AUTOMATED PAPER POP-UP DESIGN: APPROXIMATING SHAPE AND MOTION

Ph.DDOCTOR OF PHILOSOPH

Peningkatkan kemampuan berpikir kritis dengan model pembelajaran auditory intellectually repetition Pada kelas iv berbantuan media Pop-up sd 2 garung lor kudus

Penelitian ini bertujuan untuk mendeskripsikan peningkatan berpikir kritis, aktivitas belajar sisw dan keterampilan guru dengan menerapkan model Auditory Intellectual Repetitonberbantuan media Pop-Up Pada Siswa Kelas IV SD 2 Garung Lor Kudus. Berpikir kritis adalah suatu proses kegiatan mental yang terarah dan jelas tentang suatu masalah yang meliputi merumuskan masalah, menentukan keputusan, menganalisis dan melakukan penelitian ilmiah yang akhirnya menghasilkan suatu konsep yang diyakini berdasarkan sumber terpercaya. Model AIR meliputi tiga aspek yaitu Auditory (mendengar), Intellectually (berpikir), dan Repetition (pengulangan). Hipotesis tindakan dalam penelitian adalah peningkatan kemampuan berpikir kritis dengan model pembelajaran Auditory Intellectual Repetiton pada kelas IV berbantuan media Pop-Up SD 2 Garung Lor Kudus Penelitian tindakan kelas telah dilaksanakan di kelas IV SD 2 Garung Lor Kudus dengan subjek penelitian 22 siswa. Penelitian ini dilaksanakan dalam dua siklus, setiap siklus terdiri dari empat tahap yaitu perencanaan, pelaksanaan, observasi dan refleksi. Variabel terikat dalam penelitian ini adalah berpikir kritis siswa. Sedangkan variabel bebas adalah model Auditory Intellectual Repetiton dan Media Pop-Up. Teknik pengumpulan data menggunakan teknik wawancara, observasi, tes dan dokumentasi. Analisis data yang digunakan merupakan analisi data deskriptif kualitatif. Hasil penelitian terdapat peningkatan pada (1) keterampilan mengajar guru dalam mengelola pembelajaran pada siklus I memperoleh nilai rata-rata 74,35 kualifikasi perlu bimbingan, pada siklus II memperoleh nilai rata-rata 84,29 kualifikasi baik (2) aktivitas belajar siswa aspek sikap pada siklus I memperoleh nilai rata-rata sebesar 71,37 kualifikasi perlu bimbingan dan siklus II memperoleh nilai rata-rata sebesar 80,245 kualifikasi cukup. Aktivitas belajar siswa aspek keterampilan pada siklus I memperoleh nilai sebesar 72,26 dan siklus II memperoleh nilai rata-rata sebesar 78,785 kualifikasi cukup. (3) kemampuan berpikir kritis siswa pada siklus I memperoleh nilai rata-rata sebesar 71,73 kualifikasi perlu bimbingan dengan ketuntasan klasikal sebesar 45,45% dan siklus II memperoleh nilai rata-rata sebesar 80,38 kualifikasi cukup dengan ketuntasan klasikal sebesar 81,81%. Simpulan dari penelitian ini yaitu penerapan model pembelajaran Auditory Intellectually Repetition berbantuan media pop-up dapat meningkatkan kemampuan berpikir kritis siswa pada tema 8 Daerah Tempat Tinggalku di kelas IV SD 2 Garung Lor Kudus Tahun Ajaran 2018/2019. Sehingga guru dapat menggunakan model Auditory Intellectually Repetition berbantuan media pop-up pada saat mengajar

Slice and Dice: A Physicalization Workflow for Anatomical Edutainment

During the last decades, anatomy has become an interesting topic in education---even for laymen or schoolchildren. As medical imaging techniques become increasingly sophisticated, virtual anatomical education applications have emerged. Still, anatomical models are often preferred, as they facilitate 3D localization of anatomical structures. Recently, data physicalizations (i.e., physical visualizations) have proven to be effective and engaging---sometimes, even more than their virtual counterparts. So far, medical data physicalizations involve mainly 3D printing, which is still expensive and cumbersome. We investigate alternative forms of physicalizations, which use readily available technologies (home printers) and inexpensive materials (paper or semi-transparent films) to generate crafts for anatomical edutainment. To the best of our knowledge, this is the first computer-generated crafting approach within an anatomical edutainment context. Our approach follows a cost-effective, simple, and easy-to-employ workflow, resulting in assemblable data sculptures (i.e., semi-transparent sliceforms). It primarily supports volumetric data (such as CT or MRI), but mesh data can also be imported. An octree slices the imported volume and an optimization step simplifies the slice configuration, proposing the optimal order for easy assembly. A packing algorithm places the resulting slices with their labels, annotations, and assembly instructions on a paper or transparent film of user-selected size, to be printed, assembled into a sliceform, and explored. We conducted two user studies to assess our approach, demonstrating that it is an initial positive step towards the successful creation of interactive and engaging anatomical physicalizations

The "Spectacular" Spiderman, from page to cel: the process of motion projection in the adaptation of Spider-Man and Venom from comic book to animation

The intention of this research paper is to analyse the implicit and perpetuated motion present in Comic Books and Animation as media respectively and to break down the incumbent techniques in the adaptation from a seemingly static medium to one that is articulated. The Marvel Comics characters Spider-Man and his nemesis Venom will be used as the subjects of the analysis due to Spider-Man‟s deeply ingrained history in comics making him a readily identifiable character. The motion present in both media will be demonstrated by a close, in-depth analysis of the relationship between Venom‟s first appearance in Amazing Spider-Man #299 and Episode 13: Nature vs. Nurture of the “Spectacular Spider-Man” animated series, with summative conclusions to follo

How Cartoons Became Art: Exhibitions and Sales of Animation Art as Communication of Aesthetic Value

Animation has risen from a commercially and aesthetically marginalized medium to one that is gaining recognition as an art form worthy of adult appreciation. Three realms of this recognition are: the Museum of Modern Art\u27s film department, which has supported animation in a variety of ways since its inception in 1935; exhibitions of the art contributing to Disney animation, which began in 1932; the market for artworks related to animation, which has grown from early gallery sales in the late 1930s to a broad base of collectors in the 1980s and 1990s. Exhibit materials, critical reviews, news coverage, and interviews with animation art market participants provided a basis to analyze these sites of aesthetic legitimation in terms of the barriers to acceptance animation faced, the strategies employed to overcome them, and the effects of legitimacy on the current state of animation. Curators, critics, and dealers have overcome prejudices that animation is merely a children\u27s mass medium by locating original pieces of production art within animation that are like fine art. Some have argued that animation\u27s basis in technology and mass production should not disqualify it from serious attention as art, nor should emotional satisfaction be a lesser aspect of aesthetic appreciation than disinterested analysis of form. Whereas commercially produced animation has gained both respect and economic vitality, independent and foreign animation has primarily gained prestige within the boundaries of festivals, museums, and art house theaters

The e-Volving Picturebook: Examining the Impact of New e-Media/Technologies On Its Form, Content and Function (And on the Child Reader)

The technology of the codex book and the habit of reading appear to be under attack currently for a variety of reasons explored in the Introduction of this Dissertation. One natural response to attack is a resulting effort to adapt in a bid to survive. Noël Carroll, leading American philosopher in the contemporary philosophy of art, touches on this concept in his discussion of the evolution of a new medium in his article, “Medium Specificity Arguments and Self-Consciously Invented Arts: Film, Video, and Photography,” from his Cambridge University Press 1996 text, Theorizing the Moving Image. Carroll proposes that any new medium undergoes phases of development (and I include new technology under that umbrella)). After examining Carroll’s theory this Dissertation attempts to apply it to the Children’s Picturebook Field, exploring the hypothesis that the published children’s narrative does evolve, has already evolved historically in response to other mediums/technologies, and is currently “e-volving” in response to emerging “e-media.” This discussion examines ways new media (particularly emerging e-media) affect the published children’s narrative form, content, and function (with primary focus on the picturebook form), and includes some examination of the response of the child reader to those changes. Chapter One explores the formation of the question, its value, and reviews available literature. Chapter Two compares the effects of an older sub-genre, the paper-engineered picturebook, with those of emerging e-picturebooks. Chapter Three compares the Twentieth Century Artist’s Book to picturebooks created by select past and current picturebook creators. Chapter Four first considers the shifting cultural mindset of Western Culture from a linear, word-based outlook to the non-linear, more visual approach fostered by the World Wide Web and supporting “screen” technologies; then identifies and examines current changes in form, content and function of the designed picturebooks that are developing “on the page” within the constraints of the codex book format. The Dissertation concludes with a review of Leonard Shlain’s 1998 text, The Alphabet Versus the Goddess: The Conflict Between Word and Image, using it as a departure point for final observations regarding unique strengths of the children’s picturebook as a learning tool for young children

Animators of Atlanta: Layering Authenticity in the Creative Industries

This dissertation explores post-authentic neoliberal animation production culture, tracing the ways authenticity is used as a resource to garner professional autonomy and security during precarious times. Animators engage in two modes of production, the first in creating animated content, and the other in constructing a professional identity. Analyzing animator discourse allows for a nuanced exploration of how these processes interact and congeal into common sense. The use of digital software impacts the animator’s capacity to legitimize themselves as creatives and experts, traditional tools become vital for signifying creative authenticity in a professional environment. The practice of decorating one’s desk functions as a tactic to layer creative authenticity, but the meaning of this ritual is changing now that studios shift to open spaces while many animators work from home. Layering authenticity on-screen often requires blending techniques from classical Hollywood cinema into animated performance, concomitant with a bid to legitimate the role of the authentic interlocutor for the character. Increasingly animators feel pressure to layer authenticity online, establishing an audience as a means to hedge against precarity. The recombined self must balance the many methods for layering creative and professional authenticity with the constraints and affordances of their tools, along with the demands of the studio, to yield cultural capital vital for an animator’s survival in an industry defined at once by its limitless expressive potential and economic uncertainty

Cadences of Choreomusicality: Investigating the Relationship Between Sound and Movement in Staged Performances of Popping and Animation in the United Kingdom

This practice-led doctoral research explores the relationship between staged performances of popping, closely related movement practices such as animation (in dance) and music in the United Kingdom. Through an experiential, choreographic and critical methodology, I consider the ways that popping artists are able to shift, bend and distort perceptions of their performances through complex uses of musicality. Popping is a dance form that is included under the umbrella of street dance, which encompasses a wide range of dance practices with their origins in social and vernacular contexts. I scrutinise the musical trends and characteristics of popping and animation specifically, despite street dance forms usually being considered as a collective. This extensive focus reveals a range of selective rhythmical and textural nuances that engage the spectator in a world of choreomusical play. Placing practice at the centre of my investigation, I carry out a series of choreographed projects and reflect on these experiences from the position of dancer/performer and choreographer. Additionally, I consider the work of other popping artists in the field, presenting extensive choreomusical analysis of a selection of their work. Drawing from interviews that I conducted with nine UK street dance artists, I use a range of practitioner-led terminology to demonstrate the metaphorical vocabulary that they have employed to articulate their choreomusical practices and complicate notions of musicality. Drawing from the fields of choreomusical theory and Animation (in film) studies, I explore the value systems that frame ideas of the music-dance relationship in dance studies, developing an appropriate analytical lens which privileges close relationships between popping, animation and music on stage. I interrogate the anxieties that infiltrate close choreomusical relationships, in order to privilege the complex skill and musical sensitivities that poppers develop through their craft. Given intrinsic connections between animation and Animation, I utilise perspectives from the latter field of study to explore the illusionary potential of the moving body on stage. This, I argue, blurs distinctions between the real and the artificial and ultimately contributes to choreomusical tension and resolve. Through extensive analysis in a range of performance contexts, I contend that this specific, detailed investigation of popping and animation can inform and contribute to the fields of choreomusicology and dance studies.AHR

Mecha: Expressions of Cultural Influences and Differences Demonstrated in Science Fiction Mechanical Design

The opening theme to Cartoon Network's animated series MEGAS XLR (2004) exclaims:"You dig giant robots!I dig giant robots!We dig giant robots!Chicks dig giant robots!"This is perhaps the essential anthem for our fixation with out of this world technology. Japanese and American audiences in particular are innately passionate about science fiction robots, as ardent consumers and proprietors of contemporary Mecha culture. The challenge then for the academically-minded aficionado is to put across just what makes these fantastic machines and their stories so fascinating, so prevalent in entertainment and society, and so tied to our own perceptions of human development.Science fiction represents what people are thinking about technology. This thesis posits the contemporary science fiction phenomenon Mecha as the predominant expression of humankind's age-old fascination with the mechanical arts. The philosophical approaches taken in these forms of escapist entertainment often mirror the attitudes each culture has towards real-life robotic machinery- from replacement prosthetic limbs, to robotic household companions and even weapons of war. In Mecha fiction, the sentiments of the artist-citizen towards this notion of a robotic, hi-tech society are expressed free of the limitations of a practical and commercial reality. Science and engineering have not yet caught up to the culturally-nurtured imaginations and ambitions of the human spirit, and they never will. Instead, the artists and creators of Mecha consciously and unconsciously translate and magnify this social consensus into mechanical designs and narratives that enforce a particular paradigm on the overall human-machine relationship.This study examines through key written and visual texts the function of "low culture" pop-entertainment as an influential and relevant indicator of broader societal values and cultural traditions. By reverse-engineering and deconstructing (quite literally) these Mecha designs and how they function as a creative work, I believe we can better understand how two cultures have come to express their relationship with technology both conceptually and philosophically