Journal articles: 'Animated image'

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Yfantis, Evangelos A. "Efficient image compression algorithm for computer-animated images." Journal of Electronic Imaging 1, no. 4 (1992): 381. http://dx.doi.org/10.1117/12.59970.

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Kendall, Laurel, and Jongsung Yang. "What is an animated image?" HAU: Journal of Ethnographic Theory 5, no. 2 (2015): 153–75. http://dx.doi.org/10.14318/hau5.2.011.

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Rowe, Rebecca. "Shaping Girls: Analyzing Animated Female Body Shapes." Animation 14, no. 1 (2019): 22–36. http://dx.doi.org/10.1177/1746847719829871.

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The debate over whether television and film affect girls’ body image has been contentious. Researchers argue that film and television negatively affect, only partially affect, or do not affect girls’ body image. These studies have one common limitation: they approach animated female bodies as if they are the same because they are, mostly, thin. In this project, the author seeks to extend and complicate this existing scholarship by analyzing bodies in 67 films produced by several American animation studios from 1989 through 2016. In this study, she classifies 239 female characters as one of four body types: Hourglass, Pear, Rectangle, or Inverted Triangle. Her argument is two-fold: (1) over the last 30 years, there has been a shift from a singular dominant shape (Hourglass) to the dominance of several body shapes (especially Pear and Rectangle); and (2) young girls may be affected by characters their own age who have been largely ignored in studies thus far. The author argues that young girls see diverse images of bodies rather than the singular image that scholars study. Girls’ body image may be affected by animation, but animated images are so diverse that this effect may be difficult to determine. A more nuanced understanding of the body shapes animation utilizes may allow researchers to study the more complex messages that girls do or do not internalize.

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Indraswari, Erika Dignitya. "Kiat Belajar Sistem Gerak Karakter Animasi." Humaniora 3, no. 2 (2012): 549. http://dx.doi.org/10.21512/humaniora.v3i2.3398.

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Every animator has a different way of planning to make animated characters motion system. Planning makes animation can be done by making the timing including with the drawing motion pose options on the character, making self-video recording contained own acting choices, and studying references in accordance with the animation that will be created. Creating animated characters requires skills in image selection, acting, and timing. Before going through the process of making animation, an animator must know and understand the characters and situations in a scene. Every movement and action should have a reason to show the personality of the characters in order to complete the story supports. In addition to the nature of the characters, an animator also needs to know the situation in a scene. Many animators use animation principles that have been developed by Walt Disney Studios, USA, to improve their animated creations. Yet, many animators also develop their animated creations using principles that have been developed in Japan. However, the discussion in this paper is the animation using the principles developed in the United States.

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CAI, HUAN, and LEQUAN MIN. "A KIND OF TWO-INPUT CNN WITH APPLICATION." International Journal of Bifurcation and Chaos 15, no. 12 (2005): 4007–11. http://dx.doi.org/10.1142/s021812740501443x.

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This paper presents a kind of two-input Cellular Neural Network (CNN). This kind of CNN has three templates: A-template, B-template and C-template. The B-template and C-template are in charge of coupling two input images to be processed by the CNN equation. It is expected the new CNN may be used to process simultaneously two images. As an application of the CNN, a background replacement (BR) CNN is introduced. The BR CNN can replace the light colored background of a RBG image by another color image. Two computer simulation examples show that the BR CNN image processing can display animated drawing effects, and animated cartoons.

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Leon, Lucien. "The animated moving image as political cartoon." Comedy Studies 9, no. 1 (2018): 94–113. http://dx.doi.org/10.1080/2040610x.2018.1428424.

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Schmida, Milton J., Harry J. Peterson, and Anne Marie Tharpe. "Visual Reinforcement Audiometry Using Digital Video Disc and Conventional Reinforcers." American Journal of Audiology 12, no. 1 (2003): 35–40. http://dx.doi.org/10.1044/1059-0889(2003/008).

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Visual reinforcement audiometry (VRA) is a test procedure routinely used to evaluate hearing in infants and young children (6 months to 2 years). Most research and current clinical practice uses flashing lights and/or animated toys to provide reinforcement to a child during VRA. New technology capable of generating a moving video image is now available for providing visual reinforcement to infants during VRA testing. It is reasonable to expect that video images, with presumed greater novelty and complexity, would be more interesting and rewarding to children than conventional, animated mechanical toy reinforcers. On the other hand, in today’s society, children are frequently exposed to video images in the home and elsewhere. Therefore, three-dimensional animated toys may present with greater novelty than video images. The purpose of this study was to compare auditory localization behavior, as defined by the number of head turn responses until habituation, during VRA with 2-year-old children using two types of reinforcers: (a) moving images generated by a digital video disc player/monitor and (b) a conventional, animated mechanical toy. Twenty children were selected randomly from a total group of 40 and tested using conventional reinforcement. The remaining 20 children were tested using video reinforcement. The average number of head turn responses prior to habituation was approximately 15 for the video-reinforced group and approximately 11 for the conventional toy-reinforced group, suggesting that during VRA a video image may be more reinforcing than a conventional animated toy.

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Jonison, Muhammad Adha Fajri, and Anggy Trisnadoli. "Implementation of Rotoscoping Technique in the making of the Hang Tuah Ksatria Melayu 3D Animated Film." Jurnal RESTI (Rekayasa Sistem dan Teknologi Informasi) 4, no. 5 (2020): 943–50. http://dx.doi.org/10.29207/resti.v4i5.2404.

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The development of information technology in the multimedia field is growing very rapidly today. Multimedia development is often found in making animated films. Animation is an image that moves and is arranged so that it makes inanimate objects appear to be moving. Animation initially has a problem, where it is difficult for an animator to create animation with complex movements to imagine directly and sometimes the results will look stiff. Max Fleischer also saw it as a problem, so he invented rotoscoping. Rotoscoping is a technique for making animation by tracing the movements of an actor. This technique is used to create movements that are complex to imagine directly so that the animation movement is realistic. In implementing rotoscoping techniques in an animated film, a folk tale entitled Hang Tuah Ksatria Melayu was adopted. This folktale will be packaged into a 3D animated film using rotoscoping techniques. With the creation of a 3D animated film, the folklore of Hang Tuah Ksatria Melayu, an animated film was created with realistic character movements and people get moral messages of Hang Tuah Ksatria Melayu.

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Karlamova, E. "Archetypical Bases of Russian Patriotic Animated Content." Scientific Research and Development. Modern Communication Studies 9, no. 6 (2020): 23–26. http://dx.doi.org/10.12737/2587-9103-2020-23-26.

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The archetypal foundations of the image of the Russian animation hero are analyzed at the article. The epic and fairy-tale features of the character are designated, the features inherent in the image are formulated, dating back to both Western mass culture and domestic Soviet animated content.

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Ou, Yu-Chih, Hsin-Yu Wu, Chia-Hsun Hsu, Yeu-Long Jiang, and Shui-Yang Lien. "Design and Production of Animated Image Photovoltaic Modules." Energies 10, no. 11 (2017): 1712. http://dx.doi.org/10.3390/en10111712.

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Suh, Yong-chu, and Mira Cho. "A Study of Death-Image in Animated Film." Cartoon and Animation Studies 52 (September 30, 2018): 25–48. http://dx.doi.org/10.7230/koscas.2018.52.25.

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Umenhoffer, Tamás, László Szirmay-Kalos, László Szécsi, Zoltán Lengyel, and Gábor Marinov. "An image-based method for animated stroke rendering." Visual Computer 34, no. 6-8 (2018): 817–27. http://dx.doi.org/10.1007/s00371-018-1531-9.

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Giddon, Donald B., Carla A. Evans, Debbie Lynn Bernier, and Jason A. Kinchen. "Comparison of Two Computer-Animated Imaging Programs for Quantifying Facial Profile Preference." Perceptual and Motor Skills 82, no. 3_suppl (1996): 1251–64. http://dx.doi.org/10.2466/pms.1996.82.3c.1251.

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To establish the physical basis of subjective judgments of facial appearance, two novel computer-imaging programs differing in method of preparation and presentation of 5 features of the facial soft-tissue profile of 4 faces representing 4 different classifications of dental occlusion were compared. Images of facial soft tissue of 5 features were digitized and “animated” from 16 discrete distortions or morphed from the two extremes of each feature. 12 volunteer judges responded to both the “animated” and morphed presentations by pressing the computer mouse button when the image became acceptable and releasing the button when the image was no longer acceptable. They also pressed the mouse button when the most pleasing distortion appeared from either direction. Aggregating responses to counterbalanced trials and features across judges yielded high correlations between the programs for midpoint of acceptability. Although both programs provide reliable and valid measures of subjective acceptability of present and proposed changes in facial morphology, the new morphing program is more user-friendly than the “animated” method.

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Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.

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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was played by the emergence of television as a major customer and distributor of this product. Unlike Western animation, the production of advertisement and social film-posters in the USSR was a state tool of the planned economy. Animated posters played an important role in the formation of new social strategies, behavior patterns and consumption. As a result, in the animated posters of the Soviet period, especially during the 1950s and 1960s, a didactic tone and an optimistic pathos in the presentation of the material dominated. The stylistics of film-posters changed in the 1960s. Their artistic image was characterized by conciseness and expressiveness, inclination towards iconic symbolism, and the metaphoric and graphic quality of the imagery. The poster aesthetics influenced the entire animation development in this period. The development of advertisement and social posters continued in the 1970s-1980s. The clipping principles of the material presentation began to develop in the advertisement poster, however, in the social and political poster there was a tendency towards narration. Computer technology usage in animation and the emergence of the Internet as a new communicative environment contributed to a new stage in the development of the animated poster genre. Means of expression experienced a qualitative upgrade under the influence of digital technologies in animated posters. While creating an animated posters artistic appearance the attraction and collage tendencies intensify due to the compilation of computer graphics and photographic images, furthermore, simulacrum-images are actively utilized as well. Since the 2000s, digital technologies are actively used for the development of social, instructional and educational posters. The advent of new technologies has led to modifications of the animated poster genre, changed the way it functions and converted its form. Along with cinematic and television forms - new types of animated posters have appeared which are used in outdoor advertising (billboards) as well as dynamic interactive banners and animated posters on web sites.

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Paul, F. "Revealing glacier flow and surge dynamics from animated satellite image sequences: examples from the Karakoram." Cryosphere Discussions 9, no. 2 (2015): 2597–623. http://dx.doi.org/10.5194/tcd-9-2597-2015.

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Abstract. Although animated images are very popular on the Internet, they have so far found only limited use for glaciological applications. With long time-series of satellite images becoming increasingly available and glaciers being well recognized for their rapid changes and variable flow dynamics, animated sequences of multiple satellite images reveal glacier dynamics in a time-lapse mode, making the otherwise slow changes of glacier movement visible and understandable for a wide public. For this study animated image sequences were created from freely available image quick-looks of orthorectified Landsat scenes for four regions in the central Karakoram mountain range. The animations play automatically in a web-browser and might help to demonstrate glacier flow dynamics for educational purposes. The animations revealed highly complex patterns of glacier flow and surge dynamics over a 15-year time period (1998–2013). In contrast to other regions, surging glaciers in the Karakoram are often small (around 10 km2), steep, debris free, and advance for several years at comparably low annual rates (a few hundred m a−1). The advance periods of individual glaciers are generally out of phase, indicating a limited climatic control on their dynamics. On the other hand, nearly all other glaciers in the region are either stable or slightly advancing, indicating balanced or even positive mass budgets over the past few years to decades.

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Myshkin, Oleg Stepanovich. "FLIGHT AS THE ANIMATED IMAGE: WHITEHEAD, LATOUR AND AVIATION." Вестник Пермского университета. Философия. Психология. Социология, no. 1 (2017): 35–42. http://dx.doi.org/10.17072/2078-7898/2017-1-35-42.

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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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Paul, F. "Revealing glacier flow and surge dynamics from animated satellite image sequences: examples from the Karakoram." Cryosphere 9, no. 6 (2015): 2201–14. http://dx.doi.org/10.5194/tc-9-2201-2015.

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Abstract. Although animated images are very popular on the internet, they have so far found only limited use for glaciological applications. With long time series of satellite images becoming increasingly available and glaciers being well recognized for their rapid changes and variable flow dynamics, animated sequences of multiple satellite images reveal glacier dynamics in a time-lapse mode, making the otherwise slow changes of glacier movement visible and understandable to the wider public. For this study, animated image sequences were created for four regions in the central Karakoram mountain range over a 25-year time period (1990–2015) from freely available image quick-looks of orthorectified Landsat scenes. The animations play automatically in a web browser and reveal highly complex patterns of glacier flow and surge dynamics that are difficult to obtain by other methods. In contrast to other regions, surging glaciers in the Karakoram are often small (10 km2 or less), steep, debris-free, and advance for several years to decades at relatively low annual rates (about 100 m a−1). These characteristics overlap with those of non-surge-type glaciers, making a clear identification difficult. However, as in other regions, the surging glaciers in the central Karakoram also show sudden increases of flow velocity and mass waves travelling down glacier. The surges of individual glaciers are generally out of phase, indicating a limited climatic control on their dynamics. On the other hand, nearly all other glaciers in the region are either stable or slightly advancing, indicating balanced or even positive mass budgets over the past few decades.

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Fischer, Stefan, Barbara Taborsky, Rebecca Burlaud, et al. "Animated images as a tool to study visual communication: a case study in a cooperatively breeding cichlid." Behaviour 151, no. 12-13 (2014): 1921–42. http://dx.doi.org/10.1163/1568539x-00003223.

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Investigating the role of visual information in animal communication often involves the experimental presentation of live stimuli, mirrors, dummies, still images, video recordings or computer animations. In recent years computer animations have received increased attention, as this technology allows the presentation of moving stimuli that exhibit a fully standardized behaviour. However, whether simple animated 2D-still images of conspecific and heterospecific stimulus animals can elicit detailed behavioural responses in test animals is unclear thus far. In this study we validate a simple method to generate animated still images using PowerPoint presentations as an experimental tool. We studied context-specific behaviour directed towards conspecifics and heterospecifics, using the cooperatively breeding cichlid Neolamprologus pulcher as model species. N. pulcher did not only differentiate between images of conspecifics, predators and herbivorous fish, but they also showed adequate behavioural responses towards the respective stimulus images as well as towards stimulus individuals of different sizes. Our results indicate that even simple animated still images, which can be produced with minimal technical effort at very low costs, can be used to study detailed behavioural responses towards social and predatory challenges. Thus, this technique opens up intriguing possibilities to manipulate single or multiple visual features of the presented animals by simple digital image-editing and to study their relative importance to the observing fish. We hope to encourage further studies to use animated images as a powerful research tool in behavioural and evolutionary studies.

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Leontyeva, T. V. "Perception of the Visual Image of the Family in Animation By Children of Different Ages." Contemporary problems of social work 6, no. 2 (2020): 72–78. http://dx.doi.org/10.17922/2412-5466-2020-6-2-72-78.

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the article presents the results of a sociological study of the perception of the visual image of the family in animated films in children of different ages using the method of in-depth expert interviews. In infancy from birth to a year, the visual image of the family is perceived as a set of color spots. At the age of 1 year to 3 years, the child already understands where in the animated films the visual image of mom, dad, brother or sister is, however, how family relationships are built, how family roles are distributed, children at this age cannot understand. From 3 to 7 years, the visual image of the family is perceived as complete, that is, which of the characters are relatives, how relationships are built within the family, how family roles are distributed, is it a positive or negative family image. At the age of 7 to 12 years, thanks to the almost unlimited possibilities of transmitting visual images in animations, the child receives a certain amount of sensations and emotions, from the existing images he receives ideas that become part of his imagination. At the age of 12 to 15 years, the image of family and family relations in children has already developed, here the child can already consciously select those behaviors that are close to his previous experience and his own ideas. In adolescence from 15 to 18 years, children already perceive and understand what visual images of the family are not constructive

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Blackledge, Olga. "Lev Kuleshov on Animation: Montaging the Image." Animation 12, no. 2 (2017): 110–22. http://dx.doi.org/10.1177/1746847717708971.

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The Soviet film director Lev Kuleshov has not been historically associated with animation, and yet his legacy includes: an article on animation published in the Soviet central specialized newspaper Kino Gazeta; a film, a substantial part of which is animated; as well as a text of four lectures preserved in the Russian State Archive of Literature and Art (RGALI). In the lectures that he delivered to animators at the Soviet central animation studio Soiuzmul’tfil’m, he repurposes his theories of montage and acting for the needs of the medium of animation. Analyzing these materials, with the primary focus on the lectures, this article introduces Kuleshov’s contribution to animation theory and production, and suggests that Kuleshov’s legacy not only sheds light on the historically specific situation in animation production characteristic for the Soviet Union in the 1930s, but also facilitates a deeper understanding of the animated image as a phenomenon.

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Lago-Fernández, Luis F., Manuel A. Sánchez-Montañés, and Eduardo Sánchez. "A visual system for invariant recognition in animated image sequences." Neurocomputing 52-54 (June 2003): 631–36. http://dx.doi.org/10.1016/s0925-2312(02)00845-7.

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Furuhata, Yuriko. "Rethinking Plasticity: The Politics and Production of the Animated Image." Animation 6, no. 1 (2011): 25–38. http://dx.doi.org/10.1177/1746847710391226.

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McGowan, David. "Monochrome Mickey: Modern Nostalgia Texts and the Animated Star Image." Journal of Popular Film and Television 46, no. 4 (2018): 219–31. http://dx.doi.org/10.1080/01956051.2018.1495610.

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Walsh, Thomas. "Animating Joyce: Tim Booth’s Ulys." Animation 7, no. 1 (2012): 83–99. http://dx.doi.org/10.1177/1746847711428855.

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According to Paul Wells, the lengthy and intimate relationship of the animation auteur to the animated text is similar to the writing process, and the animated form’s sense of its own artifice highlights the transformative aspects of adapting literary sources for the cinema. It is this expression of interiority, translation and textual process that makes the animated film a perfect vehicle for an adaptation of James Joyce’s Ulysses (1922), which utilizes multiple narrators to construct and deconstruct representations of urban, Dublin society in the early 20th century. It is the purpose of this article to consider Tim Booth’s animated short Ulys (1998), which is in part a commentary on Joyce’s writing authorship, and also an adaptation of Joyce’s novel. The author considers Booth’s use of animation to recover the ‘image-schemas’ that underpin Ulysses, and the ‘small spatial stories’ that inform human cognition of both the literary and animated text.

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Varga, Zoltán. "Look Behind the (Animated) Pictures. Notes on the Role of the Aesopic Language in Hungarian Animated Film." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (2015): 121–39. http://dx.doi.org/10.1515/ausfm-2015-0030.

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Abstract The essay explores a certain tendency of Hungarian animated film related to a strategy of constructing meaning. The so-called Aesopic language, which can be found in Hungarian animated film, is interested in creating ambiguity, hidden meanings, especially against oppressive political systems. The paper approaches the development of the Aesopic language in Hungarian animated film based on two factors. The first one examines the characteristics of the animated film in general, focusing on the double sense of the animated image. The second one is a historical approach, considering how the Communist regime affected artistic freedom, and how the Aesopic language became general in Central and Eastern Europe during the decades of Communism. After delineating the concept, the essay continues with interpretations of Hungarian animated films produced by the famous Pannonia Film Studio as examples of the Aesopic language. The paper distinguishes between a less and a more direct variant of creating ambiguity, depending on whether the animated films lack or contain explicit references to the Communist system. The group o|f the less direct variant includes Rondino, Changing Times and The Fly, among the examples of the more direct variant we can find Storv about N, Our Holidays and Mind the Steps!.

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Crogan, Patrick. "San Andreas and the Spiralling of the Analogico–Digital Animated Image." Animation 12, no. 3 (2017): 334–49. http://dx.doi.org/10.1177/1746847717729595.

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Kim, Hyun-Jeong. "A Study of The Crystal-image in Yuri Norstein's Animated Film." Cartoon and Animation Studies 38 (March 31, 2015): 93–114. http://dx.doi.org/10.7230/koscas.2015.38.093.

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Zhang, Huan, Jun Tao, Fang Ruan, and Chaoli Wang. "A study of animated transition in similarity-based tiled image layout." Tsinghua Science and Technology 18, no. 2 (2013): 157–70. http://dx.doi.org/10.1109/tst.2013.6509099.

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Shi, ChaoYuan, and Li Gu. "The impact of interdisciplinary dynamic images on public perception." E3S Web of Conferences 236 (2021): 05085. http://dx.doi.org/10.1051/e3sconf/202123605085.

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Dynamic image, usually defined as motion graphics or dynamic graphics, is a kind of image art based on art design and computer science. In a broad sense, dynamic image is a discipline that integrates animation, film, and graphic design. Its expression content is more refined and straightforward than animated movies. It is more comprehensive than graphic design in conveying information. There are more types of dynamic images in the new media era. There are virtual reality technologies that rely on computer science and interactivity, and there are self-media on the Internet. Together with traditional media, they have more and more impact on the public's cognition. The interdisciplinary dynamic image is a visual language based on the dynamic image and interdisciplinary boundaries. It is main feature is to use dynamic images to express the main content of something, event or thought, a moving image made for the purpose of improving the public’s understanding of the corresponding thing, In the interdisciplinary dynamic images, the concreteness and narrative nature of the dynamic images are weakened, and the non-representation and scientific are more emphasized.

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Kidenda, Dr Mary Claire Akinyi. "THE NECESSITY FOR PARENTS TO WATCH ANIMATED CARTOONS WITH CHILDREN AGED SEVEN TO ELEVEN YEARS." Journal of Education and Practice 2, no. 1 (2018): 42. http://dx.doi.org/10.47941/jep.261.

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Purpose: The purpose of this study was to establish the necessity for parents to watch televised animated cartoons with children aged seven to eleven years.Methodology: The study used a descriptive survey method to collect information through casual interviews and self-administered questionnaires.Results: The study found out that the amount of time children spend watching animated cartoons on television can make them retract from social interactions with visitors, parents or other siblings when the television is on. Animated cartoons have an impact on children in respect to acquired or "borrowed" language and dressing styles and attitudes towards role types. These relations may be imperceptible to the casual observer but data show that the best (Kim Possible, Ben 10 and American Dragon) cartoon characters are idols, image ideals and role models to children in Nairobi, yet both the two cartoon characters are not representative of children they interact with every day. This study found that it is prudent animated cartoons affect the perceptions and attitudes that are being reinforced in children and the implication of this on how they construct their worldview and self-worth.Unique contribution to theory, practice and policy: Parents should be concerned and watch animated cartoons with children because animated cartoons have become an institution through which society is using to bring up children and use to teach values. Media practitioners should air animated cartoons that have no violence or bad morals but are still popular with children. The government should set policies governing the content in animated cartoons aired by the media houses

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Joselit, David. "Seeing Oneself Seeing: A Conversation with Lucy Raven." October 162 (December 2017): 19–30. http://dx.doi.org/10.1162/octo_a_00307.

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Artist Lucy Raven speaks with David Joselit about her multidisciplinary practice and contemporary notions of image-making and viewing. Reflecting on the production and circulation of both analog and digital images—how they function, where they come from, and how they get distributed—Raven's animated films aim to denaturalize the process of viewing and draw attention to the ways in which films are inextricably bound up in complex systems of global commerce and finance.

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Terauchi, Mina, Yuji Nagashima, Kazuyuki Kanda, Takateru Nishimura, Hideyo Nagashima, and Genichi Ohwa. "A Fundamental Study of an Animation Presentation System for JSL Signs." Journal of Robotics and Mechatronics 5, no. 6 (1993): 594–600. http://dx.doi.org/10.20965/jrm.1993.p0594.

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We describe a system of presenting the animation of the Japanese Signs by a Key-Frame Method as part of a supporting system for hearing-impaired persons. According to this system, JSL Signs are extracted from Japanese sentences whose elemental forms have been analyzed, and sign language corresponding to each sign is presented in image by using the angle displacement of each joint as a parameter. As a result of obtaining animated sign presentations by using several sample sentences, it was possible to recognize signs. However, since presented images are skelton models, it will be required in the future to examine a more effective image presentation system for the cases in which more realistic models are presented. In addition, in order to solve various problems associated with Key-Frame Method, we also examined an animated presentation system with the concept of Object-Oriented introduced. Taking note of the fact that a human is a multi-joint structure, we define a descriptive form in which the movement of each rigid body and the positional relationship between rigid bodies are treated as knowledge. By so doing, it now becomes possible to provides more flexible descrive forms and motion expressions.

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Azéma, Marc. "Prehistoric Cave Art: From Image to Graphic Narration." Paragraph 44, no. 3 (2021): 379–93. http://dx.doi.org/10.3366/para.2021.0377.

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This article examines cave art in France, arguing that the images created at many sites, but particularly Chauvet, can be analysed in terms of animation, storytelling, lighting and sound. Through superimposition and juxtaposition, and using the contours of the rock face, Palaeolithic artists invented a form of narration based on images, often then animated by the flickering light of lamps and torches. Drawing on semiological work by Philippe Sohet and his terms ‘narrative image’ and ‘iconic narration’, the article sees panels of cave art as constituting scenes and actions that can be discussed in relation to both bande dessinée and cinema. Finally, evidence suggests that the spectacles produced in these spaces, whatever their elusive meaning, also depended on sound and acoustics.

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Hashimoto, Minoru, and Daisuke Morooka. "Robotic Facial Expression Using a Curved Surface Display." Journal of Robotics and Mechatronics 18, no. 4 (2006): 504–10. http://dx.doi.org/10.20965/jrm.2006.p0504.

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We propose robotic facial expression using a curved surface display. An image of the robot’s face is displayed on a curved screen to form a facial expression easily compared to other mechanical facial expression. The curved surface gives the face a three-dimensional effect due to not possible using a plane image. The curved surface display consists of a domed screen, a fish-eye lens, and a projector. The face robot has a neck to move the head. We detail the domed display, compensation for image distortion, and the drawing of shadow images indicating the direction of a light source. The facial expression is animated and the head moves using the neck conducted. Experiments confirmed the effectiveness of our proposal.

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Ilyina, Elena N., and Violetta S. Tivo. "VERBALIZATION OF THE ANTAGONIST IMAGE: FROM THE BYLINA TO THE ANIMATED FILM." Cherepovets State University Bulletin 3, no. 96 (2020): 39–48. http://dx.doi.org/10.23859/1994-0637-2020-3-96-3.

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Hermann, Gilles, Nicolas Coudray, Jean-Luc Buessler, Daniel Caujolle-Bert, Hervé-William Rémigy, and Jean-Philippe Urban. "ANIMATED-TEM: a toolbox for electron microscope automation based on image analysis." Machine Vision and Applications 23, no. 4 (2011): 691–711. http://dx.doi.org/10.1007/s00138-011-0357-5.

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Md Idris, Izra Inna, Mohamad Saleeh Rahamad, and Md Azalanshah Md Syed. "Saladin: The Animated Series sebagai wacana Orientalisme." Jurnal Pengajian Media Malaysia 19, no. 1 (2017): 1–22. http://dx.doi.org/10.22452/jpmm.vol19no1.1.

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This article analyzes the discourse of Orientalism in Saladin: The Animated Series for the first episode entitled Rising Star. Edward Said (1978) in his book Orientalism: Western Conceptions of the Orient (1978) opposed Western perspectives on the East and analyzed postcolonial literary works in historical and social contexts, and describes orientalist discrimination in speculating and specifying data sources for particular interests. This study draws on a series of animations directed by Steve Bristow that showcased the leading Islamic figure of the crusade, Sultan Salahuddin al-Ayubi (1137-1193) or known as Saladin by the Western world. Taking the personality of an Islamic character to be the main character in the animated series is something to be proud of, but the fact about Sultan Salahuddin al-Ayubi’s personality has been distorted in Saladin’s character. This study looked at the orientalist attacks on the personality of Sultan Salahuddin al-Ayubi and found that the Saladin’s character was portrayed as physically weak, shallow-minded, and disobedient to his father. The whole of this first episode shows the misrepresentation of facts and the distortion of the image of Salahuddin al-Ayubi.

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Liao, Yen I., and Hsi Chun Wang. "Integration of Lenticular Displays with Image Switching and Infrared Watermark." Applied Mechanics and Materials 764-765 (May 2015): 1260–64. http://dx.doi.org/10.4028/www.scientific.net/amm.764-765.1260.

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The objective of this paper is to integrate lenticular lens with switching images and embedding the infrared watermark to provide value-added and anti-counterfeiting features. Digital halftoning technique has been used to compose animated graphics and the infrared watermark. The infrared watermark consists of halftone dots in cyan, magenta, yellow, and black inks. The carbon material in black ink absorbs the infrared light and the watermark could be displayed under infrared detection. By using the lenticular lens, image-switching effect can be observed from different viewing angles. The results show that it is successful to implement a lenticular display with both image-switching feature and hidden watermark which can be decoded under infrared detection. The proposed method has many potential applications to anti-counterfeiting and brand protection.

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Neykova, Radostina. "The Journey in Animated Cinema - between Escape and Return." Balkanistic Forum 30, no. 2 (2021): 185–95. http://dx.doi.org/10.37708/bf.swu.v30i2.11.

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The journey in the animation cinema can be in many aspects - from fully real tracking of movement in space, through vertical or horizontal movement in the past, present and future, with or without a specific direction, to physical or psychological escape and / or return after time.The text analyzes the specifics of travel, escape and return in key examples of modern animation cinema.In animation, screen movement takes place in a specific space and for a specific time. And the first signal association for avoidance, for travel is precisely movement, movement in time and space. Of course, in animation cinema the movement is absolutely free and unlimited and can vary from fidelity to nature to abstraction and absurdity, it can manifest itself in a new quality of cinema - in the metaphorical image, in the creation of its own system of signs and symbols.The journey in the animation cinema can be in many aspects - from fully real tracking of movement in space, through vertical or horizontal movement in the past, present and future, with or without a specific direction, to physical or psychological escape and / or return after time. The text analyzes the specifics of travel, escape and return in key examples of modern animation cinema. In animation, screen movement takes place in a specific space and for a specific time. And the first signal association for avoidance, for travel is precisely movement, movement in time and space. Of course, in animation cinema the movement is absolutely free and unlimited and can vary from fidelity to nature to abstraction and absurdity, it can manifest itself in a new quality of cinema - in the metaphorical image, in the creation of its own system of signs and symbols.

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Desrianti, Dewi Immaniar, Ahmad Nur Firdaus, and Deny Pangestu Gunawan. "ANIMASI DENGAN GAMBAR BERGERAK MENINGKATKAN DAYA TARIK PROGRAM PROMOSI." CCIT Journal 10, no. 1 (2017): 114–26. http://dx.doi.org/10.33050/ccit.v10i1.526.

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The development of creative industries is growing, as evidenced by the many industry-emerging creative industry. The media campaign is currently very helpful in supporting the information and communication All of that is because of the many interests of the creative industry services. Many competitors require companies to do promotions to attract customers. Penyajiaan media ads interesting and entertaining will encourage the general public to find out more detail and have an interest to join a company or institute of technology is so rapid in PT.Movio Screen as a company engaged in the creative industry. Have a good portfolio will make promotion and enhance the corporate image. 3D animation movie series is a very good portfolio and attractive for media promotion for a company in the field of creative industries, in addition to the 3D animated film can enhance a company's image. In the 3D animation movie of the series can also be a support to increase the creation of the nation of the 3D animated film, to be more creative again in making animated films in 3D and can inspire people to work in the creative industries in order to generate industry local animation, based on a story in this animation.

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Tivo, Violetta. "VERBALIZATION OF THE HEROIC HORSE IMAGE: FROM THE BYLINA TO THE ANIMATED FILM." Cherepovets State University Bulletin 2, no. 95 (2020): 117–28. http://dx.doi.org/10.23859/1994-0637-2020-2-95-9.

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Ray, Kaustubh. "Capitalism and the ‘Animated Image’: Politics of Morphing on the ‘Culture’ of Animation." IIM Kozhikode Society & Management Review 3, no. 1 (2014): 81–91. http://dx.doi.org/10.1177/2277975214529142.

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Levkovich-Maslyuk, L., A. Ignatenko, A. Zhirkov, et al. "Depth Image-Based Representation and Compression for Static and Animated 3-D Objects." IEEE Transactions on Circuits and Systems for Video Technology 14, no. 7 (2004): 1032–45. http://dx.doi.org/10.1109/tcsvt.2004.830676.

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Nimeroff, J., J. Dorsey, and H. Rushmeier. "Implementation and analysis of an image-based global illumination framework for animated environments." IEEE Transactions on Visualization and Computer Graphics 2, no. 4 (1996): 283–98. http://dx.doi.org/10.1109/2945.556498.

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Dunsworth, Qi, and Robert K. Atkinson. "Fostering multimedia learning of science: Exploring the role of an animated agent’s image." Computers & Education 49, no. 3 (2007): 677–90. http://dx.doi.org/10.1016/j.compedu.2005.11.010.

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Li, Zhong, Lele Chen, Celong Liu, et al. "Animated 3D human avatars from a single image with GAN-based texture inference." Computers & Graphics 95 (April 2021): 81–91. http://dx.doi.org/10.1016/j.cag.2021.01.002.

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Sato, Koki. "Special Issue Image Technology of Next Generation. Animated Color 3D Image Display using Kinoforms by Liquid Crystal Devices." Journal of the Institute of Television Engineers of Japan 48, no. 10 (1994): 1261–66. http://dx.doi.org/10.3169/itej1978.48.1261.

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Kim, Ji-Hoon. "Animating the Photographic Trace, Intersecting Phantoms with Phantasms: Contemporary Media Arts, Digital Moving Pictures, and the Documentary’s ‘Expanded Field’." Animation 6, no. 3 (2011): 371–86. http://dx.doi.org/10.1177/1746847711417780.

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This article investigates the ways in which contemporary media artworks across various platforms provide a fresh look at the photographic inscription of reality by animating the still photograph with digitally produced movement. These artworks are based on what the author calls ‘digital moving pictures’, hybrid images in which photographic stillness and cinematic movement are interrelated in a single picture frame by the mediation of digital imaging systems. Examining the works of Jim Campbell, Ken Jacobs, David Claerbout, Julie Meltzer and David Thorne, the author argues that the pictures’ blurring of the boundaries between the live action and the animated images, and between the recorded and the manipulated, is meant to satisfy documentary epistephilia (a ‘desire to know’) and stimulate the viewer’s ‘pensive’ and ‘investigative’ engagements with the photographic trace as possible spectatorial modes of the documentary. The pictures then ask us to envision the documentary’s ‘expanded field’ (Rosalind Krauss), in which a series of binaries defining the modernist conception of the documentary are problematized, including prioritizing the photochemical qualities of analogue film and photography as directly guaranteeing evidential claims about their representations over the animated or graphically rendered image.

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Fowles, Severin. "Absorption, Theatricality and the Image in Deep Time." Cambridge Archaeological Journal 27, no. 4 (2017): 679–89. http://dx.doi.org/10.1017/s0959774317000701.

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For well over a century, archaeology has been animated by the construction—and, increasingly, the critique—of grand narratives surveying the evolution of politics, economics, technologies, religion and so on. Deep histories of ‘art’ have not been pursued with comparable energy. This essay explores why this is so, and it considers what might be gained from extending the distinctively archaeological approach to human history to include analyses of long-term shifts in the organization and functions of images. In doing so, it proposes that notions of ‘absorption’ and ‘theatricality’ drawn from art-historical conversations might profitably be redeployed to examine deeper cross-cultural patterns.

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Journal articles on the topic 'Animated image'

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