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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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Jerlardtz, Emilia. "Anatomy and Animation: Anatomically Based Animation Skeletons for Quadrupeds." Thesis, Högskolan i Gävle, Avdelningen för Industriell utveckling, IT och Samhällsbyggnad, 2012. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-13442.
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Constructing animation skeletons for quadrupeds is a complicated process, and knowing how to construct an animation skeleton for one type of quadruped does not guarantee the ability to effortlessly do so for another. This project explores how anatomy may easy the task of quadruped animation skeleton setup. Quadruped anatomy has been extensively studied and a method for animation skeleton setup based on anatomical information was explored using Autodesk Maya 2012. This method was based on the assumption that anatomical information could be incorporated into animation skeleton creation, thereby enabling the construction of an animation skeleton structure applicable to quadrupeds of different locomotion. It was discovered that this was hardly the case and the conclusion of this project has been that a better approach to animation skeletons is to construct them depending on the requirements of the project they are intended for rather than seeking to standardise how they should be set up.
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Thörner, Eddie, and Alexander Tyrling. "Animation av fräsverktyg." Thesis, Halmstad University, School of Business and Engineering (SET), 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:hh:diva-4650.
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Björklund, Niklas. "Acting in animation." Thesis, University of Gävle, Ämnesavdelningen för datavetenskap, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:hig:diva-4698.
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<p>It is important to remember actors and animators are similar in many respects, but also very different in some. They both frame and provide life to a character, through thoughts and feelings. To obtain a better understanding of how professional animators work and what methods they use, this thesis contains general background information on animation and the Principles in Animation, as well as the analysis of acting and the different acting concepts. By studying these methods and utilizing them in my own work, a short animation was developed to visualize a characters personality through his actions. The result was then applied to a questionnaire to determine if the audience could pick out the characters personality only through the animation without dialog, music, or sound. According to the interviewed audience, they could feel some of the characters emotions and pick out some of the inner thoughts and feelings from the animation.</p>
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Saunders, Breton M. "Fast animation dynamics." Thesis, University of Cambridge, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.621917.
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Kim, Hana 1980. "Multimodal animation control." Thesis, Massachusetts Institute of Technology, 2003. http://hdl.handle.net/1721.1/29661.
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Thesis (M.Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2003.<br>Includes bibliographical references (leaf 44).<br>In this thesis, we present a multimodal animation control system. Our approach is based on a human-centric computing model proposed by Project Oxygen at MIT Laboratory for Computer Science. Our system allows the user to create and control animation in real time using the speech interface developed using SpeechBuilder. The user can also fall back to traditional input modes should the speech interface fail. We assume that the user has no prior knowledge and experience in animation and yet enable him to create interesting and meaningful animation naturally and fluently. We argue that our system can be used in a number of applications ranging from PowerPoint presentations to simulations to children's storytelling tools.<br>by Hana Kim.<br>M.Eng.
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Yu, Jinhui. "Stylised procedural animation." Thesis, University of Glasgow, 1999. http://theses.gla.ac.uk/6737/.
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This thesis develops a stylised procedural paradigm for computer graphics animation. Cartoon effects animations - stylised representations of natural phenomena - have presented a long-standing, difficult challenge to computer animators. We propose a framework for achieving the intricacy of effects motion with minimal animator intervention. Our approach is to construct cartoon effects by simulating the hand-drawing process through synthetic, computational means. We create a system which emulates the stylish appearance, movements of cartoon effects in both 2D and 3D environments. Our computational models achieve this by capturing the essential characteristics common to all cartoon effects: structure modelling, dynamic controlling and stylised rendering. To validate our framework, we have implemented a cartoon effects system for a range of effects including water effects, fire, smoke, rain and snow. Each effect model has its own static structure such as how the different parts are related temporarily. The flexibility of our approach is suggested most evidently by the high-level controls on shape, colour, timing and rendering on the effects. Like their hand-drawn counterparts, they move consistently while retaining the hand-crafted look. Since the movements of cartoon effects are animated procedurally, their detailed motions need not be keyframed. This thesis therefore demonstrates a powerful approach to computer animation in which the animator plays the role of a high level controller, rather than the more conventional hand-drawing slave. Our work not only achieves cartoon effects animation of un-precedented complexity, but it also provides an interesting experimental domain for related research disciplines toward more creative and expressive image synthesis in animation.
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Robison, David J. "Community Animation Workshop." Bradford University, 2006. http://hdl.handle.net/10454/4016.
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No.<br>The University of Bradford has recently pioneered a radical approach to engaging children and young people in learning about technology and the arts, thanks to funding provided by the English Arts Council. Young people engaged with youth services in the Bradford area were invited to take part in innovative performance art and digital media sessions held at the University.
The sessions had a tangible output for the young people. The result was four one-minute ¿motion-captured¿ animations containing original music and dance ¿ produced by the participants themselves, with the help of experienced workshop leaders. This was packaged on a DVD which also contained a video documentary about the workshops, filmed as they were taking place by local film-maker and lecturer, David Robison. The participants were also able to take away their work on their mobile phones, video phones and portable Play-stations.
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Morisawa, Tomohiro. "Producing animation : work, creativity, and aspirations in the Japanese animation industry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:a38a83ae-d123-4192-94b1-4279ab82b521.
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This thesis examines shifting relations of labour, creativity, and political economy in the context of commercial animation production in contemporary Tokyo. Based on 12 months of fieldwork in the Japanese animation industry (2009-2010), the ethnography of the thesis is centred on young animation makers whose lives are fraught with persistent job insecurity and socio-economic precariousness. Contrary to celebratory narratives of the global success of anime, found in both Japanese media discourses and the literature of Japanese studies, these professional young workers live on the socio-economic fringe of mainstream Japanese society. Despite such instability, labour discourses in the animation industry are notable for their highly aspirational quality, which appears to be based on global liberal discourses of self-realisation through the pursuit of dreams in the labour market. Commercial animation production in the Japanese industry entails a complex division of labour in which animation makers are, at the root, divided between managers and creators. This management-creative relation structures the primary context of commercial production. Thematically, the thesis engages mainly with three research literatures in anthropology: the anthropology of creativity, the anthropology of work, and Japanese ethnography. The analytical locus is built on the perspective of young entry-level managers, with whom I worked during fieldwork and who were on the lowest strata of the workplace hierarchy. Through the detailed ethnography of animation production - one of Japan's premier creative industries - the thesis examines creative processes of animation making within the terms of work and labour. In so doing, it engages critically with the social and economic structures of commercial animation production, and explores the lived dimension of labour on the production floor. Methodologically, this means combining the perspectives of political economy and phenomenology by situating the micro-processes of animation making firmly in the industry's social and economic relations of production. I pay particular attention to the ways in which shifting social and cultural discourses of labour in Japan intersect with global liberal ideologies, such as creativity and self-realisation, in the context of commercial animation production. The major focus of the thesis is therefore to explicate what it is that makes these young animation makers, despite adverse conditions of labour, retain their aspirations to pursue the profession of animation making.
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Hui, Gan Sheuo. "The concept of selective animation : dropping the "limited" in limited animation." Kyoto University, 2008. http://hdl.handle.net/2433/136473.
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Kyoto University (京都大学)<br>0048<br>新制・課程博士<br>博士(人間・環境学)<br>甲第13937号<br>人博第410号<br>新制||人||101(附属図書館)<br>19||人博||410(吉田南総合図書館)<br>UT51-2008-C853<br>京都大学大学院人間・環境学・環境学研究科共生人間学専攻<br>(主査)准教授 加藤 幹郎, 教授 篠原 資明, 准教授 小倉 紀蔵<br>学位規則第4条第1項該当
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Safuoglu, Hikmet. "Within normal limits /." Online version of thesis, 1991. http://hdl.handle.net/1850/11610.
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Anders, Jörg. "Character-Animation mit Blender." Universitätsbibliothek Chemnitz, 2008. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-200800841.
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Montanari, Lucia. "Frattali e computer animation." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2017. http://amslaurea.unibo.it/14685/.
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Billström, Johan, and Alexander Fjellström. "3D-animation i reklamfilm." Thesis, Södertörn University College, School of Communication, Media and it, 2007. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-2597.
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<p><strong>Study</strong> <strong>objects</strong>: Three different productions companies which the authors have chosen to be anonymous. <strong>Purpose</strong>: The purpose with this study is to examine why production companies choose to use 3D-animations in television commercials, and what different kind of aspects affects their decisions. <strong>Theoretical</strong>: The theoretical chapter reviews the history of 3D-animation andtelevision commercials and other fields that will be relevant laterin the analysis and discussion. <strong>Method</strong>: A case study has been made on three different companies, two of the companies are active in post-production and the other one is active in the consulting area. Data was collected through semistructured interviews with two of the companies. The last interview was conducted via e-mail. <strong>Conclusions</strong>: There were different ground aspects (economy, control, targetaudience, consumer impression) that affected a productioncompany’s decision in whether or not to use 3D-animation in theirproductions of television commercials.</p>
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Connor, Daniel F. "Simulating three-dimensional animation /." Online version of thesis, 1988. http://hdl.handle.net/1850/11551.
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Englebienne, Gwenn. "Animating faces from speech." Thesis, University of Manchester, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.496242.
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In this thesis we tackle the relationship between facial motion and speech. Generating realistic facial animations is a very challenging problem of computer graphics because humans are strongly specialised in interpreting faces, thus making them highly critical judges of the quality of the result. Conversely, the interpretation of human faces is crucial to improving computer interfaces.
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Zongker, Douglas. "Creating animation for presentations /." Thesis, Connect to this title online; UW restricted, 2003. http://hdl.handle.net/1773/6862.
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MAGALHAES, MARCOS AMARANTE DE ALMEIDA. "THE TIME OF ANIMATION." PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO, 2015. http://www.maxwell.vrac.puc-rio.br/Busca_etds.php?strSecao=resultado&nrSeq=25672@1.
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PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO<br>Este trabalho aborda os benefícios trazidos pela prática da produção de animações para um indivíduo e para a coletividade. A discussão apresentada tem como base a experiência do autor nas áreas do cinema de animação e da educação audiovisual, assim como os textos e pensamentos de Len Lye, Walter Benjamin e outros autores sobre questões de percepção e compreensão do tempo e de suas dimensões. A produção de dois curtas-metragens sobre animação, Doutor, meu filho é Animador de 14 minutos e O Filme de Fernando de 22 minutos, é utilizada como recurso para a investigação de temas como a imagem como signo para reflexão e comunicação; o conceito de imagem cética, que não traz um pensamento constituído por definições absolutas, mas aceita múltiplas e evolutivas interpretações; a construção de registros de memória; o conceito de key frames ou posições-chave aplicadas como marcas temporais tanto para um tempo micro (ilusão de movimentos) como macro (memória coletiva e história); e a possibilidade de compreensão do tempo e de suas diversas dimensões, de um jeito particular por cada indivíduo, a partir da experiência de produção de um filme de animação. O trabalho apresenta também uma revisão de iniciativas pedagógicas envolvendo a aplicação dos benefícios da animação na educação formal, tendo como referência os projetos Anima Escola no Brasil e o CAP na Dinamarca, projetos com atuações semelhantes e simultâneas durante uma mesma década. Como anexo da tese, é apresentada ainda a Cartilha Anima Escola, material didático sobre animação elaborado para professores, integralmente escrito pelo autor.<br>This work addresses the benefits brought by animation s producing practices to individuals and to the collectivity. The presented discussion is based on the author s experience in the areas of Animation Cinema and Audiovisual Education, as well as in the writings and thoughts of Len Lye and Walter Benjamin, among other authors, concerning questions on perception and the understanding of Time and its dimensions. The production of two short films about animation, Doctor, my son is an Animator, 14 minutes, and Fernando s Film, 22 minutes, is used as means for the investigation of themes such as the Image as a sign for reflection and communication; the concept of the skeptic image, which does not bring a way of thinking constituted by absolute definitions, but rather accepts multiple and evolutional interpretations; the construction of memory registers; the concept of key frames applied as temporal marks for a micro time (Illusion of movement) as well as for a macro time (Collective Memory and History); and the possibility to understand Time and its various dimensions in a particular way by each individual, starting from the experience of producing an animation film. The work also presents a revision of pedagogical initiatives concerning the application of the benefits brought by animation into the formal education, having as reference the Brazilian Anima Escola and the Danish CAP, two projects with similar and simultaneous actions during the same decade. The Anima Escola s Handbook is presented as an annex to the thesis, as a didactic piece about animation for teachers, entirely written by the author of this work.
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Pickup, David Lemor. "Example-based water animation." Thesis, University of Bath, 2013. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607612.
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We present the argument that video footage of real scenes can be used as input examples from which novel three-dimensional scenes can be created. We argue that the parameters used by traditional animation techniques based on the underlying physical properties of the water, do not intuitively relate to the resulting visual appearance. We will present a novel approach which allows a range of video examples to be used as a set of visual parameters to design the visible behaviour of a water animation directly. Our work begins with a method for reconstructing the perceived water surface geometry from video footage of natural scenes, captured with only a single static camera. We show that this has not been accomplished before, because previous approaches use sophisticated capturing systems which are limited to a laboratory environment. We will also present an approach for reconstructing the water surface velocities which are consistent with the reconstructed geometry. We then present a method of using these water surface reconstructions as building blocks which can be seamlessly combined to create novel water surface animations. We are also able to extract foam textures from the videos, which can be applied to the water surfaces to enhance their visual appearance. The surfaces we produce can be shaped and curved to fit within a user's three-dimensional scene, and the movement of external objects can be driven by the velocity fields. We present a range of results which show that our method can plausibly emulate a wide range of real-world scenes, different from those from which the water characteristics were captured. As the animations we create are fully three-dimensional, they can be rendered from any viewpoint, in any rendering style.
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Ezzat, Tony F. (Tony Farid). "Trainable videorealistic speech animation." Thesis, Massachusetts Institute of Technology, 2002. http://hdl.handle.net/1721.1/8020.
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Thesis (Ph. D.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2002.<br>Includes bibliographical references (p. 53-58).<br>I describe how to create with machine learning techniques a generative, videorealistic, speech animation module. A human subject is first recorded using a videocamera as he/she utters a pre-determined speech corpus. After processing the corpus automatically, a visual speech module is learned from the data that is capable of synthesizing the human subject's mouth uttering entirely novel utterances that were not recorded in the original video. The synthesized utterance is re-composited onto a background sequence which contains natural head and eye movement. The final output is videorealistic in the sense that it looks like a video camera recording of the subject. At run time, the input to the system can be either real audio sequences or synthetic audio produced by a text-to-speech system, as long as they have been phonetically aligned. The two key contributions of this work are * a variant of the multidimensional morphable model (MMM) [4] [26] [25] to synthesize new, previously unseen mouth configurations from a small set of mouth image prototypes, * a trajectory synthesis technique based on regularization, which is automatically trained from the recorded video corpus, and which is capable of synthesizing trajectories in MMM space corresponding to any desired utterance. Results are presented on a series of numerical and psychophysical experiments designed to evaluate the synthetic animations.<br>by Tony Farid Ezzat.<br>Ph.D.
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Kapoor, Priyanka (Priyanka Anil). "Animating the Adi Ganga." Thesis, Massachusetts Institute of Technology, 2010. http://hdl.handle.net/1721.1/59521.
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Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Architecture, 2010.<br>Cataloged from PDF version of thesis.<br>Includes bibliographical references (p. 181-184).<br>The thesis is about a fascinating channel flowing in southern Kolkota. The channel is heavily polluted inspite of being considered sacred in the City's memory. The thesis tries to understand and interrogate the residual memory of this channel to propose strategies for its rehabilitation. The study uses a three-fold approach: the historical analysis, to understand the causes of the present situation; the geographical analysis, to discern the extant physical conditions and spatial scales; followed by an integrative design proposal. In the contemporary debate of river restorations in India, where holy rivers have turned into polluted drains, Urban streams and channels are being considered as a viable means of interventions. Realizing this, the thesis shows possibilities on how the rehabilitation of a polluted urban cannel can be approached.<br>by Priyanka Kapoor.<br>S.M.
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McGill, Jarrett. "Finding Personality in Animation." Digital Commons @ East Tennessee State University, 2021. https://dc.etsu.edu/honors/642.
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There is a difference between making something move and bringing something to life in animation. The animation principles work together to bring out character that is only visible with memorable movement. Given how the entertainment space has changed and grown over recent years, it is arguably vital for characters to be unforgettable for franchises to survive. This creative thesis explores how personalities are interpreted in animation by viewers and creators, and a workflow to bring the personalities to the forefront in the piece. Three distinct characters will be animated with the same set of animations to showcase how a personality can shine.
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PROVOT, XAVIER. "Animation realiste de vetements." Paris 5, 1997. http://www.theses.fr/1997PA055029.
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L'animation des tissus et la realisation de vetements de synthese font l'objet de nombreuses recherches en informatique graphique. L'approche la plus developpee consiste a representer les tissus par une surface elastique continue. Nous nous placons dans un cadre similaire, puisque pour nous, un tissu est un systeme masses-ressorts, soumis aux lois de la dynamique. Le gros desavantage des modeles elastiques classiques, c'est qu'ils sont d'autant plus chers en calculs que l'on desire obtenir un comportement plus rigide. On est alors vite limite en ce qui concerne les tissus, qui sont souvent tres rigides en traction (cas du denim ou de la toile de coton par exemple). Pour pallier cet inconvenient, nous avons developpe une methode de controle du taux de deformation qui permet d'obtenir des comportements plus rigides, sans presque aucun cout de calcul supplementaire. L'animation des tissus et des vetements requiert la gestion des collisions de ces tissus avec des objets, ou avec eux-memes. La gestion des collisions comprend dans un premier temps la detection des collisions et dans un deuxieme temps le calcul de la reponse aux collisions. Nous avons particulierement etudie la reponse, qui pose de nombreux problemes de robustesse. Pour les resoudre, nous proposons une methode originale de detection et de traitement des zones de collisions complexes. Enfin, notre modele de tissu a ete utilise pour realiser des vetements (chemise et pantalon a pinces), a partir de patrons industriels reels, assembles sur un mannequin tridimensionnel.
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Pegorier, Claire. "Animation d'acteurs de synthèse." Paris 8, 1995. http://www.theses.fr/1995PA081020.
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L'animation d'un acteur de synthese necessite de nombreuses etapes pour obtenir un rendu realiste: les methodes de calcul mises au point concernent l'animation de la peau, la modelisation et l'animation des habits. La peau de l'acteur doit se deformer de maniere elastique au niveau des articulations. Cette propriete a ete obtenue en adaptant l'algorithme des "free form deformation". La morphologie de l'acteur determine un squelette, d'ou decoule une structure hierarchique d'articulations. Ce squelette doit ensuite etre anime par les methodes traditionnelles de l'image de synthese. Un deplacement de l'acteur peut etre genere de maniere automatique: la marche. L'acteur peut suivre une trajectoire plane quelconque. Cependant, les donnees calculees ne peuvent alimenter qu'un logiciel de cinematique directe. L'acteur peut ensuite etre habille de vetements tailles dans une etoffe numerique qu'un programme de couture adapte a la forme de son corps. Ces habits sont ensuite animes par une methode dynamique et leurs mouvements dependent uniquement des deplacements de l'acteur.
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Robert, Christian. "Animation en long sejour." Limoges, 1988. http://www.theses.fr/1988LIMO0179.
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Ripp, Raymond. "Animation graphique et interactivité." Université Louis Pasteur (Strasbourg) (1971-2008), 1991. http://www.theses.fr/1991STR13081.
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Grâce au progrès de l'électronique, l'animation graphique par ordinateur est maintenant possible. Dans cette thèse est présenté un logiciel, Agraph, qui a été mis au point pour permettre à un utilisateur non-informaticien de manipuler interactivement les objets graphiques animés. Après une présentation générale de l'animation graphique par ordinateur, sont exposées les techniques permettant la mise en place d'une interface autorisant l'interactivité et la réalisation par l'utilisateur de séquences d'animation par interpolation de positions clés. La technique d'interpolation par splines cubiques est étudiée en détail, une nouvelle méthode de calcul par approximation des tangentes est mise au point. Des solutions au problème du calcul des différents paramètres définissant les mouvements, la taille et l'aspect des objets graphiques animés sont ainsi proposées. L'interpolation des orientations, qui sont modélisées par des quaternions, fait l'objet d'un développement particulier. Les difficultés liées à la programmation de l'animation graphique en général et de la station graphique en particulier sont largement abordées; après un survol des langages de programmation du parallélisme, les problèmes spécifiques au cadencement par les données sont présentés, des solutions et des méthodes de programmation sont proposées. Enfin, sont décrites les nombreuses applications auxquelles ce travail a donné lieu, mettant en relief l'aspect programmation, les problèmes d'animation qu'elles ont posés ou les services qu'elles peuvent rendre à l'utilisateur
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Ottosson, Joakim, and Stefan Eriksson. "3D Animation Karlshamns AB." Thesis, Blekinge Tekniska Högskola, Sektionen för teknokultur, humaniora och samhällsbyggnad, 2005. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-1524.
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A project produced for Karlshamns AB. This project is a 3D-visualization for a industrial process that shows how to clean oil from a special raw material. In this case we want with the sheanuts help show how the nut harvests, carry and then clean to be used in quality products.<br>Industriell animation som visar en komplicerad process på ett enkelt och pedagogiskt sätt.<br>Detta är en reflektionsdel till en digital medieproduktion.
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Björkqvist, Sara. "A comparative study between factual animation and cartoon animation in a learning context." Thesis, Linköpings universitet, Medie- och Informationsteknik, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:liu:diva-130021.
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Film har påvisats vara en populär metod för effektiv inlärning men inga tidigare undersökningar berör hur den visuella stilen av film i undervisning kan påverka inlärningen. Denna studie går därför ut på att undersöka skillnaderna mellan en saklig, informativ animerad film och en cartoon-animerad film i hur de fungerar och uppfattas i ett lärandesammanhang. Studien innefattar en litteratursökning kring multimediainlärning, kommunikation i film och animationsprinciper som sedan mynnat ut i två animerade filmer, en saklig och en med cartoon-karaktär. Dessa filmer har jämförts i kvalitativa användartester med en högstadieklass för att undersöka förståelsen och uppfattningen kring filmerna. Slutsatserna från studien är att båda filmerna skulle passa i ett lärandesammanhang, dock krävs en djupare och större undersökning för att förstå hur de olika filmerna påverkat inlärningen. Den största skillnaden mellan filmerna ligger i hur underhållande de upplevs, den cartoon-animerade filmen upplevs vara roligare och väcker intresset hos många av testpersonerna, dock upplevde flera att den även var distraherande och att de fokuserade mer på underhållningen än faktan som presenterades. För att fullt svara på syftet krävs en fortsatt studie kring ämnet.
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Holmqvist, Lucas, and Eric Ahlström. "Comparing Traditional Key Frame Animation Approach and Hybrid Animation Approach of Humanoid Characters." Thesis, Blekinge Tekniska Högskola, Institutionen för kreativa teknologier, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-14813.
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Fisher, Adam. "Mashed /." Online version of thesis, 2010. http://hdl.handle.net/1850/11753.
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Alharbi, Ohud. "Developing a strategy to encourage the animation industry life cycle evolution in Saudi Arabia." Thesis, De Montfort University, 2017. http://hdl.handle.net/2086/15265.
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This thesis examines the Saudi animation industry and investigates the barriers that are preventing the development of its life cycle. Although there has been a demand for animation content since the establishment of the Saudi TV in 1965, the Saudi animation industry remains in its Introduction stage. Therefore, the study undertakes an analysis of the factors that could enable the industry to move to its Growth stage. To achieve this, the study attempts to establish an understanding of how different countries succeeded in developing their animation industry life cycle. Therefore, the study selects three countries as a qualitative multiple case study. These countries are the UK, which represents a Mature animation industry; Egypt, which represents an established Growth industry; while the United Arab of Emirates represents an emerging Growth industry. This has involved an in-depth analysis of the animation industries in Saudi Arabia and two other Arabian countries – UAE and Egypt – as well as of the UK. There has been very limited historiography for Arabian animation and almost none on the Saudi Arabian industry previously. A consideration of which factors should be investigated, as the most effective in influencing the evolution of the industry, was undertaken. Reviewing the available literature on the animation industry development showed that four factors have been found to play a considerable role in developing the local animation industry: Higher III Education institutions, Networks, Government and Location. Thus, this study focuses on examining these four factors at different life cycle stages of the animation industry. The findings of this study demonstrate that their impact differs from stage to stage in developing the local animation industry; the significance of particular barriers also varies at different stages of the life cycle. Thus, this study developed a Theoretical Model that combines the most effective strategy that has been found within the studied countries. It also applied the model to the specific context of the Saudi Arabian industry and developed recommendations for a strategy to encourage its evolution. The model could also be applied to other developing animation industries.
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Picard-Limpens, Cécile. "Expressive Sound Synthesis for Animation." Phd thesis, Université de Nice Sophia-Antipolis, 2009. http://tel.archives-ouvertes.fr/tel-00440417.
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L'objectif principal de ce travail est de proposer des outils pour une synthèse en temps-réel, réaliste et expressive, des sons résultant d'interactions physiques entre objets dans une scène virtuelle. De fait, ces effets sonores, à l'exemple des bruits de collisions entre solides ou encore d'interactions continues entre surfaces, ne peuvent être prédéfinis et calculés en phase de pré-production. Dans ce cadre, nous proposons deux approches, la première basée sur une modélisation des phénomènes physiques à l'origine de l'émission sonore, la seconde basée sur le traitement d'enregistrements audio. Selon une approche physique, la source sonore est traitée comme la combinaison d'une excitation et d'un résonateur. Dans un premier temps, nous présentons une technique originale traduisant la force d'interaction entre surfaces dans le cas de contacts continus, tel que le roulement. Cette technique repose sur l'analyse des textures utilisées pour le rendu graphique des surfaces de la scène virtuelle. Dans un second temps, nous proposons une méthode d'analyse modale robuste et flexible traduisant les vibrations sonores du résonateur. Outre la possibilité de traiter une large variété de géométries et d'offrir une multi-résolution des paramètres modaux, la méthode permet de résoudre le problème de cohérence entre simulation physique et synthèse sonore, problème fréquemment rencontré en animation. Selon une approche empirique, nous proposons une technique de type granulaire, exprimant la synthèse sonore par un agencement cohérent de particules ou grains sonores. La méthode consiste tout d'abord en un prétraitement d'enregistrements destiné à constituer un matériel sonore sous forme compacte. Ce matériel est ensuite manipulé en temps réel pour, d'une part, une resynthèse complète des enregistrements originaux, et d'autre part, une utilisation flexible en fonction des données reportées par le moteur de simulation et/ou de procédures prédéfinies. Enfin, l'intérêt est porté sur les sons de fracture, au vu de leur utilisation fréquente dans les environnements virtuels, et en particulier les jeux vidéos. Si la complexité du phénomène rend l'emploi d'un modèle purement physique très coûteux, l'utilisation d'enregistrements est également inadaptée pour la grande variété de micro-événements sonores. Le travail de thèse propose ainsi un modèle hybride et des stratégies possibles afin de combiner une approche physique et une approche empirique. Le modèle ainsi conçu vise à reproduire l'événement sonore de la fracture, de son initiation à la création de micro-débris.
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Simmler, Urs. "Design Animation Option (DAO) Creo1.0." Universitätsbibliothek Chemnitz, 2011. http://nbn-resolving.de/urn:nbn:de:bsz:ch1-qucosa-68481.
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Guler, Mehmet Soner. "3d Animation For Hand Preshaping." Master's thesis, METU, 2006. http://etd.lib.metu.edu.tr/upload/2/12607117/index.pdf.
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The human hand is an essential part of human body, capable of making complex and expressive motions. Its complicated structure makes it a formidable challenge for animators to animate hand motions. Most computer graphics research on hand motion has focused on preshaping, preshaping and gestures with application to areas of human computer interaction and sign language. There are also a number of educational applications such as typing, playing of musical instruments etc. From a computer graphics standpoint, these applications are difficult in animation of hand.
This thesis aims to animate 3D hand preshaping activity for a chosen virtual 3D object in real-time. Researches on human hand kinematics, structure and geometric stability analysis on preshaping are the main motivation for the algorithms developed in this thesis for animating 3D preshaping.
The algorithm that we developed is made of two main parts. The first part is related with the precision type preshaping requiring the finger-tips positioning for a given object such as the cube, cylinder or sphere. First part is completed by procedural approach which is based on kinematics to generate the motion of the hand for the given virtual object at the determined finger-tip positions.
Second part related with the wrap type preshaping aims to have maximum interaction between hand and object. For this purpose, we have developed the collision detection algorithm to find intersection surfaces between hand and object.
Even though developed algorithm based on the kinematics was used for the precision type preshaping application, it can also be used for many other applications requiring hand animation given the positions of finger tips.
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Thornton, Thomas Lance. "Computer animation of quadrupedal locomotion." Texas A&M University, 2004. http://hdl.handle.net/1969.1/1400.
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A discussion of the theory and methodology for creating believable quadrupedal
locomotion for computer animation applications. The study focuses on a variety of
issues related to producing realistic animal gait animations and includes a case study for
rigging and animating the various gaits of a horse. Visualization of unnatural gaits for
the horse will also be discussed and animated. The process of rigging involves setting
up the character control system in a high-end 3d computer animation program such as
Maya which is used extensively by the computer graphics industry.
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Song, Won Chan. "Speed-line for 3D animation." Texas A&M University, 2005. http://hdl.handle.net/1969.1/4730.
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My thesis describes a tool which creates speed-lines automatically in 3D computer
animations. Speed-lines are usually used in comic books to express fast motions
in a still image. They are also used in 2D animations. Although animations don't
need speed-lines for motions, they are interesting graphic elements and give more
sense of speed to the audience. However, speed-lines are not used in the 3D computer
animation, so I have implemented the graphic element into the 3D computer
animation. The combination of the 2D-looking speed-lines and the 3D computer animations
makes a unique look that some animators might want. In addition, making
speed-lines based on motions of moving objects or cameras, this tool can make 3D
speed-lines which are very difficult to draw by hand.
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Halstead, Howard John IV. "Interactive crayon rendering for animation." Texas A&M University, 2004. http://hdl.handle.net/1969.1/3155.
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This thesis describes the design and implementation of an interactive, nonphotorealistic
rendering system for three-dimensional computer animation. The system
provides a two-dimensional interface for coloring successive frames of animation
using a virtual crayon that emulates the appearance of hand-drawn wax crayons
on textured paper. The crayon strokes automatically track and move with threedimensional
objects in the animation to preserve temporal coherency of strokes from
one frame to the next. The system is intended to be used as an interactive renderer
in conjunction with third-party three-dimensional modeling and animation tools.
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Chih-KuoYeh and 葉智國. "2.5D Cartoon Animation and Animating Streamlines." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/27984826403786047301.
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博士<br>國立成功大學<br>資訊工程學系<br>103<br>This dissertation introduces {em double-sided 2.5D graphics}, aiming at enriching the visual appearance when manipulating conventional 2D graphical objects in 2.5D worlds.
By attaching a back texture image on a single-sided 2D graphical object, we can enrich the surface and texture detail on 2D graphical objects and improve our visual experience when manipulating and animating them.
A family of novel operations on 2.5D graphics, including rolling, twisting, and folding, are proposed in this work, allowing users to efficiently create compelling 2.5D visual effects.
Very little effort is needed from the user's side.
In our experiment, various creative designs on double-sided graphics were worked out by the recruited participants including a professional artist, which show and demonstrate the feasibility and applicability of our proposed method.
Furthermore, we addresses a challenging single-view modeling and animation problem with cartoon images.
Our goal is to model the hairs in a given cartoon image with consistent layering and occlusion, so that we can produce various visual effects from just a single image.
We propose a novel 2.5D modeling approach to deal with this problem.
Given an input image, we first segment the hairs of the cartoon character into regions of hair strands.
Then, we apply our novel layering metric, which is derived from the Gestalt psychology, to automatically optimize the depth ordering among the hair strands.
After that, we employ our hair completion method to fill the occluded part of each hair strand, and create a 2.5D model of the cartoon hair.
By using this model, we can produce various visual effects, e.g., we develop a simplified fluid simulation model to produce wind blowing animations with the 2.5D hairs.
To further demonstrate the applicability and versatility of our method, we compare our results with real cartoon hair animations, and also apply our model to produce a wide variety of hair manipulation effects, including hair editing and hair braiding.
In the end, we present a smooth cyclic variable-speed Repeated Asymmetric Patterns (RAPs) animation model that emulates orthogonal advancing waves from a geometry-based flow representation. It enables dense accurate visualization of complex real world flows using animated streamlines of an elegant placement coupled with visually appealing orthogonal advancing waves. The animation model first performs velocity (magnitude) integral luminance transition on individual streamlines. Then, an inter-streamline synchronization in luminance varying along the tangential direction is imposed. Next, tangential flow streaks are constructed using evenly-spaced hue differing in the orthogonal direction. In addition, an energy-decreasing strategy is proposed that adopts an iterative yet efficient procedure for determining the luminance phase and hue of each streamline in HSL color space. To increase the contrast between flow streaks, an adaptive luminance interleaving in the direction perpendicular to the flow is further applied. We demonstrate the effectiveness of the animation model using some synthetic and real flows.
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Lee, Joonkoo. "Animating Globalization and Development: The South Korean Animation Industry in Historical-Comparative Perspective." Diss., 2011. http://hdl.handle.net/10161/5655.
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<p>Over the last decades, the global flow of cultural goods and services has significantly grown as a result of liberalized international trade and investment and technological advance. Global cultural production is now flexibly organized and decentralized as more tasks are outsourced into different parts of the world. Yet, the question of how globalization has affected the structure of global cultural industries and upgrading dynamics has not been taken seriously. </p><p>This study takes up this question by examining the animation industry in South Korea ("Korea" hereafter) and its changing relationship with global animation production from an historical-comparative perspective from the mid-1960s to the late 2000s. This study attempts to answer several main questions: 1) How did two waves of globalization differently reshape the structure the global animation industry? 2) What are the major characteristics of the Korean animation industry at different stages? 3) How did the differences between U.S. and Japanese outsourcing chains and international coproduction chains affect the upgrading outcomes of Korean suppliers? and 4) Has the Korean state's developmental role been declined, preserved, or reconfigured over time? </p><p>Based upon secondary literature and the author's field interviews in Korea, India and Japan in 2008 and 2009, this study finds that the animation industry has been globalized over the last four decades with two distinctive waves of globalization. The first wave until the 1980s involved the rise of offshore outsourcing networks linking the U.S. market to East Asian suppliers. The second wave beginning in the 1990s has restructured the industry through the consolidation and global expansion of media conglomerates, the relocation of offshore outsourcing, and the growth of animation production and consumption in emerging economies. </p><p>Throughout the period, the Korean animation industry has undergone three distinctive phases in terms of its development patterns. The development path has been constructed by the interaction of global linkages and local dynamics. The first phase leading up to the mid-1980s is characterized by a gradual integration to global production networks through small-scale processing. The ensuring large-scale, outsourcing-based export growth defines the second phase up until the end of the 1990s. The latest phase is the outcome of a new path in the late 1990s toward upgrading based on local production and international coproduction. </p><p>The disaggregation of global forces at the global value chain (GVC) level shows marked differences between U.S. and Japanese outsourcing chains in terms of chain structure, division of labor, firm characteristics, and chain governance. These differences generated distinctive upgrading patterns among two segmented local supplier groups. A quick build-up of large-scale production by consolidated suppliers in the U.S. chains (yet their equally quick decline later) contrasts to a slower pace of upgrading by a large group of fragmented suppliers in Japanese chains. While the structure of emerging international coproduction chains varies by project, power relations between the partner firms are critical to determine the gains captured. </p><p>Finally, as for the role of the state, the finding of this study supports the reconfiguration argument that the developmental state, at least in Korea, is not in eclipse but bolstered with a new mode of state intervention and developmental alliance. In the face of growing competitiveness pressure on Korean firms at home and abroad, state-led, export-oriented development strategies have been rather strengthened and extended. Sector-specific industrial policy has increased, not decreased, particularly after the economic crisis of the late 1990s. Industrial policy has been narrowed onto the sector level and strategically engaged in specific chain nodes within the sector. Organizationally, this policy reform was supported by a newly-minted developmental alliance based on original animation exports and the re-embedding of the state onto specialized supportive agencies and new policy constituencies. </p><p>These findings are compared and contrasted to the experience of the Indian animation industry to draw implications for upgrading in the global cultural economy, which include: a) globalization as a differentiating and restructuring process; b) the interaction between global integration and local production; c) linkages between local, regional and global markets; and d) value chain-based state intervention.</p><br>Dissertation
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Annett, Sandra. "Animating transcultural communities: animation fandom in North America and East Asia from 1906-2010." 2011. http://hdl.handle.net/1993/4733.
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This dissertation examines the role that animation plays in the formation of transcultural fan communities. A “transcultural fan community” is defined as a group in which members from many national, cultural, and ethnic backgrounds find a sense of connection across difference, engaging with each other through a mutual interest in animation while negotiating the frictions that result from their differing social and historical contexts. The transcultural model acts as an intervention into polarized academic discourses on media globalization which frame animation as either structural neo-imperial domination or as a wellspring of active, resistant readings. Rather than focusing on top-down oppression or bottom-up resistance, this dissertation demonstrates that it is in the intersections and conflicts between different uses of texts that transcultural fan communities are born.
The methodologies of this dissertations are drawn from film/media studies, cultural studies, and ethnography. The first two parts employ textual close reading and historical research to show how film animation in the early twentieth century (mainly works by the Fleischer Brothers, Ōfuji Noburō, Walt Disney, and Seo Mitsuyo) and television animation in the late twentieth century (such as The Jetsons, Astro Boy and Cowboy Bebop) depicted and generated nationally and ethnically diverse audiences. Exactly how such diversity was handled varied according to the specific animation producers, distributors, and consumers involved. And yet, all of these cases exemplify models of textual engagement and modes of globalization that have a continuing influence today.
Building on the basis of twentieth-century animation, the third part of the dissertation illustrates the risks and potentials that attend media globalization in the Internet era of the early twenty-first century. The web media texts There She Is!! (2003) and Hetalia: Axis Powers (2006) are analyzed alongside results from a survey of animation fans conducted online and at fan events in Canada, the United States, and Japan between July 2009 and September 2010. This dissertation thus demonstrates the different ways of living together in the world generated by the global crossings and clashes of social life and mediated imaginaries today.
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盧雅宣. "Animation Ordering of Debugging Animation." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/00915677810602616547.
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碩士<br>國立臺灣師範大學<br>資訊工程研究所<br>99<br>Understand the code in the software development process is a very important part. With the increasing complexity of the program, understanding the code has also become increasingly difficult, conventional debugger for helping programmers will become limited.
Especially in the existing software, programmer have to add new functionality or make refactoring code, is bound to some or all of the code to understand the operation of the process, face to the complex and large data structures. We can not understand those code in short time. When the text debugger’s effectiveness has limited, there were many visual programming software provider to help developers understand the complex structure.
To make the program developers understand from the graphical changes to the operation of the program, we developed xDiva, a software visualization system. Through visual metaphors (visualization metaphor, VM) itself changes and position changes to render an animation, and shown in the animation of the program's dynamic behavior between the two breakpoints
.
How to make animation meaningful, let program developers understand the code when the animation can be obtained from the information they need. In this paper, we try to search a sequence from the different sequence of events, and then find out the closer animation sequence of human thinking.