Academic literature on the topic 'Thing (Motion picture)'
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Journal articles on the topic "Thing (Motion picture)"
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Tiwari, Niharika. "Sixth Sense Technology with Optical Character Recognition." International Journal for Research in Applied Science and Engineering Technology 9, no. VI (June 30, 2021): 3394–97. http://dx.doi.org/10.22214/ijraset.2021.35714.
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Sixth Sense Technology is an innovative technology that will be further developed in the future and will be used for the benefit of human kind. It depends on the ideas of augmented reality and has all around carried out the view of it. The thing that makes it special is the way all the technologies are combined together to get a beneficial output. It partners advances like hand motion acknowledgment, picture catching, preparing, and control, and so forth OCR is to achieve change or change of a book or text-containing documents, for instance, deciphered substance, printed or sifted text pictures, into an editable electronic plan for more significant and further planning. Along these lines, our Goal is to carry part of the actual world to computerized world. Hand Gesture Recognition is in great demand today and can be executed with sixth sense technology.
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Falola, Toyin. "Tunde Kelani: The Man Exceeds the Frame." Yoruba Studies Review 4, no. 1 (December 21, 2021): 1–7. http://dx.doi.org/10.32473/ysr.v4i1.130037.
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The extraordinary announcement, coming from the Federal University of Agriculture, Abeokuta, that ace filmmaker Kelani will now be based there as a Fellow is heartwarming. The news reveals the warmth and uniqueness of the University’s boundless imaginations and the humanistic vision of its Vice-Chancellor, Professor Kolawole Salako. The news of this deserving appointment follows on the heels of Kelani receiving the prestigious Leopold ́ Sédar Senghor Prize for African Cultural Creativity and Impact in July, 2019 at the annual TOFAC event at Babcock University. In that same month, he was also inducted into the American Oscars—the Academy of Motion Picture, Arts and Sciences. All of these accolades are well-deserved. Kelani has spent his career putting things—people, ideas, cultures, traditions, and ideologies—inside the cinematographic frame. It is a most exciting thing to see him too bursting out of every frame with all these multiple achievements that celebrate him Ìrókò!
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Кривошей [Krivosheĭ], Димитрий [Dimitriĭ] А. [A ]. "Частный сектор культуры Республики Беларуси: становление и развитие (1991–2008)." Acta Baltico-Slavica 34 (August 31, 2015): 289–300. http://dx.doi.org/10.11649/abs.2010.016.
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Private sector of culture of the Republic of Belarus: formation and development (1991–2008)In the given research the author on the basis of the historical and genetic analysis, methods of typology and deduction represents the basic segments of sphere of culture of the Belarus in which private subjects of culture have arisen and developed. The analysis of achievements and lacks of the given phenomenon is carried out, the factors influencing development are marked.The private sector in sphere of culture of Belarus in 1991–2008 could not create appreciable enough competition to official bodies. In cultural aspect only some projects became really platforms for experiment. First of all it concerns theatrical creativity, motion picture arts and painting.Development of a competition was not promoted by a state policy creating unequal conditions for development (tax privileges, rent decrease, etc.). Negative influence on formation of private noncommercial sector has rendered absence of the developed legislation on sponsorship and patronage of arts.Private establishments in culture sphere were created both the commercial organizations and individual businessmen, and the private persons far from business. The aspiration to profit not always was the main thing for businessmen. Private theatre in Gomel, a museum‑drugstore in Grodno, picture galleries were created by businessmen for the purposes more likely aesthetic, for confirmation of the status. The satisfaction of personal ambitions, the aspiration to be more available to public was the main thing for noncommercial projects. Most brightly it is appreciable in museum business (A. Bely, J. Gil’s museum).The projects arisen and developing on a wave of political disagreements in the country are present at a private sector of culture of the Belarus (cinéma vérité, museums).It is necessary to ascertain full absence in the country of private cinemas and film studios of game cinema, the organizations of national crafts, circuses.
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Deiniatur, Much. "PEMBELAJARAN BAHASA PADA ANAK USIA DINI MELALUI CERITA BERGAMBAR." Elementary: Jurnal Ilmiah Pendidikan Dasar 3, no. 2 (December 31, 2017): 190. http://dx.doi.org/10.32332/elementary.v3i2.882.
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Language Skill consists of four components of speaking, writing, listening and reading. The most important thing for children is speaking, because it provides enormous benefits, one of which so that children can interact with peers and others around them and add new knowledge.
Storytelling is a popular communication medium for children, training their ability to focus attention for some time on certain objects. Children are able to express themselves through a process that makes them happy and fosters a sense of satisfaction that makes them more confident. Tale or story telling is something human, that is, fairy tale or story using eye, hearing, motion, and touching heart.
The benefits of storytelling activities are: 1.) Storytelling can develop children's imagination, 2.) Increasing experience, 3.) Train concentration power, 4.) Increasing the vocabulary, 5.) Creating a familiar atmosphere, 6.) comprehending, 7.) Developing social feelings, 8.) Developing children's emotions, 9.) Practicing listening, 10.) Knowing positive and negative values. 11.) Adding knowledge
Keywords: language, early childhood, story, picture
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Dlugatsch, Tamara B. "Alexandre Koyré and the new historiography of science." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 38, no. 1 (2022): 4–18. http://dx.doi.org/10.21638/spbu17.2022.101.
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The author’s task is to draw attention once again to the philosophical and historical research method invented by A.Koyré, who, according to many, revolutionized historiography. The aim is to show the dependence of major scientific discoveries on fundamental transformations in philosophy. From this perspective, the scientific revolution of the seventeenth century is considered: Galileo’s discovery of the inertial movement was determined by a change in ideas about the Universe. The closed, hierarchically ordered world of Aristotle, characteristic of Antiquity and the Middle Ages, was replaced by a picture of an infinite Universe. In it, the same laws apply to celestial bodies and the Earth, and the circular motion of bodies is replaced by the motion along an infinite straight line, i. e., inertial. In this connection, Galileo’s Dialogues are carefully and thoroughly examined, in which he appears not only as a brilliant scientist, but also as a Socratically minded philosopher. The discoveries of Galileo and Newton are correctly evaluated as the creation of new foundations of scientific theory as compared with those previous, and the reasons for the appearance of such new foundations are explained. The novelty of the article also lies in the fact that the success of Koyré’s analysis is presented in the context of a dispute — a dialogue of the greatest scientific minds — of Aristotle and Plato, Descartes and Newton. Highly appreciating the achievements of A.Koyré, the author dwells on some of the shortcomings of his method: underestimation of social transformations and lack of attention to the reverse effect of science on philosophy. It also explains the limitations of the logical-deductive movement of thought in science, which determined philosophers, in particular, Kant, to come to the idea of the need to create meaningful logic, although an unknowable thing-in-itself appeared as the content.
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Berko, P. I., and M. M. Dzera. "Synergistically-reflexive model of management as a single social organism." Scientific Messenger of LNU of Veterinary Medicine and Biotechnologies 21, no. 92 (May 11, 2019): 172–76. http://dx.doi.org/10.32718/nvlvet-e9230.
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Nowadays, as the system of scientific knowledge itself is radically implemented, the clear boundaries between practical and cognitive activity are eroded. In the system of scientific knowledge there are intensive processes of differentiation and integration of knowledge, complex researches, new ways and methods of cognition, methodological installations, new elements of the world picture are developed, the earlier unknown, more complex types of objects of cognition characterized by historicism, universality, the complexity of organizations that had not previously been subjected to theoretical modeling. One of such new directions in modern natural sciences and social development is presented in synergy. Synergetics is a direction and a general scientific program of interdisciplinary research that studies the process of self-organization and the formation of new orderly structures in open physical, biological, social, cognitive, informational, environmental and other systems. Synergetics gives a new image of the world. At the heart of the synergetic paradigm is a special relation to the problems of determinism and the emphasis on the processes occurring in the “exacerbation mode”. Determinism captures the activity of being and states that any thing is the result of changing other things, they are rooted in them. The synergetic paradigm rests on a certain conceptual-categorical apparatus, an entropy-categorical apparatus: an entropy approach, chaos, bifurcation, dissipative system, disaster, self-motion, and others. No less important in synergy is the category of self-organization. Self-organization – an active process of formation, reproduction, preservation or improvement of the organization of a complex dynamic system, ensuring its normal existence and functioning as a holistic entity The urgency of researching the processes of self-organization is explained primarily by the need to solve the problem of creating on completely new principles of cybernetic systems capable of performing functions that have traditionally been considered the exclusive prerogative of the human brain. The synergistic experimental paradigm involves a rethinking of the phenomenon of fluctuations (from lat fluctuation - fluctuations) – (mathematics) fluctuations or some kind of periodic change, a random deviation from the mean value physics) accidental deviation of the value of the physical quantity from the average in a certain area of space or at a certain point in time; (finance) exchange rate fluctuations; (medicine) a symptom of the presence of fluid in the closed cavity of the body, which is available palpation. The more complex the system, the more there are various types of fluctuations that can threaten its stability. The system passing through the stability threshold falls into the critical state of the bifurcation (the branch point). It is at such a point that the system becomes unstable in relation to fluctuations and can move to a new sphere of stability, that is, to the formation of a new state. Thus, synergy with its interdisciplinary arsenal of methods can become an adequate tool for analyzing the complex dynamic processes occurring in nature and in modern society.
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Ardiyan, Ardiyan. "Video Tracking dalam Digital Compositing untuk Paska Produksi Video." Humaniora 3, no. 1 (April 30, 2012): 1. http://dx.doi.org/10.21512/humaniora.v3i1.3227.
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Video Tracking is one of the processes in video postproduction and motion picture digitally. The ability of video tracking method in the production is helpful to realize the concept of the visual. It is considered in the process of visual effects making. This paper presents how the tracking process and its benefits in visual needs, especially for video and motion picture production. Some of the things involved in the process of tracking such as failure to do so are made clear in this discussion.
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Putra, Wahyu Sukestyastama, and Andy Setyawan. "Room Security System Design using ESP32 CAM with Fuzzy Algorithm." Mobile and Forensics 3, no. 2 (September 30, 2021): 66–74. http://dx.doi.org/10.12928/mf.v3i2.5554.
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At this time, security becomes an important thing that must be fulfilled. Especially a room that has valuables. Currently, the average room security only uses conventional methods, which are very easy to break. Therefore, An Intelligent security system is needed to maintain security in a room. An Intelligent security system is a system that can detect everything automatically and can be monitored remotely using the internet or better known as IoT (Internet of Things). This system uses a microcontroller as the primary part of running the system and is supported by several modules such as the PIR infrared motion sensor module, door window magnetic sensor module, camera module, and buzzer alarm module. The door & window magnetic sensor module serves as the first security, which, when the door/window is open, will give a warning via the buzzer alarm module. While the PIR infrared motion sensor module functions as second security which if motion is detected in a room, it will trigger the camera module to take pictures in the room. The results of this system will be sent directly to Android via the Telegram application using a bot. This Telegram bot will send data in text and images from the system to Android directly.
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Putra, Wahyu Sukestyastama, and Andy Setyawan. "Room Security System Design using ESP32 CAM with Fuzzy Algorithm." Mobile and Forensics 3, no. 2 (September 30, 2021): 66–74. http://dx.doi.org/10.12928/mf.v3i2.5554.
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At this time, security becomes an important thing that must be fulfilled. Especially a room that has valuables. Currently, the average room security only uses conventional methods, which are very easy to break. Therefore, An Intelligent security system is needed to maintain security in a room. An Intelligent security system is a system that can detect everything automatically and can be monitored remotely using the internet or better known as IoT (Internet of Things). This system uses a microcontroller as the primary part of running the system and is supported by several modules such as the PIR infrared motion sensor module, door window magnetic sensor module, camera module, and buzzer alarm module. The door & window magnetic sensor module serves as the first security, which, when the door/window is open, will give a warning via the buzzer alarm module. While the PIR infrared motion sensor module functions as second security which if motion is detected in a room, it will trigger the camera module to take pictures in the room. The results of this system will be sent directly to Android via the Telegram application using a bot. This Telegram bot will send data in text and images from the system to Android directly.
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Tanner, Jakob. "Populäre Wissenschaft: Metamorphosen des Wissens im Medium des Films." Gesnerus 66, no. 1 (November 11, 2009): 15–39. http://dx.doi.org/10.1163/22977953-06601003.
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Far from being merely a medium of simplification and conveyance of scientific facts, motion pictures exhibit an important epistemic function. On the one hand, the medium film is itself a product of research in various fields, on the other hand, it retroacts on perception and problem-solving in science, thereby influencing and changing research practices. The paper aims at describing these reciprocal effects and synergies by discussing two examples: first by the film “The principles of Einstein’s theory of relativity”, first released in Germany in 1922, second by the film “Mathematical image of the struggle for life”, produced in 1937 for the inauguration of the “Palace of discoveries” in Paris, demonstrating the latest developments in evolutionary theory. It becomes evident that picture media have the capacity to transform the symbolic dimension of things and bodies, thereby offering new access to reality, which not only fascinated the spectators, but also inspired scientific research.
Dissertations / Theses on the topic "Thing (Motion picture)"
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Devine, Michael G. ""I think of cinemas" the poetry of Hart Crane and the promise of film /." Click here for download, 2006. http://wwwlib.umi.com/cr/villanova/fullcit?p1432832.
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Rybin, Steven M. "The Historical Thought of Film: Terrence Malick and Philosophical Cinema." View abstract, 2009. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&res_dat=xri:pqdiss&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&rft_dat=xri:pqdiss:3375107.
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Rae, Allan. "The age of the screen : subjectivity in twenty-first century literature." Thesis, University of Stirling, 2015. http://hdl.handle.net/1893/24044.
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The screen, as recent studies in a number of fields indicate, is a cultural object due for critical reappraisal. Work on the theoretical status of screen objects tends to focus upon the materialisation of surface; in other words, it attempts to rethink the relationship between the supposedly 'superficial' facade and the 'functional' object itself. I suggest that this work, while usefully chipping away at the dichotomy between the 'superficial' and the 'functional', can lead us to a more radical conclusion when read in the context of subjectivity. By rethinking the relationship between the surface and the obverse face of the screen as the terms of a dialectic, we can ‘read’ the screen as the vital component in a process which constitutes the Subject. In order to demonstrate this, I analyse productions of subjectivity in literary texts of the twenty-first century — in doing so, I assume the novel as nonpareil arena of the dramatisation of subjectivity — and I propose a reading of the work of Jacques Lacan as hitherto unacknowledged theorist par excellence of the form and function of the screen. Lacan describes, with the function of desire and the formation of the screen of fantasy, the primary position this ‘screen-form' inhabits in the constitution of the Subject. Lacan’s work forms a critical juncture through which we must proceed if we are to properly read and understand the chosen texts: The Book of Strange New Things by Michel Faber; The Tain by China Miéville; Oryx and Crake by Margaret Atwood; and Austerlitz by W.G. Sebald. In each text, I analyse the particular materialisations of the screen and interrogate the constitution of the subject and the locus of desire. By analysing the vicissitudes of subjectivity in these texts, I make a claim for the study of the screen as constituting a central question in the field of contemporary literature.
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Henkel, Brook. "Animistic Fictions: German Modernism, Film, and the Animation of Things." Thesis, 2013. https://doi.org/10.7916/D8RJ4HZN.
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This dissertation investigates representations of animated objects in German modernist literature and film between roughly 1900 and 1930. Rainer Maria Rilke's 1902 remark that "all community has withdrawn from things and humans" corresponds to a more general reflection in German literary modernism on a new estrangement and distance between human subjects and the external object-world. Responding to this perceived crisis, modernist texts by Rilke, Franz Kafka, and others present an animated life of things as a highly ambivalent fiction, posing both a distorted and potentially recuperative relationship between humans and things. Alongside textual representations of animated things in Kafka's stories and Rilke's poetry and prose, the new medium of cinema also presented a visual life of things in early stop-motion animation films around 1910 as well as in the experimental films of the 1920s avant-garde. In contrast to nineteenth-century theories on the subjective, psychological origins of animistic experience, literature and film after 1900 approached the animation of things as a matter of external, artificial production. Focusing on the literary works of Rilke and Kafka, and the writings and films of German avant-garde artist Hans Richter, this dissertation argues for an understanding of modernist representations of animated things as "animistic fictions," aimed at producing the effects of animistic experience, while also foregrounding and self-reflecting upon their artificial status.
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Albala, Cardemil David. "That thing you do." Thesis, 2011. http://hdl.handle.net/2152/ETD-UT-2011-05-3468.
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This report outlines the process of creating and producing the documentary film “That Thing You Do” based on the TV series “1+1=Infinito” (1+1=Infinite). The series and the film provide a better understanding of the concept of Corporate Social Responsibility (CSR) and shows how people can incorporate CSR into their daily lives. The film production was financed by “PROhumana Foundation” (Chile) and shows how three Chilean people: Rodrigo Alonso, entrepreneur, Catalina Valdés, chef, and Javier del Río, architect, are trying to make a difference in their specific fields in terms of environmental impact, saving and using energy properly, and the importance of conscientious eating. The documentary film has taken the concept of CSR and attempted to present it to a massive audience in order to suggest the idea that all of our actions eventually come back to us. Any imbalance in the system that surrounds us and which we are a part of will affect us. In contrast, any improvement to the system will benefit us. The film thus attempts to showcase testimonials by the main characters suggesting small changes we can make in our daily lives in order to work toward this goal.text
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Avery, Lisa Katherine 1968. "Vulnerable London: narratives of space and affect in a twentieth-century imperial capital." Thesis, 2007. http://hdl.handle.net/2152/3232.
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This dissertation examines sensation in twentieth-century narratives of London and argues that vulnerability is a constitutive experience of the post-imperial city. Sensations of vulnerability in London arise because of the built environment of the city: its status as an imperial center and a global capital create important intersections of local, national, and global concerns which render the city itself vulnerable. I chart the trajectory of vulnerability as an affective history of London that is documented in cultural texts ranging from fiction and film to political debates and legal materials. Since the sensational experiences of the present partly arise from the materials of the past embedded in the landscape, affective histories create new ways of understanding history as a spatial experience. The narrated sensations of the city make vulnerability legible as a persistent feature of twentieth-century London life. I begin with a modernist, imperial London, in Virginia Woolf's Mrs. Dalloway and in Parliamentary debates from the same year (1925). Ambivalence about London's dual status as a local site and as a national and international capital is a response to London's vulnerable position at the end of the Great War. Next, I turn to World War Two London and Elizabeth Bowen's The Heat of the Day. I discuss intimacy as an important national feature in narratives of London during the crisis of this war. National narratives about intimacy constructed by Winston Churchill and heard on BBC radio respond directly to London's defensive vulnerability. My third chapter concerns Margaret Thatcher's 1980s London and the crucial role autonomy plays in constructing London as an invulnerable, international financial and civic capital. Alan Hollinghurst's The Swimming-Pool Library documents Londoners' attempts to make sense of their autonomy in a postimperial capital. My final chapter examines sensations of social and political belonging in contemporary London through reading Stephen Frears's Dirty Pretty Things alongside legal documents about immigration. I contend that reading cultural texts affectively creates counter-histories of the city that accommodate a deeper range of experiences than do traditional histories and offers to literary studies a new way of understanding the relationship between official and unofficial histories.text
Books on the topic "Thing (Motion picture)"
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The thing happens: Ten years of writing about the movies. New York: Grove Press, 1993.
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Harvey, Jonathan. Beautiful thing: A screenplay. London: Methuen Film in association with Channel Four Television Corporation, 1996.
Find full textBook chapters on the topic "Thing (Motion picture)"
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Marzola, Luci. "Epilogue." In Engineering Hollywood, 195–98. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190885588.003.0008.
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I am an engineer and I was educated as an engineer. I got out of it some time ago when I got in the picture business. … Probably a good many of you have tried at various times having these industrial engineers come into your plant, and the first thing they have tried to do was to install a lot of system and red tape, and they were not competent to do it, because they did not understand the motion picture business. They have tried to apply factory methods to the making of pictures. That is wrong, because after all, the making of a picture is the product of the imagination....
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"Skating on Thin Ice: Confronting Knowledge Ambiguity in the U. S. Motion Picture Industry." In The Business of Culture, 193–206. Psychology Press, 2006. http://dx.doi.org/10.4324/9781410615565-20.
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"Rigorous theories." In The Quantum Classical Theory, edited by Gert D. Billing. Oxford University Press, 2003. http://dx.doi.org/10.1093/oso/9780195146196.003.0006.
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In this chapter we discuss theories which are rigorous in their formulation but which in order to be useful need to be modified by introducing approximations of some kind. The approximations we are interested in are those which involve introduction of classical mechanical concepts, that is, the classical picture and/or classical mechanical equations of motion in part of the system. At this point, we wish to distinguish between “the classical picture,” which is obtained by taking the classical limit ħ → 0 and the appearance of “classical equations of motion.” The latter may be extracted from the quantum mechanical formulation without taking the classical limit—but, as we shall see later by introducing a certain parametrization of quantum mechanics. Thus there are two ways of introducing classical mechanical concepts in quantum mechanics. In the first method, the classical limit is defined by taking the limit ħ → 0 either in all degrees of freedom (complete classical limit) or in some degrees of freedom (semi-classical theories). We note in passing that the word semi-classical has been used to cover a wide variety of approaches which have also been referred to as classical S-matrix theories, quantum-classical theories, classical path theory, hemi-quantal theory, Wentzel Kramer-Brillouin (WKB) theories, and so on. It is not the purpose of this book to define precisely what is behind these various acronyms. We shall rather focus on methods which we think have been successful as far as practical applications are concerned and discuss the approximations and philosophy behind these. In the other approach, the ħ-limit is not taken—at least not explicitly— but here one introduces “classical” quantities, such as, trajectories and momenta as parameters, and derives equations of motion for these parameters. The latter method is therefore one particular way of parameterizing quantum mechanics. We discuss both of these approaches in this chapter. The Feynman path-integral formulation is one way of formulating quantum mechanics such that the classical limit is immediately visible [3]. Formally, the approach involves the introduction of a quantity S, which has a definition resembling that of an action integral [101].
Conference papers on the topic "Thing (Motion picture)"
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Bayraktar, Şule, and Zeynep Kuvvet. "PRESCHOOL CHILDREN’S IDEAS ABOUT LIVING THINGS." In Proceedings of the 2nd International Baltic Symposium on Science and Technology Education (BalticSTE2017). Scientia Socialis Ltd., 2017. http://dx.doi.org/10.33225/balticste/2017.15.
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The purpose of this research is to examine pre-school children’s ideas about living and non-living things. Children were asked to determine whether particular objects in the pictures shown to them are living or non-living and asked to explain why they think so. The results of the research showed that majority of children can classify living and non-living things correctly and know that motion is a characteristic of a living thing. However, they held some alternative conceptions on the subject. Keywords: living things, alternative conceptions, pre-school children, science education.
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Stanić Loknar, Nikolina, Diana Bratić, and Ana Agić. "Kinetic typography - figuration and technology." In 10th International Symposium on Graphic Engineering and Design. University of Novi Sad, Faculty of technical sciences, Department of graphic engineering and design,, 2020. http://dx.doi.org/10.24867/grid-2020-p81.
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Kinetic typography - text in motion is an animation method of characters that has a video form instead of some "static" form such as picture, poster or book. The most important element for figuration of kinetic typography is the choice of font. Furthermore, one should think about the letter cut, the size and color of the characters, and the background color on which the animation takes place. It can be created in various ways, most often using software that applies a multitude of effects to the text or letter character, creating dynamic solutions. The effects vary from the simplest such as "fade-in" and "fade-out" (entering and exiting text in and out of the frame). Static characters can expand, narrow, move slowly or rapidly, grow and change in a variety of ways to very complex ones in which the author builds an entire story or promotional video by carefully combining software capabilities. However, each software has its limitations and for this reason the kinetic typography presented in this paper is programmed using codes. In a wide range of available programming languages due to the simple interface that does not require advanced programming concepts and gives exceptional results in the field of kinetic typography, Processing was chosen. The Processing programming language is intended for generating and modifying graphics and is based on the Java programming language. The most important difference between Processing and Java is that Processing offers a simple programming interface that does not require advanced levels of programming such as classes, objects, or animations. It also allows advanced users to use them. Processing uses a variety of typography rendering approaches such as raster and vector solutions and allows typography to be programmed and displayed on the Web independently of the user's Web browser and font database. Processing enables the use of visual elements in animation, including typographic ones, by introducing interaction to the user. The user is no longer a passive observer but actively participates in the performance of the application whose final appearance is not predefined but arises from the actions of each individual user. For the purposes of this paper, individual letters were created in a font-making program. The letters made are of various written classifications and cuts, which with their variety contribute to the attractiveness of the animation. In the creating of motion typography in this paper, the programming language Processing was used. Written program codes that manipulate words, letters, or parts of characters to create interesting visual effects for the viewer that aim to hold the viewer's attention and convey the desired message or emotion. There are no strict rules and patterns when making kinetic typography. In kinetic typography, each author determines his own rules, method of production, and there are no same solutions.