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Journal articles on the topic 'Animation agency'
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1
Gao, T., J. New, and B. Scholl. "Perceived biological agency in a Slithering Snake animation." Journal of Vision 11, no. 11 (September 23, 2011): 217. http://dx.doi.org/10.1167/11.11.217.
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Zurr, Ionat. "Agency in Movement: An Introduction." Leonardo 48, no. 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, no. 1 (March 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, no. 2 (December 1, 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, no. 1 (March 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, no. 2 (April 21, 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, and Tjahja Muhandri. "Strategi Pemasaran Produk Animasi PT Ayena Mandiri Sinema." MANAJEMEN IKM: Jurnal Manajemen Pengembangan Industri Kecil Menengah 11, no. 1 (August 10, 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, no. 2 (November 10, 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, and Nyoman Miyarta Yasa. "Animasi Tata Cara Penyelamatan Bencana Gempa Bumi Untuk Anak - Anak." Jurnal SASAK : Desain Visual dan Komunikasi 2, no. 1 (June 2, 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, no. 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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Johnson, Daniel. "Worlds in and of motion: Agency and animation at the margins of video game aesthetics." Journal of Gaming & Virtual Worlds 9, no. 3 (September 1, 2017): 225–41. http://dx.doi.org/10.1386/jgvw.9.3.225_1.
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Laakkonen, Riku. "The art of expressive objects supporting agency in palliative care." Applied Theatre Research 8, no. 1 (July 1, 2020): 107–16. http://dx.doi.org/10.1386/atr_00029_1.
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I have been developing a model for how to use animated objects when meeting a palliative care patient and I have noticed that during these animated moments in the hospice, performing objects have represented different sites of humanity. At their best, these moments have created a performance from the patient’s story that has become shared. Moments of animation in the hospice are meetings between me and a person who is in palliative care. I have facilitated our meeting and brought a suitcase full of everyday objects with me. A patient is given a story and then cast in their own story with objects they have chosen. Meetings with patients in palliative care made me think about patients moral agency. A moral agent is a being who consciously puts moral activities into practice. Expressive objects telling stories for a patient is one place where moral agency survives in the hospice setting and where a palliative care patient can act for a while as a member of a moral community. In this article, I share my model of expressive objects related to my practice.
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Fonneland, Trude. "Religion-Making in the Disney Feature Film, Frozen II: Indigenous Religion and Dynamics of Agency." Religions 11, no. 9 (August 21, 2020): 430. http://dx.doi.org/10.3390/rel11090430.
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This paper explores the religion-making potential of a particular secular institution, namely the Walt Disney Studios. Focusing on the animation film Frozen II that was launched in November 2019, the current article enters into debates about the manner in which indigenous religion is part of the commodity presented—how religion is produced, packaged, and staged. In the article I argue that contemporary media-scapes can be seen as agents of religion-making, of religious circulation, and renewal. As such, religion, as it is expressed in Frozen II, is outlined and produced by a particular media-form and shaped as a popular cultural formation. Further discussions about cultural appropriation are highlighted, focusing on how Disney’s reach out for cooperation with the Sámi community can generate new cultural policies and practices.
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Suan, Stevie. "Consuming Production: Anime’s Layers of Transnationality and Dispersal of Agency as Seen in Shirobako and Sakuga-Fan Practices." Arts 7, no. 3 (July 16, 2018): 27. http://dx.doi.org/10.3390/arts7030027.
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As an alternative reading of anime’s global consumption, this paper will explore the multiple layers of transnationality in anime: how the dispersal of agency in anime production extends to transnational production, and how these elements of anime’s transnationality are engaged with in the transnational consumption of anime. This will be done through an analysis of Shirobako (an anime about making anime), revealing how the series depicts anime production as a constant process of negotiation involving a large number of actors, each having tangible effects on the final product: human actors (directors, animators, and production assistants), the media-mix (publishing houses and manga authors), and the anime media-form itself. Anime production thus operates as a network of actors whose agency is dispersed across a chain of hierarchies, and though unacknowledged by Shirobako, often occurs transnationally, making attribution of a single actor as the agent who addresses Japan (or the world) difficult to sustain. Lastly, I will examine how transnational sakuga-fans tend to focus on anime’s media-form as opposed to “Japaneseness”, practicing an alternative type of consumption that engages with a sense of dispersed agency and the labor involved in animation, even examining non-Japanese animators, and thus anime's multilayered transnationality.
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Prince, Tanvir, Maria Malik, Ildefonso Salva, Ariel Mazor, and Sakhr Aldaylam. "The Mathematics and Applications behind Image Warping and Morphing." Journal of Mathematics Research 7, no. 4 (November 25, 2015): 167. http://dx.doi.org/10.5539/jmr.v7n4p167.
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<p class="Normal1">This research is conducted in the summer of 2015 and is possible by the support of various agency, in particular, by the grant of Prof. Angulo Nieves and the New York City Research Initiative.</p><p class="Normal1">The purpose of this research is to reveal the mathematics and applications of the computer animation techniques of warping and morphing. A warp is a twist or distortion in the form of an object in an image while a morph is the smooth and gradual transformation of an object in one image into the object in another image. Linear algebra makes these computer animation techniques possible; the first phase of this research delves into how those mathematical processes translate into image warps and morphs. Image morphs and morphs were identified as affine transformations of original images. The second part of this study requires the analysis and application of image warping and morphing techniques in an array of fields. The team utilized the computer software, Abrosoft Fantamorph and Morpheus in order to create a series of warps and morphs. This shows an example of the use of technology in undergraduate research. The final phase of this research was to identify what uses NASA can have for these computer animation techniques and what further research can be done to expand our knowledge of warps and morphs. By identifying the mechanics of warps and morph, we can discover how they can assist scientists and organization, such as NASA, to create depictions of objects, ideas, places, and events. Ultimately, studying morphing and warping techniques allows us to find better ways to represent visual data - whether it is images of the ozone hole or maps of the ever-changing weather in a region. The limitations that were found during the study can be used to conduct further research about warps and morphs - such as distorting images using quadratics or varying the rate at which each part of a transformation happens.</p>
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Gozali, Monica. "Increasing the Brand Awareness of Go China Using a Promotional Video." K@ta Kita 6, no. 2 (November 16, 2018): 186–92. http://dx.doi.org/10.9744/katakita.6.2.186-192.
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Asia Holiday Tour & Travel is a travel agency based in Surabaya on Jalan Indragiri No. 12-18 #9. It focuses more on tour package selling especially throughout Asia. Asia Holiday has a main project called Go China that offers many destinations to China. Go China’s target market is Surabaya people, middle to high class, and 40 years old and older. Asia Holiday’s competitors are ATS Vacations and Golden Rama. The main problem of Asia Holiday is that they only have brochures to promote and market their tour products which not so effective. As a result, the selling of Go China tour packages rarely achieves its maximum number. A promotional video is the best solution for Asia Holiday to increase the brand awareness of Asia Holiday. It is an animation video and as a representative in explaining about Go China to the target market.
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McGahan, William T., Hardy Ernst, and Laurel Evelyn Dyson. "Individual Learning Strategies and Choice in Student-Generated Multimedia." International Journal of Mobile and Blended Learning 8, no. 3 (July 2016): 1–18. http://dx.doi.org/10.4018/ijmbl.2016070101.
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There has been an increasing focus on student-generated multimedia assessment as a way of introducing the benefits of both visual literacy and peer-mediated learning into university courses. One such assessment was offered to first-year health science students but, contrary to expectations, led to poorer performance in their end-of-semester examinations. Following an analysis, the assignment was redesigned to offer students a choice of either a group-based animation task or an individual written task. Results showed improved performance on the assignment when students were offered a choice of assignments over when they were offered only the multimedia assignment. Student feedback indicated that students adopt deliberate individual learning strategies when offered choices in assessment. The study suggests that assumptions regarding the superiority of student-generated multimedia over more traditional assessments are not always correct, but that students' agency and individual preferences need to be recognized.
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Neis, Rachel. "Religious Lives of Image-Things, Avodah Zarah, and Rabbis in Late Antique Palestine." Archiv für Religionsgeschichte 17, no. 1 (December 1, 2016): 91–122. http://dx.doi.org/10.1515/arege-2015-0006.
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Abstract Drawing on rabbinic sources redacted in the early third and late fourth/ early fifth centuries, this paper tracks the intertwined lives of divine image-things and rabbis living in late Roman and Byzantine period Palestine. The paper argues that the religious image-things of others (or avodah zarah, in rabbinic terms) pressed in different ways on rabbinic notions of animation, materiality, agency, and representation, as well as on the boundaries between the thing, the human, and the divine. Additionally, the paper argues that while rabbis attempted to neutralize the claims of such image-things, in part by exposing their materiality, their excess nonetheless escaped such rabbinic efforts. Finally, the paper argues that in the fourth century, along with the “material turn” in the Roman world inspired by Christian engagement, we find not only a greater sense of the excess in the things of avodah zarah, but also a concomitant thingification of the rabbinic sage.
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Sunarya, Lusyani, Allyufi Fazril Rasyidin, and Deka Witara. "VIDEO ANIMASI 2D INFOGRAFIS APLIKASI LAKSA ( LAYANAN ASPIRASI KOTAK SARAN ANDA ) PADA DINAS KOMUNIKASI DAN INFORMASI (KOMINFO) PEMERINTAHAN KOTA TANGERANG." Journal CERITA 2, no. 1 (February 1, 2016): 111–27. http://dx.doi.org/10.33050/cerita.v2i1.672.
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he development of information and communication today is very important for the wider community. This is evidenced by the many pioneers of telecommunications and information which serves to realize the information and communication, either through print media such as newspapers, magazines, books, and electronic media such as radio, television, telephone, and internet. Currently the Department of Communication andInformation Technology, provide services or means of media information through some form of media in the form of social media and websites that in a sense is still not enough to meet the information needs effective services. In order to convey the latest information more effective services should at least have the means of media that can support the effectiveness of the communication process performed by an institution or agency. LAKSA application is a communication medium that serves to continue the public complaints that go through Call Center so that it can respond rapidly, so that people can easily give a message, complaints, suggestions, or report to the Office of Tangerang City Government. The methodology used in this study include problem analysis methods, data collection methods, methods of analysis of the design and method of production concept mavib (KPM) which includes: pre-production, production and post production. Thus in this research is intended to make the mediainfographic form of 2D animation, namely Design Video Animation Infographic Applications LAKSA (Report Aspiration Suggestion Box you) at the Department of Communications and Informatics of Tangerang, so that through the design of the media is expected to provide forms of information services more attractive, effective, and easily accepted, especially by the people of Tangerang.
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de Aguillar Pinho, Maria Luiza Carvalho, Angela Maria Cavalcanti da Rocha, Celso Roberto de Aguillar Pinho, and Cristiane Junqueira Giovannini. "“Monica and Friends”: the challenge to internationalize." Emerald Emerging Markets Case Studies 7, no. 2 (June 22, 2017): 1–26. http://dx.doi.org/10.1108/eemcs-06-2016-0139.
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Subject area International business or International marketing. Study level/applicability The case is recommended for undergraduate and graduate courses in the fields of international business and international marketing. The aim is to show students the problems that a family business in the animation industry faces while growing and internationalizing. Specifically, the case discusses the entry mode selection and market selection challenges faced by an emerging market company in the comic book and animation industry to operate overseas and compete with entertainment giants such as Disney and DC Comics. The case enables the instructor to discuss international market selection theories and evaluate entry modes. For graduate students, the international market selection can be further developed by using more robust concepts such as psychic and cultural distance. Case overview This case examines the trajectory of a pioneering company in the comic book and animation industries, and in the licensing of trademarks in Brazil. Mauricio de Sousa Productions was founded in 1959 and is considered to be one of the most successful cultural producers in the country. According to a leading Brazilian public opinion research agency, 97 per cent of Brazilian children and 96 per cent of their parents are familiar with the Monica and Friends characters. As one of the main players in the publishing market, with 86 per cent of market share, Mauricio de Sousa Productions has a product portfolio that goes beyond Monica and Friends comic strips: the company’s show on the Cartoon Network ranks third in audience viewing in the country and the company has produced animated movies, books, shows and games. However, despite its experience in publishing comic books in several countries, Mauricio de Sousa Productions (MSP)’s worldwide operations have not been as profitable and sustainable as expected. Aiming at expanding its global presence, MSP’s top management decided in 2014 to review the company’s internationalization strategy and operations to enhance the firm’s performance. Expected learning outcomes The case highlights the key factors facing firms when expanding from an emerging markets. Students are expected to discuss and evaluate options, thus developing their knowledge and decision processes related to family-owned business challenges and opportunities, international market selection theories and international market entry mode. Developing strategies to face challenges as those presented by competitors such as Disney should bring opportunities to students to think outside models and weigh risks. Finally, the case gives students opportunity to base their decision processes and evaluations on logistics problems as well as psychic and cultural distances. It also compels the students to appreciate the various challenges involved in exploiting international market with animation content and intellectual properties as a service. Supplementary materials Company presentation to use in the discussion introduction can be found in: www.monicaandfriends.com/content/video.php Subject code CSS 5: International business.
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Wibowo, Gavrila, Failasuf Herman Hendra, and Dian Pramita Eka Laksmiyanti. "PERANCANGAN GEDUNG PUSAT BADAN EKONOMI KREATIF INDONESIA DI SURABAYA TEMA OUT OF THE BOX." AKSEN 5, no. 1 (December 1, 2020): 16–31. http://dx.doi.org/10.37715/aksen.v5i1.1580.
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creative economy becomes one of priorities which is feasible to develop because the strength of creativeeconomy does not depend on the exploitation of natural resources instead of human resources. Art works,architecture, technology innovation, animation, and other creative products are derived from creativeideas of human thoughts. These phenomena have encouraged people’s enthusiasm to create innovationand require support from Creative Economy Agency which is specifically responsible for monitoring andguiding the creative economy.The Central Building of Creative Economy Agency is planned and designedin Surabaya as an effort to provide facilities for developing the Office of Creative Economy Agency.The facilities are designed in such a way so as to support Surabaya as the metropolitan city which isenvironmentally friendly and interesting for business doers particularly start-up business. Designing the buildingarchitecture is carried out through a series of phases beginning from project identification, precedent study,design program, concept, and development. The approach of Out of the Box theme is used as the point ofview which is different from the usual in terms of land order, shape, and space configuration. So as to producebuildings Is carried out by continuing and changing or transforming the office building from the standardized andrigid characters into flexible and relaxed office without altering the culture of behavior inside. It does not leave theusers’ culture or habit including those who want to work autonomously.
Keywords: Sustainable Architecture, Creative Economy, Out Of the Box
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LADWIG, PATRICE. "Worshipping Relics and Animating Statues. Transformations of Buddhist statecraft in contemporary Laos." Modern Asian Studies 49, no. 6 (July 17, 2014): 1875–902. http://dx.doi.org/10.1017/s0026749x13000486.
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AbstractIn Laos—one of the few remaining ‘officially’ socialist countries—Buddhism was abolished as a state religion after the revolution in 1975. However, since the 1990s the communist government has been increasingly using its patronage of Buddhism to gain legitimacy. With reference to the divine sources of power in Theravāda Buddhism, this article explores the extent to which modern Lao state socialism is still imbued with pre-revolutionary patterns of Buddhist kingship and statecraft. The analysis will focus especially on ritual patronage of a Buddhist relic shrine and on the recent inauguration of statues of deceased kings in the Lao capital, Vientiane. With reference to the ritual animation of ‘opening the eyes’ of the statues, and with regard to theories exploring the agency of objects, I argue that the Lao palladium has to be understood as being made up of ‘living’ entities. Finally, the article explores to what extent the control, worship, and creation of statues and relics today are still essential for the legitimacy of rule in the Lao People's Democratic Republic.
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Moss-Wellington, Wyatt. "Picturing the Autobiographical Imagination: Emotion, Memory and Metacognition in Inside Out." Film-Philosophy 25, no. 2 (June 2021): 187–206. http://dx.doi.org/10.3366/film.2021.0168.
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Inside Out (Pete Docter & Ronnie Del Carmen, 2015) develops novel cinematic means for representing memory, emotion and imagination, their interior relationships and their social expression. Its unique animated language both playfully represents pre-teenage metacognition, and is itself a manner of metacognitive interrogation. Inside Out motivates this language to ask two questions: an explicit question regarding the social function of sadness, and a more implicit question regarding how one can identify agency, and thereby a sense of developing selfhood, between one’s memories, emotions, facets of personality, and future-thinking imagination. Both the complexity of the language Inside Out develops to ask these questions, and the complicated answers the film provides, ultimately serve as a manner of recognition of the effortfulness of finding one’s place in the world. This article talks sequentially through the complex representative systems Inside Out advances in order to pay homage to the ways in which metacognitive cinema – as well as discussions and hermeneutic readings around that cinema – can make viewers feel recognised for invisible, internal labour that is existentially difficult to share due to its very interiority; an interiority that is reconstructed in imaginative processes such as autobiographical reminiscence, and filmic animation.
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Saadah, Khairiatu, and Efendi Sianturi. "THE EFFECTIVENESS OF COUNSELING THROUGH AUDIO VISUAL MEDIA USING ANIMATION VIDEO ON COMPLIANCE OF IRON TABLETS (FE) CONSUMPTION IN PREGNANT WOMEN AT WORKING AREA OF TANJUNG MORAWA COMMUNITY HEALTH CENTER IN 2020." COLOSTRUM : Jurnal Kebidanan 2, no. 1 (January 19, 2021): 85–91. http://dx.doi.org/10.36911/colostrum.v2i1.876.
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The results of Basic Health Research (Riskesdas) issued by the Health Research and Development Agency (Baritbankes) of the Indonesian Ministry of Health in 2018 stated that the prevalence of anemia in pregnant women in Indonesia was 48.9%. In North Sumatra, blood tests were carried out on pregnant women from 9,377 pregnant women in three cities, namely Medan, Pematang Siantar and Kisaran. 33% of them had anemia. One of the causes of anemia in pregnancy is iron deficiency.
The type of research used was pre-experiment with One Group Pretest-Posttest Design. In this study, using purposive sampling technique, namely 34 pregnant women.
Adherence is the level of patients carrying out the treatment and behavior suggested by their doctor or by others. Meanwhile, the compliance with taking blood-supplemented tablets is a behavior where pregnant women support the iron supplementation program carried out by the government to prevent anemia in pregnant women.
Based on the results of the research discussion entitled "Effectiveness of Extension through Audio Visual Media Using Animation Videos on Compliance with the Consumption of Iron (Fe) Tablets in Pregnant Women in the Work Area of ??the Tanjung Morawa community Health Center in 2020, it can be concluded that the compliance of respondents before being given counseling was the majority as obedient as 22 respondents ( 35.3%) and the compliance of respondents after being given counseling was the majority obedient as many as 29 respondents (85.3%), and the effectiveness of counseling through audio-visual media using animation videos on compliance with consuming iron tablets (Fe) in pregnant women in the work area of ?? Tanjung Morawa community health center in 2020 after being given counseling with the results of the T test paired sample T-test, it was obtained that sig 2 tailed was 0.000 (p value) <0.05. And it is hoped that the next researchers will develop this research using other media
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Smith, Bradon Tam Lynn. "Resources, Scenarios, Agency: Environmental Computer Games // Recursos, escenarios, agencia: Juegos de ordenador sobre el medio ambiente." Ecozon@: European Journal of Literature, Culture and Environment 8, no. 2 (October 31, 2017): 103–20. http://dx.doi.org/10.37536/ecozona.2017.8.2.1365.
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In this paper I argue that computer games have the potential to offer spaces for ecological reflection, critique, and engagement. However, in many computer games, elements of the games’ procedural rhetoric limit this potential. In his account of American foundation narratives, environmental historian David Nye notes that the ‘second-creation’ narratives that he identifies “retain widespread attention [...] children play computer games such as SimCity, which invite them to create new communities from scratch in an empty virtual landscape…a malleable, empty space implicitly organized by a grid” (Nye 288). I begin by showing how grid-based resource management games encode a set of narratives in which nature is the location of resources to be extracted and used. I then examine the climate change game Fate of the World (2011), drawing it into comparison with game-like online policy tools such as the UK Department for Energy and Climate Change’s 2050 Calculator, and models such as the environmental scenario generation tool Foreseer. I argue that while both may be narrowly successful in generating engagement with climate change and resource issues, in other ways their effect may be disempowering: firstly, they emphasise the scale and complexity of environmental problems; secondly, the prioritise technocratic top-down policy responses at the expense of changes on the level of individual behaviour. This paper then turns to examples of digital games and playing strategies that offer more plural and open-ended engagement with environmental concerns. The on/off-line game World Without Oil (2007) encouraged players to respond to a fictional oil crisis, generating sustained and solution-focussed engagement. Examples of ‘expansive play’ also reveal ecocritical playing strategies in the sandbox-game Minecraft, a game which may initially seem to take the logic of resource extraction to its extreme. Finally, I look at David O'Reilly’s off-beat game-animation Mountain (2014), which in its unflinching mountain removes the agency of the player, and mocks the ‘nature as resource’ model of the games previously discussed. Instead Mountain invites an ontological reconsideration of the player’s relationship with the non-human. Resumen En este ensayo argumento que los juegos de ordenador tienen el potencial de ofreces espacios para la reflexión, la crítica y el compromiso ecológicos. Sin embargo, en muchos juegos de ordenador, los elementos de la retórica procedimental de los juegos limitan este potencial. En su recuento de las narrativas fundacionales americanas, el historiador medioambiental David Nye destaca que las narrativas de ‘segunda creación’ que él identifica “conservan una atención generalizada […] los niños juegan con el ordenador a juegos como SimCity, que les invita a crear nuevas comunidades desde cero en un paisaje virtual vacío, un espacio vacío maleable e implícitamente organizado por una cuadrícula” (Nye 288). Comienzo mostrando como los juegos de gestión de recursos basados en cuadrículas codifican un conjunto de narrativas en la naturaleza es la ubicación de la que se extraen y en la que se usan los recursos. Después examino el juego sobre el cambio climático Fate of the World (2011), comparándolo con herramientas de política online como la del Departamento de Energía y Cambio Climático de Reino Unido, 2050 Calculator; y modelos como la herramienta de generación de escenarios medioambientales Foreseer. Argumento que mientras que ambos pueden ser poco exitosos a la hora de generar compromiso con el cambio climático y con temas de recursos, por otra parte, su efecto puede ser desalentador: primero, enfatizan la escala y la complejidad de los problemas medioambientales; segundo, priorizan respuestas políticas tecnócratas verticales a expensas de cambios en el nivel del comportamiento individual. Este ensayo luego recurre a ejemplos de juegos digitales y a estrategias de juego que ofrecen un compromiso más plural y más abierto de mente con respecto a las preocupaciones medioambientales. El juego con/sin conexión World Without Oil (2007) animaba a los jugadores a responder a una crisis petrolífera ficticia, generando un compromiso sostenido y centrado en soluciones. El juego de animación poco convencional de David O’Reilly Mountain (2014), que en su inquebrantable montaña elimina la agencialidad del jugador y parodia el modelo de juegos ‘naturaleza como recurso’, incita a una reconsideración ontológica de la relación del jugador con lo no-humano. Finalmente, se examinan ejemplos de modificación y ‘juego expansivo’ para revelar estrategias de juego ecocrítico sorprendentes en el juego de mundo abierto Minecraft, un juego que en principio parece llevar la lógica de la extracción de recursos al extremo.
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Bahfen, Nasya. "1950s vibe, 21st century audience: Australia’s dearth of on-screen diversity." Pacific Journalism Review : Te Koakoa 25, no. 1&2 (July 31, 2019): 29–38. http://dx.doi.org/10.24135/pjr.v25i1and2.479.
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The difference between how multicultural Australia is ‘in real life’ and ‘in broadcasting’ can be seen through data from the Census, and from Screen Australia’s most recent research into on screen diversity. In 2016, these sources of data coincided with the Census, which takes place every five years. Conducted by the Australian Bureau of Statistics, this presents a ‘snapshot’ of Australian life. From the newest Census figures in 2016, it appears that nearly half of the population in Australia (49 percent) had either been born overseas (identifying as first generation Australian) or had one or both parents born overseas (identifying as second generation Australian). Nearly a third, or 32 percent, of Australians identified as having come from non-Anglo Celtic backgrounds, and 2.8 percent of Australians identify as Indigenous (Aboriginal or Torres Strait Islander). Nearly a fifth, or 18 percent, of Australians identify as having a disability. Screen Australia is the government agency that oversees film and TV funding and research. Conducted in 2016, Screen Australia’s study looked at 199 television dramas (fiction, excluding animation) that aired between 2011 and 2015. The comparison between these two sources of data reveals that with one exception, there is a marked disparity between diversity as depicted in the lived experiences of Australians and recorded by the Census, and diversity as depicted on screen and recorded by the Screen Australia survey.
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Joh, Seong-eok, Song Hee You, Kyoung Hoon Lee, Soo Hyung Lee, and Moon Jin Lee. "THE DEVELOPMENT OF OIL SPILL MANAGEMENT SOFTWARE." International Oil Spill Conference Proceedings 2001, no. 2 (March 1, 2001): 1079–81. http://dx.doi.org/10.7901/2169-3358-2001-2-1079.
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ABSTRACT Oil spill countermeasure actions are combatants, and spilled oil is the enemy. A good operation map at the oil spill response plays a keystone role for victory as military combats. Various complicated geographical information—spill location, damaged areas, natural resources and positions of response resources like skimmers, booms and vessels—are involved in a spill situation. The development of Geographical Information System (GIS)-based spill management software was studied in the project entitled Computerized Oil Spill Response Support System in Korea, by Korea Ocean Research & Development Institute (KORDI) in cooperation with the Korea Maritime Police Agency (KMPA) and the Korea Environmental Science & Technology Institute (KESTI). The spill management software was developed to implement computer operation maps of oil spill countermeasures on the desktop of spill responders. Spill responders can draw the spill positions, damaged areas, and locations of response. The management of cleanup activities is another important role of this software. The users of this software can record every response activity with the time, location, and input amounts of resources, which allow for the evaluation of response activities and estimation of cleanup costs. Fisheries damage also can be assessed using the preimplemented aquaculture field database. The integrated oil spill model can predict oil trajectory of future with computer graphics animation. Moreover, Environmental Sensitivity Index (ESI) maps are included so spill responders can determine operational priority efficiently using the ESI and trajectory model predictions. This software is expected to give a great efficiency to spill responders and to be a good solution to manage oil spills.
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Nagendran, Arjun, Remo Pillat, Adam Kavanaugh, Greg Welch, and Charles Hughes. "A Unified Framework for Individualized Avatar-Based Interactions." Presence: Teleoperators and Virtual Environments 23, no. 2 (August 1, 2014): 109–32. http://dx.doi.org/10.1162/pres_a_00177.
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This paper presents a framework to interactively control avatars in remote environments. The system, called AMITIES, serves as the central component that connects people controlling avatars (inhabiters), various manifestations of these avatars (surrogates), and people interacting with these avatars (participants). A multiserver–client architecture, based on a low-demand network protocol, connects the participant environment(s), the inhabiter station(s), and the avatars. A human-in-the-loop metaphor provides an interface for remote operation, with support for multiple inhabiters, multiple avatars, and multiple participants. Custom animation blending routines and a gesture-based interface provide inhabiters with an intuitive avatar control paradigm. This gesture control is enhanced by genres of program-controlled behaviors that can be triggered by events or inhabiter choices for individual or groups of avatars. This mixed (agency and gesture-based) control paradigm reduces the cognitive and physical loads on the inhabiter while supporting natural bidirectional conversation between participants and the virtual characters or avatar counterparts, including ones with physical manifestations, for example, robotic surrogates. The associated system affords the delivery of personalized experiences that adapt to the actions and interactions of individual users, while staying true to each virtual character's personality and backstory. In addition to its avatar control paradigm, AMITIES provides processes for character and scenario development, testing, and refinement. It also has integrated capabilities for session recording and event tagging, along with automated tools for reflection and after-action review. We demonstrate effectiveness by describing an instantiation of AMITIES, called TeachLivE, that is widely used by colleges of education to prepare new teachers and provide continuing professional development to existing teachers. Finally, we show the system's flexibility by describing a number of other diverse applications, and presenting plans to enhance capabilities and application areas.
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D. G., Amusan, and Oyediran M. O. "Development of Efficient E-Recruitment System for University Staff in Nigeria." Circulation in Computer Science 1, no. 1 (May 24, 2016): 10–14. http://dx.doi.org/10.22632/ccs-2016-251-13.
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The development of e-recruitment system is web-based tool used in order to reduce communication gap between job seekers and employers. E-recruitment, also known as online recruitment, is the practice of using technology and in particular Web-based resources for tasks involved with finding, attracting, assessing, interviewing and hiring new personnel. Most of the existing mode of recruitment (manual recruitment) takes much time in processing the application form, existing system will not automatically send feedback to all applicant whose meet up with the job requirement but with the help of the developed system there is reduction in time to process the application form and there is automatic feedback from the employer to the job seeker that meet up with requirement. The objective of this work is to developed an efficient e-recruitment system capable of managing all stages of the e- recruitment process, including multi-job posting, agency channel management and candidate filtering to identify the most relevant candidates. The development e-recruitment system employs 3-tier web architecture. The system consisted of design activities that produce system specifications satisfying the functional requirements that were developed in the system analysis process. A Unified Modeling Language (UML) was used to build a formal model of the university recruitment system. The Web-based University Recruitment System (WBURS) was designed to be user friendly and it is easy to navigate. A Macromedia dream wave was used in coding and developing website; SWISHmax was also used for creating graphics and animation in developing the website. Structured Query Language (SQL) was employed in creation of the database for the website and adoption of PHP (Hypertext Processor) was adopted to connect the website to a database. The performance of the developed system was evaluated by consulting three university staff and relevant information was collated through personal interviews and questionnaires was administered to the staff of those university, Human Resource Departments and other relevant professionals of these university.
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McCown, Julie. "Animating the Corpse." Humanimalia 5, no. 1 (September 12, 2013): 53–79. http://dx.doi.org/10.52537/humanimalia.9967.
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This essay argues that the physicality and materiality of the animal puppets in Ladislas Starewitch’s 1937 stop motion film The Tale of the Fox enable a nuanced, complex consideration of representations of real animal bodies that I define as “sutured hybridity.” Within The Tale of the Fox’s narrative, production, and distribution, a series of four sutures (medieval past/technologically mediated future, animal/human, alive/dead, and humanist/posthumanist discourse) arise in the animal puppets, who exist as sutured hybrid beings that occupy an intermediary zone where binaries converge. Each suture builds on the previous one, creating a multi-faceted state of sutured hybridity that reveals how human-animal interactions primarily revolve around animal subjugation and agency. I also contrast The Tale of the Fox with Wes Anderson’s 2009 stop motion film Fantastic Mr. Fox which reinforces the complexity and contradictions of The Tale of the Fox’s depiction of animal bodies and the animal puppets’ status as sutured hybrid beings that allow us to confront our moral and ethical responsibility to real animal bodies in a way not possible with previous critical interpretations of animal representation.
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Roos, Maarten, and Jan Van Den Bulck. "Space videos on YouTube - what makes the audience tick." EPJ Web of Conferences 200 (2019): 01004. http://dx.doi.org/10.1051/epjconf/201920001004.
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Nowadays it is easier than ever before to produce films and videos and make them available to a worldwide audience via platforms such as YouTube, Twitter and Facebook, among others. The European Space Agency (ESA), the European Southern Observatory (ESO), the National Aeronautics and Space Administration (NASA), and other similar organisations constantly produce videos aimed at the general interested audience, and distribute them on through their social media channels. Different formats are offered such as educational, informative, news style, science stories, scientist profiles, behind-the-scenes, animations and data based animations. But which of these formats do really stick and why? A simple statistical analysis of 106 videos found on the ESA, ESO and NASA YouTube channels shows that videos based on animations and the representation of data, with little to no explanation and accompanied by music are the more popular in terms of views per month by about a factor of two compared to other types of videos. This can likely be explained by the higher entertainment value of such videos.
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Parsons, Elizabeth. "Animating Grandma: The Indices of Age and Agency in Contemporary Children's Films." Journal of Aging, Humanities, and the Arts 1, no. 3-4 (October 19, 2007): 221–29. http://dx.doi.org/10.1080/19325610701638243.
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Gobbini, Maria Ida, Aaron C. Koralek, Ronald E. Bryan, Kimberly J. Montgomery, and James V. Haxby. "Two Takes on the Social Brain: A Comparison of Theory of Mind Tasks." Journal of Cognitive Neuroscience 19, no. 11 (November 2007): 1803–14. http://dx.doi.org/10.1162/jocn.2007.19.11.1803.
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We compared two tasks that are widely used in research on mentalizing—false belief stories and animations of rigid geometric shapes that depict social interactions—to investigate whether the neural systems that mediate the representation of others' mental states are consistent across these tasks. Whereas false belief stories activated primarily the anterior paracingulate cortex (APC), the posterior cingulate cortex/precuneus (PCC/PC), and the temporo-parietal junction (TPJ)—components of the distributed neural system for theory of mind (ToM)—the social animations activated an extensive region along nearly the full extent of the superior temporal sulcus, including a locus in the posterior superior temporal sulcus (pSTS), as well as the frontal operculum and inferior parietal lobule (IPL)—components of the distributed neural system for action understanding—and the fusiform gyrus. These results suggest that the representation of covert mental states that may predict behavior and the representation of intentions that are implied by perceived actions involve distinct neural systems. These results show that the TPJ and the pSTS play dissociable roles in mentalizing and are parts of different distributed neural systems. Because the social animations do not depict articulated body movements, these results also highlight that the perception of the kinematics of actions is not necessary to activate the mirror neuron system, suggesting that this system plays a general role in the representation of intentions and goals of actions. Furthermore, these results suggest that the fusiform gyrus plays a general role in the representation of visual stimuli that signify agency, independent of visual form.
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Peterson, Michael P. "Cartography and the Internet: Introduction and Research Agenda." Cartographic Perspectives, no. 26 (March 1, 1997): 3–12. http://dx.doi.org/10.14714/cp26.716.
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The Internet is helping to redefine how maps are used. Maps are now delivered to the user in a fraction of the time required to distribute maps on paper allowing them to be viewed in a more timely fashion. Weather maps, for example, are posted on an hourly basis. Most importantly, maps on the Internet are more interactive. They are accessed through a hyperlinking structure that makes it possible to engage the map user on a higher-level than is possible with a map on paper. Finally, the Internet is ma.king the distribution of cartographic animations possible. The Internet presents cartographers with a faster method of map distribution, different forms of mapping, and new areas of research.
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Post, Tina. "Williams, Walker, and Shine: Blackbody Blackface, or the Importance of Being Surface." TDR/The Drama Review 59, no. 4 (December 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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Choe, Hanwool. "Eating together multimodally: Collaborative eating in mukbang, a Korean livestream of eating." Language in Society 48, no. 2 (February 22, 2019): 171–208. http://dx.doi.org/10.1017/s0047404518001355.
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AbstractMukbang is a Korean livestream where a host eats while interacting with viewers. The eater ‘speaks’ to the viewers while eating and the viewers ‘type’ to each other and to the eater through a live chat room. Using interactional sociolinguistics along with insights from conversation analysis (CA) studies, the present study examines how sociable eating is jointly and multimodally achieved in mukbang. Analyzing sixty-seven mukbang clips, I find that mukbang participants coordinate their actions through speech, written text, and embodied acts, and that this coordination creates involvement and, by extension, establishes both community and social agency. Specifically, recruitments are the basic joint action of eating, as participants, who are taking turns, assume footings of the recruit and the recruiter. The host embodies viewers’ text recruitments through embodied animating and puppeteering. As in street performance, the viewers often offer voluntary donations, and the host shows entertaining gratitude in response. (Mukbang, footing, recruitments, agency, involvement, constructed action, multimodal interaction, computer-mediated discourse)*
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Satz, Aura. "Music of Its Own Accord." Leonardo Music Journal 20 (December 2010): 73–78. http://dx.doi.org/10.1162/lmj_a_00015.
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The disembodied hands of spiritualist sittings touched people and levitated objects but also strummed guitars, rang bells, played closed pianos and accordions in cages. Likewise, the mechanical music machines of the time (orchestrions, pianolas, etc.) seemed animated by invisible fingers. Highlighting the historical and haptic parallels between these manifestations, the author addresses the lack of a visible performing body, which remains implicit through the invisible animating agency. She looks at the moment before music became abstracted into the grooves of the gramophone, when music still looked like instruments, though without the gestural presence of the performer. The article is illustrated with images from the author's project Automamusic.
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Ma'arif, Bambang Saiful, Umar Yusuf, Suliadi Suliadi, and Parihat Parihat. "Persuasive Da’wah Agenda based on Sociodemographic Factors: A Study in Cimahi." MIMBAR : Jurnal Sosial dan Pembangunan 35, no. 1 (June 24, 2019): 19–27. http://dx.doi.org/10.29313/mimbar.v35i1.3866.
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This paper is a result of primary research titled “Mapping the Profile of Persuasive Da’wah Agenda in Cimahi City.” Cimahi is well known as the industrial centre of ‘creative animation’. The method of research is quantitative by conducting surveys through questionnaires to 399 respondents in Cimahi using multistage random sampling technique. This paper presents important data on the socio-demographic factors of the citizens which can be basic in planning the effective da’wah activities. The sociodemographic factor aforementioned are age, education, and gender of respondents. Those factors must be accurately identified in order to plan the persuasive da’wah. The views of the citizens toward da’wah activity can be parameters toward persuasive da’wah, including what religious theme they preferred to, their preference on the actual da’wah themes, their liking on entrepreneurial da’wah, etc. Citizens give responses to da’wah agenda of both bil-lisan (da’wah through speech) and bil-hal (da’wah through one’s character). The more accepted a da’wah, it means the more persuasive the da’wah is. When citizens do not like the da’wah, it can be said an unpersuasive one. Da’wah persuasion is closely related to its acceptability by the citizens.
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Brooke, Christopher. "Arsehole aristocracy (or: Montesquieu on honour, revisited)." European Journal of Political Theory 17, no. 4 (June 18, 2018): 391–410. http://dx.doi.org/10.1177/1474885118783603.
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The 18th-century French political theorist the Baron de Montesquieu described honour as the ‘principle’ – or animating force – of a well-functioning monarchy, which he thought the appropriate regime type for an economically unequal society extended over a broad territory. Existing literature often presents this honour in terms of lofty ambition, the desire for preference and distinction, a spring for political agency or a spur to the most admirable kind of conduct in public life and the performance of great deeds. Perhaps so. But it also seems to involve quite a bit of what the contemporary philosopher Aaron James calls ‘being an asshole’, and the article will explore what happens to Montesquieu’s political theory of monarchy – which is foundational for an understanding of modern politics – when we reverse the usual perspective and consider it through the lens of the arsehole aristocracy.
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Ahuja, Karan, Eyal Ofek, Mar Gonzalez-Franco, Christian Holz, and Andrew D. Wilson. "CoolMoves." Proceedings of the ACM on Interactive, Mobile, Wearable and Ubiquitous Technologies 5, no. 2 (June 23, 2021): 1–23. http://dx.doi.org/10.1145/3463499.
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Current Virtual Reality (VR) systems are bereft of stylization and embellishment of the user's motion - concepts that have been well explored in animations for games and movies. We present CooIMoves, a system for expressive and accentuated full-body motion synthesis of a user's virtual avatar in real-time, from the limited input cues afforded by current consumer-grade VR systems, specifically headset and hand positions. We make use of existing motion capture databases as a template motion repository to draw from. We match similar spatio-temporal motions present in the database and then interpolate between them using a weighted distance metric. Joint prediction probability is then used to temporally smooth the synthesized motion, using human motion dynamics as a prior. This allows our system to work well even with very sparse motion databases (e.g., with only 3-5 motions per action). We validate our system with four experiments: a technical evaluation of our quantitative pose reconstruction and three additional user studies to evaluate the motion quality, embodiment and agency.
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Helmreich, Stefan. "Wave Theory ~ Social Theory." Public Culture 32, no. 2 (May 1, 2020): 287–326. http://dx.doi.org/10.1215/08992363-8090094.
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This article offers a history of the wave metaphor in social theory, examining how waves became rhetorical forms through which to think about the shape of social change. The wave analytic—“waves of democratization,” “waves of immigration,” “waves of resistance”—wavers between high theory and popular model, between objectivist sociological explanation and hand-waving sociobabble, between vanguardist predictions of social revolution and conservative prognoses of political inevitability, between accountings of formal change and claims about material transubstantiation. The article examines usages in the nineteenth and twentieth centuries, arguing that techniques of inscription—graphical, numerical, diagrammatic—have produced formal claims about rising and falling tendencies in the social body. It argues, too, that in such deployments, waves are either (1) overpowering forces of social structuration or (2) signs of the animating effects of world-transforming collective social agencies. The “wave” thus generates questions—and uncertainties—about the relation of structure to agency.
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Evaldsson, Ann-Carita, and Olga Abreu Fernandes. "Embodied performances and footings in a young child’s spontaneous participation in bilingual Russian–Swedish storytelling." Research on Children and Social Interaction 3, no. 1-2 (August 29, 2019): 36–64. http://dx.doi.org/10.1558/rcsi.37297.
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This study uses a multimodal interactional conversation analytic approach to explore a two-and-a-half-year-old child’s spontaneous participation in the activity of telling personal experiences in the context of everyday bilingual mother–child interactions. The selected data draw from a video-ethnographic study of children in Swedish families with Russian-speaking mothers. The analysis focuses on a young child’s storytelling activities as co-constructed interactional practices, calling attention to the role of embodied performances, affective alignments and footings as central for the tellability of a story. It is found that the child’s spontaneous tellings were orchestrated through shifts in footings involving embodied animations, reenactments and affect displays, including prosodic actions and exaggerations, dramatizations, laughter, sound effects, exploitations of language form and code-switching (Russian–Swedish). Various keying resources (for affective embodied stances) were collaboratively produced to strengthen affective alignments and to heighten the emotional significance of the narrated event, framing it as a playful and imagined joint activity. The findings demonstrate how a reflexive kind of agency emerges whereby the child’s playful embodied performances and reenactments of past, present and imagined events provide a common ground for a jointly performed open-ended bilingual storytelling performance.
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Leebaw, Bronwyn. "Justice and the faithless: The demand for disobedience in international criminal law." European Journal of International Relations 24, no. 2 (July 17, 2017): 344–66. http://dx.doi.org/10.1177/1354066117715899.
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How is disobedience required under international criminal law? How do war crimes trials demand and seek to cultivate disobedience as a response to atrocity? It is widely recognized that international law may require disobedience as a response to domestic authorities that order or legalize war crimes, yet this obligation to disobey is commonly conceptualized as a kind of byproduct of efforts to establish compliance with international norms. Drawing on empirical and theoretical scholarship analyzing “crimes of obedience,” this article investigates the demand for disobedience as articulated in international legal conventions and in war crimes trials dealing with lower-level soldiers and civilian authorities. It argues that disobedience is an important response to war crimes and that the capacity to disobey abusive authorities does not follow logically or inevitably from a commitment to obey laws that criminalize their abuses. In international criminal law, the obligation to disobey abusive authorities has been articulated in ways that require the exercise of critical judgment, as well as moral and political agency, in order to overcome various pressures to obey domestic authority. Prominent theoretical explanations of compliance with international law not only neglect the importance of such skills, but call for strategies that are in tension with their development. Closer attention to the role of exemplary disobedience in the legal reasoning animating war crimes prosecutions, I suggest, could strengthen the pedagogical role of legal institutions as a response to criminal obedience and as interventions in the politics of memory.
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Downey, Hilary, and John F. Sherry. "Public art and ritual transformation in Northern Ireland." Arts and the Market 10, no. 3 (September 22, 2020): 187–203. http://dx.doi.org/10.1108/aam-04-2020-0008.
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PurposeThe actual uses to which public art is put have been virtually ignored, leaving multifarious dynamics related to its esthetic encounters unexplored. Both audience agency in placemaking and sensemaking and the agentic role of place as more than a mere platform or stage dressing for transformation are routinely neglected. Such transformative dynamics are analyzed and interpreted in this study of the Derry–Londonderry Temple, a transient mega-installation orchestrated by bricoleur artist David Best and co-created by sectarian communities in 2015.Design/methodology/approachA range of ethnographic methods and supplemental netnography were employed in the investigation.FindingsParticipants inscribed expressions of their lived experience of trauma on the Temple's infrastructure, on wood scrap remnants or on personal artifacts dedicated for interment. These inscriptions and artifacts became objects of contemplation for all participants to consider and appreciate during visitation, affording sectarian citizens opportunity for empathic response to the plight of opposite numbers. Thousands engaged with the installation over the course of a week, registering sorrow, humility and awe in their interactions, experiencing powerful catharsis and creating temporary cross-community comity. The installation and the grief work animating it were introjected by co-creators as a virtual legacy of the engagement.Originality/valueThe originality of the study lies in its theorizing of the successful delivery of social systems therapy in an esthetic modality to communities traditionally hostile to one another. This sustained encounter is defined as traumaturgy. The sacrificial ritual of participatory public art becomes the medium through which temporary cross-community cohesion is achieved.
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Aji, Sopian, Angga Ardiansyah, and Dany Pratmanto. "Sistem Informasi Kegiatan Rumah Qur’an Tegal Dengan metode Waterfall." Indonesian Journal on Software Engineering (IJSE) 6, no. 2 (December 2, 2020): 280–88. http://dx.doi.org/10.31294/ijse.v6i2.9112.
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Abstract: In the current era, information technology is growing very rapidly, especially developments in information systems. The information system is one of the supports of an agency, both government and private institutions, from the fields of economy, business to education. Rumah Qu'an Tegal is a non-formal educational institution that is engaged in Al-Qur'an Education. With the many activities in Qu'an House it will be very time consuming if all data is managed manually, an information system that can be used is needed. To assist management in managing activity data easily, effectively and efficiently by using a website-based information system. The website is a form of information system that is often used, the website can display all forms of information digitally in the form of text, images, and animations that can be accessed quickly and realtime using an internet connection, can be accessed anywhere, anytime. , so it is very helpful in the process of disseminating information, because it can be conveyed quickly. The method used in the development of information systems is to use the Waterfall method. This information system is built using the programming language PHP, HTML, CSS, Javascript in a codeigniter framework using an atomic text editor. The results of this study are the use of user information systems, namely the Muslim community generally knows if starting from carrying out activities to carrying out activities, facilitating information to become students and students, as well as other information accurately, efficiently and relevant.Keywords: Website, Information System, Waterfall, CodeIgniterAbstrak: Pada era sekarang ini teknologi informasi berkembang sangat pesat, terutama perkembangan pada sistem informasi. Sistem informasi merupakan salah satu penunjang dari suatu instansi, baik instansi pemerintah, swasta, dari bidang ekonomi, bisnis hingga pendidikan. Rumah Qu’an Tegal merupakan sebuah lembaga pendidikan non formal yang bergerak dalam bidang Penddikan Al-Qur’an, Dengan banyaknya kegiatan yang ada di Rumah Qu’an akan sangat memakan waktu jika semua data dikelola secara manual, maka diperlukan suatu sistem informasi yang dapat membantu pengurus dalam mengelola data kegiatan dengan mudah, efektif dan efisien yaitu dengan menggunakan sistem informasi bebasis website. Website merupakan salah satu bentuk sistem infromasi yang sering digunakan, pada website dapat menampilkan segala bentuk informasi secara digital baik itu dalam bentuk teks, gambar, dan animasi yang dapat diakses secara cepat dan realtime dengan menggunakan koneksi internet, dapat diakses dimana saja, dan kapan saja, sehingga sangat membantu dalam proses penyebaran informasi, karena dapat tersampaikan dengan cepat. Metode yang digunakan dalam pembagunan sistem informasi adalah dengan menggunakan metode Waterfall. Sistem informasi ini dibangun dengan menggunakan bahasa pemrograman PHP, HTML, CSS, Javascript dalam framework codeigniter dengan menggunakan text editor atom. Hasil dari penelitian ini adalah penggunaan sistem informasi user yakni masyarakat muslim umumnya mengetahui jika mulai dari akan mengadakaan kegiatan sampai dengan telah melaksanakan kegiatan, memudahkan informasi menjadi santiwa dan santriwati, serta informasi lainya secara akurat, efisien dan relevan.Kata kunci: Website, Sistem Informasi, Waterfall, CodeIgniter
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"Bioart and Bildung—Wetware: Art, Agency, Animation, an Exhibition as Case Study." Journal of Microbiology & Biology Education 17, no. 3 (December 2, 2016): 409–16. http://dx.doi.org/10.1128/jmbe.v17i3.1172.
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Vindyuk, Andrey. "SPORTS AND WELLNESS ANIMATION: TYPES, FUNCTIONS, FEATURES OF THE ORGANIZATION." Young Scientist 11, no. 87 (2020). http://dx.doi.org/10.32839/2304-5809/2020-11-87-80.
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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 entertainment; changes in the structure of the victorious hour; activation of the concert performance of professional theaters, cinemas and pop. 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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Munro, Robert, and Jonathan Charles. "Exploring the place of animation and the role of the classroom-based film-maker within a wider field of Scottish moving image education." Film Education Journal 4, no. 1 (June 10, 2021). http://dx.doi.org/10.14324/fej.04.1.06.
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This article explores animation as a popular mode of moving image education in the wider field of Scottish film education, through a discussion with film education practitioner Jonathan Charles. It reflects on Jonathan’s pedagogic approach to film education, the way in which it is shaped and aligned with changing institutional and funding imperatives, and the affordances of animation, through a detailed look at a film-making project with a primary school in West Lothian, Scotland. It reflects upon the challenge to maintain in-depth film experiences for young people, with training and working with teachers to allow film experiences to be scalable and multiply to reach a wider range of young people. The article also discusses the drive to give young people agency throughout the film-making process, and how film education practitioners and teachers can best facilitate that.
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Millar, Katharine M., and Julia Costa Lopez. "Conspiratorial medievalism: History and hyperagency in the far-right Knights Templar security imaginary." Politics, July 10, 2021, 026339572110109. http://dx.doi.org/10.1177/02633957211010983.
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Imagery associated with the Knights Templar appears in the public discourse and symbolism of many white supremacist and white nationalist groups. The 2011 Norwegian mass murderer cited the Templars in his manifesto, as did the 2019 New Zealand shooter. Templar crosses were on display at the 2017 white supremacist rally in Charlottesville, North Carolina. To understand the security imaginary behind these racialised medievalisms and their contemporary animation within right-wing extremism, this article develops the concept of ‘conspiratorial medievalism’. The Knights Templar imaginary blends a specific, racialised, and romanticised vision of history with the grammar of conspiracy theory. This is characterised by (a) a belief in the racialised decline and victimisation of a ‘righteous’ White Christendom; (b) a sense of threat posed by racialised Others and betrayal by insiders; and (c) an anachronistic view of near-omnipotent individual agency. Significantly, conspiratorial medievalism demonstrates an aspiration to not merely combat ‘undue’ agency of racialised Others, but to reclaim and perform extreme agency themselves. Agency is cast in the idiom of medieval chivalry and framed as the moral obligation of righteous White men. Although Knights Templar imagery may appear superficial, this article finds it is an important justificatory and enabling discourse for racist violence.
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Guo, Enhua, Julia Katila, and Jürgen Streeck. "Touch and the Fluctuation of Agency and Motor Control in Pediatric Dentistry." Social Interaction. Video-Based Studies of Human Sociality 3, no. 1 (May 15, 2020). http://dx.doi.org/10.7146/si.v3i1.120249.
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This study investigates a variety of ways in which dental clinicians and adult guardians touch child patients to get them to participate in dental procedures in China’s mainland. Children at the dentist’s office often experience pain and show fear, and dental care practitioners as well as adult guardians (in our case, parents and grandparents) perform tactile and haptic actions of comfort and control in response. Our analysis shows the dual roles that the children’s bodies play when touching and being touched in the dentist’s office: At times, they are agents or animators in control of their own movements; at other times, they are objects of manipulation by others. Moreover, sometimes their movements are collaboratively controlled by multiple participants, including the patient him/herself. During intercorporeal engagements in Chinese pediatric dentistry, as in many other contexts of interpersonal touch, the center of control and the source of animation of movements and actions are often distributed among multiple bodies. What is more, tactile and haptic actions in this context shift back and forth between direct forms, where the act of one body causes a change in the other, and actions that can be properly called semiotic or communicative in Grice’s (1968) sense, which aim to make the other person recognize the actor’s intent and act on it of his or her own volition.