the percolation of memory through our consciousness, and therefore is, firstly, part of the mechanics of autobiographical authorship. In another way slowness is a tonal quality of McGahern's writing as he takes a Proustian meander through the physical and memorial lanes of his origins. Furthermore, the ecological animation of McGahern's narrative bespeaks a writer who is keenly sensitive to the virtues of ecological dwelling, as McGahern is alert to the interdependencies of human and non-human; he treats of the non-human as more than an inert backdrop to his narration; and his works not only lament the passing of a way of life, but they assert the currency of this decelerated lifestyle in the contemporary moment.
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Manoli, Arthur. "Major Mistakes in Current Scientific Presentations." Foot & Ankle Orthopaedics 5, no. 4 (October 1, 2020): 2473011420S0034. http://dx.doi.org/10.1177/2473011420s00342.
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Category: Other Introduction/Purpose: The purpose of this presentation is to demonstrate to the orthopaedic surgeon many of the disturbing, current trends often seen in today’s oral paper presentations. Many of these are superfluous, confusing, offensive, not pertinent, difficult to interpret or unnecessary. These mistakes are often copied from other poor presentations, inhibiting adult learning in the audiences. Methods: Observing large numbers of presentations at many local, regional and national meetings has led the authors to notice many disturbing trends that have insidiously crept into many of the paper presentations in recent years. Difficult to read fonts, low contrast slides, poor backgrounds, superfluous ornamentation, excessive wordiness, poor graphs, full sentences (actually read aloud!) in large numbers of bullet points, distracting animation, showing every detail or every case, family and pet photos, and unreadable bibliographies flashed quickly at the end have all been seen. Common clichés, such as ‘I realize this is a busy slide…‘ is commonly used, prefacing a table with multiple columns and rows and unreadable numbers, often with standard deviations! Even though it is unreadable, the presenter shows it anyway! Results: Many of the disturbing trends that have been seen add nothing to the presentations, and, in fact, are distracting, taking away from the basic messages of the paper. While the presenter may think these items are important to add and necessary for completeness, they severely distract from the presentation’s effectiveness. Many of them make the audience give up and ‘tune out.’ Effective learning is minimal. As a result, audiences have become less connected and increasingly disinterested. Simplicity clarity are important to one’s message. Conclusion: Efficient, clear, non-distracting presentations are essential for adult learning. Currently, information overload and poor design threaten to obfuscate scientific sessions. The illustrated items should be eliminated and not copied from paper to paper.
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Jonassaint, Charles R., Nema Rao, Alex Sciuto, Galen E. Switzer, Laura De Castro, Gregory J. Kato, Jude C. Jonassaint, Zakia Hammal, Nirmish Shah, and Ajay Wasan. "Abstract Animations for the Communication and Assessment of Pain in Adults: Cross-Sectional Feasibility Study." Journal of Medical Internet Research 20, no. 8 (August 3, 2018): e10056. http://dx.doi.org/10.2196/10056.
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Background Pain is the most common physical symptom requiring medical care, yet the current methods for assessing pain are sorely inadequate. Pain assessment tools can be either too simplistic or take too long to complete to be useful for point-of-care diagnosis and treatment. Objective The aim was to develop and test Painimation, a novel tool that uses graphic visualizations and animations instead of words or numeric scales to assess pain quality, intensity, and course. This study examines the utility of abstract animations as a measure of pain. Methods Painimation was evaluated in a chronic pain medicine clinic. Eligible patients were receiving treatment for pain and reported pain more days than not for at least 3 months. Using a tablet computer, participating patients completed the Painimation instrument, the McGill Pain Questionnaire (MPQ), and the PainDETECT questionnaire for neuropathic symptoms. Results Participants (N=170) completed Painimation and indicated it was useful for describing their pain (mean 4.1, SE 0.1 out of 5 on a usefulness scale), and 130 of 162 participants (80.2%) agreed or strongly agreed that they would use Painimation to communicate with their providers. Animations selected corresponded with pain adjectives endorsed on the MPQ. Further, selection of the electrifying animation was associated with self-reported neuropathic pain (r=.16, P=.03), similar to the association between neuropathic pain and PainDETECT (r=.17, P=.03). Painimation was associated with PainDETECT (r=.35, P<.001). Conclusions Using animations may be a faster and more patient-centered method for assessing pain and is not limited by age, literacy level, or language; however, more data are needed to assess the validity of this approach. To establish the validity of using abstract animations (“painimations”) for communicating and assessing pain, apps and other digital tools using painimations will need to be tested longitudinally across a larger pain population and also within specific, more homogenous pain conditions.
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Benda, Petr, Jan Pavlík, and Jan Masner. "PRACTICAL EDUCATION OF ADULTS WITH INTELLECTUAL DISABILITIES USING A WEB COURSE." Problems of Education in the 21st Century 77, no. 4 (August 20, 2019): 463–77. http://dx.doi.org/10.33225/pec/19.77.463.
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Education of adults with intellectual disabilities in labor activities can help them to successfully and repeatedly carry out their work tasks and significantly help their self-realization. The problem is that the need for frequent repetition of already learned skills requires the constant presence of a teacher or caregiver since such a worker is not able to work independently. This situation increases the cost of employing people with disabilities. The aim is to find a way to reduce the necessary number of caregivers needed in this kind of activity and enable greater self-sufficiency of workers. The presented research intended to verify whether a web course could be an effective educational tool for people with intellectual disabilities. During the research, a group of ten participants with intellectual disabilities was educated to acquire basic skills in horticulture. The first teaching was realized through practical demonstrations at the workplace in the university production garden by professional gardeners. After these demonstrations skills of all participants were verified and so the basic level for further verification and comparison of knowledge was set. Subsequently, using three approaches of repeating the already learned practical curriculum (verbal repetition, no repetition, and repetition using the web course) and different time intervals, the level of knowledge of each participant was verified. Statistical methods were used to compare the results of different repetition approaches. Research results demonstrated that a web course, with specific content that consists of video or animation, combined with the use of pictograms for confident navigation, can be used by people with intellectual disabilities with good results. At the same time, in addition to practical teaching, this was the second best-rated approach of repeating knowledge. Using a web course, participants achieved similar work results as they did in practical teaching. Keywords: adult education, intellectual disabilities, professional education, web course.
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Wang, Chenggong, Yusheng Li, Yihe Hu, Hua Liu, Long Wang, Jie Xie, Han Xiao, Shilong Su, Fawei Gao, and Da Zhong. "The 3D animation shows the surgical procedure on the acetabular side of total hip arthroplasty for Crowe I or II adult developmental hip dysplasia using patient-specific instrument." ASVIDE 8 (February 2021): 048. http://dx.doi.org/10.21037/asvide.2021.048.
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Ho, Hoi, Michael S. Cardwell, J. Hector Aranda, and Rene Hernandez. "Empowering Your Presentation Skills." Donald School Journal of Ultrasound in Obstetrics and Gynecology 8, no. 1 (2014): 100–104. http://dx.doi.org/10.5005/jp-journals-10009-1343.
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ABSTRACT As technology continues evolving, ultrasonography has become increasingly the imaging modality of choice in many different clinical settings including hospital, clinic and point of care. Similarly, the expansion of internet has revolutionized the medical curriculum and training of the entire medical education continuum: undergraduate medical education, graduate medical education and continuing medical education. More importantly, technology and internet have transformed the traditional teacher-dependent classroom-based teaching into the learneroriented web-based learning. To empower the presentation, whether classroom-based or web-based, it's essential that faculty members apply principles of adult learning throughout the session. Newer version of PowerPoint (PPT) is powerful and user-friendly. However, faculty members should be familiar with fundamental guidelines for appropriate selection of fonts, character sizes, background colors, charts, graphs, animation and multimedia. In general, PowerPoint presentations prepared on Windowsbased computers can be run on Mac computers; however, presenters should be aware of compatibility issues across platform such as fonts or multimedia formats. Faculty can also easily turn the PowerPoint presentation into a powerful and interactive teaching tool of ultrasonography for unlimited number of learners by following simple guidelines of using PowerPoint and having minimum resources and technical support for software of voice over presentation, such as Camtasia or Captivate. How to cite this article Cardwell MS, Aranda JH, Hernandez R, Ho H. Empowering Your Presentation Skills. Donald School J Ultrasound Obstet Gynecol 2014;8(1):100-104.
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Sangidun. "PORNOGRAFI DALAM SERIAL ANIME ANAK (ANALISIS SEMIOTIKA DALAM SERIAL CRAYON SHIN CHAN)." KOMUNIKA: Jurnal Dakwah dan Komunikasi 9, no. 1 (January 23, 2017): 103–13. http://dx.doi.org/10.24090/komunika.v9i1.833.
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Crayon Shin Chan, a Japanese two-dimension animation series broadcast in one of private Indonesian TVs, is categorized into child’s program since it is broadcast at child’s prime time, Sunday 08.30 a.m. In spite of its broadcast time, this series consist of symbols directed not for children, such as some acts that are not appropriate to be done by children, especially in Indonesia. Moreover, adult symbols of sex are also found in the program. For this reason it will be interesting to analyze it using semiotic analysis. Semiotics is the study of symbol and its meaning which its principle concept is that both signifier and signified consist of symbols and are related to denotation and connotation. Crayon Shin Chan merupakan serial animasi dua dimensi yang tayang di salah satu stasiun televisi swasta di Indonesia. Ini merupakan produk animasi 2 dimensi yang diimpor dari Jepang. Di Indonesia, serial ini masuk dalam kategori acara anak. Hal ini dapat dilihat dari jam penayangannya yang merupakan waktu prime time bagi anak, yakni pada hari minggu pukul 08.30. Akan tetapi, pada serial ini banyak simbol-simbol yang mengarah pada tayangan yang bukan untuk anak-anak, yakni adeganadegan yang tidak pantas dilakukan oleh anak khususnya di Indonesia. Serta adanya pula simbol-simbol yang mengarah pada tayangan berbau dewasa. Tentu akan menarik jika tayangan ini diteliti menggunakan analisis semiotika. Semiotika sendiri merupakan kajian ilmu mengenai tanda dan makna. Yang pada prinsipnya, konsep penting seperti penanda (signifier) dan petanda (signified) sama-sama terdiri dari tanda dan terkait dengan denotasi dan konotasi.
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Ivanova, Natalia, and Olga Ryzhchenko. "META-GENRE OF FANTASY IN THE CONTEXT OF MODERN SCIENCE." RESEARCH TRENDS IN MODERN LINGUISTICS AND LITERATURE 2 (November 7, 2019): 23–37. http://dx.doi.org/10.29038/2617-6696-2019.2.23.37.
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The article deals with the problem of interpreting the phenomenon of fantasy in modern science. Fantasy has spawned many discussions related to the definition of its sources and genre nature, the relationship with the myth-folklore tradition, the problems of classification, the specifics of extra-literary functions and many others. We consider fantasy to be one of the branches of speculative fiction, which naturally formed into an independent industry in the second half of the twentieth century. Initially having appeared as a genre, fantasy subsequently has outgrown this category. Today we can say with confidence that fantasy is a meta-genre, which has its own structure of modeling the world and unites various literary genres (novel, novelette, lyric poetry and others) and types of art (sculpture, cinema, animation, graphic arts, painting, and others) with a common subject of artistic representation.The constant dynamics of fantasy leads to the increase in the number of topics (heroic, epic, historical, magical, scientific, romantic and mystical) and, as a result, the readership as well. For example, it can be classified by age criterion (children – adult), by geographic criterion (urban – countryside), and even by gender principle (men – women fantasy). There are several approaches presenting different aspects of the phenomenon: classifications by the type of adventure or problematic-thematic principle (Ramin Shidfar or Sergey Alekseev and Mikhail Batshev). Such a diverse scientific interest in fantasy, multiple attempts to classify and systematize it, as well as going beyond the boundaries of the literary genre, testify to the ongoing process of its development.
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Nourkova, Veronika V. "Cultural development of empathy-identification and empathy-modeling." National Psychological Journal 40, no. 4 (2020): 3–17. http://dx.doi.org/10.11621/npj.2020.0401.
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Background. The article develops the concept of the originality of the functions, structure and genesis of empathy-identification (EI) and empathy-modeling (EM). EI is viewed as a psychological tool for organizing joint activities such as a mono-role coalition, which has developed in anthropogenesis, and consists in the ability to appropriate the emotional states of another person. In contrast, EM is a cultural technology for maintaining joint activity such as poly-role coordination, which requires the subject of activity to create and maintain in consciousness a dynamic representation of the mental state of another person while maintaining the authenticity of awareness of his own mental state. A consequence of the conceptual separation of EO and EM is the provision of two non-matching lines of their development in ontogenesis. Objective. The aim of the article is to explicate the qualitative uniqueness of EI and EM as higher mental functions in relation to the social situation of their development and the arsenal of ideal forms, cultural means and technologies that set the content and trajectory of this development. Design. From the standpoint of cultural-evolutionary and activity-based approaches, a conceptual analysis of literature relevant to the connotative field of the proposed constructs of EI (affective empathy, emotional contamination, emotional mimicry, imitation) and EM (theory of the mental, everyday psychology, mentalization, emotional intelligence) as well as the analysis of EI and EM constructs from the point of view of cultural determination of their development in ontogenesis was performed. Results. It has been substantiated that EI is formed in the process of dyadic joint experience with an adult of various mental states, which an adult presents first in a visual way, and then verbally. Further development of EI takes place in play activities that include imagination. EI rarely reaches the level of complete voluntary regulation and needs to rely on external cultural means. EM is derived from the dialogical nature of human thinking. In ontogeny, EM is formed along two converging lines. On the one hand, mastering the mental vocabulary serves as the basis of “emotional literacy”, and, on the other hand, EM is the result of the interiorization of a specific social and communicative position — the autonomization of an adult as a mental agent in the third person. The role-playing game with the subjective “animation” of the toy is of particular importance for the development of EM. At an older age, various forms of dramatization, in particular theatrical activity, act as cultural practices for the development of EM. Conclusions. The results of the work showed that EI and EM have different sources, driving forces, ideal forms and socio-cultural technologies of formation. The originality of the lines of cultural determination of the development of EI and EM is associated with the difference in their functional role in organizing joint activities.
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Lim, Rosemary, Molly Courtenay, Rhian Deslandes, Rebecca Ferriday, David Gillespie, Karen Hodson, Nicholas Reid, Neil Thomas, and Angel Chater. "Theory-based electronic learning intervention to support appropriate antibiotic prescribing by nurse and pharmacist independent prescribers: an acceptability and feasibility experimental study using mixed methods." BMJ Open 10, no. 6 (June 2020): e036181. http://dx.doi.org/10.1136/bmjopen-2019-036181.
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ObjectivesTo assess the acceptability and feasibility of using a theory-based electronic learning intervention designed to support appropriate antibiotic prescribing by nurse and pharmacist independent prescribers for patients presenting with common, acute, uncomplicated self-limiting respiratory tract infections (RTIs).DesignExperimental with mixed methods; preintervention and postintervention online surveys and semistructured interviews.SettingPrimary care settings across the UK.Participants11 nurse and 4 pharmacist prescribers.InterventionA theory-based brief interactive animation electronic learning activity comprised a consultation scenario by a prescriber with an adult presenting with a common, acute, uncomplicated self-limiting RTI to support a ‘no antibiotic prescribing strategy’.Outcome measuresRecruitment, response and attrition rates were assessed. The overall usefulness of the intervention was assessed by analysing prescribers’ self-reported confidence and knowledge in treating patients with RTIs before and after undertaking the intervention, and views on the relevance of the intervention to their work. Acceptability of the intervention was assessed in semistructured interviews. The feasibility of data collection methods was assessed by recording the number of study components completed by prescribers.Results15 prescribers (maximum sample size) consented and completed all four stages of the study. Prescribers reported high to very high levels of confidence and knowledge preintervention and postintervention, with slight postintervention increases in communicating with patients and a slight reduction in building rapport. Qualitative findings supported quantitative findings; prescribers were reassured of their own practice which in turn increased their confidence and knowledge in consultations. The information in the intervention was not new to prescribers but was applicable and useful to consolidate learning and enable self-reflection. Completing the e-learning intervention was acceptable to prescribers.ConclusionsIt was feasible to conduct the study. The intervention was acceptable and useful to prescribers. Future work will add complex clinical content in the intervention before conducting a full trial.
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Antović, Mihailo, Jana Mitić, and Naomi Benecasa. "Conceptual rather than perceptual: Cross-modal binding of pitch sequencing is based on an underlying schematic structure." Psychology of Music 48, no. 1 (July 25, 2018): 84–104. http://dx.doi.org/10.1177/0305735618785242.
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Theories on the origins of cross-modal correspondences involving pitch speculate on statistical, semantically-mediated, and structural factors. We hypothesize that five apparently different conceptualizations of pitch sequencing are based on an underlying structure consisting of at least two conceptual primitives: discrete distance and unidirectional scalar change. A total of 184 children and adults were asked to rate 52 animations set to a tonal and non-tonal scale and presented as a square moving vertically, shrinking/expanding in size, narrowing/thickening in width, rotating clockwise/counterclockwise, and changing in hue. We varied the underlying structure of each visual stimulus by including or excluding one or both postulated primitives. The scores generally increased as one and then two primitives were added but did not differ across animation type (“pitch/height,” “pitch/size,” “pitch/width,” “pitch/rotation,” “pitch/hue”) if the same number of primitives was present. Overt movement may be preferred to static representations as the third primitive factor. Results suggest that cross-modal binding of pitch-sequencing is a conceptual task – based on an abstract schematic structure rather than lexicalizations from the mother tongue or lower-level perceptual clues.
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McGowan, David. "Walt Disney Treasures or Mickey Mouse DVDs? Animatophilia, Nostalgia, and the Competing Representations of Theatrical Cartoon Shorts on Home Video." Animation 13, no. 1 (March 2018): 53–68. http://dx.doi.org/10.1177/1746847717752585.
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Theatrical-era short animation has often acquired a complex, even contradictory, textual identity: most cartoons were originally produced for a general audience, but were then marketed almost exclusively towards children as repeats on television. The rise of DVD has further complicated the status of these films. On the one hand, the format has facilitated the release of a lot of rare animated material, most notably within a series of multi-volume special editions entitled the Walt Disney Treasures, explicitly aimed at the previously marginalized adult viewer. However, Disney has also produced lower priced, ‘family friendly’ discs featuring many of the same cartoons. Unlike the Treasures volumes, the latter sets tend to censor problematic content and generally lack contextualizing bonus features. The choice to watch one of these collections over the other can thus have a significant impact upon one’s interpretation of the collected films. Thomas Elasasser argues that film culture – embodied most fervently by the devoted cinephile (and, for the purposes of this study, the equivalent figure of the animatophile) – has often failed to recognize itself as a product of generational memory. It is frequently implied by such groups that DVD special editions are the most ‘authentic’ because they privilege the original cinematic experience, without acknowledging the degree to which the format itself serves to remediate its contents. For instance, while the Treasures discs generally present the films uncut – sometimes ‘restoring’ footage unseen since the 1930s and 40s – these are often prefaced with mandatory disclaimers providing historical context for contentious elements such as racism. The sheer volume of material that these collections provide, including opportunities for binge-watching with ‘play all’ functions, similarly alters the portioned availability of these texts in the theatrical sphere. This article will suggest that both the special edition and ‘family friendly’ DVD options ultimately reflect a nostalgic struggle to appropriate and define the present and future reception of the films, rather than to truly reclaim the past.
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Mytskan, Bogdan, Nazar Fedyniak, and Oleh Vintoniak. "Sports-Animation Activities in Pidkarpattiya: Status and Staffing Prospects." Physical education, sports and health culture in modern society, no. 2(38) (June 30, 2017): 24–28. http://dx.doi.org/10.29038/2220-7481-2017-02-24-28.
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The aim of this study was to identify the characteristics of sports and animation services in cities and establish feasibility Pidkarpatiya training to provide sports and animation activities in places of public entertainment. We used theoretical analysis, surveys and statistical methods. Among the respondents, the number of 1200 people, representing the general population, included people of different professions: teachers, doctors, students, workers manufacturing jobs and the service sector. In every village we have interviewed 300 people. Found that animation activities, standing out from a number of other types of social activity has its characteristics, namely implemented in their spare time; different freedom of choice, voluntary, active as the initiative of one person, and different social groups; caused by ethnic, regional peculiarities and traditions; characterized by a diversity of species based on different interests of adults, youth and children; a humanistic, cultural, developmental, recreational and educational nature. We conducted a survey showed that the most popular animation activities in Ivano-Frankivsk (reported by 44,0 % of respondents), 36,0 % of respondents say that the animation used in Bukovel, 14,0 % – in Vorokhta and 6,0 % – in Yaremche. So in all tourist centers Pidkarpatiya formation occurred animation scope of the various groups. This is obviously a deterrent is the lack of qualified personnel, providing animation activities requires an appropriate response to this education of the profile.
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Marsh, A. P., E. H. Ip, R. T. Barnard, Y. L. Wong, and W. J. Rejeski. "Using Video Animation to Assess Mobility in Older Adults." Journals of Gerontology Series A: Biological Sciences and Medical Sciences 66A, no. 2 (December 2, 2010): 217–27. http://dx.doi.org/10.1093/gerona/glq209.
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Brewer, Neil, Jordana Zoanetti, and Robyn L. Young. "Convergent Validity of the A-ToM (Adult Theory of Mind) Test for Individuals With Autism Spectrum Disorder." Journal of Psychoeducational Assessment 37, no. 6 (July 11, 2018): 797–802. http://dx.doi.org/10.1177/0734282918787433.
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Brewer, Young, and Barnett reported a comprehensive psychometric evaluation of a new adult theory of mind measure (A-ToM) with a sample of high-functioning autism spectrum disorder (ASD) adults. Although correlations with existing theory of mind (ToM) instruments (i.e., the Strange Stories; the Frith- Happé animations) were reported, relationships with independent putative indicators of ToM development such as social–behavioral and interpersonal proficiencies were not examined. Here, we provide convergent validity data by examining the relations between A-ToM performance, and the social–behavioral skills and interpersonal relationships of ASD adults with IQs exceeding 85. ToM predicted interpersonal relationship quality via the mediating variable, social–behavioral skills, providing evidence of convergent validity for the A-ToM. Alternative models of the relationship between the three variables are described, as are the challenges associated with the interpretation of self-report social and interpersonal functioning measures.
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Fang, Yu-Min, Chun Lin, and Bo-Cheng Chu. "Older Adults’ Usability and Emotional Reactions toward Text, Diagram, Image, and Animation Interfaces for Displaying Health Information." Applied Sciences 9, no. 6 (March 13, 2019): 1058. http://dx.doi.org/10.3390/app9061058.
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Technology can facilitate the provision of healthcare to older adults. Wearable devices are thus increasingly prevalent amidst perpetual component miniaturization and cost reduction. This study aimed to determine whether existing application (app) interfaces are suitable for older adults by comparing the perceived usability and emotional reactions of younger users and older users to the health information display formats of wearable interfaces. Based on the outcomes of a literature review and expert recommendations, four health display interfaces—text, diagram, image, and animation—were developed and revised. Thirty respondents in Miaoli, Taiwan, were invited to participate in a questionnaire and interviews. The collected data were analyzed and discussed to develop design recommendations. The findings of this study were as follows: (1) the diagram interface had the lowest performance; (2) the respondents preferred the animation interface, which produced strong affective valence, thereby suggesting that animation generated positive emotions, yielding a result consistent with expert views and existing design principles; and (3) older users were more accepting of the text interface than the younger users, who exhibited negative emotions toward the text interface, highlighting a significant generation gap.
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Hendrianto, Gayus. "Penciptaan Animasi “Upload” Dengan Teknik Animasi Digital 2D." Journal of Animation & Games Studies 3, no. 2 (February 14, 2018): 185. http://dx.doi.org/10.24821/jags.v3i2.1858.
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Animasi memiliki kesan kepada penonton bahwa animasi itu menghibur, unik, lucu, dan cenderung diperuntukkan untuk anak-anak. Pada perkembangannnya animasi kini tidak hanya dibuat untuk anak-anak saja, namun animasi juga dibuat untuk konsumsi kalangan remaja, dewasa dan semua umur.Karya Animasi “Upload” ini merupakan sebuah karya reflektif tentang kehidupan generasi muda masa kini yang mengalami ketergantungan dengan Internet. Dengan sentuhan komedi, paparan visual yang menarik kiranya dapat menghibur dan berkesan pada penonton.Udin adalah karakter utama dalam karya animasi ini. Udin adalah seorang pemuda berumur 25 tahun yang beberja sebagai pekerja freelance, pada suatu hari ia harus mengirimkan pekerjannya kepada kliennya melalui email. Ketika ia menguduh pekerjaannya kendala sinyal internet membuat pekerjaan Udin selalu gagal ter-upload. Segala cara dilakukan Udin supaya pekerjaan dapat terkirim sesuai pada deadline. Kata kunci: Animasi, Upload, 2D Abstract Animation has the impression to the audience that the animation is entertaining, unique, funny, and tends to be reserved for children. In the development of animation is now not only made for children only, but animation is also made for consumption among adolescents, adults and all ages.The "Upload" Animation Works is a reflective work on the lives of today's young people who are dependent on the Internet. With a touch of comedy, eye-catching visual exposure may be entertaining and memorable to the audience.Udin is the main character in this animated work. Udin 25 years old young man who is freelance worker, one day he has to send his work to his client via email. When he accuses his job of internet signal constraints making Udin's work always fails to upload. Every way Udin can do so the work can be sent according to the deadline. Keywords: Animation, Upload, 2D
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Souza, José Marconi Bezerra de, and Mary C. Dyson. "Are animated demonstrations the clearest and most comfortable way to communicate on-screen instructions?" Information Design Journal 16, no. 2 (August 4, 2008): 107–24. http://dx.doi.org/10.1075/idj.16.2.03bez.
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This study uses preference measurements to compare participants’ perceptions of nine versions of on-screen instructions and aims to discover the ones users consider to be the clearest and most comfortable to use. Instructions are divided into 3 categories: composite instructions, synoptic instructions and animated demonstrations. A group of twenty-four adult participants ranked instructions, first within the same category and then between categories. Even though no data was gathered to suggest which type of instruction will lead to better learning, the results show that animations are perceived as being the clearest and most comfortable to use. Users are likely to welcome animations, particularly for learning highly dynamic and non-intuitive software drawing tasks (i.e., using Bezier tools).
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Clover, Darlene. "Animating ‘The Blank Page’: Exhibitions as Feminist Community Adult Education." Social Sciences 7, no. 10 (October 20, 2018): 204. http://dx.doi.org/10.3390/socsci7100204.
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Public museums and art galleries in Canada are highly authoritative, and trusted knowledge and identity mobilising institutions, whose exhibitions are frequently a ‘blank page’ of erasure, silencing, and marginalisation, in terms of women’s histories, experiences, and contributions. Feminist exhibitions are a response to this, but few in Canada have been explored as practices of feminist community adult education. I begin to address this gap with an analysis of two feminist exhibitions: In Defiance: Indigenous Women Define Themselves, curated by Mohawk-Iroquois artist, Lindsay Katsitsakatste Delaronde, at the Legacy Gallery, University of Victoria; and Fashion Victims: The Pleasures & Perils of Dress in the 19th Century, curated by Ryerson Professor Alison Matthews David, at the Bata Shoe Museum, Toronto. Although dissimilar in form, focus, and era, these exhibitions act as powerful intentional pedagogical processes of disruption and reclamation, using images and storytelling to animate, re-write and reimagine the ‘blank pages’ of particular and particularised histories and identities. Through the centrality of women’s bodies and practices of violence, victimization, and women’s power, these exhibitions encourage the feminist oppositional imagination, dialogic looking, gender consciousness, and a visual literacy of hope and possibility. Yet, as women’s stories become audible through the very representational vehicles and institutional spaces used to silence them, challenges remain.
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Demiral, Seran. "Considering Discourse with Children through Animations." International Journal of Pedagogy, Innovation and New Technologies 7, no. 2 (December 30, 2020): 47–57. http://dx.doi.org/10.5604/01.3001.0014.6865.
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Children’s literature and art activities are not only useful for creativity but also quite functional for education through new understanding in the contemporary perspectives about learning. For instance, philosophy for children is a wide-spread methodology to reveal children’s potentials by building a “community of inquiry” at classrooms. Children’s books and animations can provide a magnificent starting point for those philosophical discussions. However, in many societies, children and young people are still underestimated that the usual point of view about children’s literature used to include ‘softer’ topics, which is likewise to be ‘censored’ compared to literature in general. All products for children have usually function to cultivate new generations according to traditional discourse underlying in society. The essential purpose of this paper is to reveal possibilities to shape traditional discourse into an expanded perspective with children utilizing discussion and critical thinking. It is supposed to analyze the artworks for children in variable ways, by embodying discourse within. In between education and entertainment, cultural products also expected to be age-appropriate. Besides the relation between adult-children distinction and all cultural products, specifically produced ‘for’ children, how children see themselves is directly related to how they interpret cultural products. In this paper, two short animations, Alike, and Ian which were watched together with a group of children in a private secondary school in Istanbul, Turkey, will be analyzed through children’s perspectives, with their expressions.
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Holliday, Christopher. "Emotion capture." Alphaville: Journal of Film and Screen Media, no. 3 (August 8, 2012): 76–94. http://dx.doi.org/10.33178/alpha.3.06.
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The customary practice across both feature-length cel-animated cartoons and television animation has been to cast adults in the vocal roles of children. While these concerns raise broader questions about the performance of children and childhood in animation, in this article I seek to examine the tendency within computer-animated films to cast children-as-children. These films, I argue, offer the pleasures of “captured” performance, and foreground what Roland Barthes terms the “grain” of the child’s voice. By examining the meaningless “babbling” and spontaneous vocalisations of the aptly-named child Boo from Pixar’s Monsters, Inc. (2001), this article offers new ways of conceptualising the relationship between animation and voiceover, suggesting that computer-animated films celebrate childhood by emphasising the verbal mannerisms and vicissitudes of the unprompted child actor. The calculated fit between the digital children onscreen and the rhythms of their unrefined speech expresses an active engagement with the pleasures of simply being young, rather than privileging growing up. Monsters, Inc. deliberately accentuates how the character’s screen voice is authentically made by a child-as-a-child, preserving the unique vocal capabilities of four-year-old Mary Gibbs as Boo, whilst framing her performance in a narrative which dramatises the powers held within the voice of children.
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Choi, Yoo-Mi, Jee-Eun Sung, Ji-Yun Han, and Yoo-Ri Kim. "A Study on the Diagnostic Tool for Language Processing for Older Adults Using Animation." Korean Journal of animation 14, no. 4 (December 31, 2018): 24–36. http://dx.doi.org/10.51467/asko.2018.12.14.4.24.
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