A Mathematical Apparatus for Domain Ontology Simulation. An Extendable Language of Applied Logic

* This paper was made according to the program of fundamental scientific research of the Presidium of the Russian Academy of Sciences «Mathematical simulation and intellectual systems», the project "Theoretical foundation of the intellectual systems based on ontologies for intellectual support of scientific researches".

A Mathematical Apparatus for Ontology Simulation. Specialized Extensions of the Extendable Language of Applied Logic

* This paper was made according to the program of fundamental scientific research of the Presidium of the Russian Academy of Sciences «Mathematical simulation and intellectual systems», the project "Theoretical foundation of the intellectual systems based on ontologies for intellectual support of scientific researches".

A Mathematical Apparatus for Domain Ontology Simulation. Logical Relationship Systems

* This paper was made according to the program of fundamental scientific research of the Presidium of the Russian Academy of Sciences «Mathematical simulation and intellectual systems», the project "Theoretical foundation of the intellectual systems based on ontologies for intellectual support of scientific researches".

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.

Reframing Chinese animation: from classicism to postmodernism in post-1949 non-commercial Chinese animated films

This thesis focuses on Chinese non-commercial animated films produced from 1949 to date, with the aim of remapping and reframing Chinese animation in the light of existing theories, critiques, and frameworks drawn from studies in animation, film, and screen media. I suggest that Chinese animation has experienced three aesthetic transformations since 1949, primarily influenced by traditional Chinese culture, by Western modernist art and literature and, most recently, by postmodernism, respectively. Thus, the research traces and thoroughly investigates these three distinctive phases of Chinese animation in chronological order, from the classical period (1950s– 1980s) to modernism (1980s–2000s) and postmodernism (after 2000s). More in detail, I first rethink and re-evaluate the success of classical Chinese animation and the Chinese school of animation and, at the same time, I explore the influence of the political situation of the time on Chinese animation. Through careful analysis of A Da (1934–87) and other Chinese animators’ practices and theory, then, I argue that a remarkable modernist transformation took place in Chinese animation between the 1980s and 2000s, mainly driven by Western modernism and the Chinese “cultural fever” movement. Finally, through a discussion of the latest non-commercial animations produced after 2005, and especially those of Bu Hua (1973– ), for the first time I classify and theorize contemporary Chinese animations within a postmodern framework. By reframing existing views and broadening the scope of the analysis to encompass new areas and frameworks, this thesis aims to provide the reader with a comprehensive and systematic understanding of post-1949 Chinese animation and to offer an original contribute to scholarship, also working as a starting point for further research in this area.

DEVELOPMENT OF A CONDENSED PHASE VELOCITY MAP IMAGING APPARATUS: DISSOCIATION PHOTODYNAMICS OF NITROGEN DIOXIDE AT 355 NM

The photochemistry of the polar regions of Earth, as well as the interstellar medium, is driven by the effect of ultraviolet radiation on ice surfaces and on the materials trapped within them. While the area of ice photochemistry is vast and much research has been completed, it has only recently been possible to study the dynamics of these processes on a microscopic level. One of the leading techniques for studying photoreaction dynamics is Velocity Map Imaging (VMI). This technique has been used extensively to study several types of reaction dynamics processes. Although the majority of these studies have utilized molecular beams as the main medium for reactants, new studies showed the versatility of the technique when applied to molecular dynamics of molecules adsorbed on metal surfaces. Herein the development of a velocity map imaging apparatus capable of studying the photochemistry of condensed phase materials is described. The apparatus is used to study of the photo-reactivity of NO2 condensed within argon matrices to illustrate its capabilities. A doped ice surface is formed by condensing Ar and NO2 gas onto a sapphire rod which is cooled using a helium compressor to 20 K. The matrix is irradiated using an Nd:YAG laser at 355 nm, and the resulting NO fragment is state-selectively ionized using an excimer-pumped dye laser. In all, we are able to detect transient photochemically generated species and can collect information on their quantum state and kinetic energy distribution. It is found that the REMPI spectra changes as different sections of the dissociating cloud are probed. The rotational and translational energy populations are found to be bimodal with a low temperature component roughly at the temperature of the matrix, and a second component with much higher temperature, the rotational temperature showing a possible population inversion, and the translational temperature of 100-200 K. The low temperature translational component is found to dominate at long delay times between dissociation and ionization, while at short time delays the high temperature component plays a larger role. The velocity map imaging technique allows for the detection of both the axial and radial components of the translational energy. The distribution of excess energy over the rotational, electronic and translational states of the NO photofragments provides evidence for collisional quenching of the fragments in the Ar-matrix prior to their desorption.

Supporting the Model-Driven Development of Real-time Embedded Systems with Run-Time Monitoring and Animation via Highly Customizable Code Generation

This paper presents a vision that allows the combined use of model-driven engineering, run-time monitoring, and animation for the development and analysis of components in real-time embedded systems. Key building block in the tool environment supporting this vision is a highly-customizable code generation process. Customization is performed via a configuration specification which describes the ways in which input is provided to the component, the ways in which run-time execution information can be observed, and how these observations drive animation tools. The environment is envisioned to be suitable for different activities ranging from quality assurance to supporting certification, teaching, and outreach and will be built exclusively with open source tools to increase impact. A preliminary prototype implementation is described.

The School and the State. Comparative Study of the Althusserian Concept of “Ideological State Apparatus”

The famous althusserian concept “The ideological State apparatus” has the inconvenient of hiding what truly should have to be discussed: The Kind of State of which it is talking about. Mostly, avoids realizing the fact that the architecture of the modern State was thought of, precisely, as antidote against ideological control. The success and failures of this political project become then, very difficult to diagnose.

Delocalization: The Highway Apparatus

Thesis (Master's)--University of Washington, 2016-06

The Object Animates: Displacement and Humility in the Theatre of Philippe Quesne

This article considers the animating role that objects play in the theatre of Philippe Quesne and Vivarium Studio (France). The conventional role of object animation is often characterised by the performer manipulating objects and scenic material on the stage, asserting a control over the environment they are implicated in. In Quesne's theatre, this relationship is democratised. The theatrical apparatus, both materially and conceptually, is set up to enable the flow of animation to be interchangeable, affording an equal agency to the objects being used much as that of the performers. This theatre of animation is drawn through the framing concepts of displacement and humility. Displacement is considered as a compositional strategy that makes us aware of the volume of the stage space beyond the proscenium frame as a plane of composition. The introduction of large inflatable objects, real cars or large roles of fake snow foreground the objects material presence allows Quesne to play with moments of equilibrium, tipping, excess and absence. Humility is traced as a philosophy of objects that transcends the choice, handling and use of material items in Quesne's work. Simple objects take on a specific vibrancy because of how they give shape to the human participants on stage, animating moments of recognition that allows the human figure, its ethics, emotions and humour, to appear.

& she was like "O_O" : Animation of reported speech on Twitter

This study relates discourse-pragmatic aspects of the use of the quotatives say, be like, be all, and go to the question of the supposed or actual spoken-likeness of written computer-mediated communication (CMC). 1,800 tokens of reported speech, collected from Twitter, were analyzed in a “constructed dialogue” framework (Tannen, 2007). The results show that users of Twitter employ various CMC devices to animate and modally enrich reported speech, especially in speech reports with be like, be all, and go. They perform a style of communication that is reminiscent of conversational speech, even while having qualities that seem to belong uniquely to CMC.

Conception et application d'une grille d'analyse visant à évaluer le style d'animation

Cet essai a pour objectif de découvrir le style d'animation effectué par des animateurs de groupes de parents d'adolescents. De plus, nous voulons observer ce qui peut différer et être semblable d'un animateur à l'autre. Par le fait même, il nous sera possible de vérifier quel est l'impact du style d'animation sur les participants d'un groupe. Afin d'atteindre cet objectif, nous avons enregistré sur bandes vidéoscopiques chacune des six séances de trois groupes. Pour évaluer et comparer les animateurs, nous avons élaboré une grille d'analyse permettant de coder chacune des interventions de ceux-ci. L'élaboration d'une telle grille a bien sûr exigé une revue littéraire autant sur le phénomène de la dynamique de groupe que sur les grilles d'analyse déjà existantes utilisées dans ce domaine. Il est également nécessaire de suivre une méthodologie rigoureuse afin de s'assurer de la validité de la grille. L'application de cette grille devrait nous permettre d'obtenir un portrait du style de chacun des animateurs et de leurs interactions avec les participants ainsi que sur la dynamique de groupe. Finalement, après avoir appliqué cette grille et recueilli les données utiles aux fins de cette étude, nous évaluerons la dite grille et ferons les recommandations appropriées afin de permettre à d'autres intervenants de l'utiliser au besoin.

Étude descriptive des impacts des facteurs de coopération sur une pratique professionnelle de type coopératif en animation de stages

L'approche coopérative ayant été définie comme celle favorisant la concertation des partenaires dans la poursuite de cibles communes, la reconnaissance mutuelle du champ de compétence par rapport aux objectifs poursuivis ainsi qu'un équilibre du pouvoir, chacun exerçant une influence sur son partenaire, selon son champ de compétence, nous sommes appelé à nous poser plusieurs questions auxquelles il serait utile de répondre au cours de cette recherche. 1. Quels sont les différents modèles en relation d'aide qui ont marqué et influencé les différents intervenants en relation d'aide, plus particulièrement les animateurs et les animatrices de stages au B.E.P.P.? 2. Quelles sont les caractéristiques et les particularités du modèle de relation d'aide coopérative ainsi que les facteurs de coopération qui y sont rattachés? 3. Quelles sont les principales composantes de la pratique professionnelle en animation de stages et en quoi privilégient-elles dans leur fonctionnement les valeurs rattachées à la coopération? 4. La présence des facteurs de coopération dans la pratique professionnelle de l'animateur et de l'animatrice de stages engendre-t-elle un niveau de satisfaction élevé chez les stagiaires vivant une relation coopérative avec leur animateur ou animatrice de stages? 5. Subséquemment, ces dits facteurs de coopération introduits dans la pratique professionnelle de l'animateur et de l'animatrice de stages favorisent-ils l'atteinte des objectifs de formation du stagiaire? 6. Quels sont les facteurs de coopération les plus perceptibles et les plus définis dans une pratique professionnelle de type coopératif en animation de stages et pouvant engendrer la satisfaction des stagiaires et faciliter l'atteinte de leurs objectifs de formation?