Creation of Computer Animation from Story Descriptions

This report describes a computer system that creates simple computer animation in response to high-level, vague, and incomplete descriptions of films. It makes its films by collecting and evaluating suggestions from several different bodies of knowledge. The order in which it makes its choices is influenced by the focus of the film. Difficult choices are postponed to be resumed when more of the film has been determined. The system was implemented in an object-oriented language based upon computational entities called "actors". The goal behind the construction of the system is that, whenever faced with a choice, it should sensibly choose between alternatives based upon the description of the film and as much general knowledge as possible. The system is presented as a computational model of creativity and aesthetics.

Uso de imagens digitais na avaliação do crescimento da taxa de cobertura do solo.

RESUMO: Existem vários métodos para avaliar o crescimento da vegetação e a taxa de cobertura do solo. Medidas precisas e rápidas podem ser obtidas do tratamento digital de imagens geradas de câmeras fotográficas ou de vídeo. Há disponível, no mercado, diversos processadores de imagens que apresentam funções básicas semelhantes, mas com certas particularidades que poderão trazer maior benefício para o usuário, dependendo da aplicação. O SPRING, desenvolvido pelo INPE, é de domínio público, sendo mais abrangente do que um processador de imagens, incluindo funções de geoprocessamento. O ENVI foi desenvolvido para a análise de imagens multiespectrais e hiperespectrais, podendo também ser utilizado para o processamento de imagens obtidas de câmeras de vídeo, por exemplo. O KS-300 é um conjunto de hardware e de software destinado ao processamento e à quantificação de imagens microscópicas, permitindo a captação direta das imagens geradas por meio de lupas, microscópios eletrônicos ou câmeras de vídeo. O SIARCS foi desenvolvido pela Embrapa Instrumentação Agropecuária para tornar mais ágil o processo de captação de dados de um sistema. Este trabalho apresenta os fundamentos teóricos básicos envolvidos na técnica de análise de imagens, com as principais características dos softwares citados acima e sua aplicação na quantificação da taxa de crescimento e da cobertura do solo por espécies vegetais. ABSTRACT: Several methods exist to evaluate the growth of the vegetation and the tax of covering of the soil. Necessary and fast measures can be obtained of the digital treatment of generated images of photographic cameras or of video. There is available, in the market, several processors of images that you/they present similar basic functions, but with certain particularities that can bring larger benefit for the user, depending on the application. SPRING, developed by INPE, it is public domain, being including than a processor of images, including functions. ENVI was developed for the analysis of images multiespectrais and hiperespectrais, could also be used for the processing of obtained images of video cameras, for instance. The KS-300 it is a hardware group and software destined to the processing and quantification of microscopic images, allowing the direct reception of the images generated through magnifying glasses, eletronic microscopes or video cameras. SIARCS was developed by Embrapa Agricultural Instrumentation to turn more agile the process of reception of data of a system. This work presents the basic theoretical foundations involved in the technique of analysis of images, with the main characteristics of the softwares mentioned above and his application in the quantification of the growth tax and of the covering of the soil for vegetable species.

Agency and animation: the performance of interactive game characters

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.

Rings around the World: Notes on the Challenges, Problems & Possibilities of International Audience Projects

Egan, K., Barker, M. (2006). Rings around the World: Notes on the Challenges, Problems & Possibilities of International Audience Projects. Participations: Journal of Audience & Reception Studies, 3 (2). Sponsorship: This research was made possible by a grant from the Economic and Social Research Council (ESRC Grant No. 000-22-0323)

Nihilism and the Sublime Postmodern

Slocombe, William, Nihilism and the Sublime Postmodern (New York: Routledge, 2005) RAE2008

The Poetics of the Limit : Ethics and Politics in Modern and Contemporary American Poetry

Woods, Timothy, The Poetics of the Limit (New York: Palgrave Macmillan, 2003) RAE2008

The Newgate Novel and Sensation Fiction 1830-1868

Pykett, Lyn. 'The Newgate Novel and Sensation Fiction 1830-1868', In: The Cambridge Companion to Crime fiction (Cambridge: Cambridge University Press, 2003), pp.19-39 RAE2008

Gadamer, History and the Classics: Fugard, Marowitz, Berkoff and Harrison Rewrite the Theatre

Forsyth, A. (2002). Gadamer, History and the Classics: Fugard, Marowitz, Berkoff and Harrison Rewrite the Theatre. Studies in Literary Criticism and Theory: Vol. 15. New York: Peter Lang. RAE2008

Watching the Lord of the Rings

Barker, Martin, Mathijs, Ernest, Watching the Lord of the Rings (Oxford, Peter Lang, 2008), pp.xiv+297 RAE2008

A Cult Film by Proxy: Space is the Place and the Sun Ra Mythos

Sexton, J. (2006). A Cult Film by Proxy: Space is the Place and the Sun Ra Mythos. New Review of Film and Television Studies. 4(3), pp.197-215. RAE2008

Sy abl fodd Sibli fain: Sibyl in Medieval Wales

Haycock, Marged, 'Sy abl fodd Sibli fain: Sibyl in Medieval Wales', In: Heroic Poets and Poetic Heroes in Celtic Tradition, Joseph Falaky Nagy and Leslie Ellen Jones (eds), (Dublin: Four Courts Press), pp.115-130, 2005 RAE2008

Radio i jego miejsce w życiu codziennym. Studium odbioru stacji radiowych w Polsce po 1989 roku. Analiza i interpretacja badań jakościowych

Wydział Historyczny: Instytut Etnologii i Antropologii Kulturowej

„Moja osobista przestrzeń” – prywatne wirtualne kolekcje sztuki

The phenomenon analyzed in the essay My Personal Space – The Private Virtual Collections of Art is the possibility of visiting the world’s museums by means of the Internet – visiting indirect, nevertheless enabling peaceful, profound, multiple and free contemplation of art. The function of Mon espace personnel (My Personal Space) of French museums of Louvre and Orsay that reveals some radical modifications in the perception, understanding and reception of art, is an illustration of this phenomenon. Using Mon espace personnel means traversing the virtual Louvre or Orsay and choosing works of art, their descriptions, analyses, publications etc. and then adding them to the internaut’s personal thematic albums. The phenomenon described is a starting point to the reflection on the significance of the space in which art exists (called, according to Golka, the form of art’s presence) with its ontology as well as its functions and the character of its reception. The identification of what this space is, in the context of the hybridization of the form and the content and the emergence of the computer culture (Manovich) as well as in the context of the popularization of the reality (Krajewski) and the decentralization of the world of art (Wójtowicz), is an important part of this essay. These phenomena are also inscribed in a wider context of the changes of the character, mission and role of the museum in the time of the digital revolution.

Det individuella möter det kollektiva. Självbiografiskt stoff i barndomsskildringar från det svenska folkhemmet

The subject of the article are autobiographical threads present in Swedish stories about childhood and adolescence published after 1986 that form part of the narrative pertaining to the origins, evolution and decline of the Swedish welfare state (folkhemmet). With reference to such concepts as autobiographical pact, autobiographical novel and auto-fiction, the author discusses the various ways six contemporary Swedish writers (PC Jersild, Kjell Johansson, Susanna Alakoski, Jonas Gardell and Lena Andersson) use their biographies. Special focus is given to the notion of how a cogitation upon individual fate becomes universal when placed in a social context. Another problem analysed by the author is the significance of autobiographical threads for building relationships between the writer and the reader and for the reception of a literary text.