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Artículos de revistas sobre el tema "Animated photography"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 25 de abril de 2022

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1

Herbert, Stephen. "Animated portrait photography." History of Photography 13, no. 1 (1989): 65–78. http://dx.doi.org/10.1080/03087298.1989.10442169.

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2

Kim, Ji-Hoon. "Animating the Photographic Trace, Intersecting Phantoms with Phantasms: Contemporary Media Arts, Digital Moving Pictures, and the Documentary’s ‘Expanded Field’." Animation 6, no. 3 (2011): 371–86. http://dx.doi.org/10.1177/1746847711417780.

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This article investigates the ways in which contemporary media artworks across various platforms provide a fresh look at the photographic inscription of reality by animating the still photograph with digitally produced movement. These artworks are based on what the author calls ‘digital moving pictures’, hybrid images in which photographic stillness and cinematic movement are interrelated in a single picture frame by the mediation of digital imaging systems. Examining the works of Jim Campbell, Ken Jacobs, David Claerbout, Julie Meltzer and David Thorne, the author argues that the pictures’ bl
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3

Clarke, David B., and Marcus A. Doel. "Shooting space, tracking time: the city from animated photography to vernacular relativity." cultural geographies 14, no. 4 (2007): 589–609. http://dx.doi.org/10.1177/1474474007082295.

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4

Sandi, Supriyadi. "Perancangan Animasi Stopmotion Pangeran Diponegoro Berbasis Sinematografi." Jurnal Komunikasi 10, no. 2 (2019): 145–52. http://dx.doi.org/10.31294/jkom.v10i2.6181.

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Nowadays animated films are developing rapidly in Indonesia. Animated films are in demand because they are entertaining, but rarely found educative animated films that tell about history. In general, historical documentation is only based on thick textbooks, and the placement of photos of heroes on classroom walls is generally not interesting for students to enjoy. This encourages researchers to make an animated film that has historical and educational value. With appropriate cinematography, a film can have high artistic value. In addition, the film can also convey information and implied mess
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5

Matthys, Mario, Laure De Cock, John Vermaut, Nico Van de Weghe, and Philippe De Maeyer. "An “Animated Spatial Time Machine” in Co-Creation: Reconstructing History Using Gamification Integrated into 3D City Modelling, 4D Web and Transmedia Storytelling." ISPRS International Journal of Geo-Information 10, no. 7 (2021): 460. http://dx.doi.org/10.3390/ijgi10070460.

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More and more digital 3D city models might evolve into spatiotemporal instruments with time as the 4th dimension. For digitizing the current situation, 3D scanning and photography are suitable tools. The spatial future could be integrated using 3D drawings by public space designers and architects. The digital spatial reconstruction of lost historical environments is more complex, expensive and rarely done. Three-dimensional co-creative digital drawing with citizens’ collaboration could be a solution. In 2016, the City of Ghent (Belgium) launched the “3D city game Ghent” project with time as on
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6

Панченко, Ирина Александровна. "Moscow in photographs of the 1860s – erly 1900s from the collection of the Russian Museum." Искусство Евразии, no. 2(17) (June 27, 2020): 220–35. http://dx.doi.org/10.25712/astu.2518-7767.2020.02.014.

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В собрании Русского музея хранится уникальный изобразительный ряд, разносторонне демонстрирующий фотографический образ Москвы периода 1860-х – начала 1900-х гг. Его творцами стали многие знаменитые фотоателье и фотографы. Их интерес к запечатлению облика древней столицы был чрезвычайно широк: видовые фотографии и фиксация фрагментов зданий и интерьеров, статичная архитектурная съемка и динамичные сцены повседневной городской жизни, большеформатные «августейшие подношения» и демократичные открытые письма. Сфотографированные нередко с разных видовых точек, в разные годы, эти исторические кадры п
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7

Rahmi, Syarifah. "تدريس المفردات باستخدام الأفلام الكرتونية في الجامعة الهلال سجلي". 'Arabiyya: Jurnal Studi Bahasa Arab 9, № 1 (2020): 49. http://dx.doi.org/10.47498/arabiyya.v9i1.307.

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Cartoon films are fun and simple art that is accomplished in the hands of children through colorful cardboard papers that are drawn and cut into parts and affixed to each other, then revived by photography and animation, and these drawings are stories from the lives of children and their dreams or stories that narrate the weave of their own imagination to finally end Animated film.So I found the problems in Al Hilal Colledge, that the teacher is unable to attract the attention of students during education and cannot excel students in the subject that he will teach, the poor preparation of Arab
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8

Durden, Mark. "Light Catcher." Sophia Journal 5, no. 1 (2020): 90–95. http://dx.doi.org/10.24840/2183-8976_2019-0005_0001_09.

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Among his remarkable performance-based short films made in the garden of his family home, two films show the artist holding a mirror to both catch and reflect sunlight back to the camera and viewer. Such performances provide a fitting allegory for his relationship to the medium of photography. As a photographer Peter Finnemore is someone who catches and plays with light. Light is key to the pictures made in his home place in rural mid Wales, Gwendraeth House. The photographs relay the intimacy he has with his childhood home, which has been in his family for generations. Finnemore has been phot
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9

Romakina, Maria. "«Elementary units» in Multimedia: Cinemagraphy in Mass Media and Blogs in the 2010s." Theoretical and Practical Issues of Journalism 9, no. 2 (2020): 247–63. http://dx.doi.org/10.17150/2308-6203.2020.9(2).247-263.

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The article studies peculiarities of cinemagraphies - special types of images that appeared due to the development of digital technologies in the early 2010s and combine features of photography and video/cinema. Cinemagraphies are positioned as elementary multimedia units, and perception of these is technologically dependent: the viewer actively perceives not only the depicted image, but also the image-generating technology. Cinemagraphic way of seeing is not peculiar to human vision, its a «machines view». The author suggests defining the properties of these units, namely, multimediality, mul
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10

Novik, A. A. "Animated light painting: The public cabinets of camera obscura in St. Petersburg in the first years after the invention of photography." Shagi / Steps 3, no. 3 (2017): 108–25. http://dx.doi.org/10.22394/2412-9410-2017-3-3-108-125.

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11

McGrath, Jason. "Suppositionality, Virtuality, and Chinese Cinema." boundary 2 49, no. 1 (2022): 263–92. http://dx.doi.org/10.1215/01903659-9615487.

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In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blo
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12

Maxwell, David. "Photography and the Religious Encounter: Ambiguity and Aesthetics in Missionary Representations of the Luba of South East Belgian Congo." Comparative Studies in Society and History 53, no. 1 (2011): 38–74. http://dx.doi.org/10.1017/s0010417510000629.

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William F. P. Burton's career straddled several worlds that seemed at odds with each other. As a first-generation Pentecostal he pioneered, with James Salter, the Congo Evangelistic Mission (CEM) at Mwanza, Belgian Congo in 1915. The CEM became a paradigm for future Pentecostal Faith Mission work in Africa, thanks to Burton's propagandist writings that were published in at least thirty European and North American missionary periodicals. His extensive publications, some twenty-eight books, excluding tracts and articles in mission journals, reveal that the CEM was a missionary movement animated
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13

Bøe, Espen Johnsen. "Remediation of Historical Photographs in Mobile Augmented Reality." Journal of Media Innovations 7, no. 1 (2021): 29–40. http://dx.doi.org/10.5617/jomi.8793.

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Being present at a location of historical significance, often demands imagination to understand the full scope of the area. An approach to spark one’s imagination is to present a mediated simulation of a historic location in situ. As an application example, we used the sitsim AR platform to develop a simulation that conveys the history of fishermen in the historic fishing village of Storvågan in Lofoten, Norway. The study presents a rendition of the sitsim AR platform’s functionality for engaging presentations of historical photographs. This functionality is enhanced from solely representing b
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14

Fathoni, Ahmad Faisal Choiril Anam, and Dermawan Syamsuddin. "Perbandingan Metode Depth of Field pada Lensa Kamera Fotografi dengan Efek Lensa pada Software Animasi." Humaniora 4, no. 1 (2013): 177. http://dx.doi.org/10.21512/humaniora.v4i1.3427.

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The knowledge of photography becomes fundamental importance in the understanding of digital cinematography. The work of a good photography is a blend of knowledge and photographic ability (skill) correctly. By learning photography properly, it allows an animator or digital art workers to apply some standard cinematography as well. By knowing the comparison between photography with "photographic" in 3D animation, animators will be easier to create a digital aesthetic standard with the help of the software. This paper discusses the comparison of the use of photographic camera lenses and camera p
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15

DARDA, JOSEPH. "The Exceptionalist Optics of 9/11 Photography." Journal of American Studies 50, no. 1 (2014): 185–204. http://dx.doi.org/10.1017/s0021875814001881.

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During and after the 2001 attacks on New York City and Washington, thousands of photographs were taken. None, however, would become as iconic as Thomas Franklin's photo of three firefighters raising an American flag above the rubble of the World Trade Center. Franklin's photo, I argue in this essay, casts 9/11 in the familiar myth of American exceptionalism, screening out but still gesturing to the heterogeneous memories left unsettled and animate in amateur photographs, missing-person posters, bodies in pain, and performance. In considering the struggle over the visual memory of the attacks,
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16

Soni, Dr Kritika, Mohak ‎, Neha Kaushik, Dhruv Dhote, Dhruv Nigam, and K. Gopi Krishna. "Website Redesign with Animation." International Journal on Recent and Innovation Trends in Computing and Communication 10, no. 2 (2022): 01–10. http://dx.doi.org/10.17762/ijritcc.v10i2.5499.

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To analyse the previous website which means the original website. Trying to make more attractive and interesting. Methods: Analyse the old website. A website redesign shouldn’t just change the overall look of your website. It should enhance the ways in which it functions. Find out what is working on the current website. Building the website design plan. Added strong visual features and elements. Findings: website overall feels outdated i.e., make it more attractive and add some animated clip. Applications: the study highlighted various issues, redesign a IBM company website and you’re going to
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17

Bryce, Benjamin. "Seeing Japan." Pacific Historical Review 91, no. 2 (2022): 190–219. http://dx.doi.org/10.1525/phr.2022.91.2.190.

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This article examines the photography and writing of Cooper Robinson, who worked as a missionary in Japan between 1888 and 1925. Drawing from over 4,000 images, it analyzes how one missionary represented Japan, his religious project, and his personal life to Canadian audiences. Whether he used photographs to animate his lectures about Japan while in Canada on furlough, sent them as postcards to coreligionists, or saved them for his own memories, the question of representation was intimately tied to the question of audience. This article argues that Robinson’s photography and the broader Canadi
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18

Bailey, David A. "Photographic Animateur." Third Text 5, no. 13 (1991): 57–62. http://dx.doi.org/10.1080/09528829108576290.

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19

Igelmo Zaldívar, Jon. "Front Matter." Encounters in Theory and History of Education 17 (November 29, 2016): i—viii. http://dx.doi.org/10.24908/eoe-ese-rse.v17i0.6409.

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Cover Art: Photographs Fade by Ana Jofre
 Artist Statement:
 The purpose of this work is to point to the distortions, and changes in meaning, that are generated as images are reproduced over time and transferred to different media. To create this work, I started with a digital photograph of an archival photo from Bembibre, Spain, collected in Dr. Bruno-Jofre’s research, originally taken in 1963, and used it to produce a cyanotype print on watercolor paper. Then I took a digital photo of the cyanotype print. The two digital images, the photograph of the original and the photograph of
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20

Serrazina, Pedro. "Editorial - Animated Space." International Journal of Film and Media Arts 6, no. 2 (2021): 4–6. http://dx.doi.org/10.24140/ijfma.v6.n2.edit.

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Since early days, the moving images of animated film have suggested a spatial freedom that challenges the limits of the photographic and traditional filmic space. When, in 1914, Winsor McCay drew himself onto the landscape to interact with Gertie, he was initiating a practice of expanding the space(s) we live in through the use of the animated image that lasts until today. Animation’s wide aesthetic and technical malleability, and its innate ability to suggest metamorphosis and unrest, has led its practice to cross boundaries and engage with the space beyond the limits of the traditional scree
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21

Leite, Amanda Mauricio Pereira. "FOTOS INCRÍVEIS: anedotas que ganharam o mundo." Revista Observatório 4, no. 1 (2018): 200. http://dx.doi.org/10.20873/uft.2447-4266.2018v4n1p200.

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Fotografias premiadas se consagraram na história da humanidade por capturar fatos incríveis de uma determinada época. Nomes como: Herald Tribune, Ruth Orkin, Robert Doisneau, Kevin Carter e outros exibiram fotografias que durante anos se sustentaram como uma espécie de narrativa documental produzindo no mundo um efeito de verdade. Fotografias que ao serem revistadas anunciam outras narrativas, novas miradas, leituras, escrita, cultivo de pensamentos. E se a fotografia for deslocada da representação do real para cogitar sobre si novos percursos e sentidos? Dois movimentos animam esta reflexão:
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22

Baldwin, James, Theodore Pelatowski, and Carmen Merport Quiñones. "Unto the Dying Lamb." PMLA/Publications of the Modern Language Association of America 135, no. 2 (2020): 344–49. http://dx.doi.org/10.1632/pmla.2020.135.2.344.

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In 1947 the Julius Rosenwald Fund Received an Application from a Young Writer Seeking to Document Harlem Life By “recording somehow the services of a store-front church in such a manner that it would emerge as neither savage, sensational, or sentimental” (Baldwin, Plan). The applicant—a twenty-three-year-old James Baldwin—explained that the work was already well under way. He and the photographer Theodore Pelatowski had begun to generate material for a photography book to be called “Unto the Dying Lamb.” “Dying Lamb” documents Baldwin's youthful gravitation toward the questions about religious
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23

Savisaar, Remo. "Animal behaviour // Comportamiento animal." Ecozon@: European Journal of Literature, Culture and Environment 6, no. 1 (2015): 170–74. http://dx.doi.org/10.37536/ecozona.2015.6.1.646.

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Nature photography has many different categories: there’s no easy or hard one. One might think that taking photos of animals is harder than, for example, doing landscape photography. But all the best photography goes beyond mere documentation to overlay the moment with the artistic vision of the photographer. In the end, knowledge of subject, field craft, approach, patience (a lot of patience), composition and technical ability with the camera are all that matters. We nature photographers search for special moments which sometimes last only for brief seconds. These can be rarely seen moments o
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24

Lorteije, Jeannette A. M., J. Leon Kenemans, Tjeerd Jellema, Rob H. J. van der Lubbe, Frederiek de Heer, and Richard J. A. van Wezel. "Delayed Response to Animate Implied Motion in Human Motion Processing Areas." Journal of Cognitive Neuroscience 18, no. 2 (2006): 158–68. http://dx.doi.org/10.1162/jocn.2006.18.2.158.

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Viewing static photographs of objects in motion evokes higher fMRI activation in the human medial temporal complex (MT+) than looking at similar photographs without this implied motion. As MT+ is traditionally thought to be involved in motion perception (and not in form perception), this finding suggests feedback from object-recognition areas onto MT+. To investigate this hypothesis, we recorded extracranial potentials evoked by the sight of photographs of biological agents with and without implied motion. The difference in potential between responses to pictures with and without implied motio
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25

Fort, Jeff. "André Bazin's Eternal Returns: An Ontological Revision." Film-Philosophy 25, no. 1 (2021): 42–61. http://dx.doi.org/10.3366/film.2021.0156.

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The recent publication of André Bazin's Écrits complets (2018), an enormous two-volume edition of 3000 pages which increases ten-fold Bazin's available corpus, provides opportunities for renewed reflection on, and possibly for substantial revisions of, this key figure in film theory. On the basis of several essays, I propose a drastic rereading of Bazin's most explicitly philosophical notion of “ontology.” This all too familiar notion, long settled into a rather dust-laden couple (“Bazin and ontology”) nonetheless retains its fascination. Rather than attempting to provide a systematic reworkin
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26

Medyńska-Gulij, Beata, Łukasz Wielebski, Łukasz Halik, and Maciej Smaczyński. "Complexity Level of People Gathering Presentation on an Animated Map—Objective Effectiveness Versus Expert Opinion." ISPRS International Journal of Geo-Information 9, no. 2 (2020): 117. http://dx.doi.org/10.3390/ijgi9020117.

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The aim of the following study was to present three alternative methods of visualization on animated maps illustrating the movement of people gathered at an open-air event recorded on photographs taken by a drone. The effectiveness of an orthorectified low-level aerial image (a so-called orthophoto), a dot distribution map, and a buffer map was tested in an experiment featuring experts, and key significance was attached to the juxtaposition of objective responses with subjective opinions. The results of the study enabled its authors to draw conclusions regarding the importance of visualizing t
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27

Noble, Geoffrey. "Clinical Histories Animate Muybridge and Dercum's Original Photographic Study of Neurologic Gait." Neurology 97, no. 22 (2021): 1026–30. http://dx.doi.org/10.1212/wnl.0000000000012879.

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In 1885, while working at the University of Pennsylvania, Eadweard Muybridge and Francis Dercum used nascent photographic technology to perform the first-ever motion picture study of neurologic patients. To date, our clinical understanding of the Muybridge-Dercum project has been limited to those clinical details included in a handful of contemporaneous publications by Dercum et al. In this study, recently rediscovered clinical notebooks from the Hospital of the University of Pennsylvania's Dispensary for Nervous Diseases were reviewed and found to contain the original clinical records of 9 of
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28

Siegel, Zachary S., and Scott A. Kulp. "Superimposing height-controllable and animated flood surfaces into street-level photographs for risk communication." Weather and Climate Extremes 32 (June 2021): 100311. http://dx.doi.org/10.1016/j.wace.2021.100311.

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29

Krivulya, Natalia G. "Education Genres Animated Poster in the Second Half of the 20th Century." Journal of Flm Arts and Film Studies 8, no. 4 (2016): 28–42. http://dx.doi.org/10.17816/vgik8428-42.

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After WWII the genre of the animated poster was predominantly presented as advertisment films. The movie posters imagery in the 1950s tended to have an illustrative and spatial-pictorial artistic propensity. Grotesque and satire gave way to the dominance of realistic images, and the artistic design had gained coloration and splendor, creating the image of a cheerful world, affluence and prosperity. Films with propaganda and ideological orientations appeared along with the advertisement films, as the political and social poster developed. A special role in the poster genre development was playe
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30

Joynt, Chase, and Emmett Harsin Drager. "Condition Verified: On Photography, Trans Visibility, and Legacies of the Clinic." Arts 8, no. 4 (2019): 150. http://dx.doi.org/10.3390/arts8040150.

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We approach this paper with a shared investment in historical and contemporary representations of trans and gender non-conforming people, and our individual research in the archives of early US Gender Clinics. Together, we consider what is at stake—or what might be possible—when we connect legacies of photography used as diagnostic tools in gender clinics with snapshots of early, community-based gatherings, and the presence of trans people in contemporary art. From the archives of Robert J. Stoller and photos of Casa Susanna, to the collaborative photography of Zackary Drucker and Amos Mac, an
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31

Post, Tina. "Williams, Walker, and Shine: Blackbody Blackface, or the Importance of Being Surface." TDR/The Drama Review 59, no. 4 (2015): 83–100. http://dx.doi.org/10.1162/dram_a_00498.

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At the turn of the last century, Bert Williams and George Walker performed as a minstrel duo in which only Williams wore burnt cork. By mixing the surfaces of blacking and their own black skin, Williams and Walker offered an aesthetic critique of the subject/object status of the black body—animating the inanimate substance of burnt cork while objectifying animate black skin. Examples from portrait photography and the visual art of Whitfield Lovell and Kara Walker support arguments about the agency of surface.
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32

Yaqub, Nadia. "Teaching with Film and Photography in Introductory Middle East Courses." Review of Middle East Studies 51, no. 1 (2017): 50–54. http://dx.doi.org/10.1017/rms.2017.53.

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Some years ago, a colleague from another institution told me how much she was looking forward to screening Nasser 56 in her introductory Middle East history course. Students had just finished reading about the Nasser era, and the screening of Muhamad Fadel's stylish biopic starring the charismatic film star Ahmed Zaki would serve as an enjoyable way to round out the unit. I was surprised, not at my colleague's use of the film in her class, but at her timing. Released in 1996, Nasser 56 is very much the product of the Mubarak era. It offers rich opportunities to discuss the particular challenge
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33

Mather, George, and Sophie West. "Recognition of Animal Locomotion from Dynamic Point-Light Displays." Perception 22, no. 7 (1993): 759–66. http://dx.doi.org/10.1068/p220759.

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To date, studies of biological motion have been restricted to displays of humans filmed (or synthesised by computer) with lights attached at the major joints. Observers can readily extract meaning from such displays. There have been no studies to assess the generality of this ability by assessing observers' accuracy in identifying various animals solely on the basis of biological motion. An experiment is reported for which biological-motion displays were created from the stop-action photographs taken by Muybridge in the last century. Naive observers could reliably identify the animals involved
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34

Lobben, Amy, Megan Lawrence, and P. William Limpisathian. "Representations of Place in the Human Brain." Abstracts of the ICA 1 (July 15, 2019): 1–2. http://dx.doi.org/10.5194/ica-abs-1-226-2019.

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<p><strong>Abstract.</strong> Cartographers have been representing places and scenes for thousands of years. We know that there is not one single way to represent place. We can use a reference map, thematic map (not to mention all the different types), large scale, small scale, oblique and overhead remotely sensed image, hand-drawn cartoon maps, street view photographs, animated maps, and digital maps. We also know that the methods and then the resulting representations can be differentiated cartographically using established criteria. But, are these methods all equally effec
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35

Freer, Scott. "Remediating ‘Prufrock’." Arts 9, no. 4 (2020): 104. http://dx.doi.org/10.3390/arts9040104.

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This article examines remediated examples of T.S. Eliot’s ‘The Love Song of J. Alfred Prufrock’ (1915). Eliot’s innovative dramatic monologue has sustained an enduring inter-media afterlife, mainly because visual artists generally capitalized on the poem’s residual Victorian painterly and semi-narrative qualities. Here I look at a wider range of visual forms from old and new media that, for both pedagogic and artistic purposes, remediate the poem’s ekphrastic, semi-narrative and modernist aesthetics: the comic strip, the animated film, the dramatic monologue film, the split-screen video poem a
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36

Paatela-Nieminen, Martina. "Remixing real and imaginary in art education with fully immersive virtual reality." International Journal of Education Through Art 17, no. 3 (2021): 415–31. http://dx.doi.org/10.1386/eta_00077_1.

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This article explores digital material/ism by examining student teachers’ experiences, processes and products with fully immersive virtual reality (VR) as part of visual art education. The students created and painted a virtual world, given the name Gretan puutarha (‘Greta’s Garden’), using the Google application Tilt Brush. They also applied photogrammetry techniques to scan 3D objects from the real world in order to create 3D models for their VR world. Additionally, they imported 2D photographs and drawings along with applied animated effects to construct their VR world digitally, thereby re
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37

MacRae, Christina. "‘Grace Taking Form’." Video Journal of Education and Pedagogy 4, no. 1 (2019): 151–66. http://dx.doi.org/10.1163/23644583-00401003.

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Inspired by Erin Manning’s use of Marey’s photography to explore time and movement, this article works with slow-motion video drawn from research with two-year olds. It takes a genealogical approach, considering how the medium of film has been implicated in colonising constructions of childhood. It then deploys Bergson’s notion of ‘grace taking form’, making the case that video’s unique capacity to attend to the virtual potential of movement can be used as a de-colonising methodology. Slowing-down video enlivens data in ways that resist interpreting behaviour through the logic of consciousness
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Yang, Lung-Jieh, Chandrashekhar Tasupalli, Reshmi Waikhom, and Nikhil Panchal. "Soap Film Visualization of a 10 cm-Span Flapping Wing." Fluids 6, no. 10 (2021): 361. http://dx.doi.org/10.3390/fluids6100361.

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Flapping wing micro-air-vehicles (FWMAVs) animate the small-space dexterous flight, hovering, and energy-saving characteristics of birds and insects, and are believed to have enlightenment for the development of bionic flight in the future. When designing FWMAVs, detailed unsteady aerodynamic information is required. Besides the computational fluid mechanics (CFD) technology study, the flow visualization is also needed to assist this research. This article innovatively used soap film visualization with high-speed photography to record two kinds of the 2D flow fields laterally and longitudinall
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39

Green, Monica, and Iris Duhn. "The Force of Gardening: Investigating Children's Learning in a Food Garden." Australian Journal of Environmental Education 31, no. 1 (2015): 60–73. http://dx.doi.org/10.1017/aee.2014.45.

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AbstractSchool gardens are becoming increasingly recognised as important sites for learning and for bringing children into relationship with food. Despite the well-known educational and health benefits of gardening, children's interactions with the non-human entities and forces within garden surroundings are less understood and examined in the wider garden literature. Using a relational materialist approach (Hultman & Lenz Taguchi, 2010) that considers the material artefacts that constitute a learning environment, this article examines children's interactions with the animate and inanimate
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40

VIREN, DENIS G. "DOCUMENTARY ANIMATION OR ANIMATED DOCUMENTARY? Reflections on the history and the current situation on the example of Poland and other countries." ART AND SCIENCE OF TELEVISION 17, no. 1 (2021): 101–35. http://dx.doi.org/10.30628/1994-9529-2021-17.1-101-135.

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Documentary animation is a hybrid cinematic form, the history of which goes back over 100 years. Earlier such films were rather a rarity, while lately they appear on screens more and more often. Using numerous examples, the article discusses the goals of artists turning to this unusual and controversial practice. The main thematic blocks are highlighted, the boundaries between the fictional artistic world and the real basis of a film are determined. The author also attempts to distinguish between animated documentary and “full-fledged” documentary animation. After reviewing the genesis (films
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41

Konow, Heike, Florian Ewald, Geet George, et al. "EUREC<sup>4</sup>A's <i>HALO</i>." Earth System Science Data 13, no. 12 (2021): 5545–63. http://dx.doi.org/10.5194/essd-13-5545-2021.

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Abstract. As part of the EUREC4A (Elucidating the role of cloud–circulation coupling in climate) field campaign, the German research aircraft HALO (High Altitude and Long Range Research Aircraft), configured as a cloud observatory, conducted 15 research flights in the trade-wind region east of Barbados in January and February 2020. Narrative text, aircraft state data, and metadata describing HALO's operation during the campaign are provided. Each HALO research flight is segmented by timestamp intervals into standard elements to aid the consistent analysis of the flight data. Photographs from H
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42

Gyenes, Zsolt. "CT a művészetben." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 5 (2018): 313–18. http://dx.doi.org/10.26080/krrmkozl.2018.5.313.

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Experimental artists are consciously looking for possibilities to make the program fail. So they play against the apparatus. Tomography is a process of imaging by sec-tions, done through the use of any kind of penetrating wave. The normal use for Computer Topography is in medical imag-ing of the human body as object. The artist makes “improper use” of this system through placing different objects in the tomograph. The photographic images produced can be then animated, creating unexpected results in the form of abstract moving images. Metal causes disturbances to the magnetic field. It is consi
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43

Carrabine, Eamonn. "Unsettling appearances: Diane Arbus, Erving Goffman and the sociological eye." Current Sociology 67, no. 5 (2019): 669–85. http://dx.doi.org/10.1177/0011392118823828.

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Both the photographer Diane Arbus and sociologist Erving Goffman were fascinated by the way we present ourselves to others and this article sets out how each understood the drama of human interaction. It begins by exploring how their work parallels some developments in the sociology of deviance, and notes how Goffman was one of the earliest critics of this field, before briefly sketching out Arbus’s controversial career and then turning to a more detailed look at three of her images. It concentrates on how the gap between intention and effect, or what Goffman terms the difference between the i
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44

Player, Mark. "Media-Morphosis. Intermediality, (Re-)Animation and the Medial Uncanny in Tsukamoto Shinya’s Tetsuo: The Iron Man (1989)." Acta Universitatis Sapientiae, Film and Media Studies 12, no. 1 (2016): 167–89. http://dx.doi.org/10.1515/ausfm-2016-0009.

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Abstract Operating self-sufficiently on the fringes of the Japanese film industry for almost his entire career, the work of independent filmmaker Tsukamoto Shinya1 is perhaps best-known for its uncompromising, musical freneticism, as well as its corporeal spectacle. However, Tsukamoto’s dynamic clashing of visual media signifiers, such as those of theatre and television (industries within which he also operated prior to his film career during the 1980s), and how these impact upon his reflexive cinematic style, has yet to be fully considered. Drawing on Laura Mulvey’s conception of the ‘uncanny
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45

Furl, Nicholas, Forida Begum, Francesca Pizzorni Ferrarese, Sarah Jans, Caroline Woolley, and Justin Sulik. "Caricatured facial movements enhance perception of emotional facial expressions." Perception 51, no. 5 (2022): 313–43. http://dx.doi.org/10.1177/03010066221086452.

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Although faces “in the wild” constantly undergo complicated movements, humans adeptly perceive facial identity and expression. Previous studies, focusing mainly on identity, used photographic caricature to show that distinctive form increases perceived dissimilarity. We tested whether distinctive facial movements showed similar effects, and we focussed on both perception of expression and identity . We caricatured the movements of an animated computer head, using physical motion metrics extracted from videos. We verified that these “ground truth” metrics showed the expected effects: Caricature
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46

Zulić, Omer. "Cultural Activity of the Archives of the Tuzla Canton during the Sars-Cov-2 Pandemic." Moderna arhivistika 4, no. 1 (2021): 25–39. http://dx.doi.org/10.54356/ma/2021/ybkc4252.

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The cultural activity of archives is crucial in terms of presentation of archival material as a cultural and historical heritage. In this way, archives animate the professional, scientific and general public to come to the archives and use the archival material for scientific research and other purposes. The most popular ways of presenting archival material are various archival exhibitions, documents, photographs, and other archival material. In addition, the promotion of professional and scientific publications also enriches the cultural activity of archives, and through them, archival activi
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47

Pomar Tojo, Carmen, Guillermo Calviño Santos, and Andrea Irimia Nores. "“EL RESULTADO DEL PROYECTO QVO: METAMORFOSIS 5”." International Journal of Developmental and Educational Psychology. Revista INFAD de Psicología. 5, no. 1 (2016): 493. http://dx.doi.org/10.17060/ijodaep.2014.n1.v5.711.

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Abstract.“THE RESULT OF QVO PROJECT: METAMORPHOSIS 5”If you look at each of the arts and try to see them as large containers of disciplines, we find that cinema is the most porous of all. The film has a tremendous ability to filter and take - bind - hundreds and thousands of disciplines not only inherent in the result, the film, but in all the stages involved in the creation process. To cite some examples that are found only in the most superficial layer of all film production : script writing, deco-architecture, costume design, storyboard drawing, acting work, capturing sound, camera operatio
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48

FAREBROTHER, RACHEL. "The Lesson Which India Is Today Teaching the World: Nationalism and Internationalism inThe Crisis, 1910–1934." Journal of American Studies 46, no. 3 (2012): 603–23. http://dx.doi.org/10.1017/s0021875811001319.

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This article aims to test the limits of current assessments of the New Negro renaissance, which tend to emphasize either its investment in cultural nationalism or its Pan-African focus, by exploring the international contours ofThe Crisisunder Du Bois’s editorship. Recent analysis ofThe Crisishas paid considerable attention to the productive juxtaposition of what Anne Carroll has termed “protest and affirmation,” whereby Du Bois positioned reports on racial violence next to accounts of African American achievements in order to prompt acknowledgement of the realities of racism. But such critici
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49

James, Thomas W., Robert F. Potter, Sungkyoung Lee, Sunah Kim, Ryan A. Stevenson, and Annie Lang. "How Realistic Should Avatars Be?" Journal of Media Psychology 27, no. 3 (2015): 109–17. http://dx.doi.org/10.1027/1864-1105/a000156.

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Abstract. Increased interaction with characters in games and online necessitates a better understanding of how different characteristics of these agents impact media users. This paper investigates a possible neurological underpinning for a common research finding – namely, that animated characters designed to be comparatively more human, more real, and more similar to the people they represent elicit more positive self-reported evaluations. The goal of this study was to examine the extent to which these results might be due to differential processing of character features in brain networks rec
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50

Okoye, Adaobi Ngozi. "Posture Verbs in Igbo." Theory and Practice in Language Studies 10, no. 8 (2020): 843. http://dx.doi.org/10.17507/tpls.1008.01.

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Studies on posture verbs in other languages suggest that speakers use posture verbs to describe the position of objects thus revealing the varied conceptualization of entities in space among languages. Despite these diverse conceptualizations, the studies have identified the verbs sit; stand and lie as key members of the posture verb class (Newman 2002, Lemmens 2002, Atintono 2012). In the present study, verbs that indicate the positions of entities in space are explored in the Igbo language. The study specifically seeks to identify the members of this verb class, ascertain if there are specif
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