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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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Mok, Lucille Yehan. "Glenn Gould, Oscar Peterson, and New World Virtuosities." Thesis, Harvard University, 2014. http://nrs.harvard.edu/urn-3:HUL.InstRepos:13064972.
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This dissertation centers on virtuosity as a source of creative genesis, boundary-pushing, and musical debate. Focusing on the careers and works of pianists Oscar Peterson (1925-2007) and Glenn Gould (1932-1982), I examine the role of the virtuoso in twentieth-century music-making, and his encounter with Canadian national identity. Gould and Peterson were contemporaries, and despite their differences - Gould was a white classical musician from Toronto, and Peterson, an African Canadian jazz artist from Montréal - their career paths share points of connection. Using archival material from the Glenn Gould fonds and the Oscar Peterson fonds at Library and Archives Canada, I analyze the work of both figures as sources of musical creativity through musical performance and composition.
The first part of this dissertation demonstrates how Gould's and Peterson's respective performances sparked furor through their contestation of musical boundaries. In the first chapter, my analysis of outtakes from Gould's 1955 recording session of the Goldberg Variations illuminates how his radical musical philosophies emerged from his early recording practices. In chapter two, I examine critiques of Peterson's performance aesthetic from an extensive collection of reviews, and argue that his style of virtuosic jazz allowed him to push back against musical expectations. In the third chapter, I examine the work of Canadian filmmaker Norman McLaren whose experimental animation provided opportunities for partnerships with both musicians; with Peterson in 1949 and with Gould in 1969.
The second part of my dissertation takes the reader outside the realm of performance and demonstrates how Gould and Peterson engaged with landscape through sound composition. The fourth chapter investigates the spatial and sonic interpretation of Canadian locales in Gould's Solitude Trilogy, a series of three experimental radio documentaries. In the final chapter, I unravel the biographical and musical influences in Peterson's multi-movement suite for jazz trio, Canadiana Suite. By studying these iconic virtuosos side-by-side, my dissertation illuminates the significance of the performer in Canada's cultural life in the second half of the twentieth-century and yields a new understanding of how Gould and Peterson exploded expectations in their respective musical communities.Music
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Neale, Wayne Carl. "An experimental test of dual coding theory using various media and visual momentum in a multimedia environment." Diss., Virginia Tech, 1994. http://hdl.handle.net/10919/38339.
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Suret-Canale, Alice. "D’un fragment à l’autre : images empreintes de temps réel : exploration des nouvelles découpes de la vue et du temps dans le film d’animation et l’image numérique animée." Thesis, Paris 8, 2018. http://www.theses.fr/2018PA080018/document.
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La vision multiple et la perception simultanée d’images et d’informations sont au cœur de notre vie quotidienne ; l’omniprésence des écrans et des fenêtres, de l’espace urbain à Internet, produit une vision sur-cadrée et fragmentée du monde qui transforme notre rapport à l’image. La révolution artistique des 19ème et 20ème siècles accompagna le développement des techniques de production de l'image photographique et cinématographique manifestant une certaine préoccupation pour la décomposition du mouvement et l’échantillonnage du temps. La naissance des technologies numériques, dont le développement est intimement lié à celui des réseaux de télécommunication et notamment d’Internet, a renouvelé cette tendance en faisant de la mobilité, de la téléprésence, de l’ubiquité et de la vision simultanée les caractéristiques fondamentales de la pensée visuelle de notre époque.Les systèmes figuratifs de l’image numérique, qui héritent des techniques d’enregistrements optiques tout en y adjoignant celles de la simulation par ordinateur, inaugurent-ils une attitude différente vis-à-vis du réel ? Leur parenté avec Internet et avec les systèmes temps réels les investit-t-elle d’un autre mode d’expression temporel, qui viendrait se substituer à l’histoire de la peinture classique et tendrait à renouveler la présence performative et le direct de l’art vidéo ? C’est à travers le concept du fragment, considéré comme outil au service de l’expérimentation artistique, que cette thèse de recherche-création examine la manière dont l’image numérique animée reprend et transforme les codes de la pratique figurative en peinture et en cinéma pour organiser une nouvelle découpe de la vue et du tempsMultiple vision and simultaneous perception of images and information are at the heart of our daily lives; The omnipresence of screens and windows, from urban space to the Internet, produces an over-framed and fragmented vision of the world that transforms our relationship to the image. The artistic revolution of the 19th and 20th centuries accompanied the development of photographic and cinematographic image production techniques, expressing a certain concern for movement decomposition and time sampling. The birth of digital technologies, whose development is intimately linked to that of telecommunication networks and especially the Internet, has renewed this trend by making mobility, telepresence, ubiquity and simultaneous vision the fundamental characteristics of the visual thinking of our time.Do the figurative systems of digital image, which inherit the techniques of optical recordings while adding those of computer simulation, inaugurate a different attitude towards reality? Does their kinship with the Internet and real time systems invest them in another mode of temporal expression, which would replace the history of classical painting and would tend to renew the performative and direct presence of video art? It is through the concept of fragment, considered as a tool in the service of artistic experimentation, that this research-creation thesis examines the way in which the animated digital image takes over and transforms the codes of figurative practice into painting and film to organize a new cut of sight and time
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Linder, Johannes, and Magnus Gudmandsen. "Telepresence using Kinect and an animated robotic face : An experimental study regarding the sufficiency of using a subset of the CANDIDE-3 model and the Microsoft Kinect Face Tracking device for capturing and animating the most typical facial expressions." Thesis, KTH, Skolan för datavetenskap och kommunikation (CSC), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kth:diva-177115.
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This Bachelor’s Thesis in Computer Science investigates the use of the parameterised facial animation model named CANDIDE-3 (J. Ahlberg, 2001) in Telepresence communication with relatively cheap hardware. An experimental study was conducted to evaluate how well an implementation using the Microsoft Kinect Face Tracking device could capture and animate the 6 classical emotional states: joy, sadness, surprise, anger, fear and disgust. A total of 80 test candidates took part in a survey where they were to try and classify the emotional states of images of photographed and animated faces. The animated faces were created using the prototype system built for the purpose of the survey and rendered onto the robotic Furhat face (Al Moubayed, S., Skantze, G., Beskow, J., Stefanov, K., & Gustafson, J, 2012). Results showed that a person’s emotional state is preserved very well through the animation technique used, and for some basic emotions, like joy or sadness, the animation could even amplify the emotional state for the viewer. However, the 6 Action Units captured from the Kinect device were not enough to sufficiently distinguish between even some of most the basic emotional states (e.g. disgust, anger).Denna kandidatuppsats inom Datateknik undersöker hur väl den parametriserade animationsmodellen CANDIDE-3 (J.Ahlberg, 2001) kan användas för att visa ansiktsuttryck inom Telepresence-sammanhang med hjälp av relativt billig hårdvara. En experimentell studie utfördes för att undersöka hur väl en implementation som använder Microsoft Kinects ansiktsigenkänning kunde fånga och animera de 6 klassiska ansiktsuttrycken: glädje, sorg, förvåning, ilska, rädsla och avsky. Totalt deltog 80 personer i undersökningen där deras uppgift var att klassificera känslomässiga tillstånd från fotograferade och animerade ansikten. De animerade ansiktena skapades med hjälp av det prototypsystem som byggdes i undersökningens syfte och renderades på det robotiserade Furhat-ansiktet (Al Moubayed, S., Skantze, G., Beskow, J., Stefanov, K., & Gustafson, J, 2012). Resultat visade att en persons känslomässiga tillstånd väldigt väl bevaras genom animationstekniken som används, och för några grundläggande känslor, såsom glädje och sorg, kunde animationen till och med förstärka det känslomässiga tillståndet för åskådaren. De 6 AU-enheterna som fångas av Kinect-enheten var dock inte tillräckliga för att särskilja till och med några av de mest grundläggande känslomässiga tillstånden (såsom avsky, ilska).
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Mikitiejeva, Ramunė. "Archeologinio paveldo gaivinimas ir pažinimo sklaida: teoriniai modeliai ir praktinės galimybės." Master's thesis, Lithuanian Academic Libraries Network (LABT), 2008. http://vddb.library.lt/obj/LT-eLABa-0001:E.02~2008~D_20080611_144019-67254.
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Remiantis komparatyvistiniu, aprašomuoju analitiniu, sintezės, apibendrinimo metodais darbe analizuojamos archeologinio paveldo pažinimo sklaidos ir gaivinimo galimybės ir perspektyvos Lietuvoje. Sąlygiškai darbą galima skirtyti į dvi dalis: pirmojoje nagrinėjami teoriniai aspektai, o antrojoje pateikiama praktinių archeologinio paveldo animavimo įžvalgų. Siekiant akcentuoti visuomenės įsitraukimą ir aktyvų dalyvavimą archeologinio paveldo apsaugoje, darbe kaip paveldo pažinimo sklaidos ir gaivinimo sinonimas vartojamas animavimo terminas.
Tyrimo objektu pasirinkus archeologinį paveldą, jo santykį su visuomene, siekiama aptarti archeologinio paveldo specifiką, išryškinti vertes ir reikšmę šiuolaikinės visuomenės tvariai raidai bei išskirti metodus, padedančius optimaliai įgyvendinti interaktyvumo programą ir skatinančius užmegzti dialogą su visuomene. Šiuos reikalavimus atitinka eksperimentinė archeologija. Todėl darbe apžvelgiamos jos praktikavimo ištakos, kategorijos ir sklaida Lietuvoje bei išskiriamos eksperimento metodo taikymo perspektyvos archeologijoje. Viena jų – gyvosios archeologijos festivaliai, įvairios edukacinės programos, kurių atsiradimą ir gausėjimą paskatino bandymas padaryti visuomenę aktyvia dalyve.
Kaip esminė dialogo su bendruomene forma darbe įvardinama archeologinio parko idėja, įvertinami šio animavimo metodo privalumai ir trūkumai, charakterizuojamos potencialios archeologinių parkų vietovės Lietuvos teritorijoje; atsižvelgiant į objekto išlikimo... [toliau žr. visą tekstą]Using a set of general methods which include comparative analysis and synthesis of scientific literature this paper discusses issues of recognition, promotion and rehabilitation of archaeological heritage, the perspectives and opportunities of its use in Lithuania. Basically this work can be divided into two main parts: the one with theoretical analysis of various approaches and the other orientated towards practical recommendations and suggestions of possible animation work in regional parks. Seeking to define the vital importance of involvement and participation of society in the process of conservation, the overall term animation is adopted and used as synonym for recognition, promotion and rehabilitation concept. Considering the relationship between archaeological heritage and society as the main subject of this research, the specifics of archaeological heritage and importance of sustainable development to modern society is reviewed in the work. One of the tasks is to separate out the methods which provide optimal conditions of interactive communication and stimulate the engagement in dialogue with communities. Experimental archaeology meets such requirements. Therefore the genesis, development, categories of experimental archeology and promotion of this tendency in Lithuania are defined, alongside the perspectives of practical use of experiment in archaeology are reflected. Good examples of interaction are various educational programs and archaeological festivals, which... [to full text]
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Sousa, Do Nascimento Silvania. "L'ANIMATION SCIENTIFIQUE : ESSAI D'OBJECTIVATION DE LA PRATIQUE DES ASSOCIATIONS DE CULTURE SCIENTIFIQUE ET TECHNIQUE FRANÇAISES." Phd thesis, Université Pierre et Marie Curie - Paris VI, 1999. http://tel.archives-ouvertes.fr/tel-00864514.
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Cette recherche vise à rendre compte d'un champ de pratiques mouvant et mal connu : l'animation scientifique, à partir d'une étude documentaire d'une part, et à partir de l'étude de pratiques observées in situ, d'autre part. L'animation scientifique est située dans son contexte socio-historique, amenant à dégager divers rôles pour l'animateur correspondants à des intentions et à des enjeux sociaux et cognitifs différents. L'analyse du panorama contemporain, montre une hétérogénéité d'acteurs et de formes d'animation. Trois associations de culture scientifique et technique françaises sont plus spécifiquement considérées du fait qu'elles valorisent les activités pratiques et expérimentales, comme moyens d'accès à la science: Graine de Chimiste ; l'Association Nationale Sciences Techniques Jeunesse (ANSTJ) et Les Petits Débrouillards. Ces trois associations sont situées le panorama actuel de l'animation scientifique, d'un point de vue institutionnel et sous l'angle des opérations d'animation. Les études sont menées selon une approche de l'ethnographie de l'action et centrées sur l'analyse du discours de l'animateur, lors d'ateliers ponctuels (fabrication d'un objet technique avec des participants de 9 à 11 ans) et de stages de formation d'animateurs. Trois axes d'analyse sont considérés: situationnel (cadre et situations matérielles), communicationnel (interactions langagières), et épistémologique (savoirs en jeu lors de séquences). Les résultats des analyses (chronologique, propositionnelle et analyse des échanges) montrent des conduites d'animations spécifiques à chaque association: un protocole de fabrication très strict pour Graine de Chimiste, une démarche de projet pour l'ANSTJ, une démarche inductive pour Les Petits Débrouillards. L'originalité de l'animation réside essentiellement dans le fait qu'elle propose des activités en dehors de contraintes scolaires. Les participants peuvent y vivre des expériences originales susceptibles d'enrichir leurs connaissances sur le monde des objets techniques et manufacturés.
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Lee, Chanju. "Birth and Women in Mythology." Digital Archive @ GSU, 2008. http://digitalarchive.gsu.edu/art_design_theses/35.
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The Birth is a multi-media video installation inspired by my personal experiences of a miscarriage and the births of my two children. The work is influenced by the mythologies found in Korean culture that focus on the mother figure as a ¡°Great Mother¡±. She is an ¡°ideal woman¡±, a ¡°good mother¡± and a ¡°sincere wife¡±. Working abstractly across the media of painting, video, digital animation, and the paintings of my son, The Birth exploits metaphors and symbols, to tell the story of women, especially the stories of mothers. The work speaks to motherly love and my own identity as an artist and a mother.
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Claesson, Nils. "Spökmaskinen : Sju förändringar och förflyttningar – gestaltningsprocesser i animerad film." Doctoral thesis, Stockholms konstnärliga högskola, Institutionen för film och media, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uniarts:diva-270.
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The Ghost Machine is a practice-based research project that explores the process of embodiment in animated film. It describes the process of transfiguration from the artist’s/auteur’s point of view and not from an outside position. The dissertation follows the embodiment of a dramatic text, the Ghost Sonata by August Strindberg (1907), into an animated film. The starting point is my experience of the drama, at the age of thirteen, when staged by Ingmar Bergman at the Royal Dramatic Theatre. As a teenager, the world of the grown-ups seemed to be corrupt, twisted and ruled by violent power plays and economic sanctions, and this play confirmed my world view. Was I right, as a thirteen-year-old boy? What kind of world emerges in my version of the Ghost Sonata? In this thesis work, the films and the experimental research process meet the practice and art of writing. Using text, not as “theory” separated from “practice” but as a bodily art practice, creates a shifting border between the results and intentions of art and filmmaking, and the results of writing. At the same time a unity emerges where the results of the research process can be seen and experienced in the interaction between the texts and the artwork. The Ghost Machine is a totality where the text, films and artworks included in the project are equally important and must be seen as a unity. The Ghost Machine is a work journey where travelling, animated film practice, networking with colleagues and collecting data are mixed with experiments using methods from contemporary arts practice, performance, reenactment, appropriation and transfiguration, blended with traditional puppet animation in classic Czech style. In collaboration with actors, mime artists, puppet makers, musicians and a minimal film crew, century old stop-motion animation is combined with computer animation. The textual part of the work falls into two categories: life stories and work stories. The work stories traces the forming of an artwork in all aspects. The life stories are related to the subject of ghosts. Suddenly, dead friends and dear family members claimed their space. The understanding of the Ghost Sonata came to be a process of sorting out and following lines of memory using an inverted version of the Orpheus myth as a guide. Instead of never turning around, when walking the dead out of oblivion, I chose to look back, again and again, until I hit something and could not write anymore.https://www.uniartsplay.se/slin
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Wade, Tom H. "Circulation of the Light: Mandalas, Alchemy, and Non-Linear Cinema." Ohio University Honors Tutorial College / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors149441657291478.
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Spångberg, Felicia, and Eva Schramm. "Measuring player preference using muscle simulation." Thesis, Blekinge Tekniska Högskola, Institutionen för datavetenskap, 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:bth-18424.
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Background: Simulation of physics is something several modern video games use. These simulations are often used to create more believable and realistic environments. Physics-based animations in the form of muscle simulations is one such technique. Objectives: The aim of this thesis is to investigate three different stages of full-body muscle deformation and observe which of these are preferred. One using no degree of deformation being the control condition and the other two using different degrees of deformation being the treatments. This study is conducted by creating animationswith three different degrees of muscle simulation. These animations are then rendered in Maya as well as put into a small fighting scenario implemented in Unreal Engine 4. A user experiment will be conducted where a number of participants will be asked to choose between different scenarios using two-alternative forced choice. After the user study is completed, the data will be analyzed and used to form a conclusion. Methods: Implementations needed to create the stimulus was first done in Maya where the meshes, muscles and animations were created. Renders were done in Maya of all animations and a scene was also implemented in Unreal Engine 4 simulating a small fighting game using the assets created in Maya. To evaluate player preference,a user experiment was conducted with 13 participants where each participant was asked to watch 27 scenarios containing two side-by-side comparisons with different degrees of muscle deformation. The user experiment stimulus was created using PshycoPy which also collected the data of user preference. The scenarios where presented in an arbitrary order. The study was held in a room where the participant was undisturbed. Results: The results showed that no muscle deformation was preferred in all cases where a statistical difference could be found. Conclusions: While the results show that the control condition is mostly preferred, most cases did not yield a conclusive result. Thus further research in the area is necessary.
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Nordin, Hanna. "ANIMATION VS. COMIC STRIPFOR DIGITAL COMMUNICATION : A Mixed Method Approach through an Online Survey." Thesis, Umeå universitet, Institutionen för informatik, 2021. http://urn.kb.se/resolve?urn=urn:nbn:se:umu:diva-186823.
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Knowledge and its distribution are important for people to understand the world. In principle, science and academic research is the ultimate reliable source when knowledge is at stake, and an efficient way of communicating knowledge is through stories and narratives. As the use of digital devices is increasing, so are the use of digital devices for communicating storytelling. According to previous research, immersive and interactive forms of digital storytelling, such as video games, are beneficial for communicating knowledge. These media are, however, costly and time consuming. Communicating knowledge through more simple means is thus valuable too. The aim of this thesis was to investigate which method of communication, animated video, or comic strip, that leads to best performance, most knowledge, and is preferred. To do this a mixed method approach was conducted. The participants were asked eight questions related to the narrative. With each question three response options were provided for the participants to choose from. The collected data was analyzed through two statistical analyses, as well as a qualitative analysis. The findings suggest that there is no statistically significant difference between animated video and comic strip regarding the issue of developing knowledge, but that there is a difference in preference. These findings, as well as limitations, are further discussed in the paper.
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Nordberg, Johan. "Contour." Thesis, Högskolan i Borås, Institutionen Textilhögskolan, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:hb:diva-17074.
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Traditional sketching with pen on paper can be seen as to visualize the memory. Limited to a framework of influences, experiences and ideas the outcome will result in something already known.In searching for knowledge an experimental sketch method counteracts this framework. The aim of this work is to explore morph animation of archetypical garments. Shape interpolation in Adobe Flash software makes it possible to calculate the way between two silhouettes. The result is a third silhouette, a morph of selected garments and depends on where the animation is paused. The work also deals with the gap between visualize(sketching) and making(construction/realization). In the investigation a new way of using animation as an sketch method have been found. Also how to use computer based 3D sketching in fashion design and an alternative construction method based on paper craft techniques have been developed. The collection consists of garments based on a morph between a classic skirt and a blazer to discuss new visions and possibility’s in fashion. Can the way we sketch, construct and produce affect garment definitions? And how could the findings in this work being used in a commercial industry.Program: Modedesignutbildningen
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Gregori, Rodrigo Mello Mattos Habib. "Fatiamento de malhas triangulares: teoria e experimentos." Universidade Tecnológica Federal do Paraná, 2014. http://repositorio.utfpr.edu.br/jspui/handle/1/1026.
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Manufatura Aditiva, também conhecida por Impressão 3D, é um processo baseado na sobreposição de camadas para produzir um objeto físico. Os dados para a produção desse objeto vêm de um modelo geométrico tridimensional, geralmente representado por uma malha de triângulos. Um dos principais procedimentos no processo de produção é fatiar a malha triangular e gerar uma série de contornos, os quais representam as camadas do objeto. Há diversas estratégicas para fatiar malhas triangulares, porém, a maior parte dos trabalhos na literatura foca-se em problemas como a qualidade do modelo, melhorias específicas no processo de fatiamento e uso de memória; poucos trabalhos, no entanto, abordam o problema por uma perspectiva de complexidade algorítmica. Algoritmos propostos atualmente para este problema executam em tempo O(n² + k²) ou O(n² + nlognk); o algoritmo proposto nesta dissertação possui complexidade O(nk) para uma entrada com n triângulos e k planos e, com K é o número médio de planos que cortam cada triângulo nesta entrada específica. O algoritmo proposto, chamado de Fatiamento por Estocada (FE) é comparado teórica e experimentalmente com alguns dos métodos conhecidos na literatura e os resultados mostram melhora considerável em tempo de execução.Additive Manufacturing, also known as 3D printing, is a process based on the addition of sucessive layers in order to build a physical object. The data for building this object come from geometric 3D model, usually represented by a triangle mesh. One of the main procedures in this process is to slice the triangle mesh and output a sequence of contours, representing each one of the layers of the object. There are many strategies for slicing meshes, however, most of the current literature is concerned with ad hoc issues such as the quality of the model, specific improvements in the slicing process and memory usage, whereas few of them address the problem from an algorithmic complecity perspective. While current algorithms for this problem ruin in O(n² + k²) or O(n² + nlognk), the proposed algorithm runs in O(nk), for a given input with n triangles, k planes and where k is the average number of slices cutting each triangle in this specific input. This is asymptotically the best that can be achieved under certain fairly common assumptions. The proposed algorithm, called here Slicing by Stabbing (SS), was compared both theoretically and experimentally against known methods in the literature and the results show considerable improvement in execution time.
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Ribeiro, Tiago Nery. "Animações interativas como instrumento pedagógico nas aulas experimentais de física : a concepção dos professores." Universidade Federal de Sergipe, 2009. https://ri.ufs.br/handle/riufs/4790.
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The integration of Information Communication Technology in schools is a process that has already started, and that tend to change sooner or later, the profile of the teaching-learning process. The animation software can become an alternative to
streamline the process of teaching and learning of physics, making it more meaningful for the student. Therefore, this study aimed to examine the concepts of physics teachers
in high school about the software of animation as a pedagogical tool in the classroom and provide opportunities for learning. For this, we established a theoretical framework
on the evaluation criteria and definition of software for animation as a pedagogical tool, know the difficulties that teachers of physics are in the process of teaching-learning
software transformations characterize the thermodynamic analysis prior to the teachers and analyze the conceptions of the same software on the animation. Then, we established a theoretical framework on the evaluation criteria and definition of software for animation as a pedagogical tool, know the difficulties that teachers of physics are in the process of teaching-learning software transformations characterize the
thermodynamic analysis prior to the teachers and analyze the conceptions of the same software on the animation. For this purpose, as a theoretical contribution to the meaningful learning theory of David Ausubel. For the development of the research we used a qualitative methodology using a semi-structured interview. Accordingly, from the theoretical framework and concepts of the teachers can see that one of the main characteristics of software as a tool for teaching animation classes in experimental physics is how it can facilitate the process of teaching learning and the student must construct the their knowledge of the theoretical and experimental, between the static and dynamic. We also show that the conceptions of teachers could validate the set of criteria defined in the theoretical framework that are predominant in the learning process with this type of tool, which are the basis used in the construction of educational software and the technical aspects.A inserção das Tecnologias da Informação e Comunicação nas escolas é um processo que já foi iniciado, e que, tenderá a modificar, mais cedo ou mais tarde, o perfil do processo de ensino-aprendizagem. Os softwares de animação podem se tornar uma alternativa para dinamizar o processo de ensino-aprendizagem de Física, tornandoo mais significativo para o aluno. Por isso, este trabalho teve como objetivo analisar as concepções dos professores de Física do ensino médio sobre o software de animação como instrumento pedagógico nas aulas e as possibilidades de proporcionar a aprendizagem. Para isso, estabelecemos um quadro teórico sobre os critérios de avaliação e definição de software de animação como instrumento pedagógico; conhecemos as dificuldades que os professores de Física encontram no processo de ensino-aprendizagem; caracterizamos o software Transformações Termodinâmicas para análise prévia dos professores e analisamos as concepções dos mesmos sobre o software de animação. Para tanto, utilizamos como aporte teórico a teoria da aprendizagem significativa de David Ausubel. Para o desenvolvimento da pesquisa, foi utilizada uma metodologia qualitativa através de uma entrevista semiestruturada. Nesse sentido, a partir do quadro teórico e das concepções dos professores, podemos vislumbrar que uma das principais características de um software de animação, como ferramenta pedagógica nas aulas experimentais de Física, é como ele pode favorecer o processo de ensino aprendizagem, como o aluno deve construir o seu conhecimento entre o teórico e o experimental, entre o estático e o dinâmico. Podemos também evidenciar, que as concepções dos professores puderam validar o conjunto de critérios definidos no quadro teórico que são preponderantes no processo de aprendizagem com esse tipo de ferramenta, que são: a base pedagógica utilizada na construção do software e os aspectos técnicos.
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Lunelli, Gisele Bordignon. "ATIVIDADES BASEADAS EM ANIMAÇÃO E SIMULAÇÃO COMPUTACIONAL NO ENSINO-APRENDIZAGEM DE CINEMÁTICA EM NÍVEL MÉDIO." Universidade Franciscana, 2010. http://tede.universidadefranciscana.edu.br:8080/handle/UFN-BDTD/109.
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Previous issue date: 2010-09-11Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
This work presents a study on the use of computacional experiments which are based in animations and in simulations for applying in didactic activities in teaching the concepts of position, displacement, velocity and acceleration related to the kinematics of the particle. These activities were developed in a meaningful learning perspective based on tne theory of conceptual fields. Participants are twenty students from the first grade of a private high school. This study aims to examine how the use of computational animations and simulations can help in meaningful learning of concepts of particle kinematics in high school. Protocols of activities and a questionnaire are used as instruments of data collection. The conclusions obtained from the vision of the students showed that: (i) the computacional experiments with educational animations and simulations brought the everyday of the student to near the theoretical physics, encouraging learning, (ii) they gave connections between situations presented in virtual experiments and the concepts of the physics through interaction, (iii) they encouraged the pleasure of learning, showing its playful character, and (iv) they showed to be an innovative approaching, making interesting the classes as compared with those tradicional ones. It is worthy emphasize that not all students found useful the lessons with this approach, and that the conceptual difficulties persisted. To these difficulties, other ones such as those of procedimental character may have contributed to hinder the conceptual learning.
Este trabalho apresenta um estudo sobre o uso de experimentos computacioinais baseados em animações e simulações implementadas em atividades didáticas no ensino dos conceitos de posição, deslocamento, velocidade e aceleração relacionados à cinemática da partícula. As atividades didáticas foram desenvolvidas em uma perspectiva de aprendizagem significativa à luz da teoria dos campos conceituais. Os participantes são vinte estudantes da primeira série de uma escola particular. Este estudo tem como objetivo analisar como o uso de animação e simulação computacional pode auxiliar na aprendizagem significativa de conceitos de cinemática da partícula em nível médio. Os instrumentos de coleta de dados são fichas de acompanhamento das atividades didáticas e um questionário aberto. As conclusões obtidas a partir da visão dos estudantes apontam que os experimentos computacionais com animações e simulações educacionais: (i) aproximaram os conhecimentos teóricos da Física com o cotidiano, favorecendo à aprendizagem, (ii) proporcionaram conexões entre as situações-problema apresentadas nos experimentos virtuais e os conteúdos físicos por meio da interatividade, (iii) despertaram o prazer pela aprendizagem, evidenciando seu caráter lúdico, e, (iv) tiveram caráter inovador, tornando as aulas de Física interessantes e diferentes das aulas tradicionais. Ressalta-se que nem todos os estudantes consideraram proveitosas as aulas com esta abordagem, e que as dificuldades conceituais persistiram. A essas dificuldades, acrescentam-se outras de caráter procedimental que podem ter contribuido para obstaculizar a aprendizagem conceitual.
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Nyh, Johan. "From Snow White to Frozen : An evaluation of popular gender representation indicators applied to Disney’s princess films." Thesis, Karlstads universitet, Institutionen för geografi, medier och kommunikation, 2015. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-36877.
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Simple content analysis methods, such as the Bechdel test and measuring percentage of female talk time or characters, have seen a surge of attention from mainstream media and in social media the last couple of years. Underlying assumptions are generally shared with the gender role socialization model and consequently, an importance is stated, due to a high degree to which impressions from media shape in particular young children’s identification processes. For young girls, the Disney Princesses franchise (with Frozen included) stands out as the number one player commercially as well as in customer awareness. The vertical lineup of Disney princesses spans from the passive and domestic working Snow White in 1937 to independent and super-power wielding princess Elsa in 2013, which makes the line of films an optimal test subject in evaluating above-mentioned simple content analysis methods. As a control, a meta-study has been conducted on previous academic studies on the same range of films. The sampled research, within fields spanning from qualitative content analysis and semiotics to coded content analysis, all come to the same conclusions regarding the general changes over time in representations of female characters. The objective of this thesis is to answer whether or not there is a correlation between these changes and those indicated by the simple content analysis methods, i.e. whether or not the simple popular methods are in general coherence with the more intricate academic methods.Betyg VG (skala IG-VG)
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Tzai-hung, Chen, and 陳在泓. "A Study of the Experimental Animation." Thesis, 2008. http://ndltd.ncl.edu.tw/handle/bk262r.
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碩士國立臺灣師範大學
設計研究所
96
The concept of an experimental animation usually shows the subjectivism of the creator and the social environment of most artists .It is also the reflection of the culture and aesthetics of the time .It can cause a revolution through form and content, and release emotion which brings more creativity and new ideas . In the postmodern consumer culture, immoderate desire has displaced need .Consumer behavior has affected production as an indicator of self-identity and development and change in society .In this background of society, consumer culture has brought special phenomenon which was different from before .Such as the conspicuous consumption and adoration of brands .The behavior of the consumer was not simply to buy something but has become a symbol of the social culture. This study discusses the culture of postmodern consumerism, and the thoughts about connection between this culture and the design of symbolic images.At last, creating an experimental animation to discuss the meaning and purpose of consumer culture, giving the audience an opportunity for thought and introspection .
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Lun, Chen Wei, and 陳緯倫. "《Bubble》The Research and Creation of Experimental Animation." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/6zr7j2.
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碩士國立臺灣藝術大學
多媒體動畫藝術研究所
94
“Bubble” is an experimental animation created using digital tools and multiple media. The artist conjures up unique visual effects through a combination of digital drawing, collage, and post-production. In a surreal，fairytale-like and ironic animation narration, it communicates how mass media influences the values and ideology of its audience. The audience is like “fish” in a small tank, recipients of this information have nowhere to hide and are fed by the media day after day. Feeling unable to escape from an environment where people are besieged by the media, the artist hopes to express this perception through an ironic expression and inspire the audience to reflect on the media environment they live in. This thesis consists of three main structures. Firstly, researches are made on the content, form, and media of the experimental animation, while the possibilities of animation creation in the digital age are also discussed. Secondly, in an attempt to carry out in-depth exploration these issues, the artist analyzes the inter-influence between the media and the audience. Following the line of communications culture, the artist obtains a broader and more profound theoretical basis for creative concepts. Thirdly, the creative concepts of “Bubble” are elaborated including the implications of symbols and images, experimental processes of media, and the application of color. Finally, it is proposed in this thesis that there are infinite experimental possibilities for digital age animation. Digital tools make it easier to combine various media for creative works, while multiple media collage experiments conducted this way generate a more diverse visual quality and image power. It is hoped that the discussions above may serve as a reference for creating animations.
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Pai, Nai-Yuan, and 白乃遠. "The Experimental Intuitive Creation of 3D Characters Animation." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/22738606840210074326.
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碩士國立交通大學
應用藝術研究所
97
3D characters animation is an art needs a complete plan that could be practiced efficiently. One of most important steps in pre-production is storyboard arrangement. 3D characters animation makers will take story script as a reference.This research experimented a direct animation production process to create 3D role models without using storyboard. I name the method of this animation production ‘Intuitive Creation’ which is the method I used to create my animation. The purpose of this work aims at exploring the meaning of capitalism and its commercial activities.Using this method, I made five parts of animation about capitalism by deducing and presenting its extending meanings. My work was unfolded from the following five aspects: 1. Image and sale, 2. Management and control, 3. Materials and production, 4. Manufacture, 5.keep and sale.These five elements were integrated as a whole of my animation. Moreover, the information of the content, process, experiences of making this animation, and suggestions are provided in this thesis for other animation artists who are interested in this method of making animation.
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Poffo, Samira Machado. "Avesso (in)visível : experimental expanded animation and craft aesthetics." Master's thesis, 2021. http://hdl.handle.net/10437/12658.
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Orientação: Natalie WoolfEste trabalho apresenta a pesquisa teórica e prática na animação Avesso (In) Visível, que busca refletir as desigualdades sociais presentes na sociedade contemporânea por meio do bordado e da materialidade têxtil. O trabalho contextualiza o uso da estética artesanal na animação experimental e na animação expandida, traçando relações entre o cinema de animação e as artes visuais. Ao expor o processo de conceituação, produção e exibição da instalação, o trabalho discute as particularidades da criação da animação expandida, destacando as relações traçadas entre a instalação e o espectador e as principais descobertas feitas durante a produção da obra.
This work presents the theoretical and practical research in the animation installation Avesso (In)Visível, which seeks to reflect the social inequalities present in contemporary society through embroidery and textile materiality. The work contextualizes the use of craft aesthetics in experimental animation and expanded animation, tracing relationships between animation cinema and visual arts. By displaying the installation's conceptualization, production and exhibition process, the work discusses the particularities of the creation of expanded animation, highlighting relationships drawn between installation and viewer and the principal discoveries made during the production of the work.
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Lin, chiao-fang, and 林巧芳. "Experimental Animation as Image of Plasticity：Arguments of "Hand" and "Frame"." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/62765778996802510007.
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博士國立臺南藝術大學
藝術創作理論研究所博士班
101
The starting point of this study goes back to the ontological features of the animation image: Experimental animation as image of plasticity. In order to explore the concept of experimental animation as image of plasticity, the researcher examines the creative path of an animator by identifying the expressive method of the animation like the status when a painter creates with “hands” to introduce an image concept to “dynamic” change and move. This is a process in which the creator uses a becoming and flowing interface to integrate himself/herself into the characters and themes in each piece of animation work and puts desire, imagination, and feelings in the images to interpret the multi-sensation composition. In the end, through the “hands” of the creator, the limits within and outside the “frame” are removed for random and free image assembly, modification and recreation to form a “plasticity” image matrix. This study consists of five parts: “image limits: the plasticity relationship between ‘frame’ and image,” “movement assemblage: dispute of image aesthetics on a latent animation ‘frame’,” “deconstruction of ‘frame’: deformed image dimension in-between ‘frames,’” “hand making-intervention of image and random space,” and “plasticity-image: ‘external’ aesthetics features of an animation image.” First, in chapter one, this study examines the relationship between “frame” and image as well as the journey of the “frame” as it constantly changes by tracing back the origin and change of the “frame” to reflect possible changes or even transcend the starting point of conventional image thinking. In chapter two, this study discusses the origin, development, and thinking of animation “frame,” develops a mean to identify the difference between films and animation. Additionally, through the decomposition of the “frame” concept in “The Horse in Motion,” three animation “frame” phenomena are proposed. In chapter three, this study investigates the evolution of “frame” terminologies from the perspective of creative animation image aesthetics in order to explore a deformed image dimension “in-between frames.” Animated features often hide under the surface and transits to “duration” and therefore, the aesthetics keynote of a deformed image begins “in-between frames.” In chapter four, this study observes the initial presentation of the “meeting” between “hands” and image and the researcher introduces a pioneer in “using hands to create an image.” This shall not be regarded as a painting performance but the concept of self-formation of image with the emphasis on “hands.” At the same time, it can weaken the existence conditions of the camera. In the end, in chapter five, from the perspective presented in the historical material of animation, the researcher believes that only involves partial statement and fails to present the completeness of an image. Thus, there is a need to examine the four concepts of “plasticity” animation image aesthetics in order to develop an alternative view of animation image history. This study attempts to use the self creation experience and theoretical discourse to construct the basis of an animation image study from an empirical perspective. Through the observation, understanding, analysis, and critics of “frame,” three latent aesthetics concepts: feeling, transformation, and power in animation image can be explored and from the holistic thinking “hand” and “in-between frames,” the concept of experimental animation as “plasticity” image can be identified in the ambiguity.
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Chen, Yen Shi, and 陳妍希. "「Continuity and discontinuity」 —Experimental Animation for Narrative Research of Time." Thesis, 2006. http://ndltd.ncl.edu.tw/handle/67212493243182185601.
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碩士國立臺灣師範大學
設計研究所
95
The might of image strengthens constantly. Vision and video/audio both combine on dual senses that make people fascinated by what they see and get. The developments of computer animation are irresistible at present day. It provides the brand new sight experience activated on spread mass media and related art domain. Basically, time elapses linearly. Animation Itself is built in a complete frame structure; i.e., from start to the end. The creator applies the pictures comprised of different time/space to make up a movie. The jump style binds to time sequence just as linear-structure time does. Linearity itself wraps up non-linear structure forming a marvelous contradiction. This study proceeds to a narrative statement to probe into the animation through the investigation of movie and language basics. This study generalized 3 conclusions as stated below： １. The nature of story-told characteristics for film makes it feasible for studies on narrative structure of animation ２. The different permutation and combination of story sections results in differentiate compilations of content. 3. Digital images with the enclosure of physical goods make more possible appearances of experimental animations. Keywords：Experimental animation、Narrative structure of time、drawn animation、Paradoxical structure、model animation
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lin, chiao-fang, and 林巧芳. "The exploration of Montage experimental animation creator in female materials." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/42618823912337612227.
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碩士臺南藝術學院
音像動畫研究所
90
A female creator start to explain the female characters; she creates in a series of experimental animations of female materials. This is the first time that a woman rethinks about the relations between herself and her mother. Through the observation of the movie, the female creator finds out that the feelings are pressurized by the morality; she shows the fear and expectancy of love and the hardiness in the old time. By Montage, the creator transforms the deep feelings into the visual image poetry. In Dadaism and surrealism, the creator finds that she can express art well when her spirit is not controlled by logic. The creation of the image animation is combined by the fantasy and imagination. Some experimental animations try to create a magic world to replace the reality. The animation creator had a hard job from the beginning of the story, the structure of the images, and the form of the creation; then, she deal successful with the disadvantages. Finally, she finished the work. In the experience, the animation creator recalls the innocence and the beginning. The animation provides for the creator the fragments of the dreamland and the imagination, and the essence of the true and memory.
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鄭宜芳. "The Animation of Poetry—Exploring the Application of "Poetic Association in Thinking Process" During Creating Hand-drawn Experimental Animation." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/53687580670991872385.
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碩士國立臺灣師範大學
設計研究所
96
This research applies the “poetic thought” process to the play writing and the visual expressions in experimental animation. Intermedia intertextuality was often seen between the text of poetry and the text of images. The nature of animation is closely related to poetry. For example, the poetic animation has—strong subjectivity from the author’s personal style, image which has its unique imagery, image symbols in Symbolism, and the surrealistic techniques. All of these are the same with the characteristic of poetry. The relationships among poetry, the poetic sentiment, and the animation are as follow: "Poetry," the dominant component of the script, expresses the subjective thinking of the animation creator; "the image (frame content)" is the work of the animation creator; "the poetic sentiment" is the visual feeling and the aesthetic psychology of the audience.Since animation is a big combination of different artistic domains, and there is high degree of freedom in how to apply techniques and materials, any idea could be put into practice. Therefore, we should emphasize the creativity and the aesthetic value in the content of animation. Poetry is related to thinking in nature, and is the power source for creators to express their thoughts and to create. While referring to the intertextuality phenomenon between animation and poetry, we should ground in the essence of poetic language. Therefore, the author applied "the Associative Tree", which was proposed by the poet Bai-Ling, as the "poetic thinking" method during the process of play writing and creative performance. Through the special characteristics of the poetic language, the author transformed the abstract human mood into concrete image and then the script of the poem. Moreover, the author used both realistic and abstract visual element in the animation, and united the highly painterly hand-drawn animation with personal sensitive style to visualize the poetic script, making every effort to unfold experimental animation in the artistic way.
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Wong, Wei Peng, and 黃瑋冰. "The Creation Discourse of “Hatch” ─ The Female Experimental Animation Creation Discussion." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/kp297j.
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碩士國立臺灣藝術大學
多媒體動畫藝術學系動畫藝術碩士班
101
Women played a very important role in the French Revolution in 1789. The rise of feminism became one of the powers, which overthrowing the autocratic monarchy and feudalism. Women finally realized that they deserved to have more human rights in the society. The awareness of the women's rights had encouraged more women being free to mould a better characteristic in their minds. Nevertheless, the sexist attitudes toward women still exists nowadays. The concept of this animation is to awake people to the importance of women's rights. In the making of the animation, there are two parts in the creative experiment. In the first part, personal literature experiences are the ideas of the story. In the second part, multi-media experimental technical skills are mainly used throughly in the story. The story of the animation, 'Hatching', is created basing on a real story. It describes a tragedy of a woman’s life who lost her freedom and suffered from mental tortures and stresses in such a cruel unfair world. There were plenty of dilemmas and temptations obstructing the ways to her ideal free life. She finally decided to fight with the conservatives and feudalism, bravely. This a 2D stop-motion animation. A variety of art media and skills were used in the making of the video. It creates a brand new impressive visual effect and concept, which wound be really far beyond your imaginations.
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Sha, Ming-Hsien, and 沙明憲. "The Exploration Of Experimental Animation With Non Pre-Production Creator – In Life Materials." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/10601856090281796272.
Full textAbstract:
碩士崑山科技大學
視覺傳達設計研究所
100
Designer and art performance creative process and scripts, changing the position of creative results and procedures, and even original thinking and actions challenged each other in the storyboard, overthrow, change the significance of the action of the creative results. This narrative is sometimes in order to show precise execution, and sometimes in order to supplement the original thinking is not the integrity of the creators between the two swings, perhaps the most original ideas will be approaching the real theme of the narrative development. Non Pre-Production plan also have a technological and artistic, contemporary science and technology, combined with cultural and art of the creation of an experimental model, so, not so much the creation of plans for experimental, but rather that the formal creation as shallow rule-like silence in a variety of design and execution, that seems to be the language could not care while trying to hide things. On the surface of the creation of context, but also hidden another text. The authors hope that the use of these material life, conversion to another language and narrative method, the original through the brain to think the original to express the idea of deepening and solid image and sound rendering. Psychological concepts "and" image showing the result of the visual image in this creative project even if the creative types are not completely the same narrative, but there are complex and subtle interaction between literary narrative film has a semantic reverberations, and poetic resonance, which is perhaps something like an unmanned knowledge through speech, but can know through a crazy no one imagine that with experience, looking at the mind also continue to eventually lead to the night, the night also began a strange place in this his home in long tired went to the author concludes that love is not a journey.
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CHEN, YEN-LIANG, and 陳彥良. "The Creation Description of “AM I ORIGHT” ─ An Experimental Animation Based on Sound Performance." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/cy3wvv.
Full textAbstract:
碩士國立臺灣藝術大學
多媒體動畫藝術學系動畫藝術碩士班
106
The basic performance of the experimental animation, “AM I ORIGHT”, is based on sounds. The sounds which were recorded, mixed and edited, were used as the basic performance of the animation creation. To indicate the author’s actual experience of getting lost, growing, and transforming in the process of the creation journey. In this research of creation, the author analyzes the representative works, creators and features that are based on sound creation in the literature of animation history. Although animation art can be divided into mainstream and non-mainstream animations, they both emphasize that experimentalism and artistry are very important. Experimental animation, labeled as non-mainstream animation, is mainly based on the performance of visual arts. Since the advent of sounds, sounds can be recorded, edited and applied to motion pictures. Animation art has no longer been constrained by just visual arts; that is, auditory art has gradually been recognized as part of it. Some animation artists even create animation works mainly founded on sounds and music. Modern music videos in the mainstream market often apply sounds as the basis of the animation performance. This creation and discourse therefore focused on exploration, research, and practice for how we can conduct animation creation experiments based on sounds.
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Lopes, Beatriz Vieira. "À procura de uma utopia ecológica, na criação de um mundo distópico." Master's thesis, 2021. http://hdl.handle.net/10437/12660.
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Orientação: Pedro Miguel Serrazina Picado MagalhãesEste trabalho de projeto tem como objetivo cruzar o conhecimento teórico nas áreas de ecocinema e pré-trauma climático, com referências práticas que representam mundos distópicos e usam o conceito de ‘hauntology’, para contextualizar e refletir sobre a execução de uma curta-metragem de animação que tem como objetivo a transmissão de uma mensagem ecológica. Com este trabalho pretendo perceber se é possível criar uma utopia ecológica, privilegiando um ponto de vista geocêntrico, num futuro distópico, com resultados práticos na transmissão de uma mensagem ecológica. Depois de uma análise retrospetiva de todo o processo de desenvolvimento da curta metragem realizada, desde a sua idealização até à sua produção, comparando com outros projetos e características propostas pelo ecocinema e pelo pré-trauma climático, de forma a perceber em que categorias posso inserir o meu filme, com argumentos válidos que o justifiquem. Deste modo, finalizo este trabalho com a noção de que apesar dos eco-críticos idealizarem uma representação cinematográfica de uma utopia ecológica, há sempre contradições numa ideologia, logo mesmo que o final do meu filme não ofereça um ideal ecológico para a biosfera atual, oferece uma proposta de sistema e estrutura que prioriza a sobrevivência do planeta.
This project work aims to cross theoretical knowledge in the areas of ecocinema and climatic pretrauma, with practical references that represent dystopian worlds and the use of hauntology concept, to contextualize and reflect on the execution of animation short film that aims to convey an ecological message. With this work I intend to understand if it is possible to create an ecological utopia, privileging a geocentric point of view, in a dystopian future, with practical results in the transmission of an ecological message. After a retrospective analysis of the entire development process of the short film, since its conception until its production, comparing it with other projects and with the characteristics proposed by ecocinema and climatic pretrauma, as a way to perceive in what categories can I insert my film, with valid arguments that justify it. Thus, I conclude this work with the notion that despite the ecocritics idealization of a cinematographic representation of an ecological utopia, there are always contradictions in an ideology, so even though the end of my film does not offer an ecological ideal for the current biosphere, it presents a proposal of system and structure that prioritizes the survival of the planet.
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吳志敏. "A Experimental Study of Using Computer - Animation on Algebra Concept Teaching In Junior High Schools." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/36408322855660254164.
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碩士國立臺北科技大學
技術及職業教育研究所
90
Abstract The main purpose of this study is to develop a computer-animation instruction media to investigate the effect of teaching two-dimensional linear systems of equations. A quasi-experimental design was adopted for the study, involving 70 seventh-graders from 2 classes in a junior high school. The teacher (researcher) spent 3.5 weeks (14 hours in total) teaching one class, the experimental group, with computer-animation instruction media, and the other, the control group, traditionally in the classroom. Before and after the experiment, “seventh-grade algebra concept pre-test” and “seventh-grade algebra concept post-test” were respectively used to test both the experimental and the control groups. The results of test were analyzed by independent-sample t-test, paired-sample t-test and Kolmogorov-Smirnov two-way analysis of variance by ranks. In addition, the researcher interviewed 12 students (6 randomly chosen respectively from each group) about their algebra concept, and analyzed the result of the interview. Twelve main conclusions of the study are described as follow: 1. The researcher developed a computer-animation instruction media. 2. After using computer-animation instruction media, it was found that the achievement of the experimental group was better than that of the control group, and the scores of post-test between them , after undergoing independent-sample t-test, reach the significant level (**p < 0.01). In other words, the instruction of teaching two-dimensional linear systems of equations with computer-animation instruction media is better than traditional instruction. 3. Comparison of the understanding of concept between the two groups showed that the experimental group out-performed the control group significantly (**p < 0.01). In other words, using computer-animation instruction media to teach the concept of symbolic representations is better than traditional instruction. 4. In respect to the accuracy of solving questions by distribution law, it was found that the experimental group was better than the control group significantly (*p < 0.05). It was concluded that using computer-animation instruction media to teach the concept of distribution law is better than traditional instruction. 5. With regard to the accuracy of solving simultaneous equations by Gaussian elimination method, the experimental group was found to perform better than the control group significantly (**p < 0.01). In other words, the computer-animation instruction media using lines to show the process of solving simultaneous equations by Gaussian elimination method is better than traditional instruction. 6. After comparing the accuracy level of solving word problems of the experimental group with that of the control group, a positive significance was reached (**p < 0.01). In other words, using computer-animation instruction media to teach solving word problems is better than traditional instruction. 7. The experimental group understands the definition and usage of elimination method better. 8. The experimental group manipulates the skill of solving question by distribution law better. 9. The experimental group understands and applies the word question better. 10. Students hold the computer-animation instruction in fond remembrance. 11. The experimental group thinks that computer-animation instruction can increase interest and achievement of learning. 12. Comparing the rate of finishing homework, the experimental group is better than the control group.
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Mack, Peter. "Peter Mack Show." 2017. https://scholarworks.umass.edu/masters_theses_2/518.
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My animations and videos are personal articulations and reflections of the roles in life I assume: father, employee and artist. I have a particular interest in the seemingly mundane interactions in life, which often becomes a starting point for me to explore larger themes of family life, failure, and happiness. I approach these themes with humor and playfulness. The “show-and-tell” manner of many of my narratives, working in tandem with humor and DIY production values, gives my work the feeling of a strange children’s educational TV show in which I play the host, while underlining the personal nature of my work.
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Chen, Meng Yu, and 陳孟愉. "Creation Description of [ Pulse Quiet ] and expression the senses of body and tree by the Experimental Animation." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/45908403391507219295.
Full textAbstract:
碩士臺南藝術學院
音像動畫研究所
89
SUMMARY The way how to convert the inner senses of trees into feelings of human bodies and then have them be made as aninated images is always being a guestion to myself . As a result , to observe is the direct approach to leadme into the field . Through the observation , I was conscious of the deep side of my mind . Moreover , I tried to get closer to the senses and feelings of myself , and that is the motive why I take the inner relation between trees and human bodies . Deep into the visionable or unvisionable relationship between human beings and nature , I found the very different ways that human beings exist in the nature .Every creature has his own space to exist , and humans live in the same space between the bodies them elves and the trees in the nature . That's the start of another extension of body feelings . So , trees are not only concrete plants but sensible bodies like human beings , gradually getting into the inner part of human bodies with humans* breath and pulse in order to interact with each other . In the philosophy of Merleau-Ponty , space of bodies is situated in the ideology and the consciousness of innate gualities of each body . It effects the thinkings to themselves go into another space . A kind of spirit guides the innate consciousness to the largeer area of the nature , straightly affects all the senses from the creatures , because human beings are part of nature . According to the field of Martha Graham , extensions of bodies come from the innate spieitual experiences . From dancing , I got another realization . We can gain more freedom and space and then cooperate with the surroundings were living in by experiencing the relationship between humans and trees . And then , there come out the real consciousness and senses . Animation can be used in the ways of expressing abstract to find out human closest aware of space and appear the abstract ideology . By depicting the unvisionable boundary with animation , I try to achieve the situation that reality would be combined with unreality and the unreality would control the reality .
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Chang, Pei-Ki, and 張佩琪. "A Study on the Creation of Experimental Digital Animation of Shadow Play Characters – the Example of Dushou (Animal Solo)." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/45001016700109892745.
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碩士國立高雄師範大學
視覺傳達設計研究所
93
Objective of this creative project is to reflect on the visual appearances of Chinese shadow play characters, such as Wensheng (scholarly young men, as versus military roles), Laosheng (middle-aged or old men who wear a beard), Huadan (maiden or young women), Wenchou (civilian comics), Ching (painted-face roles, with color pattern on their face representing different personalities) and godly animal roles, from the semiotic point of view. From the characters’ facial make-up, costumes, apparels, appearances, handy props and the spatial combination of the shadow play stage, the symbolic meanings are interpreted, trying to grasp the conventional cultural implications in the play. Moreover, the analysis result is used to make the visual presentation of animation creation, which is combined with paper-cut silhouettes and the Beijing opera masks. Ironical and interesting fables and stories are used for the content, in order to lead spectators into reflection of the philosophical implications of the play. For the research method, visual characteristics of the shadow play are used as the visual elements for the re-making of animation.In addition, difference between the signifier and the signified in F. Saussure’s theory, and combination of paradigmatic and syntagmatic, as well as the difference of C S. Peirce’s associative symbolic meanings, are used to analyze the proper animation software, and to integrate the function of visual symbols and the application of animation media. Framework of this project is: starting from the discussion of the motive and objective of the study, three parts of analyses are made, namely analysis of the visual characteristics of shadow play art’s characters, semiotic analysis and analysis of animation categories, during literature review. Hence visual elements for the creation are set down through analysis and deduction. Conclusions made from the creation dissertation are as follows: 1 The character’s personality should match his/her actions; background music should tune in with the character’s bodily gestures; joint movement speed should be consistent with special musical effect. Then, the story can be described with the scenario movements more easily. 2 Improve the single-shot limitation of traditional Chinese shadow play. It is found that story content can be presented in more details with snap-shots; more variations can be made to the musical tempo; change of scenes can match with the story better and be smoother. 3 Change the two-dimensional facial images of traditional shadow play puppets. Using the Flash features may add to the facial expression symbols of the characters, and visual meaning can be communicated more easily. 4 Geometric images are convenient, quick and direct visual symbols. They are easy to remember by the public. With the unlimited possibilities of the combination of such visual words, boundless types of meanings and ideas can be transmitted. 5 Distinguishing the features of different characters, and combining them with the Beijing opera masks will make the visual characteristics even more stylistic. 6 Incorporate modern music to distinguish from traditional shadow play, and make the animation production richer in content. 7 Add reflective content to the animation story, so that interesting stories will have deeper meaning and implication. 8 Integrate the ancient with the modern by innovative tact, and the play will be easier to communicate, modern and diversified in presentation. 9 Simple symbols are different from visual communication; conflict in visual reading should be avoided. 10 Visual art can surpass the language barrier and become a common language. 11 The puppets’ appearances, stage space, etc. of traditional Chinese shadow play are all characterized by the integrative framework of symbols.
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Tsai, Pei-Chin, and 蔡佩瑾. "A Study of Experimental Animation Work Applying to the influence of Internet Media upon Female Taiwanese Value of Outer Beauty." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/42183706497570010108.
Full textAbstract:
碩士輔仁大學
應用美術學系碩士班
100
To be beautiful is every woman’s natural desire. Women use their appearance to demonstrate their awareness of beauty. However, the transformation of media and the emergence of virtual communities have changed the definition of beauty, standardizing the meaning of external beauty. Currently, the media promotes a standardized ideal of beauty, pressuring the public to achieve this standard of external beauty and preventing the recognition of true beauty. This study addresses this issue with experimental animations, using sarcasm to highlight the result of beauty ideals shaped by society. The objectives of this study are as follows: (1) Discuss the concepts of beauty broadcast by emerging media and their influence on the public, and (2) analyze the concepts used to design the experiments and identify possible implications for the experimental visual applications field. To examine the study design, we collected related data and theme designs for analysis. We infer the following findings from our literature review: Literature related to female issues primarily focuses on beauties in video game advertising, cosmetics, magazines, and online communities. The primary reason for this phenomenon is the mutual influence of liberalized society and the media. We expect viewers can discard the intrinsic concepts of the traditional animation design through the experimental design. Additionally, the animation provides women with personalized advice regarding appearance that contradicts the ideal woman advocated by a patriarchal society. The community and media have provided women with greater scope to show their various facets. Although beauty ideals vary over time, women always desire to be beautiful. Through a literature review, we complied, analyzed, and discussed issues related to external beauty. We applied the results to the concept, content, type, techniques, and design of the experimental animation to enhance the overall animation. The theoretical research combined with the practical design can provide a reference for designers and researchers in the future. Keywords: Experimental animation, emerging media, Taiwanese women, external beauty
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Kuang, Chen Po, and 陳柏光. "An Experimental Creation of Digital Life Evolution and Abstract Vision—To interpret the visualization of divine comedy through the computer animation." Thesis, 2007. http://ndltd.ncl.edu.tw/handle/24996735802826615070.
Full textAbstract:
碩士實踐大學
時尚與媒體設計研究所
95
Abstract The creation of this work is influenced by the literature piece of Dante (The Divine Comedy) - Heaven, Purgatory (Land Of Buddha) and Hell three aspects of boundaries. Through the Divine comedy, I deeply realized the evolution of life and tried to re-interpret the common point of renaissance's art and human being’s evolution. The literature focuses on analyzing the relationship of the development of culture and that of motion pictures and animation. In addition, one can also use the study of philosophy and aesthetics to analyze the meaning of the image.Through the history of the motion graphic and the experimental animation, to find and analyze the veining of the artist’s style. Rethought life itself from the angle of the birth and the evolution of digitization. This creation of experimental animation base on three aspect of boundaries, (Dante's literature work), by means of contents of literature visual imagination and symbol of meaning and take advantage of (Dant's literature work) character tensity to experiment and analyze thus come out innovation way to communicate evolution of life. By this way, thus come out basic constructor of this creation that combined of unit of cell and chromosome with visual effect. Fully utilize advantage of modern technology as well as beauty of classic literature to recast basic factor of human life. Furthermore with various aspects of blended emotional, interact that results in deformation and shape evolution. Also can be seen are that author fully utilize apply computer animation skill to challenge what author have done before and come out with exceptionally beauty of visual effect. The results of this creation: With symbolized visual language that transform refined of traditional literature by means of computer animation-combined the beauty of literature through abstract visual that come out with new prototype of creation work. Furthermore to research how computer animation technical and creation work can be coordinated well.
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Wei, Christopher. "Now is the envy of all of the dead: an introduction to Don Hertzfeldt, the animator." Thesis, 2019. https://hdl.handle.net/2144/36018.
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This thesis is a primer on the experimental independent animator Don Hertzfeldt, whose filmography—described by one critic as “a singular universe of stick figures in crisis”—has for more than two decades been engaging some of the larger questions of post-millennial existence, particularly with regard to consciousness, temporality, and death. First, I will briefly introduce who Hertzfeldt is as an auteur (where he comes from, where his primary interests lie, and what his impact has been); second, I will provide an overview of the historical context in which his oeuvre should be placed (i.e. the history of animation and of experimental cinema); third, I will closely analyze his work, examining questions of style and narrative, starting from his student films and continuing to his more recent films; and fourth, I will explore some of the philosophical implications of recurring Hertzfeldtian motifs and themes (particularly with regard to consciousness, temporality, and death) before concluding.
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CHODIL, Karel. "Popis a analýza metod používaných v projektu "Orientační dny" ve Fryštáku." Master's thesis, 2009. http://www.nusl.cz/ntk/nusl-51646.
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The goal of the thesis is to describe and analyze methods, which are used in programs in project "Guidance days" in Fryšták. The thesis attempts to describe six basic methods, which form methodologic frame of the programs. These methods are: animation, experimental education, acting roles in education, narrative methods, evaluative methods and group learning. In the practical part, the thesis analyzes one specific course program. For each activity within the course, characteristics and goals of the activity are described. Each program module is then analyzed from methodologic point of view and is referred to the text of first part of the thesis.
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Grobler, Diek 1964. "Narrative strategies in the creation of animated poetry-films." Thesis, 2021. http://hdl.handle.net/10500/27666.
Full textAbstract:
Text in English, with abstracts and keywords in English and SesothoThis doctoral study investigates the practice of narrative strategies in the creation of animated poetry-film. The status of the animator as auteur of the poetry-film is established on the grounds of the multiple instances of additional authoring that the animated poetry-film requires. The study hypothesises that diverse narrative strategies are operative in the production of animated poetry-film. Two diametrically opposed strategies are identified as ideal for the treatment of lyrical narrative. The first narrative strategy explored is that of metamorphosis, demonstrating how the filmic material originates and grows organically via stream of consciousness and free association. The second narrative strategy entails a calculated approach of structuring visual imagery and meaning through editing from a pre-existing visual lexicon. In both cases, the interdependence is explored between embodied activity and conceptual activity, between tacit and explicit knowledge in the creative act. These two strategies are practically investigated through my creative praxis, specifically the production of two animated poetry-films, Mon Pays and Parys suite. Through these works, the strategies are tested for their effectivity in communicating visual content not contained in the poetry-text, yet adding value to the poetry/animated film hybrid. Animated poetry-film is theoretically contextualised in terms of intermediality and the specific multi-modal nature of the medium. The construction of animated poetry-film is explored through the research study consisting of a thesis and two animated poetry films, with the hope of contributing to research on animated poetry-film specifically, and to animation theory within the South African context.
Dinyakišišo tše tša bongaka di nyakišiša tiro ya mekgwa ya kanagelo ge go hlangwe difilimi tša go ekišwa ke diphoofolo. Maemo a moekiši wa diphoofolo bjalo ka molaodi wa filimi ya theto a hwetšwa go seemo sa mabaka a mantši a go ngwala ka tlaleletšo fao go nyakwago ke filimi ya theto ya go ekišwa ke diphoofolo. Dinyakišišo tše di šišinya gore mekgwa ya kanegelo ye e fapafapanego e a šomišwa ka go tšweletšo ya filimi ya go ekišwa ke diphoofolo. Mekgwa ye mebedi ye e thulanago e a hlaolwa bjalo ka yeo e swanetšego go šomišwa go kanegelo ya mantšu. Leano la mathomo la kanegelo leo le utollotšwego ke la kgolo ya diphoofolo, leo le laetšago ka fao dingwalwa tša filimi di tšwelelago le go gola ka tlhago ka tatelano ka sengwalwa seo se ngwadilwego ka moela wa kwešišo le poledišano ya go hloka mapheko. Leano la bobedi la klanegelo le mabapi le mokgwa wo o nepišitšwego gabotse wa go beakanya seswantšho sa go bonwa le tlhalošo ka go rulaganya go tšwa go polelo ya peleng ya seo se bonwago. Mabakeng ka bobedi, go amana fa go utollwa magareng ga tiro ye e kopantšwego le tiro ye e gopolwago, magareng ga tsebo ye e kwešišwago le yeo e lego nyanyeng ka tirong ya boitlhamelo. Mekgwa ye mebedi ye e a nyakišišwa ka go diriša mokgwa wa ka wa boitlhamelo, kudukudu go tšweletšwa ga difilimi tše pedi tša go ekišwa ke diphoofolo tšeo di bitšwago, Mon Pays le Parys suite. Ka mešomo ye, mekgwa ye e lekwa ka ga go šoma gabotse ga yona gabotse go hlagiša diteng tša go bonwa tšeo di sego gona ka gare ga Sengwalwa sa theto, le ge go le bjale e tsenya boleng go mohuta wa filimi ya theto/ya kekišo. Filimi ya theto ya go ekišwa ke diphoofolo e amantšhwa ka teori mabapi le kgokaganyo le sebopego sa yona sa mekgwa ye mentši ya polelo. Tlhamo ya filimi ya theto ya go ekišwa ke diphoofolo e utollwa ka dinyakišišo tšeo di nago le taodišo le difilimi tše pedi tša theto tša go ekišwa ke diphoofolo, ka kholofelo ya go tsenya letsogo go dinyakišišo mabapi le filimi ya theto ya go ekišwa ke diphoofolo kudukudu, le go teori ya kekišo ka gare ga seemo sa Afrika Borwa.
Art and Music
Ph. D. (Art)
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Adamec, Martin. "Inovace obsahu a metod výuky chemie se zaměřením na vizualizaci prostřednictvím informačních a komunikačních technologií." Doctoral thesis, 2012. http://www.nusl.cz/ntk/nusl-311486.
Full textAbstract:
The use of information and communication technologies, including computer graphics, in teaching chemistry is one of the frequent issues of contemporary chemistry didactics. Current publications are mainly focused on displaying structure of chemical compounds and symbolic form of chemical reactions. This thesis offers a more complex view on the computer graphics and other means of information and communication technologies - their possibilities and limits of use in teaching. The goal of the thesis is to provide an overview of selected computer-graphics technologies and to discuss their role during current curricular reform, based on current problems identified by students attending chemistry-teacher training courses and chemistry teachers. Usability of selected elements in pre-teaching and teaching phases was checked. Innovations of contemporary teaching methods were proposed using computer graphics. The thesis is focused on the area of visualization of educational content with use of computer graphics, computer-assisted innovation of methods and educational content, computer games and the role of computer graphics in didactic transformation. Two textbooks for lower-secondary and upper-secondary schools were created. These textbooks contain newly developed parts using computer graphics. According to...
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Adenubi, Adewole Oluseyi. "The effect of using animated computer 3-D figures illustration in the learning of polyhedron in geometry." Diss., 2016. http://hdl.handle.net/10500/23611.
Full textAbstract:
This study was carried out to investigate the effect of using animated computer 3-D figures illustration (ACTDFI) in the learning of polyhedron in geometry. By random sampling, intact group of four grade 9 classes in four different schools from a cluster of four educational district schools of Limpopo province in South Africa were selected.
The study involved quasi-experimental and inquiry research approaches, the quasi-experimental approach involved pre and posttest design while the inquiry research approach involve classroom observation. There were three experimental groups and a control group with a total of 174 study participants. ACTDFI was used as an intervention for two weeks in the three experimental groups while in the control group, chalk-talk traditional teaching approach was used. Pre-test and post-test was used to collect quantitative data while classroom observation was used to collect qualitative data.
This study was carried out to investigate the effect of using animated computer 3-D figures illustration (ACTDFI) in the learning of polyhedron in geometry. By random sampling, intact group of four grade 9 classes in four different schools from a cluster of four educational district schools of Limpopo province in South Africa were selected.
The study involved quasi-experimental and inquiry research approaches, the quasi-experimental approach involved pre and posttest design while the inquiry research approach involve classroom observation. There were three experimental groups and a control group with a total of 174 study participants. ACTDFI was used as an intervention for two weeks in the three experimental groups while in the control group, chalk-talk traditional teaching approach was used. Pre-test and post-test was used to collect quantitative data while classroom observation was used to collect qualitative data.
The findings from the quantitative Classroom observations were carried out to collect relevant data on how the study participants were taught stationary points in differential calculus, especially with the use of the constructivist pedagogical approach. A suitable observation checklist was developed for this purpose (Appendix 6 refers). Classroom observation checklist is a list of factors to be considered while observing a class. It gives a structure and framework for the observation.
suggested that the use of ACTDFI might have improved academic achievement in learning of polyhedron during the intervention, while the qualitative data analysis indicated that the use of ACTDFI in the experimental groups might have facilitated the learning of the concepts of polyhedron. It is therefore recommended that further research is necessary on the application of ACTDFI in the teaching of 3-dimensional shapes at the primary schoolsMathematics Education
M. Sc. (Mathematics Education)
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Ndlovu, Mdutshekelwa. "An analysis of teacher competencies in a problem-centred approach to dynamic Geometry teaching." Diss., 2004. http://hdl.handle.net/10500/2036.
Full textAbstract:
The subject of teacher competencies or knowledge has been a key issue in mathematics
education reform. This study attempts to identify and analyze teacher competencies
necessary in the orchestration of a problem-centred approach to dynamic geometry
teaching and learning. The advent of dynamic geometry environments into classrooms
has placed new demands and expectations on mathematics teachers.
In this study the Teacher Development Experiment was used as the main method of
investigation. Twenty third-year mathematics major teachers participated in workshop
and microteaching sessions involving the use of the Geometer's Sketchpad dynamic
geometry software in the teaching and learning of the geometry of triangles and
quadrilaterals. Five intersecting categories of teacher competencies were identified:
mathematical/geometrical competencies. pedagogical competencies. computer and
software competences, language and assessment competencies.Mathematical Sciences
M. Ed. (Mathematical Education)