Thematische Bibliographien / Animation agency

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Auswahl der wissenschaftlichen Literatur zum Thema „Animation agency“

Autor: Grafiati

Veröffentlicht am 28. Juni 2021

Zuletzt aktualisiert am 2. Februar 2022

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Zeitschriftenartikel zum Thema "Animation agency"

Gao, T., J. New und B. Scholl. „Perceived biological agency in a Slithering Snake animation“. Journal of Vision 11, Nr. 11 (23.09.2011): 217. http://dx.doi.org/10.1167/11.11.217.

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Zurr, Ionat. „Agency in Movement: An Introduction“. Leonardo 48, Nr. 2 (April 2015): 168–69. http://dx.doi.org/10.1162/leon_a_00973.

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Agency in Movement is a collection of papers responding to ideas concerning perceptions of life and agency through movement. This quest is part of a research project that explores, practically and theoretically, the animation of lab-grown life: Tissue Engineered Muscle Actuator (TEMA). Here the author introduces different approaches to untangle the relations between life and movement.

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Coleman, Beth. „Everything is Animated: Pervasive Media and the Networked Subject“. Body & Society 18, Nr. 1 (März 2012): 79–98. http://dx.doi.org/10.1177/1357034x11433488.

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In a world of pervasive media and ubiquitous computing, this article asks what happens as everything (objects, subjects, and actions) moves toward animation across a network. How do media and mediation affect our sense of agency? I argue that the contemporary subject, as described by real-world media practice and animated film, exists within a space of accelerated mediation that distorts self-perception. I use the example of A Scanner Darkly, the 2006 Richard Linklater film, to discuss the effects of pervasive media and how it affects the parameters of self-reflection and agency. The importance of A Scanner Darkly to my argument is that it provides a vision of pervasive mediation in which subjects and objects collide. In A Scanner Darkly, I focus on the use of rotoscoping animation as visual effect and conceptual filter. Effectively, as I argue, animation is used in this case to illustrate the loss of face-to-face engagement – the impossibility of the unmediated encounter. In the first section of the article, I conceptualize a networked subject in reference to the film’s rendition of a subject adrift in a field of mediation. In the second section, I contrast this vision with a formulation of networked subjectivity that engages modalities of mediated presence to explore issues of agency in light of a technologically animated environment. The question I ask is: if as a society we are subjected to a pervasive mediation, how may we imagine modes of agency within an animated world?

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Wolfson, Susan J. „Stories in Stones“. Byron Journal 48, Nr. 2 (01.12.2020): 101–17. http://dx.doi.org/10.3828/bj.2020.17.

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Stones are everywhere in Romantic poetry. And they can stir as intentional objects when (to call on Coleridge for the animations of poetry) ‘there is a meditative and feeling mind to seek after them, or to notice them, when they present themselves’ (Biographia Literaria). Between psychological animation and stubborn materiality stirs yet another behaviour, a ‘vibrant materiality’ that has ethical philosopher Jane Bennett wondering about things (stones included) as actants independent of human wants and purposes. Yet it takes human agency, human purposes even (a Bennett-bend), to consider unconsidering things this way. ‘Stories in Stones’ is a story of Shelley, Wordsworth, Byron, and Keats all tuned into the paradox.

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Golding, David. „Rocko’s Magic Capitalism: Commodity Fetishism in the Magical Realism of Rocko’s Modern Life“. Animation 14, Nr. 1 (März 2019): 52–67. http://dx.doi.org/10.1177/1746847719831365.

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This article presents a textual analysis of the Nickelodeon animated series Rocko’s Modern Life. Drawing from the theories of Guy Debord and Imamura Taihei, the series is posited as a revelatory lens into the spiritual crisis of late capitalism. The author then argues that the series employs magical realism to depict an animist capitalism in which the fetishization of commodities literally brings them to life. The show’s characters experience the alienation of labour as the draining of their spirit, haunting their workplaces as dead labour reanimated through the necromancy of commodity fetishism. As consumers, the characters attempt to recapture the enervated agency of their alienated selves by populating their lives with commodities. Ultimately, they are unable to find meaningful agency and spiritual fulfilment amidst the distributed agency of animated commodities. Despite its often problematic engagement with both indigeneity and animism, this close analysis of Rocko’s Modern Life supports Imamura’s theory that Western animation appropriates elements of indigenous animism to bring dead labour back to life in the form of fetishized commodities. It also suggests further research into the interconnection and contestation between capitalist animism and indigenous animism within animation.

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Santoso, Bambang Gunawan. „Intellectual Property Animasi Di Indonesia Dalam Buku Katalog Nganimasi Indonesia“. Jurnal Bahasa Rupa 1, Nr. 2 (21.04.2018): 89–98. http://dx.doi.org/10.31598/bahasarupa.v1i2.221.

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IP or Intellectual Property refers to the creation of the mind; invention; literary and artistic works; symbols, names and drawings used in the trade. Intellectual property rights (HKI) are rights granted to IP creators, and include trademarks, copyrights, patents, industrial design rights, and in some trade secret jurisdictions. Works of art including music and literature, as well as discoveries, words, phrases, symbols and designs can all be protected as intellectual property or IP. Until now the catalog book "IP Animasi Indonesia" does not exist yet; while other countries such as Korea have released an annual catalog of animations since 2005. (The author data when he got 6 months internship scholarship at KOCCA - Korea Creative Content Agency in 2008, and a special invitation to Korea in November 2015). So through the process of collecting data with the method of collecting data periodically (time series) for more than 1.5 years, the author ventured to collect the work of colleagues from almost all of Indonesia. Once collected, the data is sorted, tidied up, rearranged, and then compiled in a book entitled NGANIMASI INDONESIA: Indonesia Animation Industry Data (NI). The results of this study revealed that until August 2017 there were 56 IPs categorized in animation character collected. 64% of the 56 IPs are character designs of humans or people; while the remaining 36% are animals, objects, and custom characters.

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Ilyas, Aldrich, Sapta Raharja und Tjahja Muhandri. „Strategi Pemasaran Produk Animasi PT Ayena Mandiri Sinema“. MANAJEMEN IKM: Jurnal Manajemen Pengembangan Industri Kecil Menengah 11, Nr. 1 (10.08.2016): 10–19. http://dx.doi.org/10.29244/mikm.11.1.10-19.

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PT Ayena Mandiri Sinema (PT AMS) is one of the tenants (SMEs) fostered by the Incubator Center of Technology (BIT) BPPT, engaged in animation and multimedia. The main problem is when marketing Intellectual Property (IP) product animation, such as animated film called Super Neli. Animation film. Generally in Indonesia, marketing product animation of IP dominated by large companies both foreign and domestic, and there are also marketing partners which are quite influential. This make PT AMS be unable to compete with large companies, therefore, it is required a marketing strategy that consider mix marketing aspect and consumer preferences. In this study, identification consumer preference Business to Customer using Kano model is done, the result is dominated by one dimensional attributes while consumer Business to Business obtained attribute must be and one-dimensional dominant. So it becomes an opportunity to maintain and improve product quality to compete in the marketing mix. While the IFE and EFE matrix values of the environmental factors are 2.864 and 2.424, indicating that PT AMS in a position of growth/stability. The result of SWOT analysis that considered mix marketing aspect (product, price, promotion and place) are strategies, then evaluated by QSPM resulting priority strategy which is expanding the marketing network products animation with promotion and market penetration through cooperation with the agency.

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Smits, Lieke. „Small Pipe-Clay Devotional Figures: Touch, Play and Animation“. Das Mittelalter 25, Nr. 2 (10.11.2020): 397–423. http://dx.doi.org/10.1515/mial-2020-0044.

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AbstractSmall, mass-produced pipe-clay figurines were popular devotionalia in the late medieval Low Countries. In this paper, focusing on representations of the Christ Child, I study the sensory and playful ways in which such objects were used as ‘props of perception’ in spiritual games of make-believe or role-play. Not only does this particular iconography invite tactile and playful behaviour, the figurines fit within a larger context of image practices involving visions and make-believe. Through such practices images were animated and imbued with a divine power. Contemporary written sources suggest that, especially for women, ownership of and sensory engagement with small-scale figures provided them with agency.

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Faja, Gita Sispratiwi, und Nyoman Miyarta Yasa. „Animasi Tata Cara Penyelamatan Bencana Gempa Bumi Untuk Anak - Anak“. Jurnal SASAK : Desain Visual dan Komunikasi 2, Nr. 1 (02.06.2020): 33–42. http://dx.doi.org/10.30812/sasak.v2i1.748.

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The National Agency for the Control of Britain (BNPB) noted that 515 people died from the earthquake in Lombok, West Nusa Tenggara (NTB). Seeing this problem, the author wants to make an animation of earthquake disaster relief procedures that will be used by the BPBD as an additional medium for socializing and delivering information to increase public knowledge about procedures for saving earthquake disasters, especially children. In the process of making this animation using the pipeline method which includes three stages, namely the first stage of pre-production, the second stage of production The third stage of post-production. After doing all the stages are expected to be able to produce animation procedures for earthquake disaster rescue for children. So that this animated video can be used as a media for information dissemination or information delivery by the West Nusa Tenggara Province BPBD office which is more effective for introducing elementary school students. To determine the feasibility of the animation that was made, a beta test was conducted by submitting questionnaires to 30 respondents. The results obtained are animated procedures for rescuing earthquake disasters for children to be used as media for information dissemination or delivery of information by the West Nusa Tenggara Province BPBD office.

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Vindyuk, Andrey. „SPORTS AND WELLNESS ANIMATION: TYPES, FUNCTIONS, FEATURES OF THE ORGANIZATION“. Academic Notes Series Pedagogical Science 1, Nr. 190 (November 2020): 15–19. http://dx.doi.org/10.36550/2415-7988-2020-1-190-15-19.

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The organization of follow-up in the distribution of tourists is one of the most important tasks of the fastest-growing business. Significant changes will be seen by the rest of the world in the sphere of organizing the distribution of those who visit the tourist enterprises of Ukraine. The price is linked with a number of reasons: suspicion of information about foreign resorts; development of the cultural and cultural level of the population; in the introduction of new technologies in the industry of rozvag; changes in the structure of the victorious hour; activization of the concert performance of professional theaters, cinemas and estradi. The main criterion of sports and health animation is regular, mass participation of tourists and vacationers in the animation programs offered by the tourist enterprise, increase of satisfaction of the tourist with quality of service, creation of positive image of the enterprise, improving effect from rest, expansion of an active tourist season. The aim of the article is a theoretical analysis of the types, functions and features of the organization of sports and recreation animation in tourism. Tourist animation has three main recreational functions: therapeutic, health and cognitive. Of these, directly performs two: sports and health and cognitive. Indirectly, under appropriate conditions, the therapeutic function is performed. In the practice of animation activities for the targeted design of animation programs, the functions of recreational tourist animation are differentiated into: adaptive - allows you to move from everyday to free, permissive; compensatory - frees a person from physical and mental fatigue of everyday life; stabilizing - creates positive emotions and stimulates mental stability; health - aimed at restoring and developing the physical strength of man, weakened in everyday life; information - allows you to get new information about the country, region, people, etc; educational - allows you to get and consolidate as a result of vivid impressions of new knowledge about the world around you; improving - brings intellectual and physical improvement; advertising - gives the opportunity through animation programs to make a tourist a carrier of advertising about the country, region, tourist complex, hotel, travel agency

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Dissertationen zum Thema "Animation agency"

Machálek, Tomáš. „Nabídka animačních služeb cestovních kanceláří pro segment rodiny s dětmi v ČR“. Master's thesis, Vysoká škola ekonomická v Praze, 2015. http://www.nusl.cz/ntk/nusl-264479.

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The dissertation has for its goal to analyse the supply of animation services by selected travel agencies for a families-with-children segment of customers in the Czech Republic. Based on a comparison of the supply together with a research into the actual situation on the side of the demand, a new competitive product of an animation service devised by the author is introduced. The theoretical part of the dissertation defines major terms in the realm of tourism and animation services. Throughout the empirical chapters, the author first analyses the market situation from the supply perspective. Second, using a method of a questionnaire survey, the market situation from the demand perspective is investigated. The last chapter deals with a creation of a new competitive product of animation services for families with children, implementing the findings from previous chapters.

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Pátková, Aneta. „Podnikatelský plán – animační agentura“. Master's thesis, Vysoké učení technické v Brně. Fakulta podnikatelská, 2021. http://www.nusl.cz/ntk/nusl-442984.

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This master’s thesis deals with the creation of a business plan for the establishment of an animation agency, which will be located in Žďár nad Sázavou. The first part defines the basic concepts for creating a business plan. In second part, the necessary analyzes are performed. In third part, a business plan is complied on the basis of the theoretical part and the result of analyzes. The conclusion of the work is the evaluation of whether to implement a business plan or not.

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Earnshaw, Rae A., N. Magnenat-Thalmann, D. Terzopoulos und D. Thalmann. „Computer animation for virtual humans“. IEEE, 1998. http://hdl.handle.net/10454/3505.

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Advances in computer animation techniques have spurred increasing levels of realism and movement in virtual characters that closely mimic physical reality. Increases in computational power and control methods enable the creation of 3D virtual humans for real-time interactive applications. Artificial intelligence techniques and autonomous agents give computer-generated characters a life of their own and let them interact with other characters in virtual worlds. Developments and advances in networking and virtual reality (VR) let multiple participants share virtual worlds and interact with applications or each other.

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Kandaswamy, Balasubramanian. „Planning techniques for agent based 3D animations“. Thesis, University of North Texas, 2005. https://digital.library.unt.edu/ark:/67531/metadc4958/.

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The design of autonomous agents capable of performing a given goal in a 3D domain continues to be a challenge for computer animated story generation systems. We present a novel prototype which consists of a 3D engine and a planner for a simple virtual world. We incorporate the 2D planner into the 3D engine to provide 3D animations. Based on the plan, the 3D world is created and the objects are positioned. Then the plan is linearized into simpler actions for object animation and rendered via the 3D engine. We use JINNI3D as the engine and WARPLAN-C as the planner for the above-mentioned prototype. The user can interact with the system using a simple natural language interface. The interface consists of a shallow parser, which is capable of identifying a set of predefined basic commands. The command given by the user is considered as the goal for the planner. The resulting plan is created and rendered in 3D. The overall system is comparable to a character based interactive story generation system except that it is limited to the predefined 3D environment.

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Ye, Victor. „A rule-based approach to animating multi-agent environments“. Thesis, University of Brighton, 1996. http://hdl.handle.net/10026.1/2812.

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This dissertation describes ESCAPE (Expert Systems in Computer Animation Production Environments), a multi-agent animation system for building domain-oriented, rule-based visual programming environments. Much recent work in computer graphics has been concerned with producing behavioural animations of artificial life-forms mainly based on algorithmic approaches. This research indicates how, by adding an inference engine and rules that describe such behaviour, traditional computer animation environments can be enhanced. The comparison between using algorithmic approaches and using a rule-based approach for representing multi-agent worlds is not based upon their respective claims to completeness, but rather on the ease with which end users may express their knowledge and control their animations with a minimum of technical knowledge. An environment for the design of computer animations incorporating an expert system approach is described. In addition to direct manipulation of objects on the screen, the environment allows users to describe behavioural rules based upon both the physical and non-physical attributes of objects. These rules can be interpreted to suggest the transition from stage to stage or to automatically produce a longer animation. The output from the system can be integrated into a commercially available 3D modelling and rendering package. Experience indicates that a hybrid environment, mixing algorithmic and rule-based approaches, would be very promising and offer benefits in application areas such as creating realistic background scenes and modelling human beings or animals either singly or in groups. A prototype evaluation system and three different domains are described and illustrated with preliminary animated images.

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Huang, Jing. „Modèles de rendu et animation émotionnelle en 3 D“. Thesis, Paris, ENST, 2013. http://www.theses.fr/2013ENST0008/document.

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L'animation et le rendu sont deux domaines de recherche importants dans l'informatique graphique. L'occlusion ambiante (OA) est un moyen très répandu pour simuler l'éclairage indirect. Nous présentons une approche rapide et facile à mettre en œuvre pour l'approximation de l'occlusion ambiante de l'espace d'affichage. On calcule l'OA pour chaque pixel en intégrant les valeurs angulaires des échantillonneurs autour de la position du pixel qui pourrait bloquer l'éclairage ambiant. Nous appliquons une méthode séparable afin de réduire la complexité du calcul. La simulation des rides expressives du visage peut être estimée sans changer l'information géométrique. Nous avons construit un modèle de rides en utilisant une technique graphique qui effectue des calculs seulement dans l'espace d'affichage. Les animations faciales sont beaucoup plus réalistes avec la présence des rides. Nous présentons une méthode de cinématique inverse rapide et facile à mettre en œuvre qui s'appuie sur un modèle masse-ressort et qui repose sur les interactions de forces entre les masses. Les interactions de forces entre les masses peuvent être vues comme un problème de minimisation de l'énergie. Elle offre une très bonne qualité visuelle en haute performance de vitesse. En se basant sur notre méthode d'IK, nous proposons un modèle de synthèse des gestes corporels expressifs intégrés dans notre plateforme d'agents conversationnels. Nous appliquons l'animation de tout le corps enrichi par l'aspect expressif. Ce système offre plus de flexibilité pour configurer la cinématique expressive directe ou indirecte. De façon globale, cette thèse présente notre travail sur le rendu et l'animation en 3D
Animation and rendering are both important research domains in computer graphics. We present a fast easy-to-implement separable approximation to screen space ambient occlusion.We evaluate AO for each pixel by integrating angular values of samplers around the pixel position which potentially block the ambient lighting.We apply a separable fashion to reduce the complexity of the evaluation. Wrinkle simulation can also be approximated without changing geometry information.We built a wrinkles model by using a modern graphics technique which performs computations only in screen space.With the help of wrinkles, the facial animation can be more realistic. Several factors have been proved, and wrinkles can help to recognize action units with a higher rate. Inverse kinematics (IK) can be used to find the hierarchical posture solutions. We present a fast and easy-to-implement locally physics-based IK method. Our method builds upon a mass-spring model and relies on force interactions between masses. Our method offers convincing visual quality results obtained with high time performance. Base on our IK method, we propose our expressive body-gestures animation synthesis model for our Embodied Conversational Agent (ECA) technology. Our implementation builds upon a full body reach model using a hybrid kinematics solution. Generated animations can be enhanced with expressive qualities.This system offers more flexibility to configure expressive Forward and Inverse Kinematics (FK and IK). It can be extended to other articulated figures. Overall, this thesis presents our work in 3D rendering and animation. Several new approaches have been proposed to improve both the quality and the speed

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Qin, Hong. „Multi-level behavioral self-organization in computer-animated lifelike synthetic agents“. HKBU Institutional Repository, 1999. http://repository.hkbu.edu.hk/etd_ra/189.

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Ding, Yu. „Modèle statistique de l'animation expressive de la parole et du rire pour un agent conversationnel animé“. Thesis, Paris, ENST, 2014. http://www.theses.fr/2014ENST0050/document.

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Notre objectif est de simuler des comportements multimodaux expressifs pour les agents conversationnels animés ACA. Ceux-ci sont des entités dotées de capacités affectives et communicationnelles; ils ont souvent une apparence humaine. Quand un ACA parle ou rit, il est capable de montrer de façon autonome des comportements multimodaux pour enrichir et compléter son discours prononcé et transmettre des informations qualitatives telles que ses émotions. Notre recherche utilise les modèles d’apprentissage à partir données. Un modèle de génération de comportements multimodaux pour un personnage virtuel parlant avec des émotions différentes a été proposé ainsi qu’un modèle de simulation du comportement de rire sur un ACA. Notre objectif est d'étudier et de développer des générateurs d'animation pour simuler la parole expressive et le rire d’un ACA. En partant de la relation liant prosodie de la parole et comportements multimodaux, notre générateur d'animation prend en entrée les signaux audio prononcés et fournit en sortie des comportements multimodaux. Notre travail vise à utiliser un modèle statistique pour saisir la relation entre les signaux donnés en entrée et les signaux de sortie; puis cette relation est transformée en modèle d’animation 3D. Durant l'étape d’apprentissage, le modèle statistique est entrainé à partir de paramètres communs qui sont composés de paramètres d'entrée et de sortie. La relation entre les signaux d'entrée et de sortie peut être capturée et caractérisée par les paramètres du modèle statistique. Dans l'étape de synthèse, le modèle entrainé est utilisé pour produire des signaux de sortie (expressions faciale, mouvement de tête et du torse) à partir des signaux d'entrée (F0, énergie de la parole ou pseudo-phonème du rire). La relation apprise durant la phase d'apprentissage peut être rendue dans les signaux de sortie. Notre module proposé est basé sur des variantes des modèles de Markov cachés (HMM), appelées HMM contextuels. Ce modèle est capable de capturer la relation entre les mouvements multimodaux et de la parole (ou rire); puis cette relation est rendue par l’animation de l’ACA
Our aim is to render expressive multimodal behaviors for Embodied conversational agents, ECAs. ECAs are entities endowed with communicative and emotional capabilities; they have human-like appearance. When an ECA is speaking or laughing, it is capable of displaying autonomously behaviors to enrich and complement the uttered speech and to convey qualitative information such as emotion. Our research lies in the data-driven approach. It focuses on generating the multimodal behaviors for a virtual character speaking with different emotions. It is also concerned with simulating laughing behavior on an ECA. Our aim is to study and to develop human-like animation generators for speaking and laughing ECA. On the basis of the relationship linking speech prosody and multimodal behaviors, our animation generator takes as input human uttered audio signals and output multimodal behaviors. Our work focuses on using statistical framework to capture the relationship between the input and the output signals; then this relationship is rendered into synthesized animation. In the training step, the statistical framework is trained based on joint features, which are composed of input and of output features. The relation between input and output signals can be captured and characterized by the parameters of the statistical framework. In the synthesis step, the trained framework is used to produce output signals (facial expression, head and torso movements) from input signals (F0, energy for speech or pseudo-phoneme of laughter). The relation captured in the training phase can be rendered into the output signals. Our proposed module is based on variants of Hidden Markov Model (HMM), called Contextual HMM. This model is capable of capturing the relationship between human motions and speech (or laughter); then such relationship is rendered into the synthesized animations

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Henry, Joseph William Roger. „Interactive control of multi-agent motion in virtual environments“. Thesis, University of Edinburgh, 2016. http://hdl.handle.net/1842/19580.

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With the increased use of crowd simulation in animation, specification of crowd motion can be very time consuming, requiring a lot of user input. To alleviate this cost, we wish to allow a user to interactively manipulate the many degrees of freedom in a crowd, whilst accounting for the limitation of low-dimensional signals from standard input devices. In this thesis we present two approaches for achieving this: 1) Combining shape deformation methods with a multitouch input device, allowing a user to control the motion of the crowd in dynamic environments, and 2) applying a data-driven approach to learn the mapping between a crowd’s motion and the corresponding user input to enable intuitive control of a crowd. In our first approach, we represent the crowd as a deformable mesh, allowing a user to manipulate it using a multitouch device. The user controls the shape and motion of the crowd by altering the mesh, and the mesh in turn deforms according to the environment. We handle congestion and perturbation by having agents dynamically reassign their goals in the formation using a mass transport solver. Our method allows control of a crowd in a single pass, improving on the time taken by previous, multistage, approaches. We validate our method with a user study, comparing our control algorithm against a common mouse-based controller. We develop a simplified version of motion data patches to model character-environment interactions that are largely ignored in previous crowd research. We design an environment-aware cost metric for the mass transport solver that considers how these interactions affect a character’s ability to track the user’s commands. Experimental results show that our system can produce realistic crowd scenes with minimal, high-level, input signals from the user. In our second approach, we propose that crowd simulation control algorithms inherently impose restrictions on how user input affects the motion of the crowd. To bypass this, we investigate a data-driven approach for creating a direct mapping between low-dimensional user input and the resulting high-dimensional crowd motion. Results show that the crowd motion can be inferred directly from variations in a user’s input signals, providing a user with greater freedom to define the animation.

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Al-Qayedi, Ali. „Internet video-conferencing using model-based image coding with agent technology“. Thesis, University of Essex, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.298836.

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Bücher zum Thema "Animation agency"

Tian, Feng, Xiaosong Yang, Daniel Thalmann, Weiwei Xu, Jian Jun Zhang, Nadia Magnenat Thalmann und Jian Chang, Hrsg. Computer Animation and Social Agents. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-63426-1.

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Robert, Trappl, und Petta Paolo 1963-, Hrsg. Creating personalities for synthetic actors: Towards autonomous personality agents. Berlin: Springer, 1997.

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Creating Personalities for Synthetic Actors: Towards Autonomous Personality Agents (Lecture Notes in Computer Science). Springer, 1997.

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Marshik, Celia. At the Mercy of Their Clothes. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231175043.001.0001.

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In much of modern fiction, it is the clothes that make the character. Garments embody personal and national histories. They convey wealth, status, aspiration, and morality (or a lack thereof). They suggest where characters have been and where they might be headed, as well as whether or not they are aware of their fate. This study explores the agency of fashion in modern literature. Celia Marshik’s study combines close readings of modernist and middlebrow works, a history of Britain in the early twentieth century, and the insights of thing theory. She focuses on four distinct categories of modern clothing: the evening gown, the mackintosh, the fancy dress costume, and secondhand attire. In their use of these clothes, we see authors negotiate shifting gender roles, weigh the value of individuality during national conflict, work through mortality, and depict changing class structures. Marshik’s dynamic comparisons put Ulysses in conversation with Rebecca, Punch cartoons, articles in Vogue, and letters from consumers, illuminating opinions about specific garments and a widespread anxiety that people were no more than what they wore. Throughout her readings, Marshik emphasizes the persistent animation of clothing—and objectification of individuals—in early-twentieth-century literature and society. She argues that while artists and intellectuals celebrated the ability of modern individuals to remake themselves, a range of literary works and popular publications points to a lingering anxiety about how political, social, and economic conditions continued to constrain the individual.

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Morgan, David. How Images Work. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190272111.003.0003.

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Rather than define images as coded forms of visual information, this chapter seeks to describe their capacity for action on human viewers, seeing them as agents, and exploring how best to study their animation. Reviewing recent directions in the study of images, the chapter frames the power of images to enchant within the history of images acting on viewers as visual devices or technologies. The work of Gell and Latour is most helpful. In this chapter, we come to see images as the product of culture and nature. They metamorphose from one to the other, and because they do, they exert power over us.

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Motrescu-Mayes, Annamaria, und Heather Norris Nicholson. British Women Amateur Filmmakers. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474420730.001.0001.

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In the rapidly growing study of amateur film, this groundbreaking book addresses the development of British women's amateur visual practice. Drawing upon social and visual anthropology, imperial and postcolonial studies and British, Commonwealth and gender history, the authors explore how women in Britain and overseas, used the evolving technologies of moving imagery to create visual stories about their lives and times. Locating the making, watching and sharing of women's recreational film-making against wider societal, technological and ideological changes, British Women Amateur Filmmakers discloses how women from varied backgrounds negotiated changing lifestyles, attitudes and opportunities as they created first personal visual narratives about themselves and the world around them. Using non-fictional films and animations, the authors invite readers to view films through different interpretative lens and provide detailed contexts for their case-studies and survey of over forty women amateur filmmakers. Whether in remote communities, suburban homes, castles, missionary or diplomatic enclaves, or simply travelling as intrepid sightseers, women filmed their companions, other people and their surroundings, not only as observers but often displaying agency, autonomy and aesthetic judgment during decades when careers, particularly after marriage, were often denied in film and other professions. Research across Britain on films in private hands and specialist archives, interviews and extensive study of the Institute of Amateur Cinematographers (IAC's) collections enable the authors to reposition an activity once thought of as overwhelmingly male and middle class.

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Buchteile zum Thema "Animation agency"

Gowanlock, Jordan. „Introduction: “Fully Nonlinear”“. In Palgrave Animation, 1–15. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-74227-0_1.

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AbstractThe introduction to Animating Unpredictable Effects establishes a specific category of digital animation that is based on making unpredictable simulations. The book situates this form of animation in the context of key discussions about the relationship between animation and automation, and about the agency digital animators have when working with increasingly opaque software tools. The introduction further situates this type of animation in the history of cinema, which has long been preoccupied with natural motion and topics of contingency.

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Smith, Vicky. „Experimental Time-Lapse Animation and the Manifestation of Change and Agency in Objects“. In Experimental and Expanded Animation, 79–102. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-73873-4_5.

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Lin, Yueh-Hung, Chia-Yang Liu, Hung-Wei Lee, Shwu-Lih Huang und Tsai-Yen Li. „Evaluating Emotive Character Animations Created with Procedural Animation“. In Intelligent Virtual Agents, 308–15. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04380-2_33.

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Al-Qayedi, Ali, und Adrian F. Clark. „Agent-Based Facial Animation“. In Digital Convergence: The Information Revolution, 73–88. London: Springer London, 1999. http://dx.doi.org/10.1007/978-1-4471-0863-4_6.

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Chang, Sung June, und Byung Tae Choi. „Locomotion Animation by Using Riding Motion“. In Intelligent Virtual Agents, 488–89. Berlin, Heidelberg: Springer Berlin Heidelberg, 2009. http://dx.doi.org/10.1007/978-3-642-04380-2_56.

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Kipp, Michael, Alexis Heloir und Quan Nguyen. „Sign Language Avatars: Animation and Comprehensibility“. In Intelligent Virtual Agents, 113–26. Berlin, Heidelberg: Springer Berlin Heidelberg, 2011. http://dx.doi.org/10.1007/978-3-642-23974-8_13.

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Szarowicz, Adam, und Peter Forte. „Combining Intelligent Agents and Animation“. In AI*IA 2003: Advances in Artificial Intelligence, 275–86. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/978-3-540-39853-0_23.

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Huang, Jing, und Catherine Pelachaud. „Expressive Body Animation Pipeline for Virtual Agent“. In Intelligent Virtual Agents, 355–62. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-33197-8_36.

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Aaron, Eric, Dimitris Metaxas, Franjo Ivančić und Oleg Sokolsky. „A Framework for Reasoning About Animation Systems“. In Intelligent Virtual Agents, 47–60. Berlin, Heidelberg: Springer Berlin Heidelberg, 2001. http://dx.doi.org/10.1007/3-540-44812-8_5.

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Mathieu, Philippe, und Sébastien Picault. „The Galaxian Project: A 3D Interaction-Based Animation Engine“. In Advances on Practical Applications of Agents and Multi-Agent Systems, 312–15. Berlin, Heidelberg: Springer Berlin Heidelberg, 2013. http://dx.doi.org/10.1007/978-3-642-38073-0_35.

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Konferenzberichte zum Thema "Animation agency"

Ling, Zhi-Kui, XiangYu Zhou und Chuck Mclean. „Process Operators and Their Roles in Integrated Assembly Process Planning“. In ASME 1998 Design Engineering Technical Conferences. American Society of Mechanical Engineers, 1998. http://dx.doi.org/10.1115/detc98/dfm-5753.

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Abstract An environment to facilitate assembly process planning is proposed in this study. It includes a design support system with two agents supporting the assembly process. One is assembly design agent, and the other is a geometric design agent. The assembly design agent consists of three modules: the assembly sequence planning module, the assembly resource planning module, and the assembly simulation module. The assembly sequence-planning module takes the design information and generates an assembly sequence. This sequence is structured in a tree form, called the Constructive Assembly Tree (CAT). The leaf nodes of the tree correspond to the components of the product. The intermediate nodes are the assembly process operators, each of which characterizes a particular assembly operation, and their associated subassemblies. The resource module assigns the necessary tools, fixtures, supply bins and other resources to each of the process operators. The assembly simulation module traverses a CAT, extracts the necessary assembly information, and drives external physical simulation/animation system to perform virtual assembly simulation/animation process.

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Swoboda, Matt. „Agenda Circling Forth“. In ACM SIGGRAPH 2010 Computer Animation Fesitval. New York, New York, USA: ACM Press, 2010. http://dx.doi.org/10.1145/1836623.1836699.

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Stamnes, Bent. „Agenda Circling Forth“. In ACM SIGGRAPH 2011 Computer Animation Festival. New York, New York, USA: ACM Press, 2011. http://dx.doi.org/10.1145/2019001.2019005.

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Chen, Xuechao, Wenjing Li, Yu Nie, Rui Chen, Kangben He, Yanli Liu und Yanci Zhang. „A Stage-Wise Path Planning Approach for Crowd Evacuation in Buildings“. In CASA '19: Computer Animation and Social Agents. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3328756.3328757.

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Ali, Ghazanfar, Hong-Quan Le, Junho Kim, Seung-Won Hwang und Jae-In Hwang. „Design of Seamless Multi-modal Interaction Framework for Intelligent Virtual Agents in Wearable Mixed Reality Environment“. In CASA '19: Computer Animation and Social Agents. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3328756.3328758.

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Han, Dong-Hoon, Ick-Hoon Cha, Kyung-Hyun Lee und Hyeong-Seok Ko. „Garment Preconditioning and Regional Simulation Omission for Trying-On Virtual Ensembles“. In CASA '19: Computer Animation and Social Agents. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3328756.3328759.

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Chen, Hsuan, und Sai-Keung Wong. „Transportation Strategies for Box-Manipulation in Crowd Simulation“. In CASA '19: Computer Animation and Social Agents. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3328756.3328760.

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Feng, Xiaobing, Juan Zhang, Dengming Zhu, Min Shi und Zhaoqi Wang. „Depth Camera Based Fluid Reconstruction and its Solid-fluid Interaction“. In CASA '19: Computer Animation and Social Agents. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3328756.3328761.

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Amato, Etienne Armand, Etienne Perény und Alain Berthoz. „Subjective Effects of Flying With an Autoscopic Self-Avatar in Third-Person Perspective Within an Immersive Mixed Reality“. In CASA '19: Computer Animation and Social Agents. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3328756.3328764.

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Knob, Paulo, Gabriel Wetzel Rockenbach, Claudio Rosito Jung und Soraia Raupp Musse. „Optimal Group Distribution based on Thermal and Psycho-Social Aspects“. In CASA '19: Computer Animation and Social Agents. New York, NY, USA: ACM, 2019. http://dx.doi.org/10.1145/3328756.3328765.

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