Clio may be seen and listened. Movies as source and resource on history

El cine como fuente historiográfica es utilizado a partir de la "batalla" que dio Marc Ferro hacia el interior de Annales. Cuando era difícil que se aceptaran otras fuentes que no fueran las gráficas, este historiador logró abrirse camino hasta llegar a ser el director de Annales en los años '70. El discurso de la imagen o el discurso audiovisual representa con mayor verosimilitud lo que el discurso gráfico no alcanza a expresar. Sin embargo, la sinécdoque y la generalización se encuentran a mitad de camino en un juego representativo para complementarse a la hora de comprender y reconstruir el pasado. El aporte del cine puede tomarse como reflejo o representación social y también como una alternativa discursiva. En este sentido, Rosenstone con el apoyo de Hayden White y su análisis de la "historiofotía" son los que incursionan en esta nueva dimensión, esto es la narración audiovisual de la historia

Computer animation of hot spot development in bulk coal as an aid for training coal miners

The processes that take place during the development of a heating are difficult to visualise. Bulk coal self-heating tests at The University of Queensland (UQ) using a two-metre column are providing graphic evidence of the stages that occur during a heating. Data obtained from these tests, both temperature and corresponding off-gas evolution can be transformed into what is effectively a video-replay of the heating event. This is achieved by loading both sets of data into a newly developed animation package called Hotspot. The resulting animation is ideal for spontaneous combustion training purposes as the viewer can readily identify the different hot spot stages and corresponding off-gas signatures. Colour coding of the coal temperature, as the hot spot forms, highlights its location in the coal pile and shows its ability to migrate upwind. An added benefit of the package is that once a mine has been tested in the UQ two-metre column, there is a permanent record of that particular coals performance for mine personnel to view.

Supporting the software testing process through specification animation

Achieving consistency between a specification and its implementation is an important part of software development. In this paper, we present a method for generating passive test oracles that act as self-checking implementations. The implementation is verified using an animation tool to check that the behavior of the implementation matches the behavior of the specification. We discuss how to integrate this method into a framework developed for systematically animating specifications, which means a tester can significantly reduce testing time and effort by reusing work products from the animation. One such work product is a testgraph: a directed graph that partially models the states and transitions of the specification. Testgraphs are used to generate sequences for animation, and during testing, to execute these same sequences on the implementation.

Animation of object-z specifications using a Z animator

We discuss a methodology for animating the Object-Z specification language using a Z animation environment. Central to the process is the introduction of a framework to handle dynamic instantiation of objects and management of object references. Particular focus is placed upon building the animation environment through pre-existing tools, and a case study is presented that implements the proposed framework using a shallow encoding in the Possum Z animator. The animation of Object-Z using Z is both automated and made transparent to the user through the use of a software tool named O-zone.

Perception while watching movies:effects of physical screen size and scene type

Over the last decade, television screens and display monitors have increased in size considerably, but has this improved our televisual experience? Our working hypothesis was that the audiences adopt a general strategy that “bigger is better.” However, as our visual perceptions do not tap directly into basic retinal image properties such as retinal image size (C. A. Burbeck, 1987), we wondered whether object size itself might be an important factor. To test this, we needed a task that would tap into the subjective experiences of participants watching a movie on different-sized displays with the same retinal subtense. Our participants used a line bisection task to self-report their level of “presence” (i.e., their involvement with the movie) at several target locations that were probed in a 45-min section of the movie “The Good, The Bad, and The Ugly.” Measures of pupil dilation and reaction time to the probes were also obtained. In Experiment 1, we found that subjective ratings of presence increased with physical screen size, supporting our hypothesis. Face scenes also produced higher presence scores than landscape scenes for both screen sizes. In Experiment 2, reaction time and pupil dilation results showed the same trends as the presence ratings and pupil dilation correlated with presence ratings, providing some validation of the method. Overall, the results suggest that real-time measures of subjective presence might be a valuable tool for measuring audience experience for different types of (i) display and (ii) audiovisual material.

Using Problems to Introduce some Tools and Technologies for Implementation of Graphics and Animation in C#

This paper is devoted to the learning of event programming by using Visual C# in specialized training in Informatics in high schools. Some basic tools and technologies for the implementation of graphics and animation in C# are discussed. Two example problems are proposed.