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Journal articles on the topic 'Animated sequence'
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Hasbullah, Hasbullah, and Gede Pasek Putra Adnyana Yasa. "MAKNA KODE VISUAL DALAM SCENE FILM ANIMASI “ BATTLE OF SURABAYA”." Jurnal Bahasa Rupa 3, no. 2 (2020): 124–29. http://dx.doi.org/10.31598/bahasarupa.v3i2.460.
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The animated film "Battle of Surabaya" is one of the nation's children's work that is able to win various awards, both at national and international levels. In some scenes in this animated film, there is a visual code that contains information or messages delivered to the audience (audience). Through observing several scenes, it is found that there is a meaning of the visual codes contained in the scene. This study aims to analyze the aesthetic visual codes contained in the first, middle and end scenes of the animated film "Battle of Surabaya". Data collected through observation and literature study. Theories used as analysis are semiotics and postmodern aesthetic codes. The results of this study indicate that the meaning of the visual code in the animated film scene "Battle of Surabaya" namely: in the first scene, the action or action of the Indonesian government declared independence from the Dutch East Indies government as an act of the past that needed to be made; the scene is explaining the rejection of Indonesian independence, this action as the style of an animator in the sequence before and next; the final scene depicts the action of the main character (Musa) who unites the storyline sequence of the animated film "Battle of Surabaya", one of which implements the cultural value of please help as an act of popularizing Indonesian culture.
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Seifi, Hasti, Steve DiPaola, and Ali Arya. "Expressive Animated Character Sequences Using Knowledge-Based Painterly Rendering." International Journal of Computer Games Technology 2011 (2011): 1–7. http://dx.doi.org/10.1155/2011/164949.
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We propose a technique to enhance emotional expressiveness in games and animations. Artists have used colors and painting techniques to convey emotions in their paintings for many years. Moreover, researchers have found that colors and line properties affect users' emotions. We propose using painterly rendering for character sequences in games and animations with a knowledge-based approach. This technique is especially useful for parametric facial sequences. We introduce two parametric authoring tools for animation and painterly rendering and a method to integrate them into a knowledge-based painterly rendering system. Furthermore, we present the results of a preliminary study on using this technique for facial expressions in still images. The results of the study show the effect of different color palettes on the intensity perceived for an emotion by users. The proposed technique can provide the animator with a depiction tool to enhance the emotional content of a character sequence in games and animations.
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Avern, Geoff. "Mounting Small Specimens for Making an Animated Sequence in the SEM:." Microscopy Today 5, no. 7 (1997): 29. http://dx.doi.org/10.1017/s1551929500056674.
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Hajizadeh, Mohammadali, and Hossein Ebrahimnezhad. "NLME: a nonlinear motion estimation-based compression method for animated mesh sequence." Visual Computer 36, no. 3 (2019): 649–65. http://dx.doi.org/10.1007/s00371-019-01645-2.
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Park, Yongjin. "A study of animated type sets characterized by the sequence of lettering design." Journal of Digital Design 11, no. 4 (2011): 1–10. http://dx.doi.org/10.17280/jdd.2011.11.4.001.
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Yang, Hongjie, Fan Zhou, Ge Lin, Mouguang Lin, and Shujin Lin. "Animated mesh simplification based on motion features in visual sensor networks." International Journal of Distributed Sensor Networks 15, no. 1 (2019): 155014771882245. http://dx.doi.org/10.1177/1550147718822458.
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The three-dimensional animated model is widely used in scientific visualization, entertainment, and virtual applications, especially in visual sensor networks. The main purpose of simplification is to capture the shape sequence of an object with very few elements while preserving the overall shape. As three-dimensional animated mesh is time-varying in all frames, the trade-off between the temporal coherence and geometric distortion must be considered to develop simplification algorithm. In this article, a novel three-dimensional animated mesh simplification algorithm based on motion features is presented. Here, motion features are the connection areas of the relative movement consisted of vertices and edges. Motion feature extraction is to find a subgraph that has movement property. Dihedral angle of the edge through all frames is used to determine whether an edge is connected or not to the movement parts. Then, a rotation connected graph is defined to extract motion features. Traveling this graph, all motion features can be extracted. Based on the motion features, animated quadric error metric is created and quadric error matrix is built through all frames. Compared with the other methods, the important advantages of this method are high-efficiency simplification process and smoother simplification effects. It is suitable to be used in real-time applications. Experiment results show that the 3D animated mesh simplification effects by our method are satisfactory.
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Łucjan, Kamila. "Perception of the contents of animated maps." Polish Cartographical Review 48, no. 4 (2016): 149–60. http://dx.doi.org/10.1515/pcr-2016-0015.
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Abstract Intense development of computer technology has taken place in the last several decades made it possible to cartographically present variability of phenomena in a dynamic way. As a result of using animation techniques in cartography there appeared new methods of presentation of changes, referred to as direct. Considering the character of the relation between display time and real time, two basic types of animated maps have been distinguished: temporal and non-temporal. Other criteria of classifying animation are the presence and level of interactivity and the technical criteria of production. Regardless of the applied classification, perception of the contents of animated maps is one of the main issues, since using animation leads to a significant cognitive load specific for dynamic methods. Fast sequence of data and its quick disappearance can result in omission of some information because in the case of animated maps there is a higher risk of exceeding perception potential of users than in the case of static maps. Higher efficiency of animated map perception can be achieved by applying methods of cognitive overload reduction determined through experimental research. The most important of them are: using control tools, directing attention with dynamically blinking lights, locating connected objects close to one another, using sound, adapting generalization level to the characteristics of moving images and accounting for the age and experience of map users. Among more sophisticated solutions are such elements as so-called decay and a combination of static and animated map features in the form of semi-static animations.
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Aoki, Kohta, Osamu Hasegawa, and Hiroshi Nagahashi. "Behavior Learning and Animation Synthesis of Falling Flat Objects." Journal of Advanced Computational Intelligence and Intelligent Informatics 8, no. 2 (2004): 223–30. http://dx.doi.org/10.20965/jaciii.2004.p0223.
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In this paper, we describe an approach to learning patterns from sample data sequences and generating new data sequences through learned models. The target application of this work is the animation of natural phenomena, especially falling behavior of flat objects. The natural object or phenomenon to be animated is recorded using one camera, and its characteristic behavior is captured. Feature vectors are defined as the representation of behavior and are automatically extracted from captured videos. By learning the structure of a set of sample vector sequences, the learned model can generate a novel pattern through the underlying structure. These generated patterns could differ from every original vector sequence but preserve characteristics of subject behavior. We can use such patterns to synthesize natural-looking animation.
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Zhu, Yuehan, Tomohiro Fukuda, and Nobuyoshi Yabuki. "Integrating Animated Computational Fluid Dynamics into Mixed Reality for Building-Renovation Design." Technologies 8, no. 1 (2019): 4. http://dx.doi.org/10.3390/technologies8010004.
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In advanced society, the existing building stock has a high demand for stock renovation, which gives existing buildings new lives, rather than building new ones. During the renovation process, it is necessary to simultaneously achieve architectural, facilities, structural, and environmental design in order to accomplish a healthy, comfortable, and energy-saving indoor environment, prevent delays in problem-solving, and achieve a timely feedback process. This study tackled the development of an integrated system for stock renovation by considering computational fluid dynamics (CFD) and mixed reality (MR) in order to allow the simultaneous design of a building plan and thermal environment. The CFD analysis enables simulation of the indoor thermal environment, including the entire thermal change process. The MR system, which can be operated by voice command and operated on head-mounted display (HMD), enables intuitive visualization of the thermal change process and, in a very efficient manner, shows how different renovation projects perform for various stakeholders. A prototype system is developed with Unity3D engine and HoloLens HMD. In the integrated system, a new CFD visualization method generating 3D CFD animation sequence for the MR system is proposed that allows stakeholders to consider the entirety of changes in the thermal environment.
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Parker, Kevin. "Fixing a Boiler with CFD." Mechanical Engineering 120, no. 04 (1998): 59–61. http://dx.doi.org/10.1115/1.1998-apr-2.
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This article focuses on carryover at a paper mill that had been solved using computational fluid dynamics (CFD) to visualize flow within the boiler. Technicians had tried adjusting airflow and firing arrangements without success. They turned the problem over to analysts who simulated the airflow within the boiler using CFD. An animated sequence of streamlines showing airflow provided engineers with a clear understanding of exactly what was happening inside the boiler, making it relatively easy to adjust operating conditions and solve the problem. McDermott analysts use FIELDVIEW, a commercial post-processing program from Intelligent Light in Lyndhurst, NJ. With the software, the analyst can create three-dimensional perspective views with hidden-line removal and light shading. She or He can trace the path of a marker traveling along with the fluid through a series of animated views. The analysts made a second FIELDVIEW movie of the airflow conditions with the new arrangement, showing the elimination of the center core. They played the two movies simultaneously on two monitors set side-by-side to demonstrate for the customer’s engineers how the recommended changes would solve the problem.
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Bálint, Katalin E., and Brendan Rooney. "Narrative Sequence Position of Close-Ups Influences Cognitive and Affective Processing and Facilitates Theory of Mind." Art and Perception 7, no. 1 (2019): 27–51. http://dx.doi.org/10.1163/22134913-20191095.
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Close-up shots have been shown to modulate affective, cognitive and theory-of-mind responding to visual narratives. However, the role of close-up’s narrative-sequence position, that is the relative timing of close-up shots in a visual narrative, is largely unknown. Participants watched one of ten versions of the same animated film, after we inserted a close-up shot (neutral or a sad face) at one of five different time points. Story recall responses of 168 participants were analyzed by the Linguistic Inquiry of Word Count, a computerized content analysis software, and coded manually for theory of mind. The narrative-sequence position of the close-up influenced the level of cognitive processing, affective processing, and theory of mind evident in participant responses where a U-shaped relationship was observed for the close-up position. These findings further our understanding of how close-ups affect narrative processing and are of relevance for studies on formal features in visual narratives.
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O'Day, Danton H. "Animated Cell Biology: A Quick and Easy Method for Making Effective, High-Quality Teaching Animations." CBE—Life Sciences Education 5, no. 3 (2006): 255–63. http://dx.doi.org/10.1187/cbe.05-11-0122.
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There is accumulating evidence that animations aid learning of dynamic concepts in cell biology. However, existing animation packages are expensive and difficult to learn, and the subsequent production of even short animations can take weeks to months. Here I outline the principles and sequence of steps for producing high-quality PowerPoint animations in less than a day that are suitable for teaching in high school through college/university. After developing the animation it can be easily converted to any appropriate movie file format using Camtasia Studio for Internet or classroom presentations. Thus anyone who can use PowerPoint has the potential to make animations. Students who viewed the approximately 3-min PowerPoint/Camtasia Studio animation “Calcium and the Dual Signalling Pathway” over 15 min scored significantly higher marks on a subsequent quiz than those who had viewed still graphics with text for an equivalent time. In addition, results from student evaluations provided some data validating the use of such animations in cell biology teaching with some interesting caveats. Information is also provided on how such animations can be modified or updated easily or shared with others who can modify them to fit their own needs.
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García, Carlos E. "Exploring the Use of Animation Software with Young Bilingual Students Learning Science." Journal of Educational Computing Research 19, no. 3 (1998): 247–67. http://dx.doi.org/10.2190/tw8d-h8wm-8unv-eeva.
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This study investigates those practices associated with the design, creation, and revision of animated models that tell a science story. It reveals information about how animation software assists young bilingual children in science learning. The article argues that bilingual children benefit from the ability of animation software to displace and reassemble spatial and temporal relations in science (with the effect of shaping language). Evidence that animation software displaces and reassembles knowledge in science is exposed by 1) having accessibility to different worlds, 2) the capacity to manipulate science concepts, and 3) connecting structure and sequence to function. The study suggests that this type of visual displacement and reassembling is a starting point for the development of science discourse in English among bilingual children.
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Brown, Guy J., Godfrey G. S. Collins, David G. Dewhurst, and Ian E. Hughes. "Computer Simulations in Teaching Neuromuscular Pharmacology—Time for a Change from Traditional Methods?" Alternatives to Laboratory Animals 16, no. 2 (1988): 163–74. http://dx.doi.org/10.1177/026119298801600207.
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Two interactive computer programs are described which illustrate different approaches to teaching the pharmacology of neuromuscular transmission. Both programs are based on a simulation of the in vivo sciatic nerve–tibialis anterior muscle preparation of the cat. Program 1 simulates the preparation and allows students to follow a schedule set by the teacher, or design experiments themselves using drugs (including unknowns) and procedures selected from an extensive menu. The sequence of events and the doses used are entirely in the hands of the user and students “learn by discovery”. Program 2 is an interactive, computer-assisted learning package based on a software simulation of experiments which can be performed on this preparation to illustrate the fundamental pharmacology. The program is menu-driven, contains extensive textual information, makes use of animated graphics, and is accompanied by educational support material and assessments. Details of each program are presented and their use as alternatives to animal experiments is discussed in relation to the primary teaching objectives of practical classes.
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Park, David. "Remembering Financial Crises: The Risk Implications of the Rise of Institutional Investors in Project Finance." Michigan Law Review, no. 117.2 (2018): 383. http://dx.doi.org/10.36644/mlr.117.2.remembering.
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Barely a decade ago, a cascading sequence of market failures threatened to topple the global financial system. Public responses to the recent Financial Crisis were immediate and drastic to resuscitate the global economy while attempting to make the markets safer. Many financial services sectors have since recovered to pre-crisis levels. One such industry is project finance, which comprises various financing arrangements often used to fund long-term infrastructure or industrial projects. Curiously, significant post-crisis banking regulations and other global credit enhancement initiatives are pushing banks out of project finance and giving rise to institutional investors. This Comment argues that animated institutional activity in project finance may increase both financial and, more notably, governance risks. Further, increased institutional investment in project finance shifts the risk intended to be captured under new banking regulations to unregulated markets and makes the financial system more complex and interconnected. Ultimately, public responses to the Financial Crisis may have the unintended consequence of increasing project-level risks and injecting seemingly regulated systemic risk back into the global financial system.
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McArdell, J. E. C., C. J. Bruton, and T. Atkinson. "The isolation of a peptide from the catalytic domain of Bacillus stearothermophilus tryptophyl-tRNA synthetase. The interaction of Brown MX-5BR with tyrosyl-tRNA synthetase." Biochemical Journal 243, no. 3 (1987): 701–7. http://dx.doi.org/10.1042/bj2430701.
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Tryptophyl-tRNA synthetase is irreversibly inactivated by Procion Brown MX-5BR with an apparent dissociation constant (KD) of 8.8 microM and maximum rate of inactivation k3 0.192 s-1. The specificity of the interaction is supported by two previously reported observations. Firstly, Brown MX-5BR inactivation of tryptophyl-tRNA synthetase is inhibited by substrates, and secondly, the animated derivative of Brown MX-5BR is a competitive inhibitor of tryptophyl-tRNA synthetase with a Ki of 2 X 10(-4) M with respect to both tryptophan and ATP. Tryptic digestion of the dye-affinity-labelled enzyme and subsequent resolution of the peptides by h.p.l.c. yielded one major dye-peptide peak. Amino acid sequence analysis resulted in the identification of the dye-binding domain centred on lysine-178. Tyrosyl-tRNA synthetase is also inactivated by Procion Brown MX-5BR, and this inactivation is prevented by ATP but not by tyrosine. The interaction of tyrosyl-tRNA synthetase with hydroxylated Brown MX-5BR exhibited non-competitive kinetics with respect to the amino acid-binding site and competitive kinetics against ATP with a Ki of 6 X 10(-6) M.
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Berkel, Pierre. "SIAS, Strokes Interpreted Animated Sequences." Computer Graphics Forum 8, no. 1 (1989): 35–47. http://dx.doi.org/10.1111/j.1467-8659.1989.tb00451.x.
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Biørn-Hansen, Andreas, Tor-Morten Grønli, and Gheorghita Ghinea. "Animations in Cross-Platform Mobile Applications: An Evaluation of Tools, Metrics and Performance." Sensors 19, no. 9 (2019): 2081. http://dx.doi.org/10.3390/s19092081.
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Along with the proliferation of high-end and performant mobile devices, we find that the inclusion of visually animated user interfaces are commonplace, but that research on their performance is scarce. Thus, for this study, eight mobile apps have been developed for scrutiny and assessment to report on the device hardware impact and penalties caused by transitions and animations, with an emphasis on apps generated using cross-platform development frameworks. The tasks we employ for animation performance measuring, are those of (i) a complex animation consisting of multiple elements, (ii) the opening sequence of a side menu navigation pattern, and (iii) a transition animation during in-app page navigation. We employ multiple performance profiling tools, and scrutinize metrics including frames per second (FPS), CPU usage, device memory usage and GPU memory usage, all to uncover the impact caused by executing transitions and animations. We uncover important differences in device hardware utilization during animations across the different cross-platform technologies employed. Additionally, Android and iOS are found to differ greatly in terms of memory consumption, CPU usage and rendered FPS, a discrepancy that is true for both the native and cross-platform apps. The findings we report are indeed factors contributing to the complexity of app development.
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Schneider, Bohdan, Paulína Božíková, Iva Nečasová, Petr Čech, Daniel Svozil, and Jiří Černý. "A DNA structural alphabet provides new insight into DNA flexibility." Acta Crystallographica Section D Structural Biology 74, no. 1 (2018): 52–64. http://dx.doi.org/10.1107/s2059798318000050.
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DNA is a structurally plastic molecule, and its biological function is enabled by adaptation to its binding partners. To identify the DNA structural polymorphisms that are possible in such adaptations, the dinucleotide structures of 60 000 DNA steps from sequentially nonredundant crystal structures were classified and an automated protocol assigning 44 distinct structural (conformational) classes called NtC (for Nucleotide Conformers) was developed. To further facilitate understanding of the DNA structure, the NtC were assembled into the DNA structural alphabet CANA (Conformational Alphabet of Nucleic Acids) and the projection of CANA onto the graphical representation of the molecular structure was proposed. The NtC classification was used to define a validation score called confal, which quantifies the conformity between an analyzed structure and the geometries of NtC. NtC and CANA assignment were applied to analyze the structural properties of typical DNA structures such as Dickerson–Drew dodecamers, guanine quadruplexes and structural models based on fibre diffraction. NtC, CANA and confal assignment, which is accessible at the website https://dnatco.org, allows the quantitative assessment and validation of DNA structures and their subsequent analysis by means of pseudo-sequence alignment. An animated Interactive 3D Complement (I3DC) is available in Proteopedia at http://proteopedia.org/w/Journal:Acta_Cryst_D:2.
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SILVA, Rodolfo Gonçalves Oliveira da, Guildo Lessa RIBEIRO FILHO, and Raquel Aparecida Soares Reis FRANCO. "Sequência didática para o estudo de circuitos elétricos de iluminação." INTERRITÓRIOS 6, no. 11 (2020): 161. http://dx.doi.org/10.33052/inter.v6i11.247754.
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O estudo dos sistemas de iluminação residencial é fundamental para os alunos do curso Técnico em Edificações. Geralmente as práticas de ensino adotadas nas escolas públicas são tradicionalistas, onde o aluno assume uma postura passiva em seu processo de aprendizagem. Este artigo avalia a contribuição de uma sequência didática sobre circuitos elétricos de iluminação residencial, acionados por interruptores simples, intermediários e paralelos no Curso Técnico Integrado em Edificações. O trabalho proposto foi concebido para que pudesse contribuir com o docente no processo de ensino, a fim de motivar no aluno a consciência, a motivação, a reflexão e o prazer pelo estudo. Para tanto, utilizouse ambientes virtuais de aprendizagem combinadas com o uso de componentes animados, além de aulas práticas laboratoriais. Os resultados demonstraram que o uso de sequências didáticas, quando bem planejadas, torna o processo de ensino-aprendizagem mais dinâmico, interativo e mais eficiente. Sequência Didática. Circuito Elétrico. Aprendizagem.ABSTRACT The study of residential lighting systems is essential for students of the Technical Course in Buildings. Generally the teaching practices adopted in public schools are traditionalist, where the student takes a passive stance in his learning process. This article evaluates the contribution of a didactic sequence on electrical circuits of residential lighting, activated by simple, intermediate and parallel switches in the Integrated Technical Course in Buildings. The proposed work was conceived so that it could contribute with the teacher in the teaching process, in order to motivate in the student the conscience, the motivation, the reflection and the pleasure for the study. For that, virtual learning environments were used combined with the use of animated components, in addition to practical laboratory classes. The results showed that the use of didactic sequences, when well planned, makes the teaching-learning process more dynamic, interactive and more efficient. Didactic Sequence. Electrical Circuits. Learning.RESUMEN El estudio de los sistemas de iluminación residencial es esencial para los estudiantes del Curso Técnico en Edificaciones. En general, las prácticas docentes adoptadas en las escuelas públicas son tradicionalistas, donde el alumno adopta una postura pasiva en su proceso de aprendizaje. Este artículo evalúa la contribución de una secuencia didáctica en circuitos eléctricos de iluminación residencial, activada por interruptores simples, intermedios y paralelos en el Curso Técnico Integrado en Edificaciones. El trabajo propuesto fue concebido para que pueda contribuir con el profesor en el proceso de enseñanza, con el fin de motivar en el alumno la conciencia, la motivación, la reflexión y el placer por el estudio. Para ello, se utilizaron ambientes virtuales de aprendizaje combinados con el uso de componentes animados, además de clases prácticas de laboratorio. Los resultados mostraron que el uso de secuencias didácticas, cuando bien planeadas, hace que el proceso de enseñanza-aprendizaje sea más dinámico, interactivo y más eficiente. Secuencia Didáctica. Circuito Eléctrico. Aprendizaje.RIASSUNTO Lo studio dei sistemi di illuminazione residenziale è essenziale per gli studenti del Corso tecnico in edifici. Generalmente le pratiche di insegnamento adottate nelle scuole pubbliche sono tradizionaliste, in cui lo studente assume una posizione passiva nel suo processo di apprendimento. Questo articolo valuta il contributo di una sequenza didattica sui circuiti elettrici di illuminazione residenziale, attivati da interruttori semplici, intermedi e paralleli nel Corso tecnico integrato negli edifici. Il lavoro proposto è stato concepito in modo da poter contribuire con l'insegnante nel processo di insegnamento, al fine di motivare nello studente la coscienza, la motivazione, la riflessione e il piacere per lo studio. A tale scopo, sono stati utilizzati ambienti di apprendimento virtuale combinati con l'uso di componenti animati, oltre a lezioni pratiche di laboratorio. I risultati hanno mostrato che l'uso di sequenze didattiche, se ben pianificato, rende il processo di insegnamento-apprendimento più dinamico, interattivo ed efficiente.Sequenza Didattica. Circuito Elettrico. Apprendimento.
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Bradley, Lucy, Leslie Towill, Jean Stutz, and Robert Roberson. "Conversion of Introductory Plant Biology Course and Lab to Web-Based Distance Ed Course." HortScience 41, no. 4 (2006): 1002D—1002. http://dx.doi.org/10.21273/hortsci.41.4.1002d.
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Conversion of the introductory plant biology course for non-majors from a lecture/lab format to a web-based course was a collaborative project between the Department of Plant Biology and the Instructional Support group at ASU. This course provides an introduction to biology through the world of plants by including lectures and laboratory activities that examine plant systems. The project was undertaken to provide students with an asynchronous opportunity to participate in either the course, the lab, or both. There were three distinct phases of implementation of the multimedia website: Design, Development, and Delivery. The design phase was driven by the faculty, who, along with graduate assistants, developed the course outline and content. They gathered images, identified concepts to be animated, and created storyboards to layout the sequence in the animation. The development stage was driven by the Instructional Designers who selected the appropriate media for animations and worked with developers to create them. The delivery phase was again driven by the professors. They implemented the website as a teaching tool, gathered feedback from students and teaching assistants, and worked with instructional designers and multimedia developers to improve the site. A wide variety of on-line multimedia components were incorporated into the website, including illustrations, images, animations, interactive modules, video and text. Three separate media packages were used: MacroMedia Flash (Macromedia, 2000), Director Shockwave (Macromedia, 2000), and QuickTime (Apple, Inc. 2000). Findings from surveys of students, faculty, and staff identified positive regard for the site as a whole. Several technological and logistical challenges were encountered and addressed.
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Dolata, Dorota. "Na Śródce rewolucji nie było, czyli słabe więzi w procesie rewitalizacji." Człowiek i Społeczeństwo 33 (June 15, 2012): 117–31. http://dx.doi.org/10.14746/cis.2012.33.8.
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The term “weak ties” can be discussed in the context of both, interpersonal relationships in an anonymous metropolis and a mass society. Can the case of ródka in Pozna" be applied to certain questions relating to the phenomenon of weak ties? It is clearly visible, that revitalisation in this area of the city has lost its momentum now. Municipal program was a temporary way to avoid progressive degradation and increasing gentrification. However, in the most lively period of projects and events at ródka experts often referred to the traditional ties between inhabitants and invoked the urgency of their activities. Even the minimum effort and engagement was to trigger the renovation processes and contribute to the so-calledsustainable development of ródka. It is worth asking at this point, who emphasized the role of local relations and animated the sequence of revitalizing events? What were the goals of revitalization animators? Did we come across the true cooperation of local residents, or perhaps the social participation was limited to the show for "tourists" from other parts of the city? Were the city officials able to engage the community of ródka? And if not the officials – were the artists able to (re)build relationships and connections between inhabitants? Their projects – both individual and group ones – are an important material for research To understand the growing complexity of the case of ródka, it is essential to discover its historical background and consider the relative isolation of ródka in the previous times. In the first half of the twentieth century, the district was perceived as a local base of crafts and small trade. Its distinctive mark were strong neighborhood ties. Can these ties – partly mythologized – now become the driving force of the revitalization?
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Layher, Georg, Martin A. Giese, and Heiko Neumann. "Learning Representations of Animated Motion Sequences-A Neural Model." Topics in Cognitive Science 6, no. 1 (2014): 170–82. http://dx.doi.org/10.1111/tops.12075.
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Widmer, Giovanni, Julia Dilo, James K. Tumwine, Saul Tzipori, and Donna E. Akiyoshi. "Frequent Occurrence of Mixed Enterocytozoon bieneusi Infections in Humans." Applied and Environmental Microbiology 79, no. 17 (2013): 5357–62. http://dx.doi.org/10.1128/aem.01260-13.
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ABSTRACTEnterocytozoon bieneusi(phylumMicrosporidia) is a human pathogen with a broad host range. Following the sequencing of 3.8 Mb of the estimated 6-MbE. bieneusigenome, simple sequence repeats (micro- and minisatellites) were identified. Sequencing of four such repeats from various human and animalE. bieneusiisolates identified extensive sequence polymorphism and enabled the development of a multilocus genotyping method to study the epidemiology of this pathogen. We genotypedE. bieneusiDNA extracted from 197 fecal samples originating from children with diarrhea who were residing in Kampala, Uganda. Three newly identified microsatellite markers and the internal transcribed spacer were PCR amplified, and multiple cloned amplicons for each marker were sequenced from each individual. Most microsatellite sequences were unique to the Ugandan population. Significantly, polymorphism not only was present among isolates but was also found within isolates. This observation suggests that infections with heterogeneousE. bieneusipopulations are common in this region. However, the data do not exclude that some of the polymorphism originates from divergent paralogs within the genome. The frequent occurrence of multiple sequences within an isolate precluded the identification of multilocus genotypes. This observation raises the possibility that in a region in which the prevalence ofE. bieneusiis high, sequencing of uncloned PCR products may not be adequate for multilocus genotyping.
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Norris, Gareth. "Order Effects in Animated Sequences of Computer-Generated Evidence (CGE)." Psychiatry, Psychology and Law 20, no. 6 (2013): 909–20. http://dx.doi.org/10.1080/13218719.2013.769404.
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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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Lempert, Henrietta. "The effect of animacy on children's noun order in verb-final sequences." Journal of Child Language 15, no. 3 (1988): 551–66. http://dx.doi.org/10.1017/s0305000900012563.
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ABSTRACTThis study examined whether pragmatic ordering factors account for the apparent preference for ANIMATE-INANIMATE (AI) order in passive and active sentences. If so, learning noun order relations in NNV sequences with an INANIMATE PATIENT + ANIMATE AGENT (It's the drum the boy plays) should be more difficult than with an ANIMATE PATIENT + ANIMATE AGENT (It's the girl the boy chases). Seventy children aged 3;0 to 5;3 were trained with either AAV or IAV exemplars, and then tested for their noun order in NNV utterances when describing animate agent + animate patient and animate agent + inanimate patient pictures. As judged by post-training performance, AAV and AIV training had comparable effects at age three, but IAV resulted in better learning at ages four and five. It was argued that the latter benefited from the correlation between animacy and subject in English sentences.
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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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Castillo Orihuela, Concepción. "On the Internal Argument(s) of Unaccusative [Verb+Preposition] Structures." Revista Alicantina de Estudios Ingleses, no. 25 (November 15, 2012): 285. http://dx.doi.org/10.14198/raei.2012.25.21.
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In this paper I use the feature [+/–animate] to distinguish unaccusative [verb+preposition] structures where the verb projects the internal argument from structures where the preposition projects the internal argument. On the proposed approach, which aims to be a refinement on the original work by Hoekstra (1988), the preposition selects for the internal argument whenever the latter is [–animate]. The analysis is supported by the observation that unaccusative prepositional structures are typically [–animate], by contrast with their non-prepositional counterparts, and by a principled analysis of the differences existing between sequences with march-type verbs vs. sequences with verbs like whistle or eat. By contrast with current works in the literature, the preposition is argued to project two Spec positions in eat-type sequences, and a pP-shell configuration is proposed to match the derivation of unaccusative [verb+preposition] structures that feature one or two arguments internal to the prepositional projection.
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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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Nirme, Jens, Magnus Haake, Agneta Gulz, and Marianne Gullberg. "Motion capture-based animated characters for the study of speech–gesture integration." Behavior Research Methods 52, no. 3 (2019): 1339–54. http://dx.doi.org/10.3758/s13428-019-01319-w.
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AbstractDigitally animated characters are promising tools in research studying how we integrate information from speech and visual sources such as gestures because they allow specific gesture features to be manipulated in isolation. We present an approach combining motion capture and 3D-animated characters that allows us to manipulate natural individual gesture strokes for experimental purposes, for example to temporally shift and present gestures in ecologically valid sequences. We exemplify how such stimuli can be used in an experiment investigating implicit detection of speech–gesture (a) synchrony, and discuss the general applicability of the workflow for research in this domain.
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Queiroz, Rossana B., Soraia R. Musse, and Norman I. Badler. "Investigating Macroexpressions and Microexpressions in Computer Graphics Animated Faces." Presence: Teleoperators and Virtual Environments 23, no. 2 (2014): 191–208. http://dx.doi.org/10.1162/pres_a_00180.
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Due to varied personal, social, or even cultural situations, people sometimes conceal or mask their true emotions. These suppressed emotions can be expressed in a very subtle way by brief movements called microexpressions. We investigate human subjects' perception of hidden emotions in virtual faces, inspired by recent psychological experiments. We created animations with virtual faces showing some facial expressions and inserted brief secondary expressions in some sequences, in order to try to convey a subtle second emotion in the character. Our evaluation methodology consists of two sets of experiments, with three different sets of questions. The first experiment verifies that the accuracy and concordance of the participant's responses with synthetic faces matches the empirical results done with photos of real people in the paper by X.-b. Shen, Q. Wu, and X.-l. Fu, 2012, “Effects of the duration of expressions on the recognition of microexpressions,” Journal of Zhejiang University Science B, 13(3), 221–230. The second experiment verifies whether participants could perceive and identify primary and secondary emotions in virtual faces. The third experiment tries to evaluate the participant's perception of realism, deceit, and valence of the emotions. Our results show that most of the participants recognized the foreground (macro) emotion and most of the time they perceived the presence of the second (micro) emotion in the animations, although they did not identify it correctly in some samples. This experiment exposes the benefits of conveying microexpressions in computer graphics characters, as they may visually enhance a character's emotional depth through subliminal microexpression cues, and consequently increase the perceived social complexity and believability.
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Noll, A. Michael. "The VanDerBeek-Knowlton Movies." Leonardo 52, no. 3 (2019): 314–19. http://dx.doi.org/10.1162/leon_a_01442.
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During the second half of the 1960s, artist-filmmaker Stan VanDerBeek collaborated with Bell Labs researcher Kenneth Knowlton in the production of ten computer-animated movies. This article describes that collaboration and discusses certain movies that resulted. In this early example of collaboration between an artist and a computer technologist, VanDerBeek built on his experience to learn computer programming, and Knowlton extended his artistic sensitivities and programming languages—each learned from the other. The article concludes with a discussion of the term “computer artist” as used during those early days of computer art and animation. In the author’s opinion, VanDerBeek, by doing his own computer programming, became a computer artist, while Knowlton’s creativity in creating computer-animated sequences made him an artist.
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Lee, Hanju, Yasuhiro Kanakogi, and Kazuo Hiraki. "Building a responsive teacher: how temporal contingency of gaze interaction influences word learning with virtual tutors." Royal Society Open Science 2, no. 1 (2015): 140361. http://dx.doi.org/10.1098/rsos.140361.
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Animated pedagogical agents are lifelike virtual characters designed to augment learning. A review of developmental psychology literature led to the hypothesis that the temporal contingency of such agents would promote human learning. We developed a Pedagogical Agent with Gaze Interaction (PAGI), an experimental animated pedagogical agent that engages in gaze interaction with students. In this study, university students learned words of a foreign language, with temporally contingent PAGI (live group) or recorded version of PAGI (recorded group), which played pre-recorded sequences from live sessions. The result revealed that students in the live group scored considerably better than those in the recorded group. The finding indicates that incorporating temporal contingency of gaze interaction from a pedagogical agent has positive effect on learning.
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Whatley, Edward. "Sources: The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features and Sequences, 1900 – 1999." Reference & User Services Quarterly 51, no. 3 (2012): 290. http://dx.doi.org/10.5860/rusq.51n3.290.
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Rana, Sanjay, and Jason Dykes. "A Framework for Augmenting the Visualization of Dynamic Raster Surfaces." Information Visualization 2, no. 2 (2003): 126–39. http://dx.doi.org/10.1057/palgrave.ivs.9500043.
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Animated sequences of raster images that represent continuously varying surfaces, such as a temporal series of an evolving landform or an attribute series of socio-economic variation, are often used in an attempt to gain insight from ordered sequences of raster spatial data. Despite their aesthetic appeal and condensed nature, such representations are limited in terms of their suitability for prompting ideas and offering insight due to their poor information delivery and the lack of the levels of interactivity that are required to support visualization. Cartographic techniques aim to assist users of geographic information through processes of abstraction, by selecting, simplifying, smoothing and exaggerating when representing an underlying spatial data set graphically. Here we suggest a number of transformations and abstractions that take advantage of these techniques in a specific context–that of addressing the limitations associated with using animated raster surfaces for visualization, and propose them in the context of a framework that can be used to inform practice. The five techniques proposed are spatial and attribute smoothing, temporal interpolation, transformation of the surfaces into a network of morphometric features, the use of a graphic lag or fading and the employment of techniques for conditional interactivity that are appropriate for visualization. These efforts allow us to generate graphical environments that support visualization when using animated sequences of images representing continuous surfaces and are analogous to traditional cartographic techniques, namely, smoothing and exaggeration, simplification, enhancement and the various issues of design. By developing a framework for considering cartography in support of visualization from this particular type of data and phenomenon we aim to highlight the utility of a generically cartographic approach to information visualization. A number of particular techniques originating from computer science and conventional cartography are used in an application of the framework. A suitably interactive software tool is offered for evaluation–to establish the results of applying the framework and demonstrate ways in which we may augment the visualization of dynamic raster surfaces through animation and more generally aim to offer opportunity for insight through cartographic design.
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Tjandra, Agatha Maisie, and Maya Yonesho. "Collaborative Storytelling Animation." IMOVICCON Conference Proceeding 1, no. 1 (2019): 35–44. http://dx.doi.org/10.37312/imoviccon.v1i1.4.
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High mobility era these days bring new trends for everyone including animator to working travel and still have possibilities to create animation movie without their studio room. Gadget such as mobile device camera and small papers can be used by the animator to create photo sequence for creating stop motion animation movie. Moreover, new ideas for storytelling will come up from collaboration that probably happen along the animator’s trip. The process for collaborative idea to make storytelling will increase the empathy of animators and audience with the movie. This paper use qualitative data by interview, existing study and experience study to explain the collaborative process of Daumenreise Animation project in animators’ perspective and analyzing the movie by using storytelling elements in order to suggest a method to be applied in any small device storytelling media for animator traveler to create movie project.
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Sahay, A. K., and R. Bharat. "A new incision for unilateral cleft lip repair developed using animated simulation of repair on computer." Indian Journal of Plastic Surgery 40, no. 01 (2007): 4–7. http://dx.doi.org/10.1055/s-0039-1699172.
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ABSTRACT Background:Unilateral cleft lip repair continues to leave behind some amount of dissatisfaction, as a scope for further improvement is always felt. Most surgeons do not like to deviate from the standard Millard′s/ triangular techniques, or their minor modifications, as no one likes to experiment on the face for fear of unfavourable outcomes. The computer can be utilized as a useful tool in the analysis and planning of surgery and new methods can be developed and attempted subsequently with greater confidence.Aim:We decided to see if an improved lip repair could be developed with the use of computers. Materials and Methods:Analysis of previous lip repairs was done to determine where an improvement was required. Movement of tissues, by simulating an ideal repair, using image warping software, on digital images of cleft lip was studied in animation sequences. A repair which could reproduce these movements was planned. A new incision emerged, which had combined the principles of Millard′s and Randall / Tennyson repairs, with additional features. The new method was performed on 30 cases.Conclusions:The results were encouraging as the shortcomings of these methods were minimized, and the advantages maximized
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Torguson, Jeffrey S. "User Interface Studies in the Virtual Map Environment." Cartographic Perspectives, no. 28 (September 1, 1997): 29–31. http://dx.doi.org/10.14714/cp28.690.
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With the acceleration of interactive virtual map use and the proliferation of such mapmaking software, we need to learn much more about how interactive electronic media and animated map environments influence the communication of cartographic information. When assessing the communicative value of maps in any given environment where animation and other virtual maps are used, I argue that the interface itself becomes a significant factor in the use of the map, or map sequences. We need a revitalized and expanded role for a user-oriented or a userinterface form of research, not too dissimilar to the shifts in research emphasis undertaken by cartographers with the first wave of automation.
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Laurent, Sébastien, Laurence Paire-Ficout, Jean-Michel Boucheix, Stéphane Argon, and Antonio Hidalgo-Muñoz. "Cortical Activity Linked to Clocking in Deaf Adults: fNIRS Insights with Static and Animated Stimuli Presentation." Brain Sciences 11, no. 2 (2021): 196. http://dx.doi.org/10.3390/brainsci11020196.
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The question of the possible impact of deafness on temporal processing remains unanswered. Different findings, based on behavioral measures, show contradictory results. The goal of the present study is to analyze the brain activity underlying time estimation by using functional near infrared spectroscopy (fNIRS) techniques, which allow examination of the frontal, central and occipital cortical areas. A total of 37 participants (19 deaf) were recruited. The experimental task involved processing a road scene to determine whether the driver had time to safely execute a driving task, such as overtaking. The road scenes were presented in animated format, or in sequences of 3 static images showing the beginning, mid-point, and end of a situation. The latter presentation required a clocking mechanism to estimate the time between the samples to evaluate vehicle speed. The results show greater frontal region activity in deaf people, which suggests that more cognitive effort is needed to process these scenes. The central region, which is involved in clocking according to several studies, is particularly activated by the static presentation in deaf people during the estimation of time lapses. Exploration of the occipital region yielded no conclusive results. Our results on the frontal and central regions encourage further study of the neural basis of time processing and its links with auditory capacity.
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Đorđević, Miljan, Milan Milivojević, and Ana Gavrovska. "DeepFake video production and SIFT-based analysis." Telfor Journal 12, no. 1 (2020): 22–27. http://dx.doi.org/10.5937/telfor2001022q.
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Nowadays advantages in face-based modification using DeepFake algorithms made it possible to replace a face of one person with a face of another person. Thus, it is possible to make not only copy-move modifications, but to implement artificial intelligence and deep learning for replacing face movements from one person to another. Still images can be converted into video sequences. Consequently, the contemporaries, historical figures or even animated characters can be lively presented. Deepfakes are becoming more and more successful and it is difficult to detect them in some cases. In this paper we explain the video sequences we produced (e.g. using X2Face method, and First Order Motion Model for Image Animation) and perform deepfake video analysis using SIFT (Scale Invariant Feature Transform) based approach. The experiments show the simplicity in video forgery production, as well as the possible role of SIFT keypoints detection in differentiation between the deeply forged and original video content.
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Castura, John C., Allison K. Baker, and Carolyn F. Ross. "Using contrails and animated sequences to visualize uncertainty in dynamic sensory profiles obtained from temporal check-all-that-apply (TCATA) data." Food Quality and Preference 54 (December 2016): 90–100. http://dx.doi.org/10.1016/j.foodqual.2016.06.011.
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Bergeron, Bryan P., and Ronald G. Rouse. "Imageview: A High-Level Authoring Tool for Repurposing Multimedia Content." Journal of Educational Computing Research 11, no. 4 (1994): 385–96. http://dx.doi.org/10.2190/lcke-dr83-uwah-75uc.
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The teaching of medicine lends itself to the use of a rich mixture of sounds, text, graphics, images, and animated sequences to illustrate concepts. Often, these multimedia teaching materials ar available only in limited contexts, such as during a specific lecture or within a particular software program. As a result, students have little opportunity to review non-textual information, and courseware authors must obtain their own images and other content that may in turn be encapsulated within a software program. In response to these and other limitations of traditional content management, we have developed an infrastructure and tools supportive of making image-based content available both for student review and for courseware authors to use as a repurposeable resource.
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Nakanishi, Hisato, Naohiro Shichijo, Masao Sugi, Taiki Ogata, Tatsunori Hara, and Jun Ota. "Modeling the Process of Animation Production." International Journal of Automation Technology 7, no. 4 (2013): 439–50. http://dx.doi.org/10.20965/ijat.2013.p0439.
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In this study, a work process model for animation production is developed. Interviews with animation studio workers and surveys of their working diaries and shot progress charts are conducted to create a framework for the work processes. The work hours necessary for each operation of the work project are expressed using a gamma function. Workers are classified into two categories, managers and animators, and their behavioral rules are modeled. To establish a rule for the determination of the operation sequence order for an animator to perform multiple work operations, four typical dispatching rules, often used in a scheduling theory, are selected, and the one that is closest to actual data is regarded as the rule that the animator actually follows. As a result of the analysis, it is found that the Earliest Due Date (EDD) and SLACK are closest to actual animators’ behavioral rules. Managers are also found to move the sub-deadline (a deadline of each operation) up about 30% earlier than the actual deadline. The knowledge we obtain is that, in order to realize better working conditions, animators should determine their operation sequence order by using SLACK, and managers should designate subdeadlines by keeping a balance between the prevention of deadline violation and the reduction of overtime work.
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Kim, Yejin, and Myunggyu Kim. "Data-Driven Approach for Human Locomotion Generation." International Journal of Image and Graphics 15, no. 02 (2015): 1540001. http://dx.doi.org/10.1142/s021946781540001x.
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This paper introduces a data-driven approach for human locomotion generation that takes as input a set of example locomotion clips and a motion path specified by an animator. Significantly, the approach only requires a single example of straight-path locomotion for each style expressed and can produce a continuous output sequence on an arbitrary path. Our approach considers quantitative and qualitative aspects of motion and suggests several techniques to synthesize a convincing output animation: motion path generation, interactive editing, and physical enhancement for the output animation. Initiated with an example clip, this process produces motion that differs stylistically from any in the example set, yet preserves the high quality of the example motion. As shown in the experimental results, our approach provides efficient locomotion generation by editing motion capture clips, especially for a novice animator, at interactive speed.
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Barrera, Gloria Patricia, Rodrigo Alfredo Martínez, and Manuel Fernando Ariza. "Identificación de ADN mitocondrial Bos taurus en poblaciones de ganado Cebú Brahman colombiano." Corpoica Ciencia y Tecnología Agropecuaria 7, no. 2 (2007): 21. http://dx.doi.org/10.21930/rcta.vol7_num2_art:66.
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<p>El continente americano fue colonizado en el siglo XVI por los europeos quienes introdujeron por primera vez el ganado bovino de origen <em>Bos taurus</em>. La introducción de ganado <em>Bos indicus </em>ocurrió muchos años después, con las primeras importaciones desde la India, las cuales incluyeron principalmente machos. Con el fin de estudiar la participación de hembras <em>Bos taurus </em>en el origen del ganado Cebú colombiano, se secuenció un fragmento del ADN mitocondrial de 374 pb (<em>D-Loop</em>) en seis animales de la raza Cebú Brahman colombiano y 20 individuos representativos de las cinco razas criollas colombianas: seis de Blanco Orejinegro (BON), cinco de Costeño con Cuernos (CCC), tres de Romosinuano (ROMO), cuatro de Casanareño (CAS) y dos de San Martinero (SM). Adicionalmente, para el mismo fragmento se secuenciaron dos individuos de la raza española Pirenaica, como referente <em>Bos taurus</em>. La comparación de las secuencias reveló que los animales de la raza Cebú Brahman colombiano analizados presentaron ADN mitocondrial de origen taurino con mayor cercanía respecto de las razas criollas de origen <em>Bos taurus </em>europeo que con relación a las secuencias consenso <em>Bos indicus</em>, frente a las que se hallaron mayores divergencias. Adicionalmente, las divergencias de las razas criollas colombianas con respecto al consenso <em>Bos taurus </em>europeo variaron entre 0,005 y 0,014, resultado que sugiere la participación de matrilineajes <em>Bos taurus </em>en el origen del Cebú Brahman colombiano.</p><p> </p><p><strong>Identification of mitochondrial DNA of Bos taurus origin in Colombian Zebu Brahman cattle </strong></p><p>The American continent was colonised in the XVI century by the Europeans who introduced the Bos taurus cattle. The introduction of Bos indicus cattle was done a few years later with cattle from India, mainly males. In order to study the participation of Bos Taurus females in the origin of the Colombian Zebu cattle, a 374 bp mitochondrial DNA fragment was sequenced (D-Loop) in six animals belonging to Colombian Zebu Brahman breed and 20 individuals representative of he five Colombian native breeds: 6 of Blanco Orejinegro (BON), five of Costeño Con Cuernos (CCC), three of Romosinuano (ROMO), four of Casanareño (CAS) and two of San Martinero (SM). As a reference to Bos taurus, two individuals of the Spanish Pirenaica breed were also sequenced for the same fragment. Comparison between sequences revealed that the Zebu Brahman cattle has mitochondrial DNA of Bos Taurus origin and closer to the native breeds of Spanish origin. Although described as Bos indicus, it showed the lowest genetic divergence when compared with the consensus sequence of European Bos taurus. The genetic divergences of the Colombian native breeds compared with the European Bos Taurus ranged between 0.005 and 0.014. This suggests the participation of Bos taurus matrilineages in the origin of the Colombian Zebu Brahman cattle.</p>
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Ross, Ryan. "Between Shell Shock and PTSD? ‘Accident Neurosis’ and Its Sequelae in Post-War Britain." Social History of Medicine 32, no. 3 (2018): 565–85. http://dx.doi.org/10.1093/shm/hkx118.
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Summary This article focuses on the concept of ‘accident neurosis’, popularised by neurologist Henry Miller in studies published in 1961. It aims to realise two goals. First, it introduces Miller’s concept of accident neurosis to the broader history of trauma—to a field, that is, more preoccupied with military traumata and clear-cut psychiatric aetiologies. Secondly, I use Miller’s studies, and the considerable legacy they created, to reflect on how historians of trauma construct historical narratives, asking whether there is sufficient appreciation of the ways in which events seem to leak into or retroactively animate one another.
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Borgiani, Mariana, György Miklós Böhn, and Chao Lung Wen. "Tele-education may be a valuable approach for educating patients with asthma in under-served communities." Journal of Telemedicine and Telecare 13, no. 1_suppl (2007): 10–12. http://dx.doi.org/10.1258/135763307781645059.
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In Brazil, few people have access to asthma specialists. We conducted a survey in São Paulo city to evaluate the population's general knowledge about asthma. The results were used to guide the development of a 3-D video for patient education. The video presentation was about 12 min long. It used animated sequences to explain the pathophysiology of asthma (e.g. the anatomy of the respiratory system, the lung, the alveoli, mechanism of respiration). The object was to motivate the general public to change their habits. The motivation video can be delivered via the Internet or by DVD and can used by non-medical professionals. It will need to be tested formally in the context of primary care from the point of view of knowledge retention, cost and patient motivation.
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Galanter, Philip. "XEPA - Autonomous Intelligent Light and Sound Sculptures That Improvise Group Performances." Leonardo 47, no. 4 (2014): 386–93. http://dx.doi.org/10.1162/leon_a_00844.
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XEPA anticipates a future where machines form their own societies. Going beyond mere generative art, machines will exhibit artistic creativity with the addition of artistic judgment via computational aesthetic evaluation. In such a future our notions of aesthetics will undergo a radical translation. The XEPA intelligent sculptures create animated light and sound sequences. Each sculpture “watches” the others and modifies its own aesthetic behavior to create a collaborative, improvisational performance. No coordination information or commands are used. Each XEPA independently evaluates the aesthetics of the other sculptures, infers a theme or mood being attempted, and then modifies its own aesthetics to better reinforce that theme. Each performance is unique and widely varied. XEPA is an ever-evolving artwork, intended as a platform for ongoing experiments in computational aesthetic evaluation.
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Ruffert, M. "Hydrodynamic Simulations of Wind-Accretion with Gradients." International Astronomical Union Colloquium 163 (1997): 215–19. http://dx.doi.org/10.1017/s0252921100042676.
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AbstractI investigate the hydrodynamics of three-dimensional Bondi-Hoyle-Lyttleton accretion including velocity and density gradients in the incoming flow and determine how much angular momentum is accreted. A medium taken to be an ideal gas with an adiabatic index of 5/3 or 4/3 moves at supersonic speeds (Mach 3 and 10) past a totally absorbing sphere with a radius of 0.1 or 0.02 accretion radii. The velocity within the medium is given a gradient of 3% or 20% (over one accretion radius). I find that a substantial amount (0.1 to 0.7) of the specific angular momentum available within one accretion radius in the upstream flow actually is accreted. The amount is smaller for smaller accretor sizes. The flow is roughly just as unstable as in the previous models without gradients. The unstable flow is best seen in animated sequences.