The Daily Gamecock, Wednesday, March 26, 2014

https://scholarcommons.sc.edu/gamecock_2014_mar/1012/thumbnail.jp

Cosmopolitan and border experiences in the global city of Zootopia

This paper analyses the Walt Disney’s animation film Zootopia (2016) within the context of contemporary cinematic representations of global cities as borderlands but also as bordering, exclusive, diverse and cosmopolitan places. Zootopia is a film about the city space, in this case, about the global city of zootopia. The film reflects contemporary global cities in which the negotiation of space is a constant issue. It portrays a modern metropolis formed by different neighbourhoods with contrasting habitats such as Sahara, Jungle or Tundra, all comprised in the same space and separated by physical walls. Animals from every environment, size and form cohabit together in the city, but physical and metaphorical borders are erected between them. The film brings an inclusive message breaking with borders inside the global city and portraying moments of openness between the protagonists; a bunny and a fox. © 2021. All Rights Reserved

Tools for fluid simulation control in computer graphics

L’animation basée sur la physique peut générer des systèmes aux comportements complexes et réalistes. Malheureusement, contrôler de tels systèmes est une tâche ardue. Dans le cas de la simulation de fluide, le processus de contrôle est particulièrement complexe. Bien que de nombreuses méthodes et outils ont été mis au point pour simuler et faire le rendu de fluides, trop peu de méthodes offrent un contrôle efficace et intuitif sur une simulation de fluide. Étant donné que le coût associé au contrôle vient souvent s’additionner au coût de la simulation, appliquer un contrôle sur une simulation à plus haute résolution rallonge chaque itération du processus de création. Afin d’accélérer ce processus, l’édition peut se faire sur une simulation basse résolution moins coûteuse. Nous pouvons donc considérer que la création d’un fluide contrôlé peut se diviser en deux phases: une phase de contrôle durant laquelle un artiste modifie le comportement d’une simulation basse résolution, et une phase d’augmentation de détail durant laquelle une version haute résolution de cette simulation est générée. Cette thèse présente deux projets, chacun contribuant à l’état de l’art relié à chacune de ces deux phases. Dans un premier temps, on introduit un nouveau système de contrôle de liquide représenté par un modèle particulaire. À l’aide de ce système, un artiste peut sélectionner dans une base de données une parcelle de liquide animé précalculée. Cette parcelle peut ensuite être placée dans une simulation afin d’en modifier son comportement. À chaque pas de simulation, notre système utilise la liste de parcelles actives afin de reproduire localement la vision de l’artiste. Une interface graphique intuitive a été développée, inspirée par les logiciels de montage vidéo, et permettant à un utilisateur non expert de simplement éditer une simulation de liquide. Dans un second temps, une méthode d’augmentation de détail est décrite. Nous proposons d’ajouter une étape supplémentaire de suivi après l’étape de projection du champ de vitesse d’une simulation de fumée eulérienne classique. Durant cette étape, un champ de perturbations de vitesse non-divergent est calculé, résultant en une meilleure correspondance des densités à haute et à basse résolution. L’animation de fumée résultante reproduit fidèlement l’aspect grossier de la simulation d’entrée, tout en étant augmentée à l’aide de détails simulés.Physics-based animation can generate dynamic systems of very complex and realistic behaviors. Unfortunately, controlling them is a daunting task. In particular, fluid simulation brings up particularly difficult problems to the control process. Although many methods and tools have been developed to convincingly simulate and render fluids, too few methods provide efficient and intuitive control over a simulation. Since control often comes with extra computations on top of the simulation cost, art-directing a high-resolution simulation leads to long iterations of the creative process. In order to shorten this process, editing could be performed on a faster, low-resolution model. Therefore, we can consider that the process of generating an art-directed fluid could be split into two stages: a control stage during which an artist modifies the behavior of a low-resolution simulation, and an upresolution stage during which a final high-resolution version of this simulation is driven. This thesis presents two projects, each one improving on the state of the art related to each of these two stages. First, we introduce a new particle-based liquid control system. Using this system, an artist selects patches of precomputed liquid animations from a database, and places them in a simulation to modify its behavior. At each simulation time step, our system uses these entities to control the simulation in order to reproduce the artist’s vision. An intuitive graphical user interface inspired by video editing tools has been developed, allowing a nontechnical user to simply edit a liquid animation. Second, a tracking solution for smoke upresolution is described. We propose to add an extra tracking step after the projection of a classical Eulerian smoke simulation. During this step, we solve for a divergence-free velocity perturbation field resulting in a better matching of the low-frequency density distribution between the low-resolution guide and the high-resolution simulation. The resulting smoke animation faithfully reproduces the coarse aspect of the low-resolution input, while being enhanced with simulated small-scale details

The Daily Gamecock, Tuesday, January 14, 2014

https://scholarcommons.sc.edu/gamecock_2014_jan/1001/thumbnail.jp

The Daily Gamecock, Tuesday, January 14, 2014

https://scholarcommons.sc.edu/gamecock_2014_jan/1001/thumbnail.jp

The Mighty Boosh: Teatrální a narativní prvky v epické komedii Juliana Barratta a Noela Fieldinga

Anotace: Tato práce se zabývá podrobnou analýzou tvorby britské komediální skupiny The Mighty Boosh založené herci a komiky Julianem Barrattem a Noelem Fieldingem. The Boosh je v našem kulturním prostředí relativně neznámým pojmem. Z tohoto důvodu slouží první část práce mimo jiné jako úvod: představuje kulturní pozadí herců a původ projektu samotného. Následně se zabývá technickými a fyzickými aspekty show, stejně jako užitými hereckými či teatrálními metodami. Druhá část je více praktická, soustředí se na narativní rámec a strategie, které mají tendenci se výrazně opakovat a činí tak z Barrattova a Fieldingova počinu epickou (hrdinskou) komedii. Analýza si klade za cíl vysvětlit tyto vypravěčské strategie mimo jiné poukazováním na autory jako Vladimir Propp, Joseph Campbell a další, a představit The Mighty Boosh ve své celistvosti a komplexnosti.This thesis is concerned with a detailed analysis of the work of the British comedic troupe The Mighty Boosh created by actors and comedians Julian Barratt and Noel Fielding. The Boosh phenomenon is relatively unknown in our cultural environment. Accordingly, the first part of the thesis aims to serve partly as an introduction: it presents the authors' cultural background and the origins of the project itself. Subsequently, technical and physical aspects of the show as well as the acting/theatrical methods used are inquired into. The second part is more practical as it focuses on the narrative framework and strategies, which tend to be highly repetitive and make Barratt and Fielding's project an epic (heroic) comedy. The analysis seeks to explain these narrative strategies by referring to authors such as Vladimir Propp, Joseph Campbell and others, and to reveal The Mighty Boosh in its entirety and complexness.Department of Anglophone Literatures and CulturesÚstav anglofonních literatur a kulturFaculty of ArtsFilozofická fakult

The Daily Gamecock, Friday, November 8, 2013

https://scholarcommons.sc.edu/gamecock_2013_nov/1005/thumbnail.jp

Immersion and interaction: Creating virtual 3d worlds for stage performances

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This thesis formulates an approach towards the creation of a gesture activated and body movement controlled real time virtual 3d world in a dance performance context. It investigates immersion and navigation techniques derived from modern video games and methodologies and proposes how they can be used to further involve a performer into a virtual space as well as simultaneously offer a stimulating visual spectacle for an audience. The argument presented develops through practice-based methodology and artistic production strategies in interdisciplinary and collaborative contexts. Two choreographic performance/installations are used as cases studies to demonstrate in practice the proposed methodologies. First, the interactive dance work Suna No Onna, created in collaboration with Birringer/Danjoux and the Dap Lab, investigates the use of interactive pre-rendered animations in a real time setting and in real time by incorporating wearable sensors in the performance. Secondly, the potentials offered by the sensor technology and real time rendering engines led to the “creation scene", a key scene in the choreographic installation UKIYO (Moveable Worlds). This thesis investigates the design, creation and interaction qualities of virtual 3d spaces by exploring the potentialities offered by a shared space, between an intelligent space and a dancer in a hybrid world. The methodology applied uses as a theoretical base the phenomenological approach of Merleau-Ponty and Mark Hansen‟s mixed reality paradigm proposing the concept of the “space schema", a system which replicates and embeds proprioception, perception and motility into the space fabric offering a world which “lives”, functions and interacts with the performer. The outcome of the research is the generation of an interactive, non-linear, randomized 3d virtual space that collaborates with a technologically embedded performer in creating a 3d world which evolves and transforms, driven by the performer‟s intention and agency. This research contributes to the field of interactive performance art by making transparent the methodology, the instruments and the code used, in a non-technical terminology, making it accessible for both team members with less technological expertise as well as artists aspiring to engage interactive 3d media promoting further experimentation and conceptual discussions

Cosmopolitanism and inclusive education through 21st - century Disney films

COSMOPOLITISMO Y EDUCACIÓN INCLUSIVA A TRAVÉS DE LAS PELÍCULAS DE DISNEY DEL SIGLO XXIAl destacar los vínculos entre el cosmopolitismo y la educación inclusiva, esta tesis explora el potencial de las películas de Disney del siglo XXI para abordar problemas sociales y culturales contemporáneos con el fin de promover valores inclusivos. Esta tesis propone que el vínculo entre ambas áreas de estudio es la educación cosmopolita, que aglutina los valores y teorías del cosmopolitismo y la educación inclusiva. En particular, examina tres películas de animación de Disney del siglo XXI bajo una lente cosmopolita, para explorar la manera en que ayudan a construir y reflejar problemas actuales como son las fronteras geográficas y culturales, las ciudades globales y el cambio climático. Los estudios de caso han sido elegidos de acuerdo con ciertas secciones del Index for Inclusion: A Guide to School Development Led by Inclusive Values (Booth y Ainscow 2016), un documento que tiene como objetivo proporcionar una nueva forma de currículo escolar adaptado a las necesidades sociales del siglo XXI. El Index contiene una lista de dieciséis valores inclusivos, que ayudan a determinar el potencial inclusivo de las películas. Los valores inclusivos explorados en cada uno de los análisis fueron ¿comunidad¿ en Campanilla y El Secreto de las Hadas (capítulo dos), ¿respeto por la diversidad¿ en Zootrópolis (capítulo tres) y ¿sostenibilidad¿ en WALL-E (capítulo cuatro). Esta tesis utiliza el análisis textual para explorar cómo estas tres películas pueden utilizarse para explorar y promover cuestiones cosmopolitas como son los roles y significados de las fronteras (capítulo dos), la ciudad global (capítulo tres) y la ecología (capítulo cuatro) en el aula.<br /