46 research outputs found
A 3D Pipeline for 2D Pixel Art Animation
Aquest document presenta un informe exhaustiu sobre un projecte destinat a desenvolupar un procés automatitzat per a la creació d'animacions 2D a partir de models 3D utilitzant Blender. L'objectiu principal del projecte és millorar les tècniques existents i reduir la necessitat que els artistes realitzin tasques repetitives en el procés de producció d'animació. El projecte implica el disseny i desenvolupament d'un complement per a Blender, programat en Python, que es va desenvolupar per ser eficient i reduir les tasques intensives en temps que solen caracteritzar algunes etapes en el procés d'animació. El complement suporta tres estils específics d'animació: l'art de píxel, "cel shader", i "cel shader" amb contorns, i es pot expandir per suportar una àmplia gamma d'estils. El complement també és de codi obert, permetent una major col·laboració i potencials contribucions per part de la comunitat. Malgrat els problemes trobats, el projecte ha estat exitós en aconseguir els seus objectius, i els resultats mostren que el complement pot aconseguir resultats similars als adquirits amb eines similars i animació tradicional. El treball futur inclou mantenir el complement actualitzat amb les últimes versions de Blender, publicar-lo a GitHub i mercats de complements de Blender, així com afegir nous estils d'art.This document presents a comprehensive report on a project aimed at developing an automated process for creating 2D animations from 3D models using Blender. The project's main goal is to improve upon existing techniques and reduce the need for artists to do clerical tasks in the animation production process. The project involves the design and development of a plugin for Blender, coded in Python, which was developed to be efficient and reduce time-intensive tasks that usually characterise some stages in the animation process. The plugin supports three specific styles of animation: pixel art, cel shading, and cel shading with outlines, and can be expanded to support a wider range of styles. The plugin is also open-source, allowing for greater collaboration and potential contributions from the community. Despite the challenges faced, the project was successful in achieving its goals, and the results show that the plugin could achieve results similar to those acquired with similar tools and traditional animation. The future work includes keeping the plugin up-to-date with the latest versions of Blender, publishing it on GitHub and Blender plugin markets, as well as adding new art styles
Archaeology and Environment in Northumberland
Eventful, influential and absorbing, the early history of Northumberland is a fascinating story that has rarely been brought together under one cover. In this authoritative historical account, the authors bring to bear a huge quantity of old and new data and craft it into an in-depth synthesis. The authors deliver this history in chronological order from a perspective that places human activity and environment at its core. The narrative extends from the Palaeolithic through to, and including, the Anglo-Saxon period. This enormous sweep of history is supported by a robust radiocarbon chronology, with all available dates for the region brought together and calibrated against the most recent calibration curves for the first time. The geographic focus of the volume is North Northumberland but the narrative frequently extends to cover the whole county and occasionally further afield into neighbouring areas so as to deal with key topics at an appropriate geographic scale and to take account of important information from nearby areas. This second volume in the Till-Tweed monograph series follows on from the first volume, Managing Archaeological Landscapes in Northumberland , which provided a considerable quantity of new field data, in addition to presenting a landscape management methodology based around the "landform element" approach
Fortress of the Soul
French Huguenots made enormous contributions to the life and culture of colonial New York during the seventeenth and eighteenth centuries. Huguenot craftsmen were the city's most successful artisans, turning out unrivaled works of furniture which were distinguished by unique designs and arcane details. More than just decorative flourishes, however, the visual language employed by Huguenot artisans reflected a distinct belief system shaped during the religious wars of sixteenth-century France.In Fortress of the Soul, historian Neil Kamil traces the Huguenots' journey to New York from the Aunis-Saintonge region of southwestern France. There, in the sixteenth century, artisans had created a subterranean culture of clandestine workshops and meeting places inspired by the teachings of Bernard Palissy, a potter, alchemist, and philosopher who rejected the communal, militaristic ideology of the Huguenot majority which was centered in the walled city of La Rochelle. Palissy and his followers instead embraced a more fluid, portable, and discrete religious identity that encouraged members to practice their beliefs in secret while living safely—even prospering—as artisans in hostile communities. And when these artisans first fled France for England and Holland, then left Europe for America, they carried with them both their skills and their doctrine of artisanal security.Drawing on significant archival research and fresh interpretations of Huguenot material culture, Kamil offers an exhaustive and sophisticated study of the complex worldview of the Huguenot community. From the function of sacred violence and alchemy in the visual language of Huguenot artisans, to the impact among Protestants everywhere of the destruction of La Rochelle in 1628, to the ways in which New York's Huguenots interacted with each other and with other communities of religious dissenters and refugees, Fortress of the Soul brilliantly places American colonial history and material life firmly within the larger context of the early modern Atlantic world
The hand and the head: the handspring puppet company and the arts archive
Philosophiae Doctor - PhDMy Doctoral dissertation, titled The hand and the head: The Handspring Puppet Company and the arts archive, is focussed on the hand as it appears variously in the production, performance and reception of puppetry as a metonym of care and comfort, but conversely of manipulation and tyranny. The shared proponent of the hand, so crucial to the puppeteer as a means of controlling the movements and “life” of the puppet, acts as the object of study which links the puppet to the modern human and the human body, both through means of creation and representation, in other words, both aesthetically and ontologically. The study thus initiates a set of dialectical connections between body and mind, intuition and intellect, practice and theory, all centred on the relationship between the hand and the head
Association of Architecture Schools in Australasia
"Techniques and Technologies: Transfer and Transformation", proceedings of the 2007 AASA Conference held September 27-29, 2007, at the School of Architecture, UTS
Neolithic land-use in the Dutch wetlands: estimating the land-use implications of resource exploitation strategies in the Middle Swifterbant Culture (4600-3900 BCE)
The Dutch wetlands witness the gradual adoption of Neolithic novelties by foraging societies during the Swifterbant period. Recent analyses provide new insights into the subsistence palette of Middle Swifterbant societies. Small-scale livestock herding and cultivation are in evidence at this time, but their importance if unclear. Within the framework of PAGES Land-use at 6000BP project, we aim to translate the information on resource exploitation into information on land-use that can be incorporated into global climate modelling efforts, with attention for the importance of agriculture. A reconstruction of patterns of resource exploitation and their land-use dimensions is complicated by methodological issues in comparing the results of varied recent investigations. Analyses of organic residues in ceramics have attested to the cooking of aquatic foods, ruminant meat, porcine meat, as well as rare cases of dairy. In terms of vegetative matter, some ceramics exclusively yielded evidence of wild plants, while others preserve cereal remains. Elevated δ15N values of human were interpreted as demonstrating an important aquatic component of the diet well into the 4th millennium BC. Yet recent assays on livestock remains suggest grazing on salt marshes partly accounts for the human values. Finally, renewed archaeozoological investigations have shown the early presence of domestic animals to be more limited than previously thought. We discuss the relative importance of exploited resources to produce a best-fit interpretation of changing patterns of land-use during the Middle Swifterbant phase. Our review combines recent archaeological data with wider data on anthropogenic influence on the landscape. Combining the results of plant macroremains, information from pollen cores about vegetation development, the structure of faunal assemblages, and finds of arable fields and dairy residue, we suggest the most parsimonious interpretation is one of a limited land-use footprint of cultivation and livestock keeping in Dutch wetlands between 4600 and 3900 BCE.NWOVidi 276-60-004Human Origin
Taphonomy, environment or human plant exploitation strategies?: Deciphering changes in Pleistocene-Holocene plant representation at Umhlatuzana rockshelter, South Africa
The period between ~40 and 20 ka BP encompassing the Middle Stone Age (MSA) and Later Stone Age (LSA) transition has long been of interest because of the associated technological change. Understanding this transition in southern Africa is complicated by the paucity of archaeological sites that span this period. With its occupation sequence spanning the last ~70,000 years, Umhlatuzana Rock Shelter is one of the few sites that record this transition. Umhlatuzana thus offers a great opportunity to study past environmental dynamics from the Late Pleistocene (MIS 4) to the Late Holocene, and past human subsistence strategies, their social organisation, technological and symbolic innovations. Although organic preservation is poor (bones, seeds, and charcoal) at the site, silica phytoliths preserve generally well throughout the sequence. These microscopic silica particles can identify different plant types that are no longer visible at the site because of decomposition or burning to a reliable taxonomical level. Thus, to trace site occupation, plant resource use, and in turn reconstruct past vegetation, we applied phytolith analyses to sediment samples of the newly excavated Umhlatuzana sequence. We present results of the phytolith assemblage variability to determine change in plant use from the Pleistocene to the Holocene and discuss them in relation to taphonomical processes and human plant gathering strategies and activities. This study ultimately seeks to provide a palaeoenvironmental context for modes of occupation and will shed light on past human-environmental interactions in eastern South Africa.NWOVidi 276-60-004Human Origin
Ways and Capacity in Archaeological Data Management in Serbia
Over the past year and due to the COVID-19 pandemic, the entire world has witnessed inequalities across borders and societies.
They also include access to archaeological resources, both physical and digital. Both archaeological data creators and users spent
a lot of time working from their homes, away from artefact collections and research data. However, this was the perfect moment to
understand the importance of making data freely and openly available, both nationally and internationally.
This is why the authors of this paper chose to make a selection of data bases from various institutions responsible for preservation
and protection of cultural heritage, in order to understand their policies regarding accessibility and usage of the data they keep.
This will be done by simple visits to various web-sites or data bases. They intend to check on the volume and content, but also
importance of the offered archaeological heritage. In addition, the authors will estimate whether the heritage has adequately been
classified and described and also check whether data is available in foreign languages.
It needs to be seen whether it is possible to access digital objects (documents and the accompanying metadata), whether access
is opened for all users or it requires a certain hierarchy access, what is the policy of usage, reusage and distribution etc. It remains to
be seen whether there are public API or whether it is possible to collect data through API. In case that there is a public API, one needs
to check whether datasets are interoperable or messy, requiring data cleaning.
After having visited a certain number of web-sites, the authors expect to collect enough data to make a satisfactory conclusion
about accessibility and usage of Serbian archaeological data web bases
Hack the Experience: Tools for Artists from Cognitive Science
Hack The Experience will reframe your perspective on how your audience engages your work. This will happen as you learn how to control attention through spatial and time-based techniques that you can harness as you build immersive installations or as you think about how to best arrange your work in an exhibition. You’ll learn things about the senses and how they interface with attention so that you can build in visceral forms of interactivity, engage people’s empathetic responses, and frame their moods. This book is a dense bouillon-cube of techniques that you can adapt and apply to your personal practice, and it’s a book that will walk you step-by-step through skill sets from ethnography, cognitive science, and multi-modal metaphors. The core argument of this book is that art is a form of cognitive engineering and that the physical environment (or objects in the physical environment) can be shaped to maximize emotional and sensory experience. Many types of art will benefit from this handbook (because cognition is pervasive in our experience of art), but it is particularly relevant to immersive experiential works such as installations, participatory/interactive environments, performance art, curatorial practice, architecture and landscape architecture, complex durational works, and works requiring new models of documentation. These types of work benefit from the empirical findings of cognitive science because intentionally leveraging basic human cognition in artworks can give participants new ways of seeing the world that are cognitively relevant. This leveraging process provides a new layer in the construction of conceptually grounded works