Relevant bibliographies by topics / Experimental animation

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Experimental animation'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Experimental animation"

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Bitka, Stanisław. "Usłyszeć animację. Próba audiowizualnej analizy filmów „Dom” i „Labirynt”." Kultura Popularna 3, no. 57 (November 30, 2018): 21–30. http://dx.doi.org/10.5604/01.3001.0012.7286.

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The golden age of the Polish School of Animation took place at the same time as the birth and rise of Polish Radio Experimental Studio – where plenty of soundtracks were recorded. The article consists of audio-visual analysis of the two Polish School of Animation's classics: House by Jan Lenica and Walerian Borowczyk, and Labirynth by Jan Lenica with experimental score made by Włodzimierz Kotoński. The author's main thesis is that the soundtrack generally (including two soundtracks in the above-mentioned films), especially in animations that have no dialogues or subtitles, has crucial impact on the perception of a given animation, and could also be a key to its interpretation.
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Kelly, Resa M., Sevil Akaygun, Sarah J. R. Hansen, and Adrian Villalta-Cerdas. "The effect that comparing molecular animations of varying accuracy has on students’ submicroscopic explanations." Chemistry Education Research and Practice 18, no. 4 (2017): 582–600. http://dx.doi.org/10.1039/c6rp00240d.

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In this qualitative study, we examined how a group of seventeen first semester General Chemistry students responded when they were shown contrasting molecular animations of a reduction–oxidation (redox) reaction between solid copper and aqueous silver nitrate for which they first viewed a video of the actual experiment. The animations contrasted in that they portrayed different reaction mechanisms for the redox reaction. One animation was scientifically accurate and reflected an electron exchange mechanism, while the other was purposefully inaccurate and represented a physical exchange between the ions. Students were instructed to critique each animation for its fit with the experimental evidence and to ultimately choose the animation that they felt best depicted the molecular level of the chemical reaction. Analyses showed that most students identified that the electron exchange animation was the more scientifically accurate animation; however, approximately half of the students revised their drawings to fit with the inaccurate physical exchange animation. In addition, nearly all students thought that both animations were correct and useful for understanding salient information about the redox reaction. The results indicate that when students are shown contrasting animations of varying accuracy they make errors in deciding how the animations are supported and refuted by the evidence, but the treatment is effective. Contrasting animations promote students to think deeply about how animations fit with experimental evidence and is a promising way to engage students to think deeply about animations.
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Hagler, Juergen, and Remo Rauscher. "Chained Animation: Collaborative Forms of Filmmaking in Education." Animation 17, no. 2 (July 2022): 178–94. http://dx.doi.org/10.1177/17468477221092344.

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This article discusses experimental forms of collaborative filmmaking in education and introduces the pedagogical concept of Chained Animation. Animation filmmaking usually involves teamwork; production pipelines are traditionally linear and hierarchically structured, separated into direction (or artistic direction) and production teams. By contrast, Chained Animations are non-linear and based on a large group of animators working together at various levels. This concept is particularly well suited to education as it integrates all participants equally, from the idea phase all the way through to its realization. In addition to teaching basic animation principles, this experimental form of education goes beyond established methods of practising those principles. The educational concepts for Chained Animations follow different strategies and range from professional workflows to playful, experimental forms that emphasize participatory and collaborative aspects within large groups. In this article, the authors first examine participatory art practices; then they discuss experimental forms of collaboration in animation and education, using examples from art, film and science. This article examines different experimental approaches, challenges and findings, which are based on three case studies undertaken at the University of Applied Sciences Upper Austria, Hagenberg Campus – Home (2016), Utopia Now (2017) and Draft One (2018) – ultimately presenting guidelines for Chained Animation in education.
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Stewart, Michelle. "Posthumous Portraits in Motion: Experimental Animation, Metamorphosis and Reflections on Mortality." Animation 19, no. 1 (March 2024): 6–26. http://dx.doi.org/10.1177/17468477241233480.

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This article details an oil paint-on-glass animation depicting posthumous portraits of unclaimed deceased from a Johannesburg mortuary in South Africa. The creative project engages with Western traditions of posthumous, focusing on the iconography of the corpse. The author explores how these traditions are approached through the moving image, metamorphosis and experimental animation processes. The animation uses metamorphosis not just as a symbolic strategy to serve the idea of transformation – but also as a self-referential engagement with animation’s contradictory life-giving and destructive traits. The article and the creative project it illuminates present a critical awareness of the ethical concerns associated with representing the dead and the cultural and historical traditions from which this subject emerges.
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Wang, Hua, Xiaoyu He, and Mingge Pan. "An Interactive and Personalized Erasure Animation System for a Large Group of Participants." Applied Sciences 9, no. 20 (October 18, 2019): 4426. http://dx.doi.org/10.3390/app9204426.

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This paper introduces a system to realize interactive and personalized erasure animations by using mobile terminals, a shared display terminal, and a database server for a large group of participants. In the system, participants shake their mobile terminals with their hands. Their shaking data are captured by the database server. Then there are immersive and somatosensory erasure animations on the shared display terminal according to the participants’ shaking data in the database server. The system is implemented by a data preprocessing module and an interactive erasure animation module. The former is mainly responsible for the cleaning and semantic standardization of the personalized erasure shape data. The latter realizes the interactive erasure animation, which involves shaking the mobile terminal, visualizations of the erasure animation on the shared display terminal, and dynamic and personalized data editing. The experimental results show that the system can realize various styles of personalized erasure animation and can respond to more than 2000 shaking actions simultaneously and present the corresponding erasure animations on the shared display terminal in real time.
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Thesen, Thomas P. "Reviewing and Updating the 12 Principles of Animation." Animation 15, no. 3 (November 2020): 276–96. http://dx.doi.org/10.1177/1746847720969919.

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This article suggests a discussion on the reconfiguration of the 12 principles of animation and their necessary refinement for contemporary animation to address the growing complexity and expansion of the animation industry. The expansion of the 12 principles of animation into the various animation techniques requires a consideration of their development, which, in the 1930s and 1940s was sufficient for animation’s hand-drawn animation needs; since then, the principles have proven themselves accurate and incredibly helpful for subsequent decades. Nevertheless, this article indicates that a refinement of the principles is required to accommodate a broader range of animation techniques. The great advantage of the 12 principles of animation is their simplicity and logic; however, they do not apply in their entirety (as the full set of 12) to hand-drawn digital animation, stop-motion animation, experimental or digitally animated media. Therefore, this article explores the initial 12 principles with additions and variations suggested by artists and scholars over the last 30 years, and concludes with a reorganization and expansion of most of the principles’ content, a breakdown into sub points and an updated terminology to reconceptualize the 12 principles of animation for all animation techniques.
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Sun, Qiyun, Wanggen Wan, Xiang Feng, and Guoliang Chen. "A Novel Animation Method Based on Mesh Decimation." Journal of Advanced Computational Intelligence and Intelligent Informatics 22, no. 2 (March 20, 2018): 184–93. http://dx.doi.org/10.20965/jaciii.2018.p0184.

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Skeleton based skin deformation methods are widely used in computer animations, with the help of some animation software, like 3D Studio Max and Maya. Most of these animation methods are based on linear blending skinning algorithm and its improved versions, showing good real-time performance. However, it is difficult for new users to use these complicated softwares to make animation. In this paper, we focus on surface based mesh deformation methods. We use spokes and rims deformation method to animate mesh models. However, this method shows poor real-time performance with high-resolution mesh models. We propose a novel animation method based on mesh decimation, making it possible to animate high-resolution mesh models in real time with the spokes and rims method. In this way, users only need to control the movement of handles to acquire intuitively reasonable animation of arbitrary mesh model. It is easier and more convenient for users to make their own animation. The experimental results show that the proposed animation method is feasible and effective and shows great real-time performance.
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Hattler, Max. "The Abstracted Real: Speculations on Experimental Animated Documentary." International Journal of Film and Media Arts 6, no. 3 (December 31, 2021): 37–54. http://dx.doi.org/10.24140/ijfma.v6.n3.03.

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Max Hattler is an artist, researcher, curator and educator who works with abstract and experimental animation, video installa­tion, and audio-visual performance. After studying in London at Goldsmiths and the Royal College of Art, he completed a doc­torate in fine art at the University of East London. He is an assistant professor at the School of Creative Media, City University of Hong Kong. Hattler’s work has been shown worldwide, receiving prizes from Annecy Animation Festival, Prix Ars Electronica, Montreal Festival du Nouveau Cinéma, Punto y Raya Festival, Cannes Lions and London International Animation Festival, among others. He has published on expanded stereoscopic approaches in experimental filmmaking and the narrative potential of abstraction in animation. He has spoken widely at international conferences such as CONFIA, the Society for Animation Studies Conference, Animafest Scanner, Ars Electronica’s Expanded Animation Symposium and the Annual China Animation Studies Conference in Chengdu. Max Hattler is the co-founder and chairman of Relentless Melt, a Hong Kong-based society for the promotion, production and dissemination of abstract and experimental animation, which presents screenings in Hong Kong and internationally. He serves on the board of directors of the iotaCenter and the editorial boards of Animation: An Interdisciplin­ary Journal, and Animation Practice, Process & Production.
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Park, Gi-Ryung. "Japanese Experimental Animation in 1960s." Cartoon and Animation Studies 29 (December 31, 2012): 37–60. http://dx.doi.org/10.7230/koscas.2012.29.037.

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Widiawati, Widiawati, and Indah Widyaningrum. "Penggunaan Animasi Powerpoint dan Prezi pada Mata Kuliah Geometri Euclide di Perguruan Tinggi." Jurnal Pendidikan Matematika (JUDIKA EDUCATION) 3, no. 2 (December 29, 2020): 121–30. http://dx.doi.org/10.31539/judika.v3i2.1652.

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The purpose of this study was to find out the effect of using PowerPoint animation and Prezi usage on student learning outcomes and compare the differences between student learning outcomes using PowerPoint animation and Prezi. The method used is an experimental method with the Pattern Pretest-Posttest Control Group Design. The population in this study was all undergraduate students of Mathematics Education Study Program semester II at STKIP Muhammadiyah Pagaralam with a sample of two classes. Data collection techniques used are documentation and tests. Test data were analyzed through normality test calculation, homogeneity test, average one test and two average test with calculation using SPSS for windows. The results showed that there is an influence of using PowerPoint animation with ρ value 0.000 and Prezi ρ value 0.032 with student learning results and there is a difference between student learning outcomes using PowerPoint animation with Prezi with ρ value 0.006. In conclusion, there is a significant influence of the use of PowerPoint and Prezi animations on student learning outcomes and there are noticeable differences between the learning outcomes of students using PowerPoint animation and Prezi. The average student learning outcomes using PowerPoint animation are better than Prezi's. Keywords: PowerPoint animation, Learning Outcomes, Prezi
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Dissertations / Theses on the topic "Experimental animation"

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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.
Department of Art
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Husbands, Lilly Marie. "Animated experientia : aesthetics of contemporary experimental animation." Thesis, King's College London (University of London), 2014. http://kclpure.kcl.ac.uk/portal/en/theses/animated-experientia(85e342f2-7ec9-4c7c-9024-20e2a8931677).html.

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Since the early 20th century, artists have explored the seemingly endless potential inherent in the complex blend of visual art and cinema that is experimental animation. Contemporary artists make use of both traditional and modern techniques to produce works of animated visual art that subvert conventional viewing practices and the normal perception of moving images. Despite an increased output of scholarly studies of animation and avant-garde media over the last twenty years, contemporary works of experimental animation rarely receive the kind of close, in-depth analysis that their formal and conceptual intricacies demand. This research draws from various philosophies of experience (e.g. existential phenomenology, cognitive and gestalt psychology, and empiricist philosophies of science and epistemology) to examine the unconventional aesthetic experiences offered by a diverse range of works by contemporary North American and British artists. These selected artists’ works are materially, formally, and aesthetically heterogeneous, and each of this dissertation’s four chapters explores the particularities of several artists’ works in relation to a common philosophical area of enquiry. Each chapter establishes a wider historical and theoretical context for the selected artists’ works before pursuing a more philosophically focused analysis of individual works. A phenomenological approach to the aesthetics of abstract animation is developed in relation to the works of Steven Woloshen and Bret Battey; works by Frank Mouris, Katy Shepherd and Jeff Scher are investigated regarding issues of personal memory and selfhood; epistemic aestheticism is examined in Stuart Hilton’s and Semiconductor’s nonfiction works; and a hermeneutics and allegoresis of oblique narrative is elaborated for Lewis Klahr’s and Kelly Sears’s collage animations. Rather than attempting to fit these artworks within a broader ontological theory of experimental animation, this dissertation engages in a discussionof spectatorship that investigates the complex and challenging experiences individual artworks invite spectators to actively participate in.
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Karafin, Jon. "Somnambulance : an experimental film /." Online version of thesis, 2008. http://hdl.handle.net/1850/7902.

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Bliss, Gillian E. "Redefining the anthropomorphic animal in animation." Thesis, Loughborough University, 2017. https://dspace.lboro.ac.uk/2134/27423.

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The use of anthropomorphic animal characters is pervasive in animation, but there has been little examination of how and why these are created, and how a viewing audience understands them. This Practice-based PhD examines how a re-defining of anthropomorphic and zoomorphic representation might bring a new impetus to the use of animal imagery within contemporary animation practice. An initial stage of research was to define the term anthropomorphism both as a visual language within animation practice and in the wider contexts of scientific and philosophical discourse. Social and psychological aspects are discussed, recognising this form of hybrid representation throughout the development of human culture. Links with Human Animal Studies disciplines raised the question of relating anthropomorphism to negative aspects of anthropocentrism and this led to a second stage of the research that explores ways of working with anthropomorphism that do not promote an anthropocentric bias. This is firstly achieved through the devising of a new theoretical approach to character analysis that is based on the recognition of perceptual aesthetic and sensual animal qualities in human-led , animal-led and design-led anthropomorphic characters, rather than a reliance on conceptual symbolic referencing of human experiences, goals, and narratives. Moving into the practice and influence from historical animation work provides impetus for a move away from character and narrative based work. Experimental animation techniques are used to create rhythms and patterns of abstracted animal and human imagery. This new work is based on contemporary ecological ideas that discuss relationships between humans and animals as interconnected species, thus providing a second way of lessening of anthropocentric bias in the subject matter. Having a starting point of aesthetic and sensual responses to actual experiences with animals is an important factor and live action film is re-animated to create digitally manipulated rhythms of colour, texture, movement and sound. The practical research outcomes are animation samples that evidence the coming together of experimental digital techniques and contemporary ecological subject matter. An action research model was devised for the research to enable the integration of theory and practice, and reflection on theory and practice to have an important influence on the practical outcomes. The approach taken was dependent on experience as a creative practitioner and as a teacher helping others to develop a sustainable creative practice, in allowing an open and intuitive discovery of ideas from both theoretical and practical explorations to create a flow through the research. The combination of theoretical and practical research undertaken provides an impetus towards the creation of future animation work using an anthropomorphic visual language redefined as zooanthropomorphic animation . The submission includes outcomes of a written thesis and links to practical animation work.
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Arjunan, Dorai Raj. "3D Animation: Creating an Experiential Environment." [Johnson City, Tenn. : East Tennessee State University], 2004. http://etd-submit.etsu.edu/etd/theses/available/etd-0719104-174201/unrestricted/Arj%20with%20animation%2017KB.pdf.

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Thesis (M.F.A.)--East Tennessee State University, 2004.
Title from electronic submission form. ETSU ETD database URN: etd-0719104-174201 Includes bibliographical references. Also available via Internet at the UMI web site.
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Gochoco, Michael. "Variations /." Online version of thesis, 2008. http://hdl.handle.net/1850/7796.

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Van, Opdenbosch Paul M. "Made by motion: A conceptual framework for abstracted animation derived from motion-captured movements." Thesis, Queensland University of Technology, 2015. https://eprints.qut.edu.au/84770/1/Paul_Van_Opdenbosch_Thesis_%28print_version%29.pdf.

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Despite an increasing number of acclaimed abstract animations being created through the application of motion capture technologies there has been little detailed documentation and analysis of this approach for abstract animation production. More specifically, it is unclear what the key considerations are, and what issues practitioners might face, when integrating motion capture movement data into their practice. In response to this issue this study explored and documented the practice of generating abstract visual and temporal artefacts from motion captured dance movements that compose abstract animated short films. The study has resulted in a possible framework for this form of practice and outlines five key considerations which should be taken into account by practitioners who use motion capture in the production of abstract animated short films.
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Kim, Su Young. "The dream of the butterfly : experimental illusions in motion graphics /." Link to online version, 2006. https://ritdml.rit.edu/dspace/handle/1850/2290.

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Teixeira, Iuri Araújo Cardoso. "Batalha das máscaras: animação experimental digital baseada nas cavalhadas de Pirenopólis." Universidade Federal de Goiás, 2015. http://repositorio.bc.ufg.br/tede/handle/tede/4725.

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The main objective of this work was develop an experimental 2D animation which used digital resources to simulate traditional artistic techniques of drawing and painting. For this, I made a historical survey of experimental animation around the world, until the emergence of the first Brazilian productions. For references, animation analysis of five experimental artists and animators from countries like Brazil, Canada, United States, Russia and Japan. Based on these analyzes, there was the application of its artistic and cinematographic methods, exploring simulations of materials like oil pastel, colored pencil, acrylic paint and moving cameras via software. The narrative theme selected for the development of an animated story was the festival of Cavalhadas in Pirenópolis, representing its medieval origin in Europe, until his arrives in Brazil and the state of Goiás, showing its relevance as a regional cultural event.
O principal objetivo desta pesquisa foi desenvolver uma animação experimental bidimensional que utilizou recursos digital de simulação de técnicas artísticas tradicionais de desenho e pintura. Para isso, foi feito um levantamento histórico da animação experimental e como ela se desenvolveu pelo mundo, até o surgimento das primeiras produções brasileiras. Como referência, foram analisados os trabalhos em animação de cinco artistas e animadores experimentais dos países Brasil, Estados Unidos, Canadá, Rússia e Japão. A partir dessas análises houve a aplicação de seus métodos de execução, artísticos e cinematográficos, explorando simulações de materiais como pastel a óleo, lápis de cor, tinta acrílica e movimentação de câmeras através de softwares. A temática narrativa selecionada para o desenvolvimento de uma historia de animação foi o festival das Cavalhadas, em Pirenópolis, representando sua origem medieval na Europa, até sua chega ao Brasil e ao estado de Goiás, mostrando sua relevância como manifestação cultural regional.
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Hjelm, Emma. "Oviss Väntan : - En animerad film om ensamhet, längtan och väntan." Thesis, Umeå universitet, Institutionen Konsthögskolan, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-184612.

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Denna essä behandlar mitt masterprojekt "Oviss Väntan". Projektet resulterade i en videoinstallation bestående av animerade loopar som visades på två skärmar med hörlurar och en ljuddusch på Bildmuseet i Umeå, Sverige i maj 2021. Min uppsats börjar med en presentation av mig själv och min bakgrund som animatör. Jag beskriver min konstnärliga praktik, hur jag arbetar och vad jag har påverkats av. Detta följs av en presentation av själva projektet, där jag diskuterar viktiga delar av projektet, såsom teman och atmosfär, material, form och visualisering. Denna uppsats kommer att slutföras före utställningen på Bildmuseet. Därför kommer bilderna i uppsatsen att fokusera mer på processen och tillvägagångssättet än på det färdiga arbetet. Verket "Oviss väntan" bygger på en tanke om att alla fiktiva karaktärerfaktiskt existerar. Karaktärerna bor med varandra i ett hus där de väntar på att få användas. Filmen porträtterar detta hus, där karaktärerna är inhysta i de olika rummen. Genom animationens olika material och tekniker speglas deras väntan och önskan att göra sig redo för att komma ut i världen. Filmen förmedlar ett känsla av väntan men också av längtan. Jag tror att dessa teman har förstärkts av den rådande pandemin. En väntan som vi inte vet när den kommer att ta slut - om den ens slutar. Ett annat av mina teman är ensamhet. Denna ensamhet som kan finnas i en lägenhet även om endast väggar och golv skiljer oss från andra. Karaktärerna i filmen rör sig i loopar. Genom dessa loopar, tillsammans med musik, ljud och röster, rör sig filmen framåt. Rytmen och dess känsla skapar en form, och ett icke- narrativt berättande. En rörlig målning.
This thesis deals with my master’s degree project "Suspense" with the Swedish title “Oviss väntan". The project resulted in a video installation consisting of animated loops displayed on screens with headphones and a sound-shower at Bildmuseet in Umeå, Sweden in May 2021. My essay begins with a presentation of myself and my background as an animator. I describe my artistic practice, how I work and what I have been influenced by. This is followed by a presentation of the project itself, where I discuss important parts of the project, such as themes and atmosphere, materials, form and visualization. This essay will be completed before the exhibition at Bildmuseet. Therefore, the images in the essay will focus more on the process than on the finished work. "Suspense" is based on the idea that all fictional characters exist in real life. The characters live together in a fictional house where they are waiting to be used. The film portrays this house, where the characters are housed in the different rooms, with a variation in materials and animation techniques. The film conveys a mood of waiting but also of longing. I believe that these themes have been enhanced by the current pandemic. A suspense we do not know when it will end - if it even ends. Another of my themes is loneliness. This loneliness that can exist in an apartment even though only walls and floors separates us from others. The characters in the film will move in loops. Through these loops, along with music, sounds and voices, the film moves forward. The rhythm and its feeling will create a form, with a non-narrative structure. A moving painting.
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Books on the topic "Experimental animation"

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Smith, Vicky, and Nicky Hamlyn, eds. Experimental and Expanded Animation. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73873-4.

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Russett, Robert. Experimental animation: Origins of a new art. New York, N.Y: Da Capo Press, 1988.

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Cecile, Starr, ed. Experimental animation: Origins of a new art. New York: Da Capo, 1988.

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Wong, Peter Ming. Splat - the fly: Experimental integration of computer animation and live action. London: Middlesex Polytechnic, Centre for Advanced Studies in Computer Aided Art and Design, 1990.

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Stadtmuseum im Kornhaus (Tübingen, Germany) and Filmmuseum der Landeshauptstadt Düsseldorf, eds. Animation und Avantgarde: Lotte Reiniger und der absolute Film = Animation and avant-garde : Lotte Reiniger and Absolute Film. Tübingen: Stadtmuseum, 2015.

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John, Sundholm, and Söderbergh-Widding Astrid, eds. A history of Swedish experimental film culture: From early animation to video art. Stockholm: National Library of Sweden, 2010.

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Christian, Wallraven, ed. Experimental design: From user studies to psychophysics. Boca Raton, FL: CRC Press, 2011.

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Peter, Hall. Pause: 59 minutes of motion graphics : broadcast design, music video, animation, and experimental graphics from around the world. New York, NY: Universe, 2000.

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(Firm), Onedotzero, ed. Motion blur: Onedotzero: graphic moving imagemakers. London: Laurence King, 2004.

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Palamar, Todd. Maya studio projects: Dynamics. Hoboken, N.J: Wiley, 2010.

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Book chapters on the topic "Experimental animation"

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Heidmets, Rao. "Experimental Animation (planar)." In The Animation, 83–86. Boca Raton: CRC Press, 2022. http://dx.doi.org/10.1201/9781003344865-4.

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Husbands, Lilly. "Craft as Critique in Experimental Animation." In Palgrave Animation, 45–73. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-13943-8_3.

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Smith, Vicky, and Nicky Hamlyn. "Introduction." In Experimental and Expanded Animation, 1–17. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73873-4_1.

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Gosse, Johanna. "Cut to Cute: Fact, Form, and Feeling in Digital Animation." In Experimental and Expanded Animation, 183–201. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73873-4_10.

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Buchan, Suzanne. "The Animated Female Body, Feminism(s) and ‘Mushi’." In Experimental and Expanded Animation, 203–29. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73873-4_11.

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Pucill, Sarah. "“Coming to Life” and Intermediality in the Tableaux Vivants in Magic Mirror (Pucill, 2013) and Confessions to the Mirror (Pucill, 2016)." In Experimental and Expanded Animation, 231–55. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73873-4_12.

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Hosea, Birgitta. "Siting Animation: The Affect of Place." In Experimental and Expanded Animation, 257–78. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73873-4_13.

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Payne, Simon. "Lines and Interruptions in Experimental Film and Video." In Experimental and Expanded Animation, 19–36. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73873-4_2.

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de Bruyn, Dirk. "Performing the Margins of the New." In Experimental and Expanded Animation, 37–59. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73873-4_3.

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Dicker, Barnaby. "Twenty-First Century Flicker: Jodie Mack, Benedict Drew and Sebastian Buerkner." In Experimental and Expanded Animation, 61–78. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73873-4_4.

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Conference papers on the topic "Experimental animation"

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Martin, Tess. "Seattle experimental animation team." In ACM SIGGRAPH 2014 Computer Animation Festival. New York, New York, USA: ACM Press, 2014. http://dx.doi.org/10.1145/2633956.2634004.

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Yüksel, Sedat, and Mestan Boyaci. "EXAMINING EFFECT OF ANIMATION APPLICATIONS ON STUDENT ACHIEVEMENT IN SCIENCE AND TECHNOLOGY COURSE." In 1st International Baltic Symposium on Science and Technology Education. Scientia Socialis Ltd., 2015. http://dx.doi.org/10.33225/balticste/2015.51.

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The aim of this study was to determine whether or not animation applications affect student achievement in science and technology course. For this purpose, effect of constructive approach supported by animations in the instruction of the unit “Living Organisms and Energy” to the 8th grade students on their academic achievement was investigated. This unit was taught to the experimental group using a constructivist approach supported by animations and to the control group using a constructivist approach without animations. For data collection, an achievement was developed and administered to experimental and control groups as pre-tests and post-tests. Collected data was analyzed using t-test and MANOVA. As a result of the research, it was revealed that supporting the constructivist approach with animations was more effective in increasing academic achievement. Key wordThe aim of this study was to determine whether or not animation applications affect student achievement in science and technology course. For this purpose, effect of constructive approach supported by animations in the instruction of the unit “Living Organisms and Energy” to the 8th grade students on their academic achievement was investigated. This unit was taught to the experimental group using a constructivist approach supported by animations and to the control group using a constructivist approach without animations. For data collection, an achievement was developed and administered to experimental and control groups as pre-tests and post-tests. Collected data was analyzed using t-test and MANOVA. As a result of the research, it was revealed that supporting the constructivist approach with animations was more effective in increasing academic achievement. Key words: animation, constructivist science education, teaching supported by computer. s: animation, constructivist science education, teaching supported by computer.
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Sun, Hongjuan. "Discussion on Experimental Animation Teaching." In 2016 3rd International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/icelaic-16.2017.51.

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Xian, Daniel Haocheng, and Jonathan Sahagun. "An Automated Generation from Video to 3D Character Animation using Artificial Intelligence and Pose Estimate." In 9th International Conference on Artificial Intelligence. Academy and Industry Research Collaboration Center (AIRCC), 2023. http://dx.doi.org/10.5121/csit.2023.130703.

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This paper presents a novel approach to automatically generate 3D character animation from video using artificial intelligence and pose estimation [3]. The proposed system first extracts the pose information fromthe input videousing a pose estimation model [2]. Then, an artificial neural network is trained to generate the corresponding3Dcharacter animation based on the extracted pose information [1]. The generated animation is then refined usingaset of animation filters to enhance the quality of the final output. Our experimental results demonstrate theef ectiveness of the proposed approach in generating realistic and natural-looking 3D character animations fromvideo input [4]. This automated process has the potential to greatly reduce the time and ef ort required for creating3D character animations, making it a valuable tool for the entertainment and gaming industries.
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Goldman, Harvey. "Poetry Inspired, Physics Driven, Experimental Animation." In Electronic Visualisation and the Arts (EVA 2017). BCS Learning & Development, 2017. http://dx.doi.org/10.14236/ewic/eva2017.83.

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Znamenskaya, Irina, Nikolay Sysoev, and Igor Doroshchenko. "Experimental Digital Animation in Fluid Dynamics." In 31th International Conference on Computer Graphics and Vision. Keldysh Institute of Applied Mathematics, 2021. http://dx.doi.org/10.20948/graphicon-2021-3027-235-240.

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Digital imaging became one of the main tools for studying unsteady flows. Modern high-speed cameras support video recording at high frame rates which makes it possible to study extended high-speed processes. We demonstrate here different animations: water temperature field evolution with a frame rate of 115 Hz; high-speed shadowgraph visualisation of different flows - water jet formation process (100 000 frames / s), shadowgraph animations of the shock waves created by the pulsed discharges (124 000 frames / s). Also, as an example of plasma flow visualization technique, we offer 9 sequential images of the shock wave - pulse gas discharge visualization obtained by the high-speed CCD camera with the 100 ns delay between frames. We developed in-house software based on the machine vision and learning techniques for automatic flow animations processing. The examples of the automatic oblique shock detection using Canny edge detection and Hough transform and thermal plume detection based on the pre-trained convolutional neural network are provided and discussed.
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Inui, Masatomo, and Makoto Takano. "Fast and Smooth NC Milling Animation Using Partial Redrawing Technique." In ASME 2001 International Design Engineering Technical Conferences and Computers and Information in Engineering Conference. American Society of Mechanical Engineers, 2001. http://dx.doi.org/10.1115/detc2001/cie-21260.

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Abstract Animation display of the NC milling process is helpful for detecting potential problems of a cutter path prior to actual machining. In the milling animation, machined shape of the workpiece is repeatedly computed and displayed after every short motion of the cutter. A single cutter motion usually removes very small portion of the workpiece, therefore most part of two successive pictures in the animation becomes the same. Based on this characteristic of the pictures, the authors develop “partial redrawing technique” for fast and smooth animation of the NC milling process. This method efficiently generates a new picture of the workpiece by properly modifying a limited part of the latest picture in the screen. The picture area to modify is determined based on the removed shape of the workpiece. An experimental system is implemented and some animations of complex milling processes are demonstrated.
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Govokhina, Oxana, Gérard Bailly, Gaspard Breton, and Pauls Bagshhaw. "A new trainable trajectory formation system for facial animation." In ExLing 2006: 1st Tutorial and Research Workshop on Experimental Linguistics. ExLing Society, 2019. http://dx.doi.org/10.36505/exling-2006/01/0004/000004.

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Lam, Artde Donald Kin-Tak, and Yu-Yi Su. "A study on experimental teaching of 3D animation." In 2016 International Conference on Applied System Innovation (ICASI). IEEE, 2016. http://dx.doi.org/10.1109/icasi.2016.7539903.

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Almeida, Horhanna, Giordano Cabral, and Rute Moura. "Design process and rapid prototyping of animated music visualizations." In Simpósio Brasileiro de Computação Musical. Sociedade Brasileira de Computação - SBC, 2021. http://dx.doi.org/10.5753/sbcm.2021.19435.

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The production of animations for Musical Information Visualization is still scarce and has challenges in the way of visually communicating information. Due to the need for domains of editing software, demanding technical skills and specific knowledge related to each area: animation, music, design and computing. In this article, we present a systematic review of the animated visualization area and, based on its conception processes, we elaborate an experimental model for the creation, prototyping and construction of musical animations. And through sessions developing quick prototypes, where we obtained qualitative results with feedback collection. We conclude that the importance of animation is exceptional, as an ally in the process of designing and creating a musical visualization, as it facilitates the representation of time to communicate structural elements of music, as they are dynamically arranged in a graphic area.
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