Animation with all MODIS fire product maps from 2000 to 2011, Yakutia, Siberia

The video FireMovie_2000-2011.avi shows an animation with all MODIS fire product maps of the area sequenced over time. Colors in the video describe MODIS classes as follows: MODIS classification and color scale: Class 0 - not processed - Dark blue (1 frame) Class 3 - water - Light Blue (rivers and some lakes) Class 4 - clouds - Green blue Class 5 - non fire land - Yellow green Class 8 - nominal confidence fire - Red Class 9 - high confidence fire - Dark red

Oxygen deprivation causes suspended animation in the zebrafish embryo

Continuous exposure to oxygen is essential for nearly all vertebrates. We found that embryos of the zebrafish Danio rerio can survive for 24 h in the absence of oxygen (anoxia, 0% O2). In anoxia, zebrafish entered a state of suspended animation where all microscopically observable movement ceased, including cell division, developmental progression, and motility. Animals that had developed a heartbeat before anoxic exposure showed no evidence of a heartbeat until return to terrestrial atmosphere (normoxia, 20.8% O2). In analyzing cell-cycle changes of rapidly dividing blastomeres exposed to anoxia, we found that no cells arrested in mitosis. This is in sharp contrast to similarly staged normoxic embryos that consistently contain more than 15% of cells in mitosis. Flow cytometry analysis revealed that blastomeres arrested during the S and G2 phases of the cell cycle. This work indicates that survival of oxygen deprivation in vertebrates involves the reduction of diverse processes, such as cardiac function and cell-cycle progression, thus allowing energy supply to be matched by energy demands.

The 2015 ENP Review: A policy in suspended animation. CEPS Commentary, 1 December 2015

One year after the Juncker Commission took office, the long-awaited official review of the European Neighbourhood Policy ​(ENP) ​was published ​in November 2015. By prioritising interests over values in increasingly atomised partnerships, the policy ​will now aim for pragmatic realism​ in its dealings with a turbulent neighbourhood​. ​But in the absence of the necessary funding to tackle the region’s multiple crises, and without a strategic vision to guide relations with the neighbours of the EU’s neighbours, the new ENP remains in suspended animation.

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.

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.