904 resultados para facial animation
Resumo:
Dissertação de Mestrado, Ciências da Educação - Educação e Formação de Adultos, Faculdade de Ciências Humanas e Sociais, Universidade do Algarve; Escola Superior de Educação, Instituto Politécnico de Beja, 2008
Resumo:
Artigo publicado enquanto investigadora na Universidade de Aalborg, Dinamarca.
Resumo:
Empirical studies concerning face recognition suggest that faces may be stored in memory by a few canonical representations. In cortical area V1 exist double-opponent colour blobs, also simple, complex and end-stopped cells which provide input for a multiscale line/edge representation, keypoints for dynamic routing and saliency maps for Focus-of-Attention. All these combined allow us to segregate faces. Events of different facial views are stored in memory and combined in order to identify the view and recognise the face including facial expression. In this paper we show that with five 2D views and their cortical representations it is possible to determine the left-right and frontal-lateral-profile views and to achieve view-invariant recognition of 3D faces.
Resumo:
The general goal of my research is to find out what is questioned whenever an animated film is made by an author who chooses to have maximum control over the device automatisms. I am trying to understand in what ways that specific kind of film relates with Cinema and the History of Art as a whole and, more specifically, how its filmic discourse is built within cinematic codes, workings and machinery. This paper, in particular, aims to establish that each time an author makes a film by suspending both automatic ‘motion’ and image recording functions—that which is often known as “cameraless” film—a process is initiated that simultaneously questions not only Cinema, within both expression and technology, but also the ontological position this same technology occupies in current media.
