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Journal articles on the topic 'Animated sequences'
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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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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.
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Tian, Limao, Xina Cheng, Masaaki Honda, and Takeshi Ikenaga. "Multi-Technology Correction Based 3D Human Pose Estimation for Jump Analysis in Figure Skating." Proceedings 49, no. 1 (2020): 95. http://dx.doi.org/10.3390/proceedings2020049095.
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Jump analysis in figure skating is important. Recovering the 3D pose of a figure skater has become increasingly important. However, issues such as restrictions from an athlete’s clothing, self-occlusion, abnormal pose and so on will result in poor results. This paper proposes a multi-technology correction framework to obtain a 3D human pose. The framework consists of three key components: temporal information-based mutational point correction, multi-perspective-based reconstructed point selection and trajectory smoothness-based inaccurate point correction. Firstly, temporal information is used to correct the mutational points at the 2D level. Secondly, a multi-perspective is used to select the correct spatial points at the 3D level. Thirdly, trajectory smoothness is used to correct inaccuracies at the 3D level. This work will serve the purpose of displaying the 3D animated pose of a figure skater. The quality grade of the result rate on the test sequences is 87.25%.
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Shinker, Jacqueline J. "Visualizing Spatial Heterogeneity of Western U.S. Climate Variability." Earth Interactions 14, no. 10 (2010): 1–15. http://dx.doi.org/10.1175/2010ei323.1.
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Abstract Monthly climatologies (1971–2000 monthly averages) for stations in the western United States, obtained from the NOAA/National Climatic Data Center (NCDC), are used to illustrate the spatial variations in the annual cycle of climate. Animated map sequences of temperature and precipitation, their average, intermonthly changes, and the local timing of annual maxima or minima provide a comprehensive spatiotemporal baseline of regional climate. The animated maps illustrate three scales of variation: 1) broadscale patterns related to the annual cycle of insolation and hemispheric-scale atmospheric circulation features; 2) mesoscale patterns related to location on the continent and the influence of specific regional circulation features like those associated with the North American monsoon; and 3) smaller-scale spatial variations, related to the mediation by local physiography of the influence of large-scale circulation. Although most western U.S. stations have temperature maxima in July, a delay occurs at stations along the West Coast and interior Washington, northern Idaho, and Montana. A seesaw pattern of precipitation maxima is evident between coastal areas (winter dominated) and the interior (summer dominated). Cluster analyses of the ratio of monthly-to-annual precipitation values for each station identify regions with similar annual cycles of precipitation. Regions of high spatial heterogeneity in the timing of when precipitation occurs include the northern Rocky Mountains, Utah, Arizona, and northwestern Montana. The superimposition of these three scales of spatial variability leads to steep gradients and, in some regions, considerable spatial heterogeneity in annual precipitation. The regional patterns of precipitation heterogeneity highlight vulnerability to drought, especially in regions of the interior west that do not have a dominant precipitation month or season.
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Coelho, Joseph R. "Sex, Bugs and Rock ‘n’ Roll: Insects in Music Videos." Insects 12, no. 7 (2021): 616. http://dx.doi.org/10.3390/insects12070616.
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The appearance of insects in music videos was examined. The most common taxa observed were Lepidoptera, then Hymenoptera, with Coleoptera, Araneae, Diptera, and Orthoptera essentially tied for third most represented. Insect music videos have increased in frequency over time, probably as an artifact of industry growth. Swarms and infestations were common in insect videos (appearing in 26%), as were chimeric insectoid humans (19%), and, to a lesser extent, giant insects (5%), but not all of these representations were used to induce horror. Some insect music videos have garnered awards, and many of the songs associated with them have been very successful. There were many animated insect sequences, but also images of specimens that were sufficiently detailed to allow identification of the species. The insect groups observed reflect both positive and negative values. There is some indication that insects are not viewed in such a negative light as they once were, providing hope for improving attitudes of humans toward insects.
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Weihmann, Tom, Hanns Hagen Goetzke, and Michael Günther. "Requirements and limits of anatomy-based predictions of locomotion in terrestrial arthropods with emphasis on arachnids." Journal of Paleontology 89, no. 6 (2015): 980–90. http://dx.doi.org/10.1017/jpa.2016.33.
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AbstractModern computer-aided techniques foster the availability and quality of 3D visualization and reconstruction of extinct and extant species. Moreover, animated sequences of locomotion and other movements find their way into motion pictures and documentary films, but also gain attraction in science. While movement analysis is well advanced in vertebrates, particularly in mammals and birds, analyses in arthropods, with their much higher variability regarding general anatomy and size, are still in their infancies and restricted to a few laboratory species. These restrictions and deficient understanding of terrestrial arthropod locomotion in general impedes sensible reconstruction of movements in those species that are not directly observable (e.g., extinct and cryptic species). Since shortcomings like over-simplified approaches to simulate arthropod locomotion became obvious recently, in this review we provide insight into physical, morphological, physiological, behavioral, and ecological constraints, which are essential for sensible reconstructions of terrestrial arthropod locomotion. Such concerted consideration along with sensible evaluations of stability and efficiency requirements can pave the way to realistic assessment of leg coordination and body dynamics.
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Crosthwait, George. "The Afterlife as Emotional Utopia in Coco." Animation 15, no. 2 (2020): 179–92. http://dx.doi.org/10.1177/1746847720937443.
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This article situates the Pixar computer animation Coco (dir. Lee Unkrich and Adrian Molina, 2017) within a recent selection of afterlife fictions and questions why such narratives might appeal to our contemporary moment. The author’s response is structured around the idea of utopia. In Coco, he identifies several conceptions of utopic space and ideals. The afterlife fiction places characters and viewers in a reflexive location which affords them the opportunity to examine their lives as lived (rather than in death). Transplanting Richard Dyer’s work on classic Hollywood musicals as entertainment utopia to a contemporary animated musical, the article proposes that such a film can be seen as adhering to a kind of ‘new cinematic sincerity’. Coco’s particular depiction of The Day of the Dead fiesta and the Land of the Dead has its roots in the Mexican writer Octavio Paz’s poetic and romantic treatise The Labyrinth of Solitude (1950). A comparison between these two texts suggests that willing encounters with death can be connected to an openness to transitional states of being. Through close readings of key musical sequences in Coco, the author demonstrates how the properties of the musical are combined with animation aesthetics (baby schemata, virtual camera) to lead viewers into their own utopian space of heightened emotions and transition.
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Powell, Sarah. "The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features and Sequences, 1900‐1999 (2nd edition)201286Graham Webb. The Animated Film Encyclopedia: A Complete Guide to American Shorts, Features and Sequences, 1900‐1999 (2nd edition). Jefferson, NC: McFarland 2011. vi + 509 pp., ISBN: 978 0 7864 4985 9 £110/$125 Available in the UK, Europe, the Middle East and Africa from Eurospan." Reference Reviews 26, no. 2 (2012): 46. http://dx.doi.org/10.1108/09504121211205304.
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Burgess, S. A., M. L. Walker, H. D. White, and J. Trinick. "Flexibility within Myosin Heads Revealed by Negative Stain and Single-Particle Analysis." Journal of Cell Biology 139, no. 3 (1997): 675–81. http://dx.doi.org/10.1083/jcb.139.3.675.
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Electron microscopy of negatively stained myosin has previously revealed three discrete regions within the heads of the molecule. However, despite a probable resolution of ∼2 nm, it is difficult to discern directly consistent details within these regions. This is due to variability in both head conformation and in staining. In this study, we applied single-particle image processing and classified heads into homogeneous groups. The improved signal-to-noise ratio after averaging these groups reveals substantially improved detail. The image averages were compared to a model simulating negative staining of the atomic structure of subfragment-1 (S1). This shows that the three head regions correspond to the motor domain and the essential and regulatory light chains. The image averages were very similar to particular views of the S1 model. They also revealed considerable flexibility between the motor and regulatory domains, despite the molecules having been prepared in the absence of nucleotide. This flexibility probably results from rotation of the regulatory domain about the motor domain, where the relative movement of the regulatory light chain is up to 12 nm, and is most clearly illustrated in animated sequences (available at http://www.leeds.ac.uk/chb/muscle/ myosinhead.html). The sharply curved conformation of the atomic model of S1 is seen only rarely in our data, with straighter heads being more typical.
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Gould, Charlotte, and Paul Sermon. "The immersive environment as a driver for environmental change; addressing the Out of Sight, Out of Mind impacts of the Anthropocene on the Mar Menor, Spain." Virtual Creativity 10, no. 2 (2020): 141–61. http://dx.doi.org/10.1386/vcr_00029_1.
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Out of Sight, Out of Mind is a unique interactive 360° video experience of the Mar Menor that manifests the Anthropocene effects on the landscape as augmented, surreal and metaphysical interpretations of the artist’s experiences, during their residency and available secondary scientific data of the Mar Menor ecosystem. Through environmental, social, economic and cultural observations and encounters the team developed an immersive 360° environment that incorporates video and audio recordings with augmented, imaginary and predicted realities transformed from scientific data in obscure and profound guises. This 360° telematic installation incorporating live audience interaction within the original 360° video experience was exhibited at the Centro Cultural Puertas de Castilla in Murcia in May 2019. This collaborative project was developed following a ten-day residency on the Mar Menor, a 170 km² saltwater lagoon on the south-east coast of Spain in September 2018, where the majority of the primary research took place by gathering 360° video material from observations, experiences and interviews. The project has been developed by a team of three UK artists, each bringing specialist experience and knowledge of 360° video to undertake the research and create a unique understanding and manifestation of the changing ecosystem of the Mar Menor. This collaborative project includes and combines Paul Sermon’s co-located telematic experiences in 360° live video environments, Charlotte Gould’s immersive 360° animated augmented reality and Jeremiah Ambrose’s gaze-controlled navigation through 360° video narratives. This practice-based team of artists undertook this research using a range of video and gaming software and advanced hardware devices, including Insta360 Pro 8K video cameras and Oculus Rift head-mounted-displays in conjunction with live video switchers. This has produced a range of ultra HD 360° outputs involving stereo 8K and real-time 4K environments with augmented live 360° video and animation sequences through live chroma-keying effects.
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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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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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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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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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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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Colantoni, Laura, Ruth Martínez, Natalia Mazzaro, Ana T. Pérez-Leroux, and Natalia Rinaldi. "A Phonetic Account of Spanish-English Bilinguals’ Divergence with Agreement." Languages 5, no. 4 (2020): 58. http://dx.doi.org/10.3390/languages5040058.
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Does bilingual language influence in the domain of phonetics impact the morphosyntactic domain? Spanish gender is encoded by word-final, unstressed vowels (/a e o/), which may diphthongize in word-boundary vowel sequences. English neutralizes unstressed final vowels and separates across-word vocalic sequences. The realization of gender vowels as schwa, due to cross-linguistic influence, may remain undetected if not directly analyzed. To explore the potential over-reporting of gender accuracy, we conducted parallel phonetic and morphosyntactic analyses of read and semi-spontaneous speech produced by 11 Monolingual speakers and 13 Early and 13 Late Spanish-English bilinguals. F1 and F2 values were extracted at five points for all word-final unstressed vowels and vowel sequences. All determiner phrases (DPs) from narratives were coded for morphological and contextual parameters. Early bilinguals exhibited clear patterns of vowel centralization and higher rates of hiatuses than the other groups. However, the morphological analysis yielded very few errors. A follow-up integrated analysis revealed that /a and o/ were realized as centralized vowels, particularly with [+Animate] nouns. We propose that bilinguals’ schwa-like realizations can be over-interpreted as target Spanish vowels. Such variable vowel realization may be a factor in the vulnerability to attrition in gender marking in Spanish as a heritage language.
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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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Kim, Yunsoo, Bruce Kowiatek, Kristopher Opron, and Zachary Burton. "Type-II tRNAs and Evolution of Translation Systems and the Genetic Code." International Journal of Molecular Sciences 19, no. 10 (2018): 3275. http://dx.doi.org/10.3390/ijms19103275.
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Because tRNA is the core biological intellectual property that was necessary to evolve translation systems, tRNAomes, ribosomes, aminoacyl-tRNA synthetases, and the genetic code, the evolution of tRNA is the core story in evolution of life on earth. We have previously described the evolution of type-I tRNAs. Here, we use the same model to describe the evolution of type-II tRNAs, with expanded V loops. The models are strongly supported by inspection of typical tRNA diagrams, measuring lengths of V loop expansions, and analyzing the homology of V loop sequences to tRNA acceptor stems. Models for tRNA evolution provide a pathway for the inanimate-to-animate transition and for the evolution of translation systems, the genetic code, and cellular life.
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Paley, Suzanne, Richard Billington, James Herson, Markus Krummenacker, and Peter D. Karp. "Pathway Tools Visualization of Organism-Scale Metabolic Networks." Metabolites 11, no. 2 (2021): 64. http://dx.doi.org/10.3390/metabo11020064.
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Metabolomics, synthetic biology, and microbiome research demand information about organism-scale metabolic networks. The convergence of genome sequencing and computational inference of metabolic networks has enabled great progress toward satisfying that demand by generating metabolic reconstructions from the genomes of thousands of sequenced organisms. Visualization of whole metabolic networks is critical for aiding researchers in understanding, analyzing, and exploiting those reconstructions. We have developed bioinformatics software tools that automatically generate a full metabolic-network diagram for an organism, and that enable searching and analyses of the network. The software generates metabolic-network diagrams for unicellular organisms, for multi-cellular organisms, and for pan-genomes and organism communities. Search tools enable users to find genes, metabolites, enzymes, reactions, and pathways within a diagram. The diagrams are zoomable to enable researchers to study local neighborhoods in detail and to see the big picture. The diagrams also serve as tools for comparison of metabolic networks and for interpreting high-throughput datasets, including transcriptomics, metabolomics, and reaction fluxes computed by metabolic models. These data can be overlaid on the metabolic charts to produce animated zoomable displays of metabolic flux and metabolite abundance. The BioCyc.org website contains whole-network diagrams for more than 18,000 sequenced organisms. The ready availability of organism-specific metabolic network diagrams and associated tools for almost any sequenced organism are useful for researchers working to better understand the metabolism of their organism and to interpret high-throughput datasets in a metabolic context.
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ZHAO, JIANHUI, LING LI, and KWOH CHEE KEONG. "HUMAN POSTURE RECONSTRUCTION AND ANIMATION FROM MONOCULAR IMAGES BASED ON GENETIC ALGORITHMS." International Journal of Image and Graphics 05, no. 02 (2005): 371–95. http://dx.doi.org/10.1142/s021946780500180x.
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The paper aims to propose a new approach towards human posture reconstruction and animation from monocular video sequences that contain any kind of human postures and movements. This is a way towards low cost motion capture and at the same time it avoids many limitations of those classical methods. A parameterized human skeleton model based on anatomy is adopted where the angular constraints are encoded in the joints. Criterion Function is defined to represent the residuals between feature points in the monocular image and the corresponding points resulted from projecting the human model to the projection plane. By transforming each segment of the human model to achieve the minimum value of the Criterion Function, the proper human posture that resembles the one represented by the monocular image can be generated. Different kinds of adjustments are utilized to adjust the body parts into the proper locations and orientations in 3D space without camera calibration. In order to find the optimal solution effectively in a high-dimensional parameter space by considering all the parameters simultaneously, the method of Genetic Algorithms is proposed. A procedure is developed to recover the whole body posture, and then a human animation system is developed to animate a series of human movements from monocular image sequences, during which information between consecutive frames is considered to improve the accuracy. Our technique makes it feasible to reconstruct any possible human postures, and experimental results from many monocular images and video sequences are encouraging.
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Jasanoff, Jay H. "Some difficult Tocharian genitives." Indogermanische Forschungen 124, no. 1 (2019): 47–60. http://dx.doi.org/10.1515/if-2019-0002.
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Abstract This paper discusses the Tocharian gen. sg. in B -ntse, A -s, and the gen. pl. in B -ṃts(ə), A -śśi. The PToch. gen. sg. ending *‑nsæ is explained by assuming an extension of the o-stem ending *‑o-s(y)o to n‑stems, giving first *‑Cn‑əsæ (with connecting *‑ə‑) and then, with regular metathesis, *‑C‑ə‑nsæ, from which productive *‑nsæ was extracted. The more difficult gen. pl. endings B ‑ṃts(ə) and A -śśi, which are not usually thought of as being cognate, are traced to sequences of the animate acc. pl. in *‑ns followed by a particle with Sievers variants *‑Tye (Toch. B) and *‑Tiye (Toch. A). The particle *‑T(i)ye is perhaps to be identified with the ‑se of Gk. póse ‘whither’, and thus further with the locational suffix *‑tye/o‑ of Ved. nítya- ‘own’, Hitt. appezziya- ‘hindmost’, etc.
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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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HICKMANN, MAYA, and HENRIËTTE HENDRIKS. "Cohesion and anaphora in children's narratives: a comparison of English, French, German, and Mandarin Chinese." Journal of Child Language 26, no. 2 (1999): 419–52. http://dx.doi.org/10.1017/s0305000999003785.
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The aim of this study is to determine universal vs. language-specific aspects of children's ability to organize cohesive anaphoric relations in discourse. Analyses examine narratives produced on the basis of two picture sequences by subjects of four ages (preschoolers, seven-year-olds, ten-year-olds, adults) in four languages: English (n = 80), German (n = 40), French (n = 40), and Mandarin Chinese (n = 40). Particular attention is placed on the impact of syntactic, semantic, and pragmatic factors in determining the uses of referring expressions and of word order in the maintenance of reference to the animate characters. Although subjecthood and agency determine NP position within the clause, role relations in discourse coreference account for NP form in all languages, notwithstanding some variations across languages, ages, and referents (e.g. density of coreference, null elements vs. overt pronouns, clause structures). It is concluded that the development of anaphora is determined by universal pragmatic principles and by language-specific properties characterizing how languages map discourse-internal and sentence-internal functions onto the same forms.
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Player, Mark. "Media-Morphosis. Intermediality, (Re-)Animation and the Medial Uncanny in Tsukamoto Shinya’s Tetsuo: The Iron Man (1989)." Acta Universitatis Sapientiae, Film and Media Studies 12, no. 1 (2016): 167–89. http://dx.doi.org/10.1515/ausfm-2016-0009.
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Abstract Operating self-sufficiently on the fringes of the Japanese film industry for almost his entire career, the work of independent filmmaker Tsukamoto Shinya1 is perhaps best-known for its uncompromising, musical freneticism, as well as its corporeal spectacle. However, Tsukamoto’s dynamic clashing of visual media signifiers, such as those of theatre and television (industries within which he also operated prior to his film career during the 1980s), and how these impact upon his reflexive cinematic style, has yet to be fully considered. Drawing on Laura Mulvey’s conception of the ‘uncanny’ in response to cinema’s potential to confuse animate and inanimate, as well as Tsukamoto’s own under-discussed background in experimental street theatre and television advertising production, this essay seeks to examine Tsukamoto’s unique method of stop motion photography within his signature, self-produced feature Tetsuo: The Iron Man (1989). The intention is to show that these hyperbolic sequences instil not only an uncanniness in their live-action subjects, who are rendered inanimate then reanimated to form staccato, cyborg characters, but also a ‘medial uncanny’ that simultaneously emulates and subverts the qualities of a vast range of visual media, particularly television and its associated post-medial peripherals and artefacts.
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ElSankari, Souraya, Olivier Balédent, Vincent van Pesch, Christian Sindic, Quentin de Broqueville, and Thierry Duprez. "Concomitant Analysis of Arterial, Venous, and CSF Flows using Phase-Contrast MRI: A Quantitative Comparison Between MS Patients and Healthy Controls." Journal of Cerebral Blood Flow & Metabolism 33, no. 9 (2013): 1314–21. http://dx.doi.org/10.1038/jcbfm.2013.95.
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Venous dysfunction has recently been hypothesized to contribute to the pathophysiology of multiple sclerosis (MS). 2D phase-contrast (PC) magnetic resonance imaging (MRI) is a non-invasive and innocuous technique enabling reliable quantification of cerebrospinal fluid (CSF) and blood flows in the same imaging session. We compared PC-MRI measurements of CSF, arterial and venous flows in MS patients to those from a normative cohort of healthy controls (HC). Nineteen MS patients underwent a standardized MR protocol for cerebral examination on a 3T system including Fast cine PC-MRI sequences with peripheral gating in four acquisition planes. Quantitative data were processed using a homemade software to extract CSF and blood flow regions of interest, animate flows, and calculate cervical and intracranial vascular flow curves during the cardiac cycle (CC). Results were compared with values obtained in 21 HC using multivariate analysis. Venous flow patterns were comparable in both groups without signs of reflux. Arterial flows ( P = 0.02) and cervical CSF dynamic oscillations ( P = 0.01) were decreased in MS patients. No significant differences in venous cerebral and cervical outflows were observed between groups, thereby contradicting the recently proposed theory of venous insufficiency. Unexpected decrease in arterial perfusion in MS patients warrants further correlation to volumetric measurements of the brain.
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A, Fatmahwati. "PRAGMATIK DAN METAFORA PADA IKLAN AUDIO VISUAL MEIKARTA (PRAGMATICS AND METAPHORS ON MEIKARTA AUDIO VISUAL ADVERTISEMENT)." Metalingua: Jurnal Penelitian Bahasa 18, no. 1 (2020): 29. http://dx.doi.org/10.26499/metalingua.v18i1.458.
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This paper discusses metaphors on Meikarta audio visual advertisement “the girl” version using pragmatic approach. The advertisement promotes a new city offering a quality living, sustainable environment, modern lifestyle, and latest technology. Such image is built by a story of a girl left a disorganized “old town” for a new comfortable city named Meikarta. The advertisement uses metaphors in conveying messages to contrast the “old city” to the new one. This paper aims at describing the sequences of themes, types, and metaphorical meanings found in the advertisement’sunderlying context. The data were collected by a note-taking technique and were analyzed using the analytical descriptive method and interpretative technique referring to an ethnographic research. The findings reveal that the Meikarta audio visual advertisement is full of metaphors. Almost all of the sequences of themes in the schematic composition of the advertisement contain metaphors that convey a certain concept based on similarities or comparisons. The Meikarta advertisement metaphor items can be divided into two categories, namely inanimate and animate.The meaning of each item reflects the situational, social, cultural context and ideology of urban communities in Indonesia.AbstrakKajian ini membahas metafora pada iklan audio visual Meikarta versi “anakperempuan” dengan menggunakan pendekatan pragmatik. Iklan Meikartamempromosikan kota baru yang menawarkan hidup yang berkualitas, lingkungan yang terjaga, gaya hidup modern, dan teknologi terbaru. Pencitraan kota baru tersebut dibangun dengan sebuah cerita yang mengisahkan “perjalanan” seorang anak perempuan, meninggalkan “kota lama” yang semrawut menuju Kota Meikarta yang nyaman. Iklan ini menggunakan metafora dalam menyampaikan pesan tentang kontras “kota lama” dan kota baru Meikarta. Penelitian ini bertujuan untuk mendeskripsikan sekuen tema, jenis, dan makna metafora yang ditemukan pada iklan Meikarta berdasarkan konteks yang melatarinya. Pengumpulan data dilakukan dengan teknik simak catat. Analisis data dilakukan dengan metode deskriptif analitik dan teknik interpretatif dengan mengacu pada penelitian etnografik. Hasil penelitian mempertegas bahwa iklan audio visual Meikarta memang sarat dengan metafora. Hampir setiap sekuen tema dalam komposisi skematik iklan Meikarta mengandung metafora yang menyampaikan konsep tertentu berdasarkan persamaan atau perbandingan. Jenis metafora iklan Meikarta dapat dibedakan dalam dua kategori, yaitu inanimate (tidak hidup) dan animate (hidup). Makna setiap item mencerminkan konteks situasi, sosial, budaya, dan ideologi masyarakat perkotaan di Indonesia.
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Márquez, Carlos. "APLICACIÓN DE LOS CÓDIGOS DE BARRAS DE DNA EN EL DESCUBRIMIENTO DE LA DIVERSIDAD ANIMAL MARINA." CICIMAR Oceánides 30, no. 2 (2015): 35. http://dx.doi.org/10.37543/oceanides.v30i2.150.
Full textAbstract:
Los códigos de barras de DNA constituyen un instrumento cuyo objetivo central es la identificación acertada de todas las especies existentes en planeta. La secuencia empleada como identificador de especies animales es un fragmento del gen mitocondrial Citocromo Oxidasa I (COI), cuya longitud es de 350 a 800 pb. El fragmento ha resultado útil en la identificación de especies crípticas y ha ampliado el conocimiento de la diversidad animal; no obstante, no resulta exitoso en plantas y hongos y es inconsistente en diversos grupos como las esponjas de mar. El gen COI es un recurso que a pesar de sus inexactitudes ha aportado enormes beneficios para el conocimiento de la biodiversidad. En este trabajo se analiza la información actual que está en la base de datos BOLD Systems v3, se examina la dinámica de BOLD a través del tiempo y se complementa con información reciente de la literatura. Existen varios hechos que el análisis revela, entre ellos que la generación de secuencias es notable entre 2009 y 2013, y se aprecia una aceleración de 2013 a 2015. Existen datos contrastantes tales como que de las 52525 especies de moluscos marinos sólo se conozcan los códigos del 9.2% y de las 47217 especies de artrópodos se tengan códigos para el 7.6%, en contraste con las 21515 especies de cordados marinos que cuentan con los códigos para el 33.8%. Esta comparación indica un sesgo a favor de las especies carismáticas y de las que tienen importancia económica. Destaca que el número de secuencias de todas las formas de vida que están asociadas a una especie bien identificada siempre está relacionado a un 28 a 30% de especies interinas, ya que es difícil asignarles un nombre definitivo, lo que indica un alto nivel de incertidumbre. Application of DNA barcodes for the discovery of marine animal diversity DNA barcoding is a useful tool for the correct identification of species. The most commonly used sequence is a 350 to 800 bp-long fragment of the mitochondrial gene Cytochrome Oxidase I (COI). This fragment has been successfully used to identify cryptic species and has contributed to an increased understanding of animal diversity. However, its use in plants and fungi has been unsuccessful and results have been inconsistent when used in other groups such as marine sponges. This work analyses current data available in the BOLD System V3 database. It compares how the BOLD system has evolved and complements this with an analysis of current literature. This analysis reveals several important facts, among which is the notable increase in sequences submitted between 2009 and 2013 and an increase in the rate of sequence submission since 2013. The analysis also reveals a clear bias in the phyla that are being sequenced for barcoding. Of the 52525 species of marine molluscs only 9.2% have their barcode available. This percentage is even lower (7.6%) for arthropods. This contrasts with marine chordates in which 33.6% of the 21515 known species have their barcodes available. This data suggests a bias towards charismatic and commercially important species. Finally, the general analysis of BOLD database reveals 70% of barcodes are assigned to clearly identified species and near 30% to interim species (those for which a name cannot be definitively assigned to), which highlights the inaccuracies of the identification system.