Academic literature on the topic 'Animated films – Sound effects'
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Journal articles on the topic "Animated films – Sound effects"
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Haydarova, Nigora. "SPECIAL EFFECTS IN MODERN UZBEK ANIMATED FILMS." European Science Review, no. 3-4 (2021): 20–24. http://dx.doi.org/10.29013/esr-21-3.4-20-24.
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Krivulya, Natalia G. "The Origins of the First Sound Animation: Songs Series by the Fleischer Brothers." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 119–31. http://dx.doi.org/10.17816/vgik101119-131.
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With the invention of moving pictures, the creators sought to supplement them with sound. Even before the invention of cinemat, E. Reynaud in the optical theatre gave performances in which moving images were combined with sound. It was pre-cinema experience, which represented the theatre model of audiovisual show. The attempts to synchronize the dynamic images and sound were taken by T. Edison, S. Meshes, L. Gaumont, O. Kellum, E.Tigerstedt, J. Engel, G. Phocht and J. Massol. However, the systems suggested by these inventors were not perfect. An important step towards creation of a sound film was the appearance of the optical sound recording system Phonofilm designed by Lee de Forest. In 1923, he became acquainted with Brothers Fleischer, outstanding American animators. Together with H. Riesenfeld and E. Fadiman they organized Red Seal Pictures Corporation and began to shoot Ko-Ko Song Car-Tunes, which consisted of a series of animated shots Sing-alongs (featuring the famous bouncing ball). It was a kind of multimedia shots, as there was no plot, no character and no narrative structure. They were created basing on popular songs, but did not illustrate them. The Sing-alongs shots were produced for the audience to sing their favorite songs before the session, while reading the text of the songs from the screen. The animated ball bouncing on the syllables helped them to follow the rhythm of the melody. These films became the prototype of the modern karaoke and music animated shows. The series were released from May 1924 till September 1927. The Fleshers created more than 45 shots, more than 19 of which using the Phonofilm. The first sound animated shots where the images were synchronized with the sound and recorded on the same media, were released in 1925. The film Come to Travel on My Airship was the first where the speech was heard, and in the shot My Old House in Kentucky the Fleischers managed to synchronize the speech with the facial expressions of cartoon characters as they were speaking. When the animating and shooting technology changed, the film structure underwent changes too. Detailed animation parts with the story content appeared. The text animation became variable as well. Since the 1930s, the shots have included scenes with singers and jazz-bands. The animated film series Ko-Ko Song Car-Tunes shot by the Brothers Fleischer established the principle of movement and sound synchronism in the animation. They not only out paced the sound films by P. Terry and W. Disney, which were considered to be the first sound animation films for a long time, but also proved that the sound animation had been possible and the thirty-year era of the silent animation came to an end.
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Benitez Rojas, Raquel Victoria. "CRISTIANI AND THE FIRST ANIMATED FEATURE FILMS IN HISTORY- FROM ARGENTINA TO THE WORLD." MEDIA STUDIES AND APPLIED ETHICS 3, no. 1 (2022): 127–46. http://dx.doi.org/10.46630/msae.1.2022.09.
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On December 21, 1937, Snow White and the Seven Dwarfs (Hand, Jackson, Pearce, Sharpsteen, Morey, Cottrell, 1937) was released, produced by Walter E. Disney. The press immediately ranked it as the first animated feature film. However, this claim was not true. The Italian-Argentinian animator Quirino Cristiani with his work El Apóstol (Cristiani,1917) was responsible for the first animated feature film in the world twenty years before the North American release. His 1931 film Peludopolis (Cristiani,1931) was also the first animated feature film with synchronised sound recording. Cristiani patented a new and revolutionary system for creating animations using only cardboard cut-outs. The aim of this paper is to give recognition to his work by analyzing his contribution to the seventh art through qualitative documentary research.
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Sun, He, Jieying Loh, and Adam Charles Roberts. "Motion and Sound in Animated Storybooks for Preschoolers’ Visual Attention and Mandarin Language Learning: An Eye-Tracking Study With Bilingual Children." AERA Open 5, no. 2 (2019): 233285841984843. http://dx.doi.org/10.1177/2332858419848431.
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This study examined the role of the “animated eBook advantage” in child bilingual’s Mandarin learning, which has tended to be examined in the acquisition of Germanic languages. With this aim, 102 4- to 5-year-old preschoolers in Singapore were assigned to one of four conditions: (a) animated eBooks (+sound+motion), (b) static eBooks with sound, (c) static eBooks only, and (d) a control condition where children played a math game on an iPad. Three stories were displayed to children each for four times over 2 weeks, while visual attention was traced with an eye tracker. Children’s target words and story comprehension were assessed for the effects of the intervention conditions. The results revealed that children in the animated condition outperform their counterparts in total fixation duration, target word production, and storytelling of one of the stories (Cycling With Grandpa). There were no consistent differences between the two static conditions. Our results indicate the importance of motion in animated eBook design, in line with previous findings.
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Bockareva, Ol'ga. "The interpretation of classical music in Polish and Russian animation as a basis for creative dialogue." Muzikologija, no. 21 (2016): 175–84. http://dx.doi.org/10.2298/muz1621175b.
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Animated musical film, lying at the intersection of the two creative worlds and representing a dialogue between the musician and painter, is a living process of the visual interpretation of the artistic image of a musical work. A dialogue between the director of an animated film and the composer of a musical masterpiece can take place only if there is intonational (term used according to B. Asaf?ev?s writing) ?equalization? of the artistic and validation determinants of merger-related, personal, emotional states. The author emphasizes that within the artistic image of an animated film, the inner essence of the ?I? is made on the basis of the artist?s expression, the unity and consistency of color, sound, plastic solutions, coupled with deep philosophical generalizations, cultural, and value-semantic in their nature. The article provides examples of interpretations of classical music masterpieces in animated films by Russian and Polish filmmakers.
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Kim, Ki-Hong, and Shin-Ichiro Iwamiya. "Formal Congruency between Telop Patterns and Sound Effects." Music Perception 25, no. 5 (2008): 429–48. http://dx.doi.org/10.1525/mp.2008.25.5.429.
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The effects of formal congruency between Telops (animated text on a display) and sound effects on the affect of audio-visual content were investigated. Rating experiments were performed using systematic combinations of various Telops and sound patterns. As a result, formal congruency contributed to enhancing subjective congruency between Telop and sound patterns. Formal congruency also contributed to enhancing the evaluation of audio-visual productions. Two types of formal congruency were effective in creating subjective congruency: the synchronization of temporal structures and the matching of changing patterns between auditory and visual events. To create formal congruency based on synchronization between auditory and visual structures, correspondence of the onsets of sound and Telop was important. The combinations of the gradually rising loudness or pitch of sounds and the expanding (or approaching) of Telop pattern were found to create the matching of changing patterns.
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Zhao, Siyun. "Export of Chinese Animated Film:A Case Study on Nezha." Communications in Humanities Research 1, no. 1 (2021): 28–33. http://dx.doi.org/10.54254/chr.iceipi.2021185.
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The box office of Chinese films is growing, and domestic films have made a great contribution.Chinese films has also becoming an important component of Chinese cultural exportation. Animated films have advantage of having wider audience, which can convey national values more gently and shape the national image imperceptibly. This paper took the animated film "Nezha", which was a dark horse at the domestic box office, as an example to analyze the advantages and disadvantages of Chinese animation film in cross-cultural communication. The study found that although technique and animation visual effects received good commonts from the overseas audience, the cultural barriers and the lack of commercial publicity was still a constaint for Chinese animated films.
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Ridout, Sam. "The aesthetics of animated sound: François Bayle, Bernard Parmegiani and the Service de la recherche de l’ORTF." Journal of Popular Television 9, no. 1 (2021): 93–104. http://dx.doi.org/10.1386/jptv_00043_1.
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Founded by Pierre Schaeffer in 1960, the Service de la recherche at Radiodiffusion-Télévision Française sought to incubate technical and aesthetic research in television and radio, supporting the development of novel animation techniques, pedagogical films for television and experimental short films. As such, the Service served as a fertile meeting point for composers and filmmakers, playing a significant role in the early careers of a number of well-known French composers of electroacoustic music. The early work of both François Bayle and Bernard Parmegiani principally consisted of music and sound for the moving image – and in particular for experimental animated shorts by filmmakers including Robert Lapoujade and Piotr Kamler – created with the support of the Service de la recherche. In attending to the particular configurations of sound and image worked out in these collaborations, the idea of ‘animation’ emerges as a recurring concern in the electroacoustic music of the period, underwriting both a general approach to recorded sound and, I argue, particular formal and technical developments in the aesthetics of French electroacoustic music in the 1960s and beyond.
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Egan, Kelly FW. "‘Tones from Out of Nowhere’ and Other Non-sensedness: Re-membering the Synthetic Sound Films of Oskar Fischinger and Làszló Moholy-Nagy." Animation 15, no. 2 (2020): 160–78. http://dx.doi.org/10.1177/1746847720938230.
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Synthetic sound film, a genre in which sound is directly animated onto the soundtrack of a filmstrip, is an avant-garde practice which remains seldom theorized and too often neglected. Expanding on Thomas Y Levin’s canonical work on the genre, ‘“Tones from out of Nowhere”: Rudolph Pfenninger and the archaeology of synthetic sound’ (2003), this article argues that there is a fundamental divide amongst the artistic approaches to synthetic sound film between filmmakers seeking to create specific aural objects through a new form of visual representation, and filmmakers focused on the graphic object and its direct translation into a new/unknown form of aural representation. Concentrating on the latter group which begins with Oskar Fischinger and Làszló Moholy-Nagy, through a materialist framework, this article shows how their produced sounds re-member the objects from which they emerge and, as such, are bound to a material encounter defined by this sensorial return to objectness.
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Zhang, Rong. "Computer Vision-Based Art Color in the Animation Film Performance Characteristics and Techniques." Journal of Sensors 2021 (September 13, 2021): 1–12. http://dx.doi.org/10.1155/2021/5445940.
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If an animated film wants to present extraordinary visual effects, the successful use of art colors is the key to the success or failure of an animated film. Although our country’s animated film started a short time ago, its development has been slow. In modern times, it is difficult to compete with excellent animation works of other countries; animation is an art form that requires the combination of modern technology and traditional cultural areas. Chinese cartoons are gradually declining today when the technology is taking off. The reason is that the traditional culture of the country has not been thoroughly explored. In today’s diversified world, if you want to revive the brilliance of Chinese animation, you must deeply and systematically study various elements of national art and form your own creative thinking and creation system. Particularly under computer vision, the gap is very obvious. Under the computer vision, in order to study the characteristics and techniques of the use of fine art colors in animated films, to promote the development of animated films in China, this article analyzes the role of art color in the animation of excellent Chinese and foreign animation works in recent years, through literature analysis, comprehensive qualitative and quantitative analysis, etc., to study the meaning and application of color symbols, hoping to be a Chinese animation providing useful help for film creation and development. Studies have shown that color has a strong influence on animated films. A good use of artistic color can add a lot of color to an animated film. According to statistics, art colors account for at least 20% of excellent animation works, which can be integrated into animation colors. Animation works with domestic characteristics are easier to succeed. This shows that the use of artistic colors can play a key role in animated films.
Dissertations / Theses on the topic "Animated films – Sound effects"
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Hodges, Peter. "Sound & vision : towards a definition of the dialogical interactions between image and sound effect in animated film." Thesis, University of South Wales, 2017. https://pure.southwales.ac.uk/en/studentthesis/sound--vision-towards-a-definition-of-the-dialogical-interactions-between-image-and-sound-effect-in-animated-film(b4175cec-c2c9-4e9c-bb66-048a50b580ec).html.
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The introduction of synchronised sound to moving pictures brought the birth of a new form of entertainment, the sound film. As a contemporary moving image medium to the live action film, animated film also successfully adopted synchronised sound. The process of animation is, by its nature, inherently silent so any use of sound involves decisions away from the creation of the image. Thus, there are many opportunities for an inventive audiovisual dialogue to affect an animated film's narrative intention. The marriage of sound to image was initially thought to provide two opportunities of interpretation. The first, that the sound could simply match the expectations of everyday life by working in parallel with the visual action, supporting it in a realistic manner. The second suggested enhancing the narrative by providing sound information that acted in counterpoint to the displayed visual, thus providing a new, different interpretation of meaning to this audiovisual event. In film, a dialogue between sound and image can be created through applying a combination of parallel and counterpoint sound throughout a film's duration. However, after ninety years of the sound film, are there any alternative definitions of audiovisual meaning other than in parallel or counterpoint? To investigate this variation in the interpretation of meaning, this study defined a creative methodological framework that considered sound design choices and their relationship to meaning within animated film, and recognised the influences within animated film production on the sound design decisions made. These formed the hermeneutic categories of sound effect choice, and the physical and meta-influences that inform decisions regarding the chosen sound effects. This framework was developed and applied to case studies using an action research approach. The study concludes that a creative methodological framework for sound effect planning in animated film provides a useful understanding and application of the range of influences in animated film sound production. The research also illustrates that the framework's integral hermeneutic categories provide a valid expansion of the parallel- counterpoint position with regard to informing choice and meaning in sound effect planning. Finally, the study recognises that the framework presents a workable methodology to apply to the sound effect planning process in animated film.
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Trowell, Melody Cukor-Avila Patricia. "A test of the effects of linguistic stereotypes in children's animated film a language attitude study /." [Denton, Tex.] : University of North Texas, 2007. http://digital.library.unt.edu/permalink/meta-dc-3605.
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Trowell, Melody. "A test of the effects of linguistic stereotypes in children's animated film: A language attitude study." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3605/.
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This study examined the claim that animated films influence childrens' opinions of accented-English. Two hundred and eighteen 3rd through 5th graders participated in a web-based survey. They listened to speakers with various accents: Mainstream US English (MUSE), African American Vernacular English (AAVE), French, British, and Arabic. Respondents judged speakers' personality traits (Work Ethic, Wealth, Attitude, Intelligence), assigned jobs/life positions, and provided personal information, movie watching habits, and exposure to foreign languages. Results indicate: (1) MUSE ranks higher and AAVE lower than other speakers, (2) jobs/life positions do not correlate with animated films, (3) movie watching habits correlate with AAVE, French, and British ratings, (4) foreign language exposure correlates with French, British, and Arabic ratings.
Books on the topic "Animated films – Sound effects"
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Manuele, Cecconello, and Michelone Guido, eds. Coloriture: Voci, rumori, musiche nel cinema d'animazione. Pendragon, 1995.
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The foley grail: The art of performing sound for film, games, and animation. Focal Press, 2009.
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Smoodin, Eric. Animating culture: Hollywood cartoons from the sound era. Rutgers University Press, 1993.
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Animating culture: Hollywood cartoons from the sound era. Roundhouse Publishing, 1993.
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Animating culture: Hollywood cartoons from the sound era. Rutgers University Press, 1993.
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Flückiger, Barbara. Sound Design: Die virtuelle Klangwelt des Films. Schüren, 2001.
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The animator's eye: Adding life to animation with timing, layout, design, color and sound. Focal Press, 2012.
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Elemental magic: The classical art of special effects animation. Focal Press, 2009.
Find full textBook chapters on the topic "Animated films – Sound effects"
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Donnelly, K. J. "Emotional Sound Effects and Metal Machine Music: Soundworlds in Silent Hill Games and Films." In The Palgrave Handbook of Sound Design and Music in Screen Media. Palgrave Macmillan UK, 2016. http://dx.doi.org/10.1057/978-1-137-51680-0_6.
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Holliday, Christopher. "Monsters, Synch: A Taxonomy of the Star Voice." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0008.
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This chapter proposes that the ascription of star speech (as a dynamic sound form) to the computer-animated film’s puppet performers contributes to the effect and impact of their many screen performances. This chapter takes the star voice to be a unique instrument of performance that lies at the cornerstone of computer-animated film acting, and begins by implicating the potency of the star voice within wider industrial discourses. These include local dubbing practices, sound technology, and the multiplication of star sound across a range of consumer and multi-media products. The formal and structural importance of the star voice to computer-animated film performance is illustrated through the work of prominent film sound theorist Michel Chion and his work on synchresis, a neologism produced out of the combination of “synchronism” and “synthesis”. By extending Chion’s account, this chapter uses descriptors derived from synchresis to outline three prominent synchretic unions operating at the level of character design. A significant innovation here is the development of a taxonomy of the star voice as it is inscribed formally into computer-animated films—anthropomorphic, autobiographic and acousmatic synchresis—which give new precision to the analysis of star voices in animation.
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Dobson, Nichola. "Creating (Artificial) Emotion in Animation Through Sound and Story." In Emotion in Animated Films. Routledge, 2018. http://dx.doi.org/10.4324/9780203731253-7.
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"Sound Effects." In Sound Design for Low and No Budget Films. Routledge, 2017. http://dx.doi.org/10.4324/9781315733425-8.
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Winning, Ross. "Sound Image and Resonant Animated Space." In Advances in Media, Entertainment, and the Arts. IGI Global, 2015. http://dx.doi.org/10.4018/978-1-4666-8205-4.ch006.
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Animation is a synthesis of ideas that often encounters unpredictable, illogical, and imagined domains. In those animated worlds, recorded sound is now part of a coalition of two sensory forms mediated through hearing and vision. Sound has therefore been embedded in the audio-visual toolbox since the successful synchronisation of sound and picture. Sonic elements now contribute significantly to how animators might shape their films and express ideas. These animated worlds also often represent deeply rooted expressions of the interior mind of the artists and animators themselves. This chapter explores the relationship of sound to image in the evolutionary and increasingly variable animated forms that are currently proliferating. It aims to focus on sound as being the primary channel that is best able to reflect those interior ideas within a range of animated media. The exploration seeks to do this through tracing proto-cinematic ideas in the art of the past and animation practice that researches the sonified and animated image using musical and figurative metaphors.
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Mihailova, Mihaela. "Before Sound, there was Soul: The Role of Animation in Silent Nonfiction Cinema." In Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0003.
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Mihaela Mihailova examines the role and functions of the drawn image within early-twentieth-century scientific and educational media texts (in this case, a range of 1920s educational animated short films). Exploring seminal names from animation history, such as Bray Productions and the Fleischer brothers, Mihailova demonstrates the contemporary resonances and applications of these works. The chapter examines a range of foundational trends, methods and approaches that subsequently shaped animated documentary during the nine decades since the advent of sound. Examining the functions which the drawn image fulfils, animation is seen as a metacommentary on its own expressive limitations, as well as those of nonfiction, foregrounding the challenges of conveying reality by means of a single representational mode. At once liberated from the concreteness of the photographic record and limited in their abstraction by the requirements of scientific content, these films occupy a position between mechanical recording and pure artistic creation.
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Sofian, Sheila M. "Creative Challenges in the Production of Documentary Animation." In Drawn from Life. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748694112.003.0014.
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In this chapter, Sheila M. Sofian examines animated documentary from a filmmaker’s perspective. This chapter explores the appropriateness of animation’s use within nonfiction film. This chapter also asks how and when animation’s use might enhance audience understanding of a given documentary topic, and how and when it might distract from the same. The chapter also examines whether animation’s use in documentary reveals the filmmaking process in a more overt fashion than witnessed within live action documentary, and what controversies arise as a result. This chapter discusses these and other issues through reflective accounts of the production and exhibition of Sofian’s own animated documentary films. In discussing these works, this chapter examines the creative process of animated documentary production and the unique challenges faced when producing non-fiction animated films. The relationship between sound and image, choice of animation technique, and the effectiveness of literal versus abstract imagery are all topics explored.
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Holliday, Christopher. "Notes on a Luxo World." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0004.
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This chapter advances the term ‘Luxo’ as a useful descriptor that awards definition to the unique fictional worlds of the computer-animated feature film. The main body of writing in the initial stages outlines how the Luxo worlds of computer-animated films intersect with (and depart from) other forms of animation and digital world construction, situating computer-animated films against scholarship dealing with world creation. Emphasis is paid to the multiplicity of cinema’s ‘computer-animated’ worlds across popular Hollywood cinema, drawing in comparisons with Rotoscoping and the current effects industry via the virtual backlot. A significant discrimination made here is the idea that a Luxo world operates as a computer-animated film fiction achieved through the act of production, not as a fictional world crafted separately in post-production. Animatedness becomes a term that is developed throughout the chapter, invoked to promote the specificities of this new digital cinema and the richness of its film worlds. By exploring the particular “animatedness” of a Luxo world against other types and traditions of animated fictions, this chapter distinguishes the ways in which technology is harnessed through the spectacle of the digital multitude and how computer-animated films operate in dialogue with the formal style of “open world” videogames.
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Rhodes, Gary D., and Robert Singer. "Sound." In Consuming Images. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474460682.003.0007.
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Chapter 6 covers sound, offering discussions of how the television commercial has revived, fostered, and revitalized the musical and the silent film genres, integrating sound and image in particularized respects that are markedly different than most Hollywood feature films of the late 20<sup>th</sup> and early 21st centuries. The chapter also addresses the TV the experimental, intertextual commercial that dates to the 1960s, the disruption of aural teleology in the 21<sup>st</sup> century, and the unique (even if legally obligatory) forms of audio/visual dissonance in which beautiful images unfold while voiceover explains the dire side effects of given pharmaceuticals.
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Holliday, Christopher. "The Mannerist Game." In The Computer-Animated Film. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474427883.003.0011.
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This chapter argues that mannerism and traditions of mannerist art give greater definition to how computer-animated films playfully dismantle their illusionist activity by making false claims about their relation to live-action cinema. To consider these specific forms of Mannerist humour in the computer-animated film, this chapter plots Mannerism’s cinematic lineage within certain styles and genres (film noir, pop music film, heritage drama, period film and cinéma du look), and notes that despite scholars having employed a vocabulary drawn from European art history to describe the (often digitally-assisted) bravura camerawork of New Hollywood cinema, Mannerism has yet to be employed as a descriptor for digital animation. This chapter therefore re-imagines computer-animated film comedy as strongly Mannerist in its invention, and draws particular attention to their strategies of allusive anti-illusionism. Computer-animated films frequently stage false, illusory discourses of revelation (feigned blooper reels, outtake material, behind-the-scenes ‘actor’ interviews) as a comic flourish that maintains the genre’s illusion. To interrogate the wit of the genre’s Mannerist play, I examine its many trompe-l’œil illusion effects and activities of self-deception.
Conference papers on the topic "Animated films – Sound effects"
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Krklec, Ana, Andrej Iskra, and Tanja Nuša Kočevar. "Creating a 2D animated short film with sound and image synchronisation." In 11th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design, 2022. http://dx.doi.org/10.24867/grid-2022-p24.
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Animation is a method, in which still images create the illusion of movement on the screen. We manipulate the viewer with fast-moving pictures to make them look as if they can move. This article intends to make a 2D animated film based on a screenplay template with synchronized sound. In the article, we had to provide different Software: Adobe Illustrator, Adobe Animate, Adobe After Effects, Adobe Premier Pro, Reaper (Digital Audio Workstation), and Sketchbook. In addition to the software and, of course, the computer, we also used a graphics tablet, a microphone, and a sound card During writing the article, we get to know the workflow of the creation of animation, from the design to the final product. We tested ourselves in the role of all important members of production houses to get the most realistic insight into the creation of such a project. The final product of the article is a short cartoon with a synchronization of speech and sound.
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Yu, Jennifer, Ken Bielenberg, Apurva Shah, Jim Hillin, Eben Ostby, and Neville Spiteri. "Function and form of visual effects in animated films." In ACM SIGGRAPH 99 Conference abstracts and applications. ACM Press, 1999. http://dx.doi.org/10.1145/311625.311936.
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Abu Al-Rub, Rashid K., and George Z. Voyiadjis. "A Dislocation Based Gradient Plasticity Theory With Applications to Size Effects." In ASME 2005 International Mechanical Engineering Congress and Exposition. ASMEDC, 2005. http://dx.doi.org/10.1115/imece2005-81384.
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The intent of this work is to derive a physically motivated mathematical form for the gradient plasticity that can be used to interpret the size effects observed experimentally. This paper addresses a possible, yet simple, link between the Taylor’s model of dislocation hardening and the strain gradient plasticity. Evolution equations for the densities of statistically stored dislocations and geometrically necessary dislocations are used to establish this linkage. The dislocation processes of generation, motion, immobilization, recovery, and annihilation are considered in which the geometric obstacles contribute to the storage of statistical dislocations. As a result a physically sound relation for the material length scale parameter is obtained as a function of the course of plastic deformation, grain size, and a set of macroscopic and microscopic physical parameters. The proposed model gives good predictions of the size effect in micro-bending tests of thin films and micro-torsion tests of thin wires.
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Mukai, Hibiki. "An Interactive and Digital Puppeteering Interface for new musical expression (IDPI)." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.115.
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Puppetry is the oldest form of the virtual reality and has a strong tradition as a theatrical art. The aim of this research project is to create digital puppeteering system which translates gestural acts into live and expressive control of virtual 3D models including in real-time 3D sound. I will devise a model of practice that extends our understanding and notion of the digital puppet. It seeks to establish new practical and conceptual relations between the puppet and new technologies in the framework of puppet theatre. The practical aim is to focus on the special spirit of animated 3D models and silhouettes and to contribute to cultural preservation and fixing of the tradition(s) of puppet theatre. This project will explore the potential of puppetry as a musical expressive medium by new media, including the sensor, 3D sound system, digital projection, and 3D simulation. The conceptual aim of the project is to integrate traditional and new forms of puppetry through different interfaces that will advance traditional forms of cultural expressions. This project focuses on analogies and differences between different puppet theatre traditions. A key aspect is the relationship between the Western puppetry and the Eastern puppetry traditions, and the impact of the resulting cross- cultural dialogue in dramatic performances with figures. In seeking to identify the potential effects of digital puppetry, I will obtain a new vocabulary for gestural musical performance and can develop guidelines that can be used for future creative theatrical practice in the field of digital puppetry. The aim of my research project is to design an interactive digital puppetry system which is sensitive to gestural acts of puppeteers and enriches the performances as a musical expressive medium on its own right. Such a system will serve creative possibilities using digitalisations of old forms by puppet restoration and preserving its instructions. Through analyses of European and Japanese traditional puppet theatres, I will achieve a new cross-cultural form of puppetry. Thus, I investigate how acts and music of puppetry can be restored from not only actual traditional. puppet theatre, but also archives and documents, then performed and remediated with digital performance technology. Furthermore, my investigation includes in transitioning layers between old and new media — objects of puppet theatre and digital simulation – alternative action and transformation. I believe that the digital re-presentation of traditional puppetry is one of the most efficient and effective ways to impart to later generations and also to revitalise the arts of puppet theatres. An orientation toward new medias will enable me to explore 'tradition' and the puppet as a technological media object. Through my digital practice and an encounter with old, lost, forgotten puppet theatre, I set out to create something new.
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Welsh, Nicole, Annika Lewinson-Morgan, and Robert Tucker. "Using Game-based eLearning to Build Resilience to Natural Hazards in the Caribbean." In Tenth Pan-Commonwealth Forum on Open Learning. Commonwealth of Learning, 2022. http://dx.doi.org/10.56059/pcf10.9617.
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The Caribbean and Latin America is the second most disaster-prone region globally. Between 2000 and 2019, the Caribbean region faced over 170 hurricanes, 148 tropical storms, eight earthquakes, and several floods. Generally, disasters have an adverse economic, social and psychological impact; however, it should be possible to reduce the severity through planning, preparation, and appropriate, timely action. Some natural hazards, such as hurricanes, are cyclical and should only become disasters when there is damage or loss of resources, lives and livelihood. Game-based blended learning focused on prevention and preparation can build knowledge and awareness, contributing to building resilience, specifically, the ability to withstand and recover from natural hazards. This article postulates that resilience should be encouraged from a young age because resilient children can become resilient adults and contributors to a society capable of functioning during crises or difficult situations, including natural hazards and disasters. // The proposed strategy involves a Be Alert Game (BAG) piloted in small groups, with children ages seven to ten, in four countries in the Caribbean (Barbados, Grenada, Jamaica and the Republic of Trinidad and Tobago). Surveys were administered before and after the game was tested. The feedback from these surveys were used to determine learners’ knowledge and approach before and after playing the game. // The game focuses on four natural hazards (hurricanes, tsunamis, earthquakes and volcanoes), their key features, pre-emptive and preparatory steps, and the potential impact of inaction. Gamers are encouraged to learn about natural events and disaster prevention by participating in interactive quizzes, drag-and-drop activities, researching and engaging with their teachers, family, and friends. The final component of each of the four levels in the game uses a blended approach and is mindful of the local context; thus, the location of the nearest emergency shelters will differ. Multimedia components include images, voice-over, music, sound effects, interactive buttons, animated characters and closed captioning. The developers will use the feedback from the participants to improve on the levels and interactive elements, which are all geared toward building resilience and preparing for natural hazards through game-based open learning.
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Qu, M., Y. Wu, and A. Gouldstone. "Simulations of Curvature Evolution Splat-Substrate Systems under Thermal Cycling." In ITSC2006, edited by B. R. Marple, M. M. Hyland, Y. C. Lau, R. S. Lima, and J. Voyer. ASM International, 2006. http://dx.doi.org/10.31399/asm.cp.itsc2006p1035.
Full textAbstract:
Abstract The mechanical behavior of single splats on substrates can provide insight into a number of critical coating aspects, including stress evolution, inelastic behavior, and adhesion. Single splat studies provide a theoretically sound base for the understanding of properties, as they are essentially thin film structures on substrates – a geometrically simple arrangement. However, the experimental measurement of splat properties is non-trivial. Previous work has shown that residual stresses and hardness of splats can be measured successfully using X-ray diffraction and nano-indentation, respectively. Here we present the development of a new technique for the determination of in-plane splat properties, including modulus and flow stress, as well as splat-substrate adhesion. This method is based on the widely-used substrate curvature technique, and adaptations of the Stoney formula for electronic thin films. Critical aspects of the continuum-based analysis, including the effects of splat geometry and/or partial debonding, are discussed.