Toward a computational theory for motion understanding: The expert animators model

Artificial intelligence researchers claim to understand some aspect of human intelligence when their model is able to emulate it. In the context of computer graphics, the ability to go from motion representation to convincing animation should accordingly be treated not simply as a trick for computer graphics programmers but as important epistemological and methodological goal. In this paper we investigate a unifying model for animating a group of articulated bodies such as humans and robots in a three-dimensional environment. The proposed model is considered in the framework of knowledge representation and processing, with special reference to motion knowledge. The model is meant to help setting the basis for a computational theory for motion understanding applied to articulated bodies

Animating archaeology: local theories and conceptually open-ended methodologies

Animists’ theories of matter must be given equivalence at the level of theory if we are to understand adequately the nature of ontological difference in the past. The current model is of a natural ontological continuum that connects all cultures, grounding our culturally relativist worldviews in a common world. Indigenous peoples’ worlds are thought of as fascinating but ultimately mistaken ways of knowing the world. We demonstrate how ontologically oriented theorists Eduardo Viveiros de Castro, Karen Barad and Tim Ingold in conjuncture with an anti-representationalist methodology can provide the necessary conditions for alternative ontologies to emerge in archaeology. Anthropo-zoomorphic ‘body-pots’ from first-millennium ad northwest Argentina anticipate the possibility that matter was conceptualized as chronically unstable, inherently undifferentiated, and ultimately practice dependent

The Puppets Look Like Flowers At Last

The urge to uncover aspects of human condition permeates my work, from the fundamental curiosity of a child tearing apart their doll to uncover what lies within to continuing a quest in uncovering basic human urges through my puppet animated dramas and tragedies. There is a controversial line between the childlike and the adult-like that can be ambiguous, and at some times more discernible while other times less. I create handcrafted stop-frame puppet animations that explore self-conscious emotions such as embarrassment, shame, and envy within unpredictable life scenarios. These are animations about inner life, attempting to resolve conflicting elements of the human psyche. At first glance, these puppets might appear scary, but upon closer observation the viewer may realize it is the puppet who is scared

Ontology, ethnography, archaeology: an afterword on the ontography of things

In commenting on the preceding articles of the Special Section, this afterword elaborates on the methodological and analytical implications for archaeology of the ontological alterity of animist phenomena. If such phenomena are challenging because they transgress the conceptual coordinates of archaeologists' habitual interpretive repertoires (mind vs matter, materiality vs culture, etc.), then what might archaeology's response to such challenges be, what might be distinctively archaeological about it, and how might it compare to related concerns among socio-cultural anthropologists and philosophers

Component Composition in Business and System Modelling

Bespoke development of large business systems can be couched in terms of the composition of components, which are, put simply, chunks of development work. Design, mapping a specification to an implementation, can also be expressed in terms of components: a refinement comprising an abstract component, a concrete component and a mapping between them. Similarly, system extension is the composition of an existing component, the legacy system, with a new component, the extension. This paper overviews work being done on a UK EPSRC funded research project formulating and formalizing techniques for describing, composing and performing integrity checks on components. Although the paper focuses on the specification and development of information systems, the techniques are equally applicable to the modeling and re-engineering of businesses, where no computer system may be involved

Animating the evolution of software

The use and development of open source software has increased significantly in the last decade. The high frequency of changes and releases across a distributed environment requires good project management tools in order to control the process adequately. However, even with these tools in place, the nature of the development and the fact that developers will often work on many other projects simultaneously, means that the developers are unlikely to have a clear picture of the current state of the project at any time. Furthermore, the poor documentation associated with many projects has a detrimental effect when encouraging new developers to contribute to the software. A typical version control repository contains a mine of information that is not always obvious and not easy to comprehend in its raw form. However, presenting this historical data in a suitable format by using software visualisation techniques allows the evolution of the software over a number of releases to be shown. This allows the changes that have been made to the software to be identified clearly, thus ensuring that the effect of those changes will also be emphasised. This then enables both managers and developers to gain a more detailed view of the current state of the project. The visualisation of evolving software introduces a number of new issues. This thesis investigates some of these issues in detail, and recommends a number of solutions in order to alleviate the problems that may otherwise arise. The solutions are then demonstrated in the definition of two new visualisations. These use historical data contained within version control repositories to show the evolution of the software at a number of levels of granularity. Additionally, animation is used as an integral part of both visualisations - not only to show the evolution by representing the progression of time, but also to highlight the changes that have occurred. Previously, the use of animation within software visualisation has been primarily restricted to small-scale, hand generated visualisations. However, this thesis shows the viability of using animation within software visualisation with automated visualisations on a large scale. In addition, evaluation of the visualisations has shown that they are suitable for showing the changes that have occurred in the software over a period of time, and subsequently how the software has evolved. These visualisations are therefore suitable for use by developers and managers involved with open source software. In addition, they also provide a basis for future research in evolutionary visualisations, software evolution and open source development

Novis: A notional machine implementation for teaching introductory programming

Comprehension of programming and programs is known to be a difficult task for many beginning students, with many computing courses showing significant drop out and failure rates. In this paper, we present a notional machine imple- mentation, Novis, to help with understanding of program- ming and its dynamics for beginning learners. The notional machine offers an abstraction of the physical machine de- signed for comprehension and learning purposes. Novis pro- vides a real-time visualisation of this notional machine, and is integrated into BlueJ

Model-based engineering of animated interactive systems for the interactive television environment

Les interfaces graphiques étaient la plupart du temps statiques, et représentaient une succession d'états logiciels les uns après les autres. Cependant, les transitions animées entre ces états statiques font partie intégrante des interfaces utilisateurs modernes, et leurs processus de design et d'implémentations constituent un défi pour les designers et les développeurs. Cette thèse propose un processus de conception de systèmes interactifs centré sur les animations, ainsi qu'une architecture pour la définition et l'implémentation d'animations au sein des interfaces graphiques. L'architecture met en avant une approche à deux niveaux pour définir une vue haut niveau d'une animation (avec un intérêt particulier pour les objets animés, leurs propriétés à être animé et la composition d'animations) ainsi qu'une vue bas niveau traitant des aspects détaillés des animations tels que les timings et les optimisations. Concernant les spécifications formelles de ces deux niveaux, nous utilisons une approche qui facilite les réseaux de Petri orientés objets pour la conception, l'implémentation et la validation d'interfaces utilisateurs animées en fournissant une description complète et non-ambiguë de l'ensemble de l'interface utilisateur, y compris les animations. Enfin, nous décrivons la mise en pratique du processus présenté, illustré par un cas d'étude d'un prototype haute-fidélité d'une interface utilisateur, pour le domaine de la télévision interactive. Ce processus conduira à une spécification formelle et détaillée du système interactif, et incluera des animations utilisant des réseaux de Petri orientés objet (conçus avec l'outil PetShop CASE).Graphical User Interfaces used to be mostly static, representing one software state after the other. However, animated transitions between these static states are an integral part in modern user interfaces and processes for both their design and implementation remain a challenge for designers and developers. This thesis proposes a process for designing interactive systems focusing on animations, along with an architecture for the definition and implementation of animation in user interfaces. The architecture proposes a two levels approach for defining a high-level view of an animation (focusing on animated objects, their properties to be animated and on the composition of animations) and a low-level one dealing with detailed aspects of animations such as timing and optimization. For the formal specification of these two levels, we are using an approach facilitating object-oriented Petri nets to support the design, implementation and validation of animated user interfaces by providing a complete and unambiguous description of the entire user interface including animations. Finally, we describe the application of the presented process exemplified by a case study for a high-fidelity prototype of a user interface for the interactive Television domain. This process will lead to a detailed formal specification of the interactive system, including animations using object-oriented Petri nets (designed with the PetShop CASE tool)