208 resultados para Slovak cinematography
Resumo:
A semi-insulating GaAs single crystal ingot was grown in a recoverable satellite, within a specially designed pyrolytic boron nitride crucible, in a power-travelling furnace under microgravity. The crystal was characterized systematically and was used in fabricating low noise field effect transistors and analogue switch integrated circuits by the direct ion-implantation technique. All key electrical properties of these transistors and integrated circuits have surpassed those made from conventional earth-grown gallium arsenide. This result shows that device-grade space-grown semiconducting single. crystal has surpassed the best. terrestrial counterparts. Studies on the correlation between SI-GaAs wafers and the electronic devices and integrated circuits indicate that the characteristics of a compound semiconductor single crystal depends fundamentally on its stoichiometry.
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As an animator and practice-based researcher with a background in games development, I am interested in technological change in the video game medium, with a focus on the tools and technologies that drive game character animation and interactive story. In particular, I am concerned with the issue of ‘user agency’, or the ability of the end user to affect story development—a key quality of the gaming experience and essential to the aesthetics of gaming, which is defined in large measure by its interactive elements. In this paper I consider the unique qualities of the video game1 as an artistic medium and the impact that these qualities have on the production of animated virtual character performances. I discuss the somewhat oppositional nature of animated character performances found in games from recent years, which range from inactive to active—in other words, low to high agency. Where procedural techniques (based on coded rules of movement) are used to model dynamic character performances, the user has the ability to interactively affect characters in real-time within the larger sphere of the game. This game play creates a high degree of user agency. However, it lacks the aesthetic nuances of the more crafted sections of games: the short cut-scenes, or narrative interludes where entire acted performances are mapped onto game characters (often via performance capture)2 and constructed into relatively cinematic representations. While visually spectacular, cut-scenes involve minimal interactivity, so user agency is low. Contemporary games typically float between these two distinct methods of animation, from a focus on user agency and dynamically responsive animation to a focus on animated character performance in sections where the user is a passive participant. We tend to think of the majority of action in games as taking place via playable figures: an avatar or central character that represents a player. However, there is another realm of characters that also partake in actions ranging from significant to incidental: non-playable characters, or NPCs, which populate action sequences where game play takes place as well as cut scenes that unfold without much or any interaction on the part of the player. NPCs are the equivalent to supporting roles, bit characters, or extras in the world of cinema. Minor NPCs may simply be background characters or enemies to defeat, but many NPCs are crucial to the overall game story. It is my argument that, thus far, no game has successfully utilized the full potential of these characters to contribute toward development of interactive, high performance action. In particular, a type of NPC that I have identified as ‘pivotal’3—those constituting the supporting cast of a video game—are essential to the telling of a game story, particularly in genres that focus on story and characters: adventure games, action games, and role-playing games. A game story can be defined as the entirety of the narrative, told through non-interactive cut-scenes as well a interactive sections of play, and development of more complex stories in games clearly impacts the animation of NPCs. I argue that NPCs in games must be capable of acting with emotion throughout a game—in the cutscenes, which are tightly controlled, but also in sections of game play, where player agency can potentially alter the story in real-time. When the animated performance of NPCs and user agency are not continuous throughout the game, the implication is that game stories may be primarily told through short movies within games, making it more difficult to define video games animation as a distinct artistic medium.
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Tedd, L.A., Dahl, K., Francis, S.,Tet?evov?, M.& ?ihlavn?kov?, E.(2002).Training for professional librarians in Slovakia by distance-learning methods: an overview of the PROLIB and EDULIB projects. Library Hi Tech, 20(3), 340-351. Sponsorship: European Union and the Open Society Institute
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The author examines the use of nicknames by the Hungarians in Slovakia. Since the state and the verbal representation of nicknames are strongly influenced by the Hungarian-Slovak bilingual environment, the appearing contact phenomena in the anthroponymic corpus are also investigated in this study. In addition, the paper deals with written nicknames found in written sources, the denomination motives of nicknames used in modern language, sociolinguistic, dialectological, etymological, morphological, and stylistic peculiarities found in the onomastic corpus. The usage of nicknames of adults and students is confronted and discussed with reference to an empirical and comparative study.
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A methodology for improved power controller switching in mobile Body Area Networks operating within the ambient healthcare environment is proposed. The work extends Anti-windup and Bumpless transfer results to provide a solution to the ambulatory networking problem that ensures sufficient biometric data can always be regenerated at the base station. The solution thereby guarantees satisfactory quality of service for healthcare providers. Compensation is provided for the nonlinear hardware constraints that are a typical feature of the type of network under consideration and graceful performance degradation in the face of hardware output power saturation is demonstrated, thus conserving network energy in an optimal fashion.
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The pragmatics of 'vegetarian' and 'carnivorous' exhibits an asymmetry that we put in evidence by analyzing a newspaper report about vegetarian dog-owners imposing a vegetarian diet on their pets. More fundamental is the problem of partonomy versus containment, for which we attempt a naive but formal analysis applied to ingestion and the food chain, an issue we derive from the same text analyzed. Our formal tools belong in commonsense modelling, a domain of artificial intelligence related to extra-linguistic knowledge and pragmatics. We first provide an interpretation of events analyzed, and express it graphically in a semantic-network related representation, and propose an alternative that we express in terms of a modal logic, avoiding the full representational power of Hayes's "ontology for liquids".
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The paper describes the design of an efficient and robust genetic algorithm for the nuclear fuel loading problem (i.e., refuellings: the in-core fuel management problem) - a complex combinatorial, multimodal optimisation., Evolutionary computation as performed by FUELGEN replaces heuristic search of the kind performed by the FUELCON expert system (CAI 12/4), to solve the same problem. In contrast to the traditional genetic algorithm which makes strong requirements on the representation used and its parameter setting in order to be efficient, the results of recent research results on new, robust genetic algorithms show that representations unsuitable for the traditional genetic algorithm can still be used to good effect with little parameter adjustment. The representation presented here is a simple symbolic one with no linkage attributes, making the genetic algorithm particularly easy to apply to fuel loading problems with differing core structures and assembly inventories. A nonlinear fitness function has been constructed to direct the search efficiently in the presence of the many local optima that result from the constraint on solutions.
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This paper describes the architecture of the case based reasoning (CBR) component of Smartfire, a fire field modelling tool for use by members of the Fire Safety Engineering community who are not expert in modelling techniques. The CBR system captures the qualitative reasoning of an experienced modeller in the assessment of room geometries so as to set up the important initial parameters of the problem. The system relies on two important reasoning principles obtained from the expert: 1) there is a natural hierarchical retrieval mechanism which may be employed; and 2) much of the reasoning on a qualitative level is linear in nature, although the computational solution of the problem is non-linear. The paper describes the qualitative representation of geometric room information on which the system is based, and the principles on which the CBR system operates.
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Editorial
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Daedalus is a computer tool, developed by an Italian magistrate - Carmelo Asaro - and integrated in his own daily routine as an investigating magistrate conducting inquiries, then as a prosecutor if and when the case investigated goes to court. This tool has recently been adopted by magistrates in judiciary offices throughout Italy, spawning moreover other related projects. First, this paper describes a sample session with daedalus. Next, an overview of an array of judicial tools leads to positioning daedalus in the context of the spectrum.
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A formal representation is given of the situational structure, and the agents' beliefs about personal identity, in the Smemorato di Collegno amnesia case tried in 1927, in Pollenza, Italy. Another section discusses and formalizes a sample heuristic rule for conjecturing whether an individual identity other than personal, being conveyed by a toponym, was used literally or fictitiously in a given historical corpus of legal casenotes. For example, a landlocked city being named and referred to as though it was a sea port is a fairly good cue for assuming that the toponym is a disguise. Yet, the interpretation is governed by other conventions, when in a play by Shakeaspeare it is stated that a given scene is set on the sea coast of Bohemia. Further discussion of a situational casuistry for identification (especially individual and personal) along with more formal representations will appear in a companion paper "nissanidentifpirandello", also at the disciplinary meet of AI formalisms and legal applications.
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Investment treaties, and possibly the EU Treaty itself, are being used by multinational companies Penta and Eureko to try and force the Slovak government to pay compensation for reversing health privatisation and liberalisation policies. Similar action has been used against the Polish government by Eureko to win compensation worth nearly 2 billion Euros and a policy commitment to further privatisation.
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The paper presents the description of one new order (Asplenietalia septentrionalo-cuneifolii) and two new alliances (Arenarion bertolonii and Physoplexido comosae- Saxifragion petraeae). In addition, the syntaxon Asplenietalia lanceolato-obovati is here formally raised to the order level and the name Hypno-Polypodietalia vulgaris is validated.
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Definición de la etapa de crisis del aparato cinematográfico franquista, llamada aquí “Período Oscuro” (1969-1975), discusión de la etiqueta de subgéneros aplicada al cinema bis de la época, y caracterización histórica del thriller español y de sus corrientes estéticas y conceptuales internas en dicho período. La acotación del período 1969-1975 es clarificada previamente ante el vacío historiográfico al respecto. Se caracteriza la crisis que tiene lugar en el “Período Oscuro”, desde su comienzo oficial en 1969, que supuso el definitivo cierre de las políticas proteccionistas emprendidas por el Director General de Cinematografía García Escudero en 1962. Después se define y discute la etiqueta de subgéneros aplicada tradicionalmente al cine español de género de bajo presupuesto. Luego, se especifican, definen y analizan las diversas categorías dentro del thriller español de 1969-1975: se trata de categorías temáticas y argumentales, estéticas, o bien relacionadas con corrientes internacionales del policíaco europeo. Por último, se extraen las conclusiones pertinentes.