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Journal articles on the topic 'Animatism'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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1

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

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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 compute

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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 t

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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 o

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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

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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, l

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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 m

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Sun, Shuo, and Chunbao Ge. "A New Method of 3D Facial Expression Animation." Journal of Applied Mathematics 2014 (2014): 1–6. http://dx.doi.org/10.1155/2014/706159.

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Animating expressive facial animation is a very challenging topic within the graphics community. In this paper, we introduce a novel ERI (expression ratio image) driving framework based on SVR and MPEG-4 for automatic 3D facial expression animation. Through using the method of support vector regression (SVR), the framework can learn and forecast the regression relationship between the facial animation parameters (FAPs) and the parameters of expression ratio image. Firstly, we build a 3D face animation system driven by FAP. Secondly, through using the method of principle component analysis (PCA

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Wolfe, Rosalee, Peter Cook, John C. McDonald, and Jerry Schnepp. "Linguistics as structure in computer animation." Nonmanuals in Sign Language 14, no. 1 (2011): 179–99. http://dx.doi.org/10.1075/sll.14.1.09wol.

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Computer-generated three-dimensional animation holds great promise for synthesizing utterances in American Sign Language (ASL) that are not only grammatical, but well-tolerated by members of the Deaf community. Unfortunately, animation poses several challenges stemming from the necessity of grappling with massive amounts of data. However, the linguistics of ASL may aid in surmounting the challenge by providing structure and rules for organizing animation data. An exploration of the linguistic and extralinguistic behavior of the brows from an animator’s viewpoint yields a new approach for synth

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Atkins, Leslie J., Craig Erstad, Paul Gudeman, et al. "Animating Energy: Stop-Motion Animation and Energy Tracking Representations." Physics Teacher 52, no. 3 (2014): 152–56. http://dx.doi.org/10.1119/1.4865517.

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Sergeant, Alexander. "Book review: Animating the Unconscious: Desire, Sexuality, and Animation." Animation 13, no. 2 (2018): 182–85. http://dx.doi.org/10.1177/1746847718784197.

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Geal, Robert. "Animated Images and Animated Objects in the Toy Story Franchise: Reflexively and Intertextually Transgressive Mimesis." Animation 13, no. 1 (2018): 69–84. http://dx.doi.org/10.1177/1746847717752588.

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This article explores how animation can manipulate a reflexive intertextual framework which relates to religious prohibitions on artistic mimesis that might replicate and threaten God’s creative act. Animated films are most intertextually reflexive, in these terms, when they narrativize the movement of diegetic objects from another medium which also transgresses God’s prohibition: sculpture. In the media of both sculpture and animation, the act of mimesis is transgressive in fundamentally ontological terms, staging the illusion of creation by either replicating the form of living creatures in

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Tomlinson, Lynn, and Diane Kuthy. "Animating Imaginary Worlds: A Digital-Meets-Handmade Animation Workshop Kit." Hyperrhiz: New Media Cultures, no. 13 (November 2015): 1. http://dx.doi.org/10.20415/hyp/013.w03.

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Lorenzo Hernández, María. "Animation in the Core of Dystopia: Ari Folman’s The Congress." Animation 14, no. 3 (2019): 222–34. http://dx.doi.org/10.1177/1746847719875072.

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Ari Folman’s The Congress (2013) borrows freely from Stanisław Lem’s dystopian view in his Sci-fi novel The Futurological Congress (1971) to propose the gradual dissolution of the human into an artificial form, which is animation. By moving the action of the novel from a hypothetical future to contemporary Hollywood, Ari Folman gives CGI animation the role of catalyst for changes not only in the production system, but for human thought and, therefore, for society. This way, the film ponders the changing role of performers at the time of their digitalization, as well as on the progressive demat

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Gowanlock, Jordan. "Animating Management: Nonlinear Simulation and Management Theory at Pixar." Animation 15, no. 1 (2020): 61–76. http://dx.doi.org/10.1177/1746847719898783.

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Existing scholarship finds that early industrialized animation studios sought to emphasize the unpredictable liveliness of creativity at their studios, while also demonstrating their ability to control and manage production through industrial management techniques that promoted regulation and efficiency. This article examines how this dynamic between unpredictability and control has been negotiated by digital animation studios since the early 1980s, with a focus on the way Pixar Animation Studios represents its management theory through popular books, business journal articles, DVD extras, and

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Ciofu, Anca-Mihaela. "4. The Feldenkrais Method in the Puppeteer’s Training from the Perspective of Nicolas Gousseff’s Handheld Puppets Workshops." Review of Artistic Education 15, no. 1 (2018): 155–60. http://dx.doi.org/10.2478/rae-2018-0015.

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Abstract Although the Feldenkrais method is quite well-known and used in relation to dance, music, and acting, it is rather uncommon to associate it with animation theatre. The puppeteer’s art is a profession that requires motor skills and sustained physical effort, which demands that the animating actor has an extended consciousness of oneself and of the space. Therefore, the Feldenkrais method can be a useful instrument in the puppeteer’s education and training, as the placing of the body in a relaxed stance, one which helps in the management of pain and effort, facilitates the conscious and

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Alfatra, Febri Faizin, Mahendradewa Suminto, and Pandan Pareanom Purwacandra. "Penciptaan Film Animasi “Chase!” Dengan Teknik “Digital Drawing”." Journal of Animation and Games Studies 5, no. 1 (2019): 033–56. http://dx.doi.org/10.24821/jags.v5i1.2799.

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A short animation that combines several personal experiences and surroundings into a simple yet entertaining story. Although the story is presented simply, visualization is made unique and flexible with digital two-dimensional animation techniques. This animated film is titled “CHASE!” Which means chasing, taken from the core of the film which tells the story of a young man who chases a mysterious woman who turns out to be a transvestite.The animated film “CHASE!” Lenght 3 minutes 45 seconds, make the story made shorter and directly to the point at the core of what will be delivered. The numbe

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Fagel, Sascha, Gérard Bailly, and Barry-John Theobald. "Animating Virtual Speakers or Singers from Audio: Lip-Synching Facial Animation." EURASIP Journal on Audio, Speech, and Music Processing 2009 (2009): 1–2. http://dx.doi.org/10.1155/2009/826091.

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Fagel, Sascha, Gérard Bailly, and Barry-John Theobald. "Animating Virtual Speakers or Singers from Audio: Lip-Synching Facial Animation." EURASIP Journal on Audio, Speech, and Music Processing 2009, no. 1 (2009): 826091. http://dx.doi.org/10.1186/1687-4722-2009-826091.

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PERLIN, MARK W. "VISUALIZING DYNAMIC ARTIFICIAL INTELLIGENCE ALGORITHMS AND APPLICATIONS." International Journal on Artificial Intelligence Tools 03, no. 02 (1994): 289–307. http://dx.doi.org/10.1142/s0218213094000145.

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Visualization is an important component of modern computing. By animating the course of an algorithm’s temporal execution, many key features can be elucidated. We have developed a general framework, termed Call-Graph Caching (CGC), for automating the construction of many complex AI algorithms. By incorporating visualization into CGC interpreters, principled animations can be automatically displayed as AI computations unfold. (1) Systems that support the automatic animation of AI algorithms must address these three design issues: (2) How to represent AI data structures in a general, uniform way

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Lei, Zhen, Hosein Taghaddos, SangHyeok Han, Ahmed Bouferguène, Mohamed Al-Hussein, and Ulrich Hermann. "From AutoCAD to 3ds Max: An automated approach for animating heavy lifting studies." Canadian Journal of Civil Engineering 42, no. 3 (2015): 190–98. http://dx.doi.org/10.1139/cjce-2014-0313.

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Modular construction is a dominant manufacturing method for industrial construction in Alberta, Canada. Modularization requires large-capacity mobile cranes to lift heavy modules, such as piperack modules. The current practice utilizes AutoCAD to generate heavy lift studies for modular onsite installations. Heavy lift studies consist of 2D and 3D simulations of the lifting scenarios, along with the corresponding calculations (e.g., lifting capacity checking, ground bearing pressure checking). These static simulations provide snapshots of mobile cranes at pick and set configurations, but they d

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Jones, Timothy. "Animating the archive: A role for creative practice in the animation archive." Animation Practice, Process & Production 1, no. 2 (2012): 273–83. http://dx.doi.org/10.1386/ap3.1.2.273_1.

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Choi, Woong, Naoki Hashimoto, Ross Walker, Kozaburo Hachimura, and Makoto Sato. "Generation of Character Motion by Using Reactive Motion Capture System with Force Feedback." Journal of Advanced Computational Intelligence and Intelligent Informatics 12, no. 2 (2008): 116–24. http://dx.doi.org/10.20965/jaciii.2008.p0116.

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Creating reactive motions with conventional motion capture systems is difficult because of the different task environment required. To overcome this drawback, we developed a reactive motion capture system that combines conventional motion capture system with force feedback and a human-scale virtual environment. Our objective is to make animation with reactive motion data generated from the interaction with force feedback and the virtual environment, using the fact that a person’s motions in the real world can be represented by the reactions of the person to real objects. In this paper we prese

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Magnenat-Thalmann, Nadia, and Arjan Egges. "Interactive Virtual Humans in Real-Time Virtual Environment." International Journal of Virtual Reality 5, no. 2 (2006): 15–24. http://dx.doi.org/10.20870/ijvr.2006.5.2.2682.

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In this paper, we will present an overview of existing research in the vast area of IVH systems. We will also present our ongoing work on improving the expressive capabilities of IVHs. Because of the complexity of interaction, a high level of control is required over the face and body motions of the virtual humans. In order to achieve this, current approaches try to generate face and body motions from a high-level description. Although this indeed allows for a precise control over the movement of the virtual human, it is difficult to generate a natural-looking motion from such a high-level des

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Halim, Steven, and Christine Mersiana Lukmanto. "Animating and Designing Movements for Turtle Figure in 3D Animated Short Film Entitled “TUKIK”." IMOVICCON Conference Proceeding 2, no. 1 (2021): 111–18. http://dx.doi.org/10.37312/imoviccon.v2i1.55.

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One of the most important elements in an animated film to convey a message to the audience is animating a character. Character movement in a scene is very necessary to show what is happening and what the character is experiencing in a scene that is being witnessed by the audience. This research will raise the animating process of the turtle character in a 3D animated short film entitled "TUKIK". There are two scenes that will be discussed; a scene when the turtle is swimming in the ocean and the movement when the turtle is trapped by the waste at the beach. In the design process, various princ

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Purwaningsih, Dominika Anggraeni. "PUPPET MOVEMENTS IN STRUCTURE-SPECIFIC TRADITIONAL PAPER CUT OUT ANIMATION PRODUCTION." Ultimart: Jurnal Komunikasi Visual 13, no. 2 (2020): 61–68. http://dx.doi.org/10.31937/ultimart.v13i2.1821.

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Physical paper puppets are inanimate objects, but when we’re speaking in terms of the production of traditional paper cut out animation, they become the actors and the souls that drive the movie. When shooting and animating traditional paper cut out animation, the puppets are laid flat on a surface so they can only move in limited directions compared to conventional 2D or 3D animation. As we know, each character in animated movie has its own personality and unique to each other. The challenge lays in bringing out the characteristics and personality of the character through the limited medium o

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Yeh, Chih-Kuo, Zhanping Liu, David L. Kao, and Tong-Yee Lee. "Animating streamlines with orthogonal advancing waves." Information Visualization 12, no. 3-4 (2012): 257–72. http://dx.doi.org/10.1177/1473871612458507.

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Self-animating image of flow through repeated asymmetric patterns (RAPs) is an innovative approach for creating illusory motion using a single image. In this paper, we present a smooth cyclic variable-speed RAP 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 streamlin

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Chen, Fang Yi, Tian En Chen, Wei Wang, and Xiao Jing Ma. "A Method of Pepper Plant Modeling and Animation Set-Up in Autodesk Maya." Applied Mechanics and Materials 462-463 (November 2013): 1110–17. http://dx.doi.org/10.4028/www.scientific.net/amm.462-463.1110.

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Virtual crop models and animation make great significances to agricultural researches. But to recreate the structure and dynamic is often a hard and laborious task. Most existing plant-modeling systems require the user to have specific biological knowledge about plants, but its often the 3D artists who do the work. This paper discusses a method of plant modeling and rigging in Maya, which has already been familiar to 3D artists and has advantages in industrial production pipelines. The method takes pepper plant for example, dividing the problem into organs and the growth patterns, and using Ma

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Thifala, Anisa Zalfa, Mitra Istiar Wardhana, and Arif Sutrisno. "Perancangan Animasi 2D Mengenai Upaya Pencegahan Penyakit Saat Musim Hujan." JoLLA: Journal of Language, Literature, and Arts 1, no. 7 (2021): 995–1009. http://dx.doi.org/10.17977/um064v1i72021p995-1009.

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Abstract: The high cases of disease spread during the rainy season must be overcome quickly and in various ways. A lot of socialization has been carried out, but it has not been spread evenly. Therefore, the design of this animation helps to spread information quickly and easily. Design is the activity of compiling the manufacture of a product from the initial idea to the final product. This animation design uses 3 stages, namely pre-production, production, and post-production. Pre-production is done by collecting and analyzing data, creating concepts, scripts, and storyboards, designing chara

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Wolter, Jan, Bastian Cramer, and Uwe Kastens. "Animation of tile-based games automatically derived from simulation specifications." Computer Science and Information Systems 8, no. 2 (2011): 501–16. http://dx.doi.org/10.2298/csis101220005w.

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Visual Languages (VLs) are beneficial particularly for domain specific applications, since they can support ease of understanding by visual metaphors. If such a language has an execution semantics, comprehension of program execution may be supported by direct visualization. This closes the gap between program depiction and execution. To rapidly develop a VL with execution semantics a generator framework is needed which incorporates the complex knowledge of simulating and animating a VL on a high specification level. In this paper we show how a fully playable tile-based game is specified with o

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Ward, Paul. "Animating with Facts: The Performative Process of Documentary Animation in the ten mark (2010)." Animation 6, no. 3 (2011): 293–305. http://dx.doi.org/10.1177/1746847711420555.

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This article examines how animated films re-present and re-interpret real world occurrences, people and places, focusing on an area that has been overlooked to date: the process of performance and how this manifests itself in animated documentary films. Not simply a notion of ‘performance’ as we might understand it in an ‘acting’ sense (someone playing a role in a re-enactment), but that of the animator performing specific actions in order to interpret the factual material. The central questions addressed are: how does an understanding of ‘performance’ and the related term ‘performativity’ hel

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Bhowmick, Maya. "Animating Folktales: An Analysis of Animation Movies based on Folktales of three different Indian Languages." Litinfinite Journal 2, no. 2 (2020): 64–75. http://dx.doi.org/10.47365/litinfinite.2.2.2020.64-75.

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Greenberg, Raz. "The Animation of Gamers and the Gamers as Animators in Sierra On-Line’s Adventure Games." Animation 16, no. 1-2 (2021): 83–95. http://dx.doi.org/10.1177/17468477211025665.

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Produced throughout the 1980s using the company’s Adventure Game Interpreter engine, the digital adventure games created by American software publisher Sierra On-Line played an important and largely overlooked role in the development of animation as an integral part of the digital gaming experience. While the little historical and theoretical discussion of the company’s games of the era focuses on their genre, it ignores these games’ contribution to the relationship between the animated avatars and the gamers that control them – a relationship that, as argued in this article, in essence turns

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Bishop, Ryan. "Animation/Re-animation." Theory, Culture & Society 23, no. 2-3 (2006): 346. http://dx.doi.org/10.1177/026327640602300261.

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KAZMIERCZAK, EDMUND, PHILIP DART, LEON STERLING, and MICHAEL WINIKOFF. "VERIFYING REQUIREMENTS THROUGH MATHEMATICAL MODELLING AND ANIMATION." International Journal of Software Engineering and Knowledge Engineering 10, no. 02 (2000): 251–73. http://dx.doi.org/10.1142/s0218194000000146.

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Achieving confidence in the correctness, completeness and consistency of requirements specifications can be problematic and the consequences of incorrect requirements can be costly. In this paper we argue that specification and animation can provide reasonably high levels of assurance in the requirements without the overheads of using general purpose theorem proving tools. We propose a framework based on mode analysis and the operational semantics of logic programs for animating specifications. The framework allows us to combine prototyping and limited forms of automated deduction to increase

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STERLING, LEON, PAOLO CIANCARINI, and TODD TURNIDGE. "ON THE ANIMATION OF “NOT EXECUTABLE” SPECIFICATIONS BY PROLOG." International Journal of Software Engineering and Knowledge Engineering 06, no. 01 (1996): 63–87. http://dx.doi.org/10.1142/s0218194096000041.

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An impediment to the widespread use of formal methods for software development is the difficulty in dealing with specifications, namely using them consistently in the software process. One approach to easing the management of specifications and improving their impact in the software process is animation, allowing developers to “execute” formal specifications as prototypes. This paper illustrates how Prolog can serve a multifaceted role for animating and prototyping specifications—as a target language, as the compilation/translation language, and to facilitate the advantages of formal methods t

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Кульчицкая, Диана. "Использование анимации в российских деловых СМИ (кейс-стади анимационного контента на сайте vedomosti.ru)". Вопросы теории и практики журналистики 6, № 1 (2017): 49–58. http://dx.doi.org/10.17150/2308-6203.2017.6(1).49-58.

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Johnson, Harry, and Elisabeth S. Nelson. "Using Flow Maps to Visualize Time-Series Data: Comparing the Effectiveness of a Paper Map Series, a Computer Map Series, and Animation." Cartographic Perspectives, no. 30 (June 1, 1998): 47–64. http://dx.doi.org/10.14714/cp30.663.

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Motion and change through time are important aspects of thematic maps. Traditionally, such data have been visualized using a series of paper maps that represent multiple snapshots of a location over time. These maps are visually compared by the map reader when analyzing change over time for a location. This static view of change over time has worked well for cartographers in the past, but today computer animation allows cartographers to emphasize the dynamic nature of this data. By animating a map, change over time can be represented on one map rather than in a traditional map series. This stu

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Qawasmeh, Ahmad, Salah Taamneh, Ashraf H. Aljammal, Nabhan Hamadneh, Mustafa Banikhalaf, and Mohammad Kharabsheh. "Parallelism exploration in sequential algorithms via animation tool." Multiagent and Grid Systems 17, no. 2 (2021): 145–58. http://dx.doi.org/10.3233/mgs-210347.

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Different high performance techniques, such as profiling, tracing, and instrumentation, have been used to tune and enhance the performance of parallel applications. However, these techniques do not show how to explore the potential of parallelism in a given application. Animating and visualizing the execution process of a sequential algorithm provide a thorough understanding of its usage and functionality. In this work, an interactive web-based educational animation tool was developed to assist users in analyzing sequential algorithms to detect parallel regions regardless of the used parallel

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Souza, Ágata Nelza Gomes de, and Eduardo André Mossin. "Animação Whiteboard (ou Desenho No Quadro Branco)." Revista de Estudos e Pesquisas sobre Ensino Tecnológico (EDUCITEC) 7 (April 5, 2021): e129021. http://dx.doi.org/10.31417/educitec.v7.1290.

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Esse artigo salienta a importância das práticas educativas direcionadas às atividades de busca e uso da informação no contexto do Instituto Federal de Educação, Ciência e Tecnologia de São Paulo (IFSP). O problema de pesquisa aborda a contribuição das bibliotecas ao estímulo de um comportamento informacional discente direcionado à construção do conhecimento na perspectiva da politecnia. As etapas de construção e avaliação de um produto educacional são apresentadas. Trata-se de uma animação whiteboard (ou desenho em quadro branco) que elege, como temática central, a Lei de acesso à Informação (

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Wang, Sen Hua, Xiang Zhong Li, and Li Zhang. "The Rendering System Planning of the 3D Fashion Design and Store Display Based on Cloud Computing." Applied Mechanics and Materials 263-266 (December 2012): 2035–38. http://dx.doi.org/10.4028/www.scientific.net/amm.263-266.2035.

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Along with the continuous development of the social economy and living standard, the expectation which people treat the products of clothing become more and more high. In this paper, the cloud computing was adopted to further enhance the support for the design and sale of the clothing. Through the analysis of the design ideas for 3d fashion design and visual store, a 3d design cloud platform with best visual display effect was constructed. Besides, aiming at the 3d animatic content in the fashion design and visual store, the high- performance rendering cluster system was planned to support the

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Krivulya, Natalia G. "The Origins of the First Sound Animation: Songs Series by the Fleischer Brothers." Journal of Flm Arts and Film Studies 10, no. 1 (2018): 119–31. http://dx.doi.org/10.17816/vgik101119-131.

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With the invention of moving pictures, the creators sought to supplement them with sound. Even before the invention of cinemat, E. Reynaud in the optical theatre gave performances in which moving images were combined with sound. It was pre-cinema experience, which represented the theatre model of audiovisual show. The attempts to synchronize the dynamic images and sound were taken by T. Edison, S. Meshes, L. Gaumont, O. Kellum, E.Tigerstedt, J. Engel, G. Phocht and J. Massol. However, the systems suggested by these inventors were not perfect. An important step towards creation of a sound film

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Cooley, Kevin. "Past the End of the Catbus Line: Mushishi’s Apparitional Actants." Animation 14, no. 3 (2019): 178–90. http://dx.doi.org/10.1177/1746847719875034.

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After evaluating some of the limitations in the reception of Hayao Miyazaki’s films as advocacy for climate change reform, the author suggests the need for a new path in animation toward animating the nonhuman. He nominates the anime series Mushishi as the ideal trailblazer for a more ecologically sound and posthumanistically inclined future. Mushishi envisions a fairly realistic turn-of-the-20th-century Japan in which beings called ‘ mushi’, simple organisms that are neither plant nor animal nor Miyazaki-esque fantastic spirit, exist alongside small agrarian communities. Using Mushishi and it

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Pratama, Riens, and Riana Defi Mahadji Putri. "Penerapan Animasi 3D pada Media Pembelajaran Mengenal Huruf Vocal untuk Anak 2-4 Tahun." Jurnal Teknologi Informasi dan Ilmu Komputer 7, no. 6 (2020): 1099. http://dx.doi.org/10.25126/jtiik.2020762175.

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<p class="Abstrak"><span lang="IN">Pengenalan huruf vokal bagi anak usia dini harus diperkenalkan sejak dini karena huruf vokal berfungsi untuk merangkai huruf dari kumpulan konsonan yang dijadikan suatu perkataan. Komputer grafis telah berdampak signifikan pada banyak bidang salah satunya animasi komputer. Animasi komputer dapat diimplemantasikan bagi anak untuk belajar karena dalam masa perkembangannya anak memiliki kecenderungan meniru dan mengamati sehingga memudahkan anak dalam menerima materi. Penelitian ini bertujuan untuk merancang dan mengetahui kelayakan animasi 3D pada m

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Ao, Xuefeng, Zhongke Wu, and Mingquan Zhou. "Real Time Animation of Trees Based on BBSC in Computer Games." International Journal of Computer Games Technology 2009 (2009): 1–8. http://dx.doi.org/10.1155/2009/970617.

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That researchers in the field of computer games usually find it is difficult to simulate the motion of actual 3D model trees lies in the fact that the tree model itself has very complicated structure, and many sophisticated factors need to be considered during the simulation. Though there are some works on simulating 3D tree and its motion, few of them are used in computer games due to the high demand for real-time in computer games. In this paper, an approach of animating trees in computer games based on a novel tree model representation—Ball B-Spline Curves (BBSCs) are proposed. By taking ad

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Lewis, Richard, and Molly Taylor-Poleskey. "Hidden Town in 3D." Journal on Computing and Cultural Heritage 14, no. 2 (2021): 1–14. http://dx.doi.org/10.1145/3431924.

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This article presents a case of collaborative pedagogy of digital humanities involving a virtual version of historic Salem, North Carolina. “Hidden Town in 3D” is a partnership between Middle Tennessee State University’s Public History, Animation, and Aerospace programs, and Old Salem Museums and Gardens. The object of Hidden Town in 3D is to use digital technologies to recover and represent the stories of the African Americans of Salem. The anticipated outputs for this project are an augmented reality application that can be used on-site at Old Salem, allowing visitors to see slave dwellings

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Wimmers, Anthony J., and Christopher S. Velden. "MIMIC: A New Approach to Visualizing Satellite Microwave Imagery of Tropical Cyclones." Bulletin of the American Meteorological Society 88, no. 8 (2007): 1187–96. http://dx.doi.org/10.1175/bams-88-8-1187.

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Satellite-based passive microwave imagery of tropical cyclones (TCs) is an invaluable resource for assessing the organization and evolution of convective structures in TCs when often no other comparable observations exist. However, the current constellation of low-Earth-orbiting environmental satellites that can effectively image TCs in the microwave range make only semirandom passes over TC targets, roughly every 3 - 6 h, but vary from less than 30 min to more than 25 h between passes. These irregular time gaps hamper the ability of analysts/forecasters to easily incorporate these data into a

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