Instructional Methods For Optimal Learning For An Aerospace Assembly Task: digital animation v pictogram-based instructions

Previous studies on work instruction delivery for complex assembly tasks have shown that the mode and delivery method for the instructions in an engineering context can influence both build time and product quality. The benefits of digital, animated instructional formats when compared to static pictures and text only formats have already been demonstrated. Although pictograms have found applications for relatively straight forward operations and activities, their applicability to relatively complex assembly tasks has yet to be demonstrated. This study compares animated instructions and pictograms for the assembly of an aircraft panel. Based around a series of build experiments, the work records build time as well as the number of media references to measure and compare build efficiency. The number of build errors and the time required to correct them is also recorded. The experiments included five participants completing five builds over five consecutive days for each media type. Results showed that on average the total build time was 13.1% lower for the group using animated instructions. The benefit of animated instructions on build time was most prominent in the first three builds, by build four this benefit had disappeared. There were a similar number of instructional references for the two groups over the five builds but the pictogram users required a lot more references during build 1. There were more errors among the group using pictograms requiring more time for corrections during the build.

Digital beings : an opportunity for Australian visual effects

Ongoing innovation in digital animation and visual effects technologies has provided new opportunities for stories to be visually rendered in ways never before possible. Films featuring animation and visual effects continue to perform well at the box office, proving to be highly profitable projects. The Avengers (Whedon, 2012) holds the current record for opening weekend sales, accruing as much as $207,438,708 USD and $623,357,910 USD gross at time of writing. Life of Pi (Lee, 2012) at time of writing has grossed as much as $608,791,063 USD (Box Office Mojo, 2013). With so much creative potential and a demonstrable ability to generate a large amount of revenue, the animation and visual effects industry – otherwise known as the Post, Digital and Visual Effects (PDV) industry – has become significant to the future growth and stability of the Australian film industry as a whole.

headspace Digital Art Exhibition

headspace Digital Art Exhibition is a curated collection of artwork created during a youth arts project and research in which young people’s improved mental health wellbeing and mental health literacy were the focused outcomes for the project. The project aimed to improve mental health literacy, and offer greater opportunities for creative expression supporting young people facing mental health challenges. The Inside project aimed to build dialogue related to youth, arts, mental illness and recovery, through a partnership approach. The partnership approach involved artists and health workers in two separate headspace youth mental health services and aimed to provide opportunities to explore the potential of an arts and health framework. The project ran over ten weeks at both centres, incorporating themed activities such as unleashing inner selfie (sketching, photography and digital manipulation); creating dioramas (found object, three dimensional modelling); creating avatars (sculptural and digital animation); and digital narrating and poster creation (visual, written and spoken texts). Two professional artists facilitated the project, one in each location alongside headspace health workers at weekly workshops. A research component explored the appreciation of how artsbased workshops can be used alongside more traditional responses in youth specific mental health services. Both headspace centres had previously provided unstructured art activities as a way to showcase their services to young people, increase access, and to create a welcoming ‘safe’ youth friendly environment. However, these activities were generally extemporaneous and not specifically evaluated. The digital art exhibition collectively shares the artwork created by the young people and reveals the inter-relationships between risk and resilience and overcoming the odds. Inside unleashed possibilities for a sense of well-being and even happiness into the future.

The editor as animation inbetweener

With digital compositing and digital special effects, the traditional edits of cut, dissolve and wipe, are being augmented by a more complex, yet liberating, creative process. This paper will explore how the language of film editing may be shifting and evolving due to new tools at the filmmakers disposal (and the ease with which to use them).

With the convergence of all media into the digital realm, the distinctions between animation and live-action filmmaking are continuing to blur. In fact, editing live-action film is now often similar to the process of animation. In many ways, the film editor is becoming like an “animation-inbetweener, ” of the “key posses” that have been “drawn” by the cinematographer.

This new animator/compositor/editor uses a variety of methods for creating inbetweens in order to connect two distinctly different scenes. These can include the use of; morphing, animated mattes, digital animation, and controlled complex dissolves. Not only can this process create a unique visual style, but in addition, new languages can also be explored.

Eisenstein was very interested in how new meanings can be created by the linear juxtaposition of distinctly different scenes. But what does it mean when these two scenes are allowed to evolve into each other?

Furthermore, the editor, can now easily allow selected elements to transcend between shots. It is now possible for the editor to decide what portions of the scene are most important, and what the viewer should take with them into the next scene. What should be highlighted, or what elements should be suppressed.

In order to illustrate these ideas, this paper will look at the earlier film editing theories of, Eisenstein, Pudovkin and G.W. Pabst, and the traditions and theories of animation. It will also showcase contemporary compositing/editing examples.

Cinematic hooks for Korean studies: using the 'Apache' framework for inspiring students about Korea in and through film

Developing awareness of and maintaining interest in Korea and Korean culture for non-language secondary and tertiary students continues to challenge educators in Australia. A lack of appropriate and accessible creative and cultural materials is a key factor contributing to this challenge. In light of changes made to 'fair use' guidelines for the Digital Millennium Copyright Act in the United States in July 2010, and in order to prepare for a time in the near future when Australian copyright regulations might follow suit, this article offers a framework for utilizing film and digital media contents in the classroom. Case studies of the short digital animation film 'Birthday Boy' (2004) and the feature film The Divine Weapon (2008) are presented in order to illustrate new educational approaches to popular Korean films---the cinematic component of the 'Korean Wave' ('Hanryu' or 'Hallyu' in Korean). It is hoped that this work-in-progress will enable teachers to inspire students with limited language skills to learn more about Korean popular culture, history, and tradition as well as media, politics, and genre studies in dynamic ways through the use of films as cultural texts in the classroom.

Shift

Shift was an exhibition held in October 2008, and was the culmination of a 10 month artist in residence held at Metro Arts, Brisbane in 2008. A number of works were produced and exhibited, and were a response to the ambient urban landscape of inner city Brisbane. The research component contributes to the discussion of the form and display of digital animation, and builds upon strategies of presentation developed from series of works completed in 2005-2007 as part of an MA (research) at QUT, Brisbane. For the two week exhibition, one interactive kiosk and several large scale digital prints were produced, and also a site specific digital animation sequence was projected onto urban landscape features next to the gallery.

Soundage : a practice-led approach to Gertrude Stein, sound, and generative language

In this practice-led research project I work to show how a re-reading and a particular form of listening to the sound-riddled nature of Gertrude Stein's work, Two: Gertrude Stein and her Brother, presents us with a contemporary theory of sound in language. This theory, though in its infancy, is a particular enjambment of sounded language that presents itself as an event, engaged with meaning, with its own inherent voice. It displays a propensity through engagement with the 'other' to erupt into love. In this thesis these qualities are reverberated further through the work of Seth Kim-Cohen's notion of the non-cochlear, Simon Jarvis's notion of musical thinking, Jean-Jacques Lecercle's notion of délire or nonsense, Luce Irigaray's notion of jouissant love and the Bracha Ettinger's notion of the generative matrixial border space. This reading then is simultaneously paired with my own work of scoring and creating a digital opera from Stein's work, thereby testing and performing Stein's theory. In this I show how a re-reading and relistening to Stein's work can be significant to feminist ethical language frames, contemporary philosophy, sonic art theory and digital language frames. Further significance of this study is that when the reverberation of Stein's engagements with language through sound can be listened to, a pattern emerges, one that encouragingly problematizes subjectivity and interweaves genres/methods and means, creating a new frame for sound in language, one with its own voice that I call soundage.

The Max Bell Gallery (Gallery X series) Bishop and Reis

 An interactive exhibition, which recreates the Max Gallery and re-interprets two of Geelong's most renowned paintings (View of Geelong and A Bush Burial) through digital animation

Op-Objects

The work relates to Australian history in that it reconfigures the found objects - furniture, paintings and narratives - to move implicate the viewer in unexpected ways.

Física no futebol: objeto de aprendizagem gamificado para o ensino de física em mídias digitais por meio do esporte a partir do edutretenimento

Pós-graduação em Televisão Digital: Informação e Conhecimento - FAAC

"Re-imagining animation : the changing face of the moving image by Paul Wells and Johnny Hardstaff" (Book Review)

Advances in digital technology have caused a radical shift in moving image culture. This has occurred in both modes of production and sites of exhibition, resulting in a blurring of boundaries that previously defined a range of creative disciplines. Re-Imagining Animation: The Changing Face of the Moving Image, by Paul Wells and Johnny Hardstaff, argues that as a result of these blurred disciplinary boundaries, the term “animation” has become a “catch all” for describing any form of manipulated moving image practice. Understanding animation predicates the need to (re)define the medium within contemporary moving image culture. Via a series of case studies, the book engages with a range of moving image works, interrogating “how the many and varied approaches to making film, graphics, visual artefacts, multimedia and other intimations of motion pictures can now be delineated and understood” (p. 7). The structure and clarity of content make this book ideally suited to any serious study of contemporary animation which accepts animation as a truly interdisciplinary medium.

Animateur : participatory studio-based learning in computer graphics animation

The impact of digital technology within the creative industries has brought with it a range of new opportunities for collaborative, cross-disciplinary and multi-disciplinary practice. Along with these opportunities has come the need to re-evaluate how we as educators approach teaching within this new digital culture. Within the field of animation, there has been a radical shift in the expectations of students, industry and educators as animation has become central to a range of new moving image practices. This paper interrogates the effectiveness of adopting a studio-based collaborative production project as a method for educating students within this new moving-image culture. The project was undertaken, as part of the Creative Industries Transitions to New Professional Environments program at Queensland University of Technology (QUT) in Brisbane Australia. A number of students studying across the Creative Industries Faculty and the Faculty of Science and Technology were invited to participate in the development of a 3D animated short film. The project offered students the opportunity to become actively involved in all stages of the creative process, allowing them to experience informal learning through collaborative professional practice. It is proposed that theoretical principles often associated with andragogy and constructivism can be used to design and deliver programs that address the emerging issues surrounding the teaching of this new moving image culture.

Strengthening the role of the adult education sector in training workers for the digital content industries in Australia and Singapore

In 2009, QUT’s Office of Research and the Institute for Adult Learning Singapore funded a six-month pilot project that represented the first stage of a larger international comparative study. The study is the first of its kind to investigate to what extent and how digital content workers’ learning needs are being met by adult education and training in Australia and Singapore. The pilot project involved consolidating key theoretical literature, studies, policies, programs and statistical data relevant to the digital content industries in Australia and Singapore. This had not been done before, and represented new knowledge generation. Digital content workers include professionals within and beyond the creative industries as follows: Visual effects and animation (including virtual reality and 3D products); Interactive multimedia (e.g. websites, CD-ROMs) and software development; Computer and online games; and Digital film & TV production and film & TV post-production. In the last decade, the digital content industries have been recognised as an industry sector of strong and increasing significance. The project compared Australia and Singapore on aspects of the digital content industries’ labour market, skill requirements, human capital challenges, the role of adult education in building a workforce for the digital content industries, and innovation policies. The consolidated report generated from the project formed the basis of the proposal for an ARC Linkage Project application submitted in the May 2010 round.

Sociocultural animation

The emergence of global computer networks and the ubiquitous availability of advanced information and communication technology (ICT) since the mid Nineties has given rise to the hope that the traditional disadvantages faced by regional economies and regional communities could be elevated easily and swiftly. Yet, the experience of both community informatics and community development researchers and practitioners tells a different tale. Although the potential of ICT is in fact realised in some situations and locations and does provide means to ensure sustainability in some regional communities, elsewhere it has not been taken up or has not been able to elicit change for the promised better. Too many communities are still faced by a centralised structure in the context of commerce, service provision or governance and by various degrees of digital divides between connected and disconnected, between media literate and illiterate, between young and old, and between urban and rural. Many attempts to close or bridge the digital divide have been reported with various degrees of success (cf. Menou, 2001; Servon, 2002). Most of these accounts echo a common voice in that they report similar principles of action, and they reflect – in most cases unconsciously – practices of sociocultural animation. This article seeks to shed light onto the concept of sociocultural animation which is already commonplace in various forms in the arts, in education and professional development, youth work, sports, town planning, careers services, entrepreneurship and tourism. It starts by exploring the origins of sociocultural animation and draws parallels to the current state of research and practice. It unpacks the foundation of sociocultural animation and briefly describes underlying principles and how they can be applied in the context of community informatics and developing regional communities with ICT. Finally, further areas of investigation are being proposed.