Creating Procedural Animation for the Terrestrial Locomotion of Tentacled Digital Creatures

This thesis presents a prototype system to develop procedural animation for the goal-directed terrestrial locomotion of tentacled digital creatures. Creating locomotion for characters with multiple highly deformable limbs is time and labor intensive. This prototype system presents an interactive real-time physically-based solution to procedurally create tentacled creatures and simulate their goal-directed movement about an environment. Artistic control over both the motion path of the creature and the localized behavior of the tentacles is maintained. This system functions as a stand-alone simulation and a tool has been created to integrate it into production software. Applications include use in visual effects and animation where generalized behavior of tentacled creatures is required

Contemporary Art in Japan and Cuteness in Japanese Popular Culture

This thesis is an art historical study focussing on contemporary Japan, and in particular the artists Murakami TakashL Mori Mariko, Aida Makoto, and Nara Yoshitomo. These artists represent a generation of artists born in the 1960s who use popular culture to their own ends. From the seminal exhibition 'Tokyo Pop' at Hiratsuka Museum of Art in 1996 which included all four artists, to Murakami's group exhibition 'Little Boy: The Arts of Japan's Exploding Subculture' which opened in April 2005, central to my research is an exploration of contemporary art's engagement with the pervasiveness of cuteness in Japanese culture. Including key secondary material, which recognises cuteness as not merely something trivial but involving power play and gender role issues, this thesis undertakes an interdisciplinary analysis of cuteness in contemporary Japanese popular culture, and examines howcontemporary Japanese artists have responded, providing original research through interviews with Aida Makoto, Mori Mariko and Murakami Takashi. Themes examined include the deconstruction of the high and low in contemporary art; sh6jo (girl) culture and cuteness; the relation of cuteness and the erotic; the transformation of cuteness into the grotesque; cuteness and nostalgia; and virtual cuteness in Japanese science fiction animation, and computer games. Director of Studies: Toshio Watanabe Supervisors: David Ryan and Omuka Toshihar

Whoever Said Change Was Good: The Transforming Body of the Disney Villainess

This dissertation examines female figures in Disney animation through the lens of Laban Movement Analysis (LMA), a system for observing and articulating movement qualities. Drawing from six major films released between 1937 and 2010, I focus my inquiry on how the bodies and movement of Disneys villainesses reflect and/or perpetuate cultural imaginaries of women. I identify the influence of several cultural tropes of femininity, including fairy-tale archetypes, ballet conventions, and the Hollywood femme fatale, and explore how they constellate social understandings of age, beauty, and desirability. Coalescing around the theme of physical transformation, the study investigates how consistent movement patterns both support character animation and reflect gender ideologies encoded in the bodies of these wicked women. Through a methodology grounded in LMA and drawing from dance studies, feminist theory, and Disney scholarship, I interrogate popular conceptions of women and evil, articulate how movement contributes to cultural meaning, and demonstrate LMAs value to cultural analysis and animation

Horizons Winter 2008/2009

Features 14 Autism Council Supports Families Looking for Answers 20 NSU Prepares the Next Generation of Leaders 26 What’s Hot in Today’s Cooling Job Market 32 Osteopathic Medicine: What We Don’t Know Might Cure Us Departments 2 Letter from the President 3 Academic Notes Holographic Professors: NSU Designs Distance Education of the Future Law Center Welcomes New Dean Collaborators in Change: NSU Therapy Clinic and Its Clients Fischler School’s Doctoral Degree Licensed in New Jersey Learning to Think Like a Researcher Above and Beyond the Practice of Sports Medicine Audiology Professor’s Invention Helps Thousands of Users Diverse Graduate Degree Programs at the Law Center 8 Around Campus Students Step Up Into Politics Campus Pharmacy Provides Convenience and Quality Services Live and Learn: On-Campus Housing Is Home Away from Home A Day for Children New, 50-Meter Pool Makes Waves at University School Alvin Sherman Library Offers Educators Toolkit A Merger of Art and Education When Energy Costs Rise, NSU Keeps Its Cool 18 Spotlight NSU’s Top Research Officer Making New Discoveries 24 Spotlight A Quiet Warrior Fights for Peace 30 Spotlight Talking Across Cultural Lines 31 Spotlight NSU Staff Member Stays Young at 97 36 Verbatim A Helping Hand in a Hurting Economy 38 Alumni Journal Alumni Add a Needed Dash of Latin Flavor to Animation Projects 40 Scoreboard NSU Athletics Fall Season Reviewhttps://nsuworks.nova.edu/nsu_horizons/1011/thumbnail.jp

Cinematic Vitalism

This book draws new connections between twentieth-century German and French film theory and practice and vitalist conceptions of life from biology and philosophy. Inga Pollmann shows how the links between the two created a modernist, experimental, and cinematic strand of vitalism in and around the movie theater. Articulated by film theorists, filmmakers, biologists, and philosophers, this cinematic vitalism maps out connections among human beings, milieus, and technologies that continue to structure our understanding of film. &nbsp

Illustrator as detective: Discovery through drawing

I am an illustrator and I have produced an innovative drawing project with the Museum of East Asian Art, Bath, that interrogates concepts of illustration and illustrator as visionary.The majority of the museum’s collection consists of small-scale objects and miniatures, showcasing centuries of traditional craftsmanship and artistry. The museum holds a collection of ceramics, jades, bronzes and other artefacts from China, Japan, Korea and Southeast Asia. It is the only museum in the UK solely dedicated to arts and cultures of East and Southeast Asia.In producing this project, I act as a visionary, through exploring drawing as a tool for looking beyond the obvious, to truly study and discover an exotic object within a museum collection. The project explores ideas of future thinking in educational and professional developments, as the drawings will act as functional and democratic means to communicate my personal response to objects, and in turn challenge personal and studied responses from the public.Future thinking in educational and professional developments is also explored through the showcase of work, as drawings will be displayed in cabinets in direct juxtaposition with corresponding objects, and exhibited between different galleries

Central Florida Future, Vol. 25 No. 28, December 1, 1992

Student appeals: questions actions of SG coordinator; Film program places first in Fort Lauderdale: Orlando area schools shed second rate reputations as they capture majority of film awards; Opinion: Japanese \u27Love Boat\u27 brimming with plutonium; Features: Eddie Murphy interview: Talks politics in Washington D.C.; Sports: Women\u27s basketball team prepares for the 1992-93 season.https://stars.library.ucf.edu/centralfloridafuture/2173/thumbnail.jp

EVA London 2022: Electronic Visualisation and the Arts

The Electronic Visualisation and the Arts London 2022 Conference (EVA London 2022) is co-sponsored by the Computer Arts Society (CAS) and BCS, the Chartered Institute for IT, of which the CAS is a Specialist Group. Of course, this has been a difficult time for all conferences, with the Covid-19 pandemic. For the first time since 2019, the EVA London 2022 Conference is a physical conference. It is also an online conference, as it was in the previous two years. We continue with publishing the proceedings, both online, with open access via ScienceOpen, and also in our traditional printed form, for the second year in full colour. Over recent decades, the EVA London Conference on Electronic Visualisation and the Arts has established itself as one of the United Kingdom’s most innovative and interdisciplinary conferences. It brings together a wide range of research domains to celebrate a diverse set of interests, with a specialised focus on visualisation. The long and short papers in this volume cover varied topics concerning the arts, visualisations, and IT, including 3D graphics, animation, artificial intelligence, creativity, culture, design, digital art, ethics, heritage, literature, museums, music, philosophy, politics, publishing, social media, and virtual reality, as well as other related interdisciplinary areas. The EVA London 2022 proceedings presents a wide spectrum of papers, demonstrations, Research Workshop contributions, other workshops, and for the seventh year, the EVA London Symposium, in the form of an opening morning session, with three invited contributors. The conference includes a number of other associated evening events including ones organised by the Computer Arts Society, Art in Flux, and EVA International. As in previous years, there are Research Workshop contributions in this volume, aimed at encouraging participation by postgraduate students and early-career artists, accepted either through the peer-review process or directly by the Research Workshop chair. The Research Workshop contributors are offered bursaries to aid participation. In particular, EVA London liaises with Art in Flux, a London-based group of digital artists. The EVA London 2022 proceedings includes long papers and short “poster” papers from international researchers inside and outside academia, from graduate artists, PhD students, industry professionals, established scholars, and senior researchers, who value EVA London for its interdisciplinary community. The conference also features keynote talks. A special feature this year is support for Ukrainian culture after its invasion earlier in the year. This publication has resulted from a selective peer review process, fitting as many excellent submissions as possible into the proceedings. This year, submission numbers were lower than previous years, mostly likely due to the pandemic and a new requirement to submit drafts of long papers for review as well as abstracts. It is still pleasing to have so many good proposals from which to select the papers that have been included. EVA London is part of a larger network of EVA international conferences. EVA events have been held in Athens, Beijing, Berlin, Brussels, California, Cambridge (both UK and USA), Canberra, Copenhagen, Dallas, Delhi, Edinburgh, Florence, Gifu (Japan), Glasgow, Harvard, Jerusalem, Kiev, Laval, London, Madrid, Montreal, Moscow, New York, Paris, Prague, St Petersburg, Thessaloniki, and Warsaw. Further venues for EVA conferences are very much encouraged by the EVA community. As noted earlier, this volume is a record of accepted submissions to EVA London 2022. Associated online presentations are in general recorded and made available online after the conference

Cinematic Vitalism

This book draws new connections between twentieth-century German and French film theory and practice and vitalist conceptions of life from biology and philosophy. Inga Pollmann shows how the links between the two created a modernist, experimental, and cinematic strand of vitalism in and around the movie theater. Articulated by film theorists, filmmakers, biologists, and philosophers, this cinematic vitalism maps out connections among human beings, milieus, and technologies that continue to structure our understanding of film. &nbsp

Immaterial Materiality: Collecting in Live-Action Film, Animation, and Digital Games

This dissertation analyzes depictions of collecting and collectors in visual media, arguing that cultural conceptions which have long been reinforced by live-action film and animation are now being challenged by digital video games. The older notion of collectors as people dissociated from present-day society and unhealthily obsessed with either the past or the minutiae of inanimate objects are giving way to a new conception of the collector as an active manipulator of information in the present moment. The dissertation argues that this shift is partly influenced by the ontology of each media form. It focuses primarily on the rise of digital technology from the mid-1980s to the present, 1985 being the year the Nintendo Entertainment System was first introduced in the United States, reviving the flagging video game industry and posing a threat to the dominance of the cinema in visual entertainment media. Beginning with an overview of collecting in the Western hemisphere, it argues that popular stereotypes of collecting are out of step with the actuality of the practice. Analysis of the ontology of film links the tendency to portray the figure of the collector as a socially inept male, while the museum is a source of monsters and mystery. The animated film aligns itself with change and transformation and thus rejects the stasis implied by traditional notions of collection. The interactive nature of digital games embraces colleting as a game activity, making the player a collector of digital objects, and the game collection a positive indicator of progress in the game