Academic literature on the topic 'Animated icons'
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Journal articles on the topic "Animated icons"
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Jones, Tom. "Children and Animated Computer Icons." Journal of Research on Computing in Education 22, no. 3 (1990): 300–309. http://dx.doi.org/10.1080/08886504.1990.10781923.
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Yasa, Nyoman Miyarta. "TANDA VERBAL PADA FILM ANIMASI “El Empleo”." Jurnal Nawala Visual 2, no. 1 (2020): 45–53. http://dx.doi.org/10.35886/nawalavisual.v2i1.77.
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"El Empleo" is a silent animated film that won 102 Awards. This animated film is only equipped with sound effects, so that makes it alive. This film is very important to be investigated when viewed from the uniqueness that is located in a strange visual, humans are used as tools and objects around their residence. This animated film, communicates messages through verbal signs However, not everyone understands the meaning of the sign. Therefore, the problem that arises in this research is about how the verbal signs are displayed in the animated film " El Empleo ". The purpose of this study is to analyze in-depth in the first, middle and end scenes of verbal signs, the intent that the animator communicates in the animated film. The method used is qualitative interpretative with the foundation of Charles S. Pierce's semiotics theory. The results of this study are verbal signs in the form of icons of men living as bosses; human symbolized as a seat, vehicle (taxi), traffic signs, and as a toilet mat; index contained in the expression of the face of the character/character that indicates power and oppression. In conclusion, at the level of verbal signs in the first, middle, and final scenes, they can be divided into icons depicting a man living a boss; humans as subordinates are symbolized as seats, vehicles, traffic signs, even as footwear in front of the toilet door, the index looks at the boss's facial expression, and subordinates that indicate oppression. The purpose and objectives as a symbolic message that signifies power are not always owned, but on the contrary the power will be oppressed.
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Holderness, Graham. "‘Animated Icons’: Narrative and Liturgy in The Passion of the Christ." Literature and Theology 19, no. 4 (2005): 384–401. http://dx.doi.org/10.1093/litthe/fri045.
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ALPERT, SHERMAN R. "Self-describing animated icons for human-computer interaction: a research note." Behaviour & Information Technology 10, no. 2 (1991): 149–52. http://dx.doi.org/10.1080/01449299108924278.
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Hopkins, Jennifer, Zareh Parseghian, and Wade Allen. "A Driving Simulator Evaluation of Active Warning Signs." Proceedings of the Human Factors and Ergonomics Society Annual Meeting 41, no. 2 (1997): 921–25. http://dx.doi.org/10.1177/107118139704100245.
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This paper describes a driving simulator experimental evaluation of active warning signs designed to portray potential conflicts at unsignalized intersections. The signs are designed to reduce accidents due to crossing path and left turn movements, and are intended to be less expensive than signals and more effective than conventional signs. Diamond and rectangular shapes with a range of symbology conditions were tested, including arrow and car icons that were presented in both static and flashing or animated conditions.
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Kathryn Mayers. "Counter-Reformation Visuality and the Animated Icons of Hernando Domínguez Camargo's Poema heroico." Calíope 16, no. 1 (2010): 119. http://dx.doi.org/10.5325/caliope.16.1.0119.
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Brazgovskaya, E. E. "Ekphrasis as a Semiotic Experiment." Critique and Semiotics 38, no. 1 (2020): 52–72. http://dx.doi.org/10.25205/2307-1737-2020-1-52-72.
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This article is focusing on two cognitive-semiotic processes: verbal representation of physical world objects and reverse translation of a sign into a thing – on creation of mental pictures based on verbal descriptions. Simultaneously, we study the cognitive-semiotic phenomenon of reading: the degree of certainty of mental images and their reliability which are determined by semiotic techniques of representation. The object of analysis are series of verbal pictures – representations of a work of art in Goran Petrovich’s novel “Atlas Composed by Sky”. The iconism of ekphrasis is the basis for the creation of gestalt paintings. According to the degree of iconism, there are distinguished the “absolute” copies (reproductions of pages of books and letters); ekphrasis in the form of a list of picture’s characters (icons as a schemes) and representations which creates the effect of “animated” or “living” pictures – like cinema images. The other side of the word is the image of another modality. The hidden multilingualism of verbal representations (for example, a visual image behind the verbal signs) explains why we not only see our mental images, but also hear, smell them and can touch their objects. So, the process of reading is based on working with «cognitive tango» of languages (L. Zbikowsky), where verbal system is presented in the current mode, while the visual image has a mental nature. This phenomenon of consciousness becomes the reason that missing (in direct perception) art objects become “real”. The possibility of a symbolic interpretation of mental images in the contexts of intellectual history allows us to define ekfrasis as more creative than mimetic practice.
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Blanc, Paul Le. "Rosa Luxemburg and the Heart of Darkness." New Formations 94, no. 94 (2018): 122–41. http://dx.doi.org/10.3898/newf:94.08.2018.
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'Imperialism', Rosa Luxemburg tells us, 'is the political expression of the process of the accumulation of capital in its competitive struggle over the unspoiled remainder of the noncapitalist world environment'. The realities analysed by this outstanding socialist revolutionary have also found significant reflection in classic writings of such literary icons as Herman Melville, Joseph Conrad, Mark Twain, Rudyard Kipling and George Orwell. Conrad's racist conceptualisation in The Heart of Darkness shows us an idealistic imperialist, Kurtz, whose last words - 'the horror' - can be understood in opposite ways: as an idealism grotesquely corrupted when a 'civilising' white 'goes native' or, more persuasively, as a grotesque violence emanating from 'progressive' capitalist civilisation itself. Dark horrors visited upon innumerable victims in Africa, Asia, Latin America and among indigenous peoples of Australia and North America have been generated, as Luxemburg demonstrates in The Accumulation of Capital, from the very heart of European civilisation, permeated and animated as it is by the capital accumulation process. The eloquent justifications of Kurtz can be found in the glowing prose of - for example Winston Churchill: 'Let it be granted that nations exist and peoples labour to produce armies with which to conquer other nations, and the nation best qualified to do this is of course the most highly civilised and the most deserving of honour.' Yet the actual impacts have been summarised by W. E. B. Du Bois: 'There was no Nazi atrocity - concentration camps, wholesale maiming and murder, defilement of women or ghastly blasphemy of childhood - which the Christian civilization of Europe had not long been practicing against colored folk in all parts of the world in the name of and for the defense of a Superior Race born to rule the world.' Such horrors have afflicted not only vast 'peripheries' but have also defined modern and contemporary history in the civilised 'metropolis'.
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Haugbolle, Sune. "Moving Through the Interregnum." Middle East Journal of Culture and Communication 8, no. 1 (2015): 13–36. http://dx.doi.org/10.1163/18739865-00801003.
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This article analyzes the iconic Syrian writer and activist Yassin al-Haj Saleh. It analyzes the film Baladna al-rahib [Our Terrible Country] by Syrian filmmakers Muhammad Ali Atassi and Ziad Homsy as a way to explore current debates about revolution, exile and representation in Syria and the Middle East. Homsy and Atassi embrace and use Saleh’s stature as an iconic figure whose embodied meaning functions as an ‘aperture’ to a truth beyond his own person; the truth, in this case, about the Syrian revolution. By using theories of iconicity and revolution, the article interrogates current debates about revolution. What can a revolutionary icon do or say in a situation of apparent defeat? What images of revolution can filmmakers create in a state of what Gramsci called the interregnum, when the old is dying and the new is struggling to be born? It suggests that icons do not only reflect struggle, but also make and remake ideological positions. For the revolutionary project, the key issue becomes what kind of ideological re-making emerges from crisis, and what kind of change to the repertoire of action critique animates.
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Nufiar, Nufiar. "RELASI MASYARAKAT KAMPUS: SOSIAL ATAU INTELEKTUAL." Jurnal Ilmiah Islam Futura 7, no. 1 (2018): 86. http://dx.doi.org/10.22373/jiif.v7i1.3057.
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In science tradition, usually, the relation of latent instructing in profetik-akademic doesn’t emerging off hand. He (she) must be woke up when needed given by opportunity which berkelindan as presentation of domination of self and increasing of quality. Hence, campus institute which is one of icon is place of accomodating various place meeting of antar-pikiran, and not meeting of antar-pribadi. Because, patron such a science, part of practice of idea discourse to be being animated in area of which" holy", even also as infinite intellectual reaction.
Dissertations / Theses on the topic "Animated icons"
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Kaur, Manjinder. "Designing effective animated icons for children." Thesis, Brunel University, 2011. http://bura.brunel.ac.uk/handle/2438/6327.
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Information Technology is an essential part of the National Curriculum in the UK, yet despite the growth of IT in schools that this has generated, there is evidence that children are not to be taken into consideration enough when designing aspects of educational software. The functionality available in education software packages tends to be made available through static icons, yet there are problems with their implementation as they can at times cause confusion for the user in terms of the functionality that they are aiming to represent. In order to make icons in educational software more effective, and to meet the needs of children, of the use of animated icons has been suggested. Animating the function of the icon aims to provide a clarification of its meaning and demonstrate its capabilities, as well as explaining to the user the method of use. However, there is little information available on how to support the design of effective animated icons. Focusing on a target age group of 11 to 12 year olds, this thesis argues that some form of support mechanism should be developed for the design of animated icons to ensure that consideration is being given to the types of object that children find useful and accessible. A set of dimensions where guidance on visual aspects of the icon may be useful are developed through analysis of relevant literature and it is highlighted that they do not provide any insight into what types of object may be helpful in designing the animated icons. This thesis then argues that animated icon design can be usefully informed by psychological theories of learning and that using such theories as a base may provide an understanding of how children identify icon functionality. The thesis introduces and critiques Piaget’s Genetic Epistemology theory, Vygotsky’s Sociocultural theory and Leontjev’s Activity Theory, identifying aspects of the theories which may be of relevance to the design of animated icons. By investigating the relationships between the dimensions of animated icons and the concepts from the theories of learning, insights are developed into the impact of visual factors on a child’s identification and understanding of icon functionality. The thesis goes on to report a practical study where the sample is a group of 11 to 12 year old children. The practical study consists of three phases. The first phase gathers data related to the children’s familiarity with computers and the types of software packages that they use. The second phase looks at their use and recognition of static icon functionality. The last phase involves using the findings from phases 1 and 2 to create and evaluate a set of animated icons, the development of which is based on the relationships between the concepts from theories of learning and the identified dimensions of animated icons. The analysis of the evidence from the practical study leads to a small set of design principles being proposed that are aimed to provide advice/guidance on how to design animated icons effectively for this target age group, with an emphasis on the types of object that might be used. The principles are underpinned by the concepts from the theories of learning and presented in a manner that aims to be understandable by, and accessible to, designers.
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WU, CHIA-YU, and 巫家瑜. "A Study on User’s Recognition and Satisfaction of Animated Icons." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/88783239055617599143.
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碩士<br>國立臺北教育大學<br>數位科技設計學系(含玩具與遊戲設計碩士班)<br>104<br>Abstract
"Icons" is widely used in interfaces on many platforms, it becomes the main role that convey their software's functions and features; however, the display of the softwar current condition is also as important as functions. The purpose of the study is to investigate and to evaluate the design of "Animated icons" which conveys a software's condition by motion.
This study created a total of 57 Animated icons, according to different platforms and functions. And the researchers would select 30 Animated icons through in-depth interviews and pre-tested in order to conduct a questionnaire survey on users' comprehension. The evaluation of Animated icons is based on ISO (International Organization for Standardization) graphical symbols, that recognition rate have to exceed 66.7%. The age of this study subjects are from 18 to 35, who often use the platforms on mobile or computer. The experiment started with a comprehension survey that participants have to recognize Animated icons. Then, the higher recognition rate of Animated icons will be tested by satisfaction survey, which could realize Animated icons’ meanings expression, design quality and symbols of dynamic images. The last experiment is a status requirement survey.
According to the comprehension questionnaire survey, this study found that the Animated icons with high recognition have many common features: they show the clear display on the current condition of the system with the supportive small images for recognition, and the dynamic effects are easy to recognize and associated with. In contrast, those are unrecognizable have some characteristics below: they have indistinct or meaningless dynamics as well as excessive definitions to users.
In the satisfaction questionnaire survey, the result indicates that the rate of reorganization has no direct connection to the degree of satisfactions. The tests are evaluated by three factors: meaning expression, design quality and symbolism. The Kinections with high evaluations illustrate these features: They can be easily connected to their definitions by users, and have the meaningful, supportive images; also, their dynamic effects are quite simply and not difficult to be understood. Besides, in the required reports from the users, the research found that users need the functions of a reminder more than the functions of feedback.
In conclusion, based on the research and evidence from the conducted tests, Animated icons do have a great effect in conveying the conditions of various interfaces. This study will provide good references for dynamic icon designers in the future.
Books on the topic "Animated icons"
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Posen, Zac, Betty Boop, Susan Wilking Horan, and Kristi Ling Spencer. Betty Boop's Guide to a Bold and Balanced Life: Fun, Fierce, Fabulous Advice Inspired by the Animated Icon. Skyhorse Publishing Company, Incorporated, 2020.
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Posen, Zac, Betty Boop, Kristi Ling, and Susan Wilking Horan. Betty Boop's Guide to a Bold and Balanced Life: Fun, Fierce, Fabulous Advice Inspired by the Animated Icon. Skyhorse Publishing Company, Incorporated, 2020.
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Mendelman, Lisa. Modern Sentimentalism. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198849872.001.0001.
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Modern Sentimentalism examines how American female novelists reinvented sentimentalism in the modernist period. Just as the birth of the modern woman has long been imagined as the death of sentimental feeling, modernist literary innovation has been understood to reject sentimental aesthetics. Modern Sentimentalism reframes these perceptions of cultural evolution. Taking up icons such as the New Woman, the flapper, the free lover, the New Negro woman, and the divorcée, this book argues that these figures embody aspects of a traditional sentimentality while also recognizing sentiment as incompatible with ideals of modern selfhood. These double binds equally beleaguer the protagonists and shape the styles of writers like Willa Cather, Edith Wharton, Anita Loos, and Jessie Fauset. ‘Modern sentimentalism’ thus translates nineteenth-century conventions of sincerity and emotional fulfillment into the skeptical, self-conscious modes of interwar cultural production. Reading canonical and underexamined novels in concert with legal briefs, scientific treatises, and other transatlantic period discourse, and combining traditional and quantitative methods of archival research, Modern Sentimentalism demonstrates that feminine feeling, far from being peripheral to twentieth-century modernism, animates its central principles and preoccupations.
Book chapters on the topic "Animated icons"
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Tiritoglu, Alp, and James F. Juola. "Animated Icons Promote Learning of Their Functions." In Human-Machine Communication for Educational Systems Design. Springer Berlin Heidelberg, 1994. http://dx.doi.org/10.1007/978-3-642-85104-9_19.
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"Chapter Seven. Animated Bodies and Icons." In The Corporeal Imagination. University of Pennsylvania Press, 2009. http://dx.doi.org/10.9783/9780812204681.131.
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McNeal, Michele, and David Newyear. "Chatbots." In Robots in Academic Libraries. IGI Global, 2013. http://dx.doi.org/10.4018/978-1-4666-3938-6.ch006.
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The authors discuss their experience with using artificial intelligence and chatbots to enhance their existing web sites and information services in public library settings. The chapter describes their budget driven motivations for embarking on this project and outlines the development and implementation of the bots in their library settings. They show how the bots are positioned to enhance existing services and describe the various reactions to the bots from their patron base, and staff. Different implementations of the bots are highlighted (text only, animated talking avatar, mobile site, desktop help icon) as well as the differing levels of complexity of these different implementations. They address the oft posed question “Does AI spell the end of Reference?” and describe the InfoTabby code sharing project.
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Davis, J. M. Frank Marshall. "“Entering Chicago”." In Roots of the Black Chicago Renaissance. University of Illinois Press, 2020. http://dx.doi.org/10.5622/illinois/9780252043055.003.0016.
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Editors’ Note: This prose poem appears as part of the introductory material in the first (1927) volume of Frederick H. H. Robb’s remarkable compilation, The Intercollegian Wonder Book or the Negro in Chicago 1779–1927. “Entering Chicago” is attributed there to “J. M. Davis,” but internal and external evidence convince us that this was in fact contributed by journalist and poet Frank Marshall Davis shortly after his arrival in Chicago from his native Kansas. As such, the piece marks the ongoing “migration of the talented tenth” to the Black Metropolis, highlights the ubiquity of the railroad train as icon of Chicago’s modern moment, evidences Davis’s early efforts in free verse influenced by Carl Sandburg and Fenton Johnson, and prefigures the documentary spirit that would animate the most memorable works by writers of the Black Chicago Renaissance....
Conference papers on the topic "Animated icons"
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Ludi, Stephanie. "Animated icons." In Proceedings on the 2000 conference. ACM Press, 2000. http://dx.doi.org/10.1145/355460.355550.
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Koon, Lim Chee. "A case study of icon-scenario based animated menu's concept development." In the 8th conference. ACM Press, 2006. http://dx.doi.org/10.1145/1152215.1152252.
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Nuriman, Harry, Nia Kurniasih, Setiawan Sabana, Intan R. Mutiaz, and Rikrik K. Andryanto. "From Verbal to Three-dimensional Digital Visual Texts: A Construction of a Javanese Prince." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.13-2.
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Visualizations of the body of the famous Javanese Prince Diponegoro appears in various media, ranging across sketches, paintings, sculptures, banknotes and coins, shadow puppets, stamps, theatrical performances and electronic devices. All these visualizations mostly follow previous visualizations influenced by artist imaginations. This research seeks to present Prince Diponegoro in three-dimensional animated visualization using a motion capture technique. To complete this, the project draws from authentic manuscript research from the autobiography of Babad Diponegoro. Further, the project employs intertextuality as a method with which to interpolate the data, and hence to obtain a satisfactory overall visualization. The physical features, gestures and paralinguistic elements contained in the verbal text of Babad Diponegoro have been employed using motion capture data based on events written in the Babad Diponegoro. Many existing representations of the prince exist. However, this study attempts to rethink these existing visualizations, so as to produce a much more accurate, if not completely new, icon, thus differing to existing representations.