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Relevant bibliographies by topics / Animatism

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Academic literature on the topic 'Animatism'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Animatism"

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Young, David, Clifford Pompana, and Russell Willier. "The concept of spiritual power in East Asian and Canadian Aboriginal thought." Social Compass 64, no. 3 (2017): 376–87. http://dx.doi.org/10.1177/0037768617713657.

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A distinction is often made between animism, a belief that everything has a soul or spirit, and animatism, which refers to a belief in a generalized, impersonal power that permeates all of reality. Although the distinction seems to be useful, most traditional societies probably include elements of both. Some concepts, such as mana or kami, can be either animistic or animatistic, depending on whether one is focused on a specific object such as a sacred tree or on the essential oneness of the spiritual power that is found in everything. Moreover, the distance between animism and animatism is not that great; from the recognition that everything in the cosmos has a soul (as in animism) it is only a small leap to the position of animatism that everything in the cosmos shares the same spiritual power. These theoretical points are illustrated with ethnographic information provided by the three authors of this article.

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Fujioka, Sadam. "drop." Proceedings of the ACM on Computer Graphics and Interactive Techniques 4, no. 2 (2021): 1–8. http://dx.doi.org/10.1145/3465613.

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This paper describes an interactive art installation titled "drop." It is the first artwork using the Waterdrop Projection-Mapping (WPM) system, which animates levitating waterdrops. With this artwork, the anno lab team infuses physical characteristics into computer graphics and materializes them as tangible pixels. WPM consists of a waterdrop generator and an ultra high-speed projector. The team uses an ultra high-speed projector to cast stroboscopic spotlights mapping on waterdrops to create an optical illusion of animating each waterdrop individually. This is a new technique to show computer animation by animating levitating waterdrops. This technique explores a new horizon to create animations with tangible pixels that the viewer can touch physically.

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Azad oğlu Aslanov, Rəşid. "Management of animation in tourism." SCIENTIFIC WORK 65, no. 04 (2021): 151–53. http://dx.doi.org/10.36719/2663-4619/65/151-153.

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Animation is a Latin word meaning animation in our language. It is taken from the French word "Anime" and is located in our language. In French, the word "anime" means animation. Animation generally involves all animation systems. Even the animation of an animal by a group of actors on the stage is a form of animation. Computer-generated cartoons, etc. animations are also called animations. Today such animations are used for television and cinema. If we want to look for animation as a paragraph, we should look for it in the section "Entertainment services in tourism". In order to ensure that tourists have a good time and increase the demand for work, great efforts are made to use all the animations as a result. Any entertainment, to present an interesting program, is a set of all activities aimed at activating guests, that is, all animation activities. "Animator" is used in the sense of a person who animates, performs and moves. Animation has emerged as a social phenomenon. Since primitive communities, animations have been used in various ceremonies. Animations made using face painting, masks and accessories are still very common. It has become an indispensable element of gatherings and events. Although it has undergone certain changes over time, animation is a social activity that retains all the animating power it seeks to convey to people. Key words: animation, animation in tourism, tourism, management

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Shostak, Stanley. "Animating the Unconscious: Desire, Sexuality and Animation." European Legacy 21, no. 1 (2015): 117–18. http://dx.doi.org/10.1080/10848770.2015.1097076.

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Lukmanto, Christine Mersiana. "Is Rotoscope True Animation?" ULTIMART Jurnal Komunikasi Visual 10, no. 1 (2018): 12–18. http://dx.doi.org/10.31937/ultimart.v10i1.758.

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Throughout the years, technologies have developed varied techniques for animators to create films. One of the oldest and interesting techniques of animating is Rotoscope by tracing every single frame from live action footages and enhancing it with animator’s style. In terms of anthropomorphism, it creates an uncanny realistic effect because it mimics the reality of the structure, the proportion and the movement. Due to its easy process in animating, there are some critiques and debates about how far rotoscoping can be considered as the “true” animation. This research would cover the identity of rotoscoping, professionals and animator’s perspective as well as the aesthetic of this technique. Keywords: rotoscope, realism, true animation, perspective and aesthetic

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Putri, Annisa Rizkiana, Seta Murdha Pamungkas, Ikhwata Andy Pratama, et al. "Pembuatan Simulasi Perang Zaman Pertengahan dengan Metode Pose to Pose Menggunakan Software Blender." JISKA (Jurnal Informatika Sunan Kalijaga) 6, no. 1 (2021): 1–8. http://dx.doi.org/10.14421/jiska.2021.61-01.

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The animating process is a process in making animation. Many animations seem less clear in delivering messages to the audience. This is because the images and motion of the animation are less real. In making animations, methods are needed to produce quality movements. The method of making animated motions varies depending on the animation pattern you want to create. This research will discuss the Pose to Pose method and will be implemented in the process of making 3D animation that tells the second crusade. The process of warfare involving many people will be in this animation. This method is used in basic human movements in the story. So that the animation looks more real. In making this animation utilizing Blender software starting from the initial stage of manufacture to completion.

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Guo, Li, and Jinying Li. "Animating Chinese Cinemas II: animation, technology, and media." Journal of Chinese Cinemas 11, no. 3 (2017): 189–91. http://dx.doi.org/10.1080/17508061.2017.1376550.

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Zhang, Hui Ping, and Ran Ma. "Skills for Animated AutoCAD Drawing with PowerPoint." Applied Mechanics and Materials 170-173 (May 2012): 3464–67. http://dx.doi.org/10.4028/www.scientific.net/amm.170-173.3464.

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The article is about how to paste the drawing designed by using AutoCAD into PowerPo-int, and to show the drawing process in two different forms of animation by examples. By compari-ng the two different forms of animation, it advances more practical methods and skills for animati-on, and for others ' reference.

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Retnowati, Nurcahyani Dewi. "Desain Dan Animasi 3D Pesawat Terbang Menggunakan Teknik NURBS." Conference SENATIK STT Adisutjipto Yogyakarta 2 (November 18, 2016): 85. http://dx.doi.org/10.28989/senatik.v2i0.70.

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Abstract— 3D computer graphics are often referred to as 3D modeling is the process of developing a mathematical representation of any three-dimensional surface of an object (either inanimate or living) via specialized software. The design of aircraft at the present time can use a variety of methods one using software Blender and NURBS technique. In the manufacture of aircraft models used animation production process flow is divided into three stages: pre-production, production and post-production. Pre-production stage such as modeling, texturing, rigging. Stage productions such as animating, lighting, rendering. In the manufacture of pre-production stage takes precision accuracy settings using NURBS techniques. While in the post-production stage that is animating, lighting and rendering is done by using video editing blender. Keywords—NURBS Technique, design, 3D animation

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Wijanarko, Andang. "Implementasi Prinsip Animasi Straight Ahead Action pada Karakter Hewan Berbasis Animasi 2D." JAMI: Jurnal Ahli Muda Indonesia 1, no. 1 (2020): 73–84. http://dx.doi.org/10.46510/jami.v1i1.20.

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Abstrak Objective. Rangkaian gerak animasi diwujudkan kedalam karakter-karakter animasi yang biasa dijumpai dalam bentuk apapun. Seorang animator harus memahami prinsip-prinsip dasar dan teknik-teknik tertentu dalam proses animasi sehingga karakter animasi yang dihasilkan memiliki kualitas gerak yang indah dan menarik. Penelitian ini membahas tentang salah satu metode atau prinsip animasi straight ahead action untuk menciptakan gerakan animasi hewan yang detail dan halus. Gerakan yang telah ditentukan untuk karakter hewan antara lain gerakan melompat, berlari, dan gerakan kepala dengan menggunakan karakter hewan kelinci. Materials and Methods. Metode straight ahead action digunakan untuk membuat dan menciptakan gerakan animasi dengan cara menggambar satu per satu (frame by frame) dari awal sampai akhir adegan oleh seorang animator. Perancangan animasi terdiri dari tiga tahap mulai dari pra produksi, produksi, dan pasca produksi, serta menggunakan aplikasi Adobe Animate CC 2018 untuk pembuatan objek animasi 2D.  Results. Penelitian ini berhasil menerapkan gerakan animasi hewan dengan gerakan melompat, berlari dan menggerakkan kepala dengan menggunakan prinsip animasi straight ahead action dengan hasil animasi yang detail dan halus. Conclusion. Penelitian ini menghasilkan video animasi karakter hewan berbasis animasi 2D dengan kualitas gerakan animasi yang detail dan halus karena menerapkan prinsip animasi straight ahead action untuk seluruh proses animating-nya. Abstrak Objective. Animated movements are manifested into animated characters that are usually found in any form. An animator must understand the basic principles and certain techniques in the animating process so that the animated characters produce beautiful and interesting motion qualities. This research discusses the implementation of the principle of straight ahead action animation to create detailed and smooth animation movements. Materials and Methods. The straight ahead action method is used to make animated movements by drawing one by one (frame by frame) from the beginning to the end of the scene by an animator. The discussion of the method is carried out by implementing the movements of animals running, jumping, and moving the head, also using Adobe Animate CC 2018 for creating 2D animated objects. The design of animation consists of three stages starting from pre-production, production, and post-production. Results. This research succeeded in applying animal animation with jumping, running and moving the head using the principle of straight ahead action animation with detailed and smooth animation results. Conclusion. This research produces an animated video character of 2D-based animal animation with a detailed and smooth motion animation quality because it applies the principle of straight ahead action animation for the entire animating process.

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Dissertations / Theses on the topic "Animatism"

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Knoell, Tiffany L. "Animating America: Warner Bros. Animation During the Depression." Bowling Green State University / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=bgsu1331398666.

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Jones, Timothy. "Animating community : reflexivity and identity in Indian animation production culture." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/53461/.

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Animating Community examines the cultural practices of animators in India, and particularly the role of practitioner testimony in conceiving and negotiating social structures underpinning the nascent Indian animation industry. Recognizing a tendency in practitioner accounts towards theorization of contested industrial discourses, this research takes as its object the reflexive practice of animators in trade texts and interviews. These reveal how local practitioners understand production culture as an emergent phenomenon, resulting from learned processes of negotiation and collective action. However, practitioner testimony also reflects dramatically different degrees of agency in cultural production and discourse. Focusing on the identity work of diverse creative professionals – corporate elites, freelancers, teachers, and students – reveals underlying tensions between global industrial constraints and local social capital. Based on discursive analysis of testimony, this thesis asks how Indian animation practitioners conceive of their creative activity and identity in relation to negotiating a culture of animation production, and how the shared discourses and modes of engagement that result both shape and are shaped by institutional structures. These questions are addressed through practitioner accounts in three sectors of Indian animation: first, the context of production – considering large outsourcing firms and smaller studios; second, the provision of education – instruction in skills and social norms supplied by the public and private sectors; and third, the creation of dedicated community structures – professional organizations and trade information networks. Animating Community is most interested in how local media professionals articulate different discourses from aesthetic to economic value in order to approach an imagined sense of cultural identity. This sheds light on the way practitioners make sense of their creative and professional worlds. Ultimately, the conclusions offered in this project argue for a more nuanced conception of the relationship between critical practice and creative labour, and greater understanding of the different contexts where this may emerge.

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Sharaf, Nada [Verfasser]. "CHRvis: an animation extension for animating constraint handling rules / Nada Sharaf." Ulm : Universität Ulm, 2019. http://d-nb.info/1190727315/34.

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Tillesen, Brian. "Fairy Forts and the Banshee in Modern Coastal Sligo, Ireland: An Ethnography of Local Beliefs and Interpretations of These Traditions." Master's thesis, University of Central Florida, 2010. http://digital.library.ucf.edu/cdm/ref/collection/ETD/id/3097.

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This thesis examines issues of cultural identity and modernity, and the anthropology of spirituality and sacred sites by conducting ethnographic research on fairy beliefs in contemporary Ireland. Irish folk belief has traditionally identified a spirit world intertwined with our own which is inhabited by spirits, often collectively referred to as fairies. Belief in these spirits was once widespread. My research sought to determine the prevalence of these traditional beliefs among modern Irish people within my research area, as well as differences in belief across variables including age, gender, and religious preference. I conducted eight weeks of ethnographic fieldwork during June-August 2008 in and around Sligo Town in County Sligo, Ireland. I selected County Sligo as a research site because it is a sparsely populated, largely rural area, identified in an earlier major study of Irish folklore as a region where belief in the Irish spirit world persisted more strongly than in other parts of the country. My primary research methodology was to conduct structured and unstructured interviews, complemented by visual site surveys. In the preparation of this thesis I utilized data from 52 Sligo residents plus ten other visitors to the area from surrounding Irish counties. While my research suggests that few Sligo residents from the project area continue to believe in the literal existence of fairies, it also shows a much more common belief in a "power" associated with sites identified as "fairy forts," which are natural features of the landscape or the remains of ancient burials or dwellings apocryphally endowed by folk tradition with supernatural or mysterious energies. These beliefs led to a taboo against intruding on, altering, or destroying these "forts" that is still very much alive today. Additionally I was able to discuss at length the subject of the Irish death-herald spirit called the banshee (bean sidhe) with several study participants. Although it can be classified under the umbrella label of "fairy", my research indicates that the banshee is seen as a stand-apart element of Irish tradition by research area residents, and is believed in by those who do not otherwise profess a belief in "fairies" in general.<br>M.A.<br>Department of Anthropology<br>Sciences<br>Anthropology MA

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Blain, Michael Joseph. "Animating liquids." Thesis, University of Cambridge, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.619596.

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Pappas, Michael A. "Experimental animation." Virtual Press, 1994. http://liblink.bsu.edu/uhtbin/catkey/917014.

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The primary objective of this creative project was to explore and analyze the centuries old technique of animation. The investigation of the material included both text and also visual material such as existing films, videos and interviews.This body of work consisted of a variety of animation techniques combined into one film, a zoetrope with five hand-drawn strips and various forms of merchandise (stickers, bumper stickers and a t-shirt) based on the animation.The goal for this project was to convey the idea that animation is an unlimited field that is always open to new and exciting innovations. The author wanted to express the technique, rather than a plot or some concept to the viewer, with the intent that the viewer will be inspired to also experiment with animation.<br>Department of Art

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MAGALHAES, MARCOS AMARANTE DE ALMEIDA. "SPONTANEOUS ANIMATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2004. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=5561@1.

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O trabalho procura definir o processo de criação de uma animação cinematográfica dentro de sua natureza espontânea e intuitiva, nem sempre decorrente de deduções racionais. Os campos da Animação e do Design são comparados em suas características holísticas e multidisciplinares, que favorecem o uso e o reconhecimento da intuição em seus processos. A animação é caracterizada como a faculdade humana de analisar e sintetizar movimentos, de existência anterior à invenção do cinema. Técnicas e processos atualmente utilizados na animação são descritos e classificados segundo fontes bibliográficas. A partir destes fundamentos, procura-se definir o termo Animação Espontânea, com o suporte de relatos biográficos de três grandes artistas da animação: Norman McLaren (1914-1987), Fernando Diniz (1918-1999) e Len Lye (1901-1980). São relatadas quatro bem sucedidas iniciativas didáticas em animação: O Animathon (maratona de animação), o Estúdio Aberto do Festival Anima Mundi, o projeto Anima Escola e a Oficina de Modelo Vivo e Animação. Nas considerações finais, conclui-se que a abordagem da animação através de métodos intuitivos e espontâneos facilita e motiva o despertar de uma faculdade ainda pouco conhecida do ser humano: a capacidade de reproduzir e controlar o tempo através de movimentos virtuais.<br>This work seeks to define the creative process in the cinematographic animation, inside its spontaneous and intuitive nature, not always deriving from rational deductions. Animation and Design are compared in its holistic and multidisciplinary characteristics, which favor the use and acknowledgement of intuition in their processes. Animation is characterized as the human faculty of analysis and synthesis of movements, which has been demonstrated far before the invention of cinema. The techniques and processes presently used in animation are then described and classified according to bibliographic sources. From these fundamentals, a definition for Spontaneous Animation is searched, with the help of the biographical reports on three great masters of animation: Norman McLaren (1914-1987), Fernando Diniz(1918-1999) and Len Lye (1901-1980). Four well succeeded didactic initiatives in animation are described: the Animathon (animation marathon), the Open Studio of the Anima Mundi Festival, the Anima School project and the Life Drawing and Animation Workshop. In the final considerations, conclusion is that the approach of animation through intuitive and spontaneous methods is shown to facilitate and motivate the awakening of a yet little know faculty of the human being: that of being able to reproduce and control time through virtual movements.

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Rossouw, Wilan Burger. "Interchanging animation." Diss., University of Pretoria, 2015. http://hdl.handle.net/2263/53341.

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This dissertation is rooted in the premise of stitching together and creating relationships between components and conditions that define a place and its essence. Through architecture, the project focuses on the creation of interconnections between these and subsequent reciprocal complementation and animation. The town of Bela-Bela developed radially around the Warmbaths fountain, which served as the settlement genesis and origin. Due to the water s mystical, mythical and medicinal allure, favourable weather conditions and the serene natural environment, recreational facilities were envisaged and developed here to accommodate the intersection with the water and natural environment enveloping it. The recreational facilities and the town were conceived to be inseparable entities but have evolved to operate independently through privatisation and insulation of the physical and metaphysical nucleus to the place: The central gardens and fountain. The site of investigation is the eastern boundary condition of the Warmbaths Forever Resort. The CBD and major transportation infrastructure ring this site and extend into the urban and rural environment. The urban intention is to create a condition that re-instils a public relationship between the nucleus and the urban context, while the programmatic intentions are to facilitate and reference the characteristics and conditions that define and make up the place, so as to interconnect and animate the town and the everyday with the extraordinary that presides. The architectural intentions are to enable an interchanging animation between architecture, the natural environment and the context, while creating a sensorial intersection with the inherent poetics of the water from the fountain and those from the natural landscape.<br>Mini Dissertation (MArch(Prof))--University of Pretoria, 2015.<br>tm2016<br>Architecture<br>MArch(Prof)<br>Unrestricted

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Fraidoon, Noora. "ANIMAtion Studio." Thesis, Virginia Tech, 2014. http://hdl.handle.net/10919/25223.

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Form, space, rhythm, order, symmetry, balance, repetition, proportion and scale are few from a long checklist of principles that, if followed carefully by the designer, will result in "beautiful" architecture, or so I was told. However, what exactly is "beautiful"? In his book "The beautiful necessity" (1910, p.34) Claude Fayette Bragdon suggests that "Beauty is the name we give to truth we cannot understand". This statement implies that there is a hidden quality within each building, or even within each space, a quality that we can sense but cannot make sense of, a quality very similar to having a soul. The soul seems to linger on the threshold that divides two opposite worlds, it is always in-between. Between the dream and the awake, between the physical and the imaginary, between the conscious and the subconscious and between the real and the unreal. In this thesis, the "real" world consists of an animation studio (the program), the studio's staff and visitors, the selected site located in Alexandria, and it is bound by the building methods, materials and codes. The "unreal" world consists of four fictional characters that, assumingly, emerged from my subconscious and who live in a fictional dimension that overlaps ours. The different encounters within the "real" world and within the "unreal" world, and also the interactions between the "real" and the "unreal" worlds are translated into an architectural language as an attempt to investigate the soul.<br>Master of Architecture

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Stainback, Pamela Barth. "Computer animation : the animation capabilities of the Genigraphics 100C /." Online version of thesis, 1990. http://hdl.handle.net/1850/11460.

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Books on the topic "Animatism"

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Koman, Richard. GIF animation studio: Animating your web site. Songline studios, 1996.

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Michael, Alex. Animating with Flash 8: Creative animation techniques. Elsevier, 2006.

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Michael, Alex. Animating with Flash 8: Creative animation techniques. Focal Press, 2006.

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Principles of three-dimensional computer animation: Modeling, rendering, and animating with 3D computer graphics. Norton, 1995.

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Principles of three-dimensional computer animation: Modeling, rendering, and animating with 3D computer graphics. 3rd ed. Norton, 2003.

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Principles of three-dimensional computer animation: Modeling, rendering, and animating with 3D computer graphics. Norton, 1998.

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Animation. ReferencePoint Press, Inc., 2014.

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Trueit, Trudi Strain. Animation. Cherry Lake Pub., 2009.

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Bühler, Peter, Patrick Schlaich, and Dominik Sinner. Animation. Springer Berlin Heidelberg, 2017. http://dx.doi.org/10.1007/978-3-662-53922-4.

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Joanna, Quinn, and Mills Les, eds. Basics animation: Drawing for animation. AVA Academia, 2009.

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Book chapters on the topic "Animatism"

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Eswarappa, Kasi, and Gladis S. Mathew. "Animatism." In Encyclopedia of Psychology and Religion. Springer Berlin Heidelberg, 2019. http://dx.doi.org/10.1007/978-3-642-27771-9_200238-1.

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Eswarappa, Kasi, and Gladis S. Mathew. "Animatism." In Encyclopedia of Psychology and Religion. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-24348-7_200238.

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Gowanlock, Jordan. "Introduction: “Fully Nonlinear”." In Palgrave Animation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_1.

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AbstractThe introduction to Animating Unpredictable Effects establishes a specific category of digital animation that is based on making unpredictable simulations. The book situates this form of animation in the context of key discussions about the relationship between animation and automation, and about the agency digital animators have when working with increasingly opaque software tools. The introduction further situates this type of animation in the history of cinema, which has long been preoccupied with natural motion and topics of contingency.

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Gowanlock, Jordan. "Simulation and R&D: Knowing and Making." In Palgrave Animation. Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_2.

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AbstractThis chapter of Animating Unpredictable Effects charts the development of the software tools used to create uncanny simulation-based digital animations, drawing a genealogy that starts with nineteenth century mathematics, which were transformed into management and prediction tools by private and military R&D between the 1940s and 1980s. Through this, the chapter identifies a connection between these animation tools and simulation tools used in fields as diverse as meteorology, nuclear physics, and aeronautics that create unpredictability through stochastic or dynamic simulation. Using this information, the chapter offers a theoretical framework for understanding how fictional simulations in animation and visual effects make meaning through “knowing how” as opposed to cinema’s tradition approach of “knowing that,” leveraging concepts from the history of science.

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Macaulay, Michael. "Animation." In Introduction to Web Interaction Design. Chapman and Hall/CRC, 2017. http://dx.doi.org/10.1201/9781315692333-18.

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Redfern, Darren, and Colin Campbell. "Animation." In The Matlab® 5 Handbook. Springer New York, 1998. http://dx.doi.org/10.1007/978-1-4612-2170-8_13.

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Welsch, Norbert. "Animation." In Edition Page. Springer Berlin Heidelberg, 1997. http://dx.doi.org/10.1007/978-3-642-97959-0_12.

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Müller, Heinrich, Wolfgang Leister, and Achim Stößer. "Animation." In Fotorealistische Computeranimation. Springer Berlin Heidelberg, 1991. http://dx.doi.org/10.1007/978-3-642-76135-5_1.

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Bateman, Rob, and Richard Olsson. "Animation." In The Essential Guide to 3D in Flash. Apress, 2010. http://dx.doi.org/10.1007/978-1-4302-2542-3_9.

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MacDonald, Matthew. "Animation." In Pro Silverlight 3 in VB. Apress, 2009. http://dx.doi.org/10.1007/978-1-4302-2428-0_10.

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Conference papers on the topic "Animatism"

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Bharat, Krishna, and Piyawadee Noi Sukaviriya. "Animating user interfaces using animation servers." In the 6th annual ACM symposium. ACM Press, 1993. http://dx.doi.org/10.1145/168642.168649.

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Teece, Daniel. "Animating with expressive 3D brush strokes (animation abstract)." In the first international symposium. ACM Press, 2000. http://dx.doi.org/10.1145/340916.340938.

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Ohki, Hidehiro, Moriyuki Shirazawa, Keiji Gyohten, Naomichi Sueda, and Seiki Inoue. "Sport Data Animating - An Automatic Animation Generator from Real Soccer Data." In 2009 International Conference on Complex, Intelligent and Software Intensive Systems (CISIS). IEEE, 2009. http://dx.doi.org/10.1109/cisis.2009.185.

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Kurtz, Nicole. "ANIMATING MICROBES: USING FORENSIC ANIMATION AND HUMOR TO EDUCATE THE PUBLIC." In GSA Annual Meeting in Indianapolis, Indiana, USA - 2018. Geological Society of America, 2018. http://dx.doi.org/10.1130/abs/2018am-322313.

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Yi, Zili, Qiang Tang, Vishnu Sanjay Ramiya Srinivasan, and Zhan Xu. "Animating Through Warping: An Efficient Method for High-Quality Facial Expression Animation." In MM '20: The 28th ACM International Conference on Multimedia. ACM, 2020. http://dx.doi.org/10.1145/3394171.3413926.

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Brennan, Clare, and Lynn Parker. "Animating Dance and Dancing with Animation: A Retrospective of Forever Falling Nowhere." In Electronic Visualisation and the Arts (EVA 2014). BCS Learning & Development, 2014. http://dx.doi.org/10.14236/ewic/eva2014.11.

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Farrugia, Michael, and Aaron Quigley. "Cell phone Mini Challenge: Node-link animation award animating multivariate dynamic social networks." In 2008 IEEE Symposium on Visual Analytics Science and Technology (VAST). IEEE, 2008. http://dx.doi.org/10.1109/vast.2008.4677393.

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Chang, Yu-Ching, and Shu-Wei Chang. "From Comic Storyboard to 3D Animatic: Discussing the Visual Composition in Computer Animation." In 2018 1st IEEE International Conference on Knowledge Innovation and Invention (ICKII). IEEE, 2018. http://dx.doi.org/10.1109/ickii.2018.8569068.

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"ANIMATING AND RENDERING VIRTUAL HUMANS - Extending X3D for Real Time Rendering and Animation of Virtual Characters." In International Conference on Computer Graphics Theory and Applications. SciTePress - Science and and Technology Publications, 2008. http://dx.doi.org/10.5220/0001093503870394.

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Zhong, Yongmin, and Bijan Shirinzadeh. "An Approach for 3D Visualization of Discrete Event Simulation." In ASME 2004 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. ASMEDC, 2004. http://dx.doi.org/10.1115/detc2004-57669.

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Abstract:

This paper presents a new approach to create 3D visualization from discrete simulation results. This approach connects discrete event simulation directly to 3D animation with its novel methods of analyzing and converting discrete simulation results into animation events to trigger 3D animation. In addition, it constructs a 3D animation framework for the visualization of discrete simulation results. This framework supports the reuse of both the existing 3D animation objects and behavior components, and allows the rapid development of new 3D animation objects by users with no special knowledge in computer graphics but average computer skills. This approach has been implemented with the software component technology, and successfully applied in industry. Results from its practice in an electronics assembly factory are also provided in the paper to demonstrate the performance of this new approach.

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Reports on the topic "Animatism"

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Kearney, J. K., and S. Hansen. Stream Editing for Animation. Defense Technical Information Center, 1990. http://dx.doi.org/10.21236/ada231316.

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Foster, Nick, and Ronald Fedkiw. Practical Animation of Liquids. Defense Technical Information Center, 2001. http://dx.doi.org/10.21236/ada479067.

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Morlan, Christopher E. Creating and Animating Vehicle Graphics. Defense Technical Information Center, 1988. http://dx.doi.org/10.21236/ada200325.

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Butler, Lee A., and Christine Murdza. Animation Techniques in BRL-CAD. Defense Technical Information Center, 1993. http://dx.doi.org/10.21236/ada275232.

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Turner, Howard, Francelina A. Neto, and Edward Hohmann. Visualization and Animation in Civil Engineering. Defense Technical Information Center, 2002. http://dx.doi.org/10.21236/ada409376.

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Turner, Howard, Francelina A. Neto, and Edward C. Hohmann. Visualization and Animation in Civil Engineering. Defense Technical Information Center, 2002. http://dx.doi.org/10.21236/ada410160.

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Steedman, Mark, Norman Badler, and Bonnie L. Webber. Narrated Animation: A Case for Generation. Defense Technical Information Center, 1990. http://dx.doi.org/10.21236/ada458624.

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Bai, Jiamin. Selectively De-animating and Stabilizing Videos. Defense Technical Information Center, 2014. http://dx.doi.org/10.21236/ada620000.

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Andryushina, T. V., and O. B. Bolbat. Standard schemes of animation in the presentation. OFERNIO, 2017. http://dx.doi.org/10.12731/ofernio.2017.23299.

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Badler, Norman I. Virtual Humans for Animation, Ergonomics and Simulation. Defense Technical Information Center, 1996. http://dx.doi.org/10.21236/ada384421.

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