21 research outputs found
From pathological wandering to cultural nomadism : the adventure of the art Rom
No full textCette thèse en anthropologie sociale et historique relate vingt ans de route auprès des familles Roms-Sinti-Kalé et Yéniches de France ou d’Europe.Grâce à la mise en œuvre du concept de caravane musée Art Rom, Tania Magy et toute l’équipe de l’association « Art Rom, de Voyages », Bordeaux, a permis de célébrer autant dans les squats et friches industrielles, que dans des musées internationaux, l’Art sous toutes ses formes.Etre au service des enfants scolarisés ou non, c’est choisir d’utiliser le médium du dessin, des Arts Plastiques, pour raconter, dire les maux ou les bons moments.Mais les familles amenèrent l’auteur à la découverte de savoirs très anciens, et nous découvrons ici pourquoi ils étaient parfois passés sous silence. A cause des guerres, des persécutions.A la manière d’une autoanthropologie, Tania décrit son vécu personnel, enfance des marchés, mais aussi son vécu avec les familles Roms-Sinti-Kali et Yéniches, Nomades.Nous percevons ici toutes les difficultés liées au fait d’être Gens du Voyage et Nomade. Les Titres de circulation, les Aires d’accueil, c’est là tout une athmosphère.Mais le quotidien est fait de luttes, lutte pour survivre et lutte culturelle, donc d’un point de vue social et historique l’intérêt ici est de voir le cheminement d’artistes et familles sur le long terme, aboutissant à l’abrogation des Titres de circulation, au fait de devenir citoyen français à part entière.This thesis in social and historical anthropology relates twenty years on the road among the Romany-Sinti-Kali and Yéniches families from France or all over Europe.Thanks to the implementation of the concept of the Romany Art museum caravan, Tania Magy and the whole team of the “Art Rom, de Voyages” association in Bordeaux, have made it possible to celebrate Art in all its forms ranging from squats and industrial wastelands to international museums.Being at the service of children, whether they attend school or not, is choosing the medium of drawing and the visual arts so as to express both sorrows and moments of happiness.Yet these families helped the author discover some very ancient knowledge and we shall discover here why this was sometimes handed on in silence. Because of wars and persecution.As an anthropologist would do, Tania not only describes her personal experience, her childhood in the markets but also her experience with the Romany-Sinti-Kali and Yéniches nomadic families.We shall get to know all the difficulties the gypsy “Travellers” and “Nomads” have to face – the Circulation permits, the encampment areas. This all builds up a very special kind of atmosphere. But everyday life is all about struggling, struggling to live and struggling for culture; therefore from a social and historical point of view the interest lies here in watching the progression of artists and families over time, leading to the revocation of circulation permits and to them becoming fully-fledged French citizens
De l'errance pathologique, au normadisme culturel : l'aventure de l'art Rom
No full textThis thesis in social and historical anthropology relates twenty years on the road among the Romany-Sinti-Kali and Yéniches families from France or all over Europe. Thanks to the implementation of the concept of the Romany Art museum caravan, Tania Magy and the whole team of the “Art Rom, de Voyages” association in Bordeaux, have made it possible to celebrate Art in all its forms ranging from squats and industrial wastelands to international museums. Being at the service of children, whether they attend school or not, is choosing the medium of drawing and the visual arts so as to express both sorrows and moments of happiness. Yet these families helped the author discover some very ancient knowledge and we shall discover here why this was sometimes handed on in silence. Because of wars and persecution. As an anthropologist would do, Tania not only describes her personal experience, her childhood in the markets but also her experience with the Romany-Sinti-Kali and Yéniches nomadic families.We shall get to know all the difficulties the gypsy “Travellers” and “Nomads” have to face – the Circulation permits, the encampment areas. This all builds up a very special kind of atmosphere. But everyday life is all about struggling, struggling to live and struggling for culture; therefore from a social and historical point of view the interest lies here in watching the progression of artists and families over time, leading to the revocation of circulation permits and to them becoming fully-fledged French citizens.Cette thèse en anthropologie sociale et historique relate vingt ans de route auprès des familles Roms-Sinti-Kalé et Yéniches de France ou d’Europe. À la mise en œuvre du concept de caravane musée Art Rom, Tania Magy et toute l’équipe de l’association « Art Rom, de Voyages », Bordeaux, a permis de célébrer autant dans les squats et friches industrielles, que dans des musées internationaux, l’Art sous toutes ses formes. Être au service des enfants scolarisés ou non, c’est choisir d’utiliser le médium du dessin, des Arts Plastiques, pour raconter, dire les maux ou les bons moments. Mais les familles amenèrent l’auteur à la découverte de savoirs très anciens, et nous découvrons ici pourquoi ils étaient parfois passés sous silence. A cause des guerres, des persécutions. À la manière d’une auto-anthropologie, Tania décrit son vécu personnel, enfance des marchés, mais aussi son vécu avec les familles Roms-Sinti-Kali et Yéniches, Nomades. Nous percevons ici toutes les difficultés liées au fait d’être Gens du Voyage et Nomade. Les Titres de circulation, les Aires d’accueil, c’est là tout une atmosphère. Mais le quotidien est fait de luttes, lutte pour survivre et lutte culturelle, donc d’un point de vue social et historique l’intérêt ici est de voir le cheminement d’artistes et familles sur le long terme, aboutissant à l’abrogation des Titres de circulation, au fait de devenir citoyen français à part entière
De l'errance pathologique, au normadisme culturel : l'aventure de l'art Rom
No full textThis thesis in social and historical anthropology relates twenty years on the road among the Romany-Sinti-Kali and Yéniches families from France or all over Europe. Thanks to the implementation of the concept of the Romany Art museum caravan, Tania Magy and the whole team of the “Art Rom, de Voyages” association in Bordeaux, have made it possible to celebrate Art in all its forms ranging from squats and industrial wastelands to international museums. Being at the service of children, whether they attend school or not, is choosing the medium of drawing and the visual arts so as to express both sorrows and moments of happiness. Yet these families helped the author discover some very ancient knowledge and we shall discover here why this was sometimes handed on in silence. Because of wars and persecution. As an anthropologist would do, Tania not only describes her personal experience, her childhood in the markets but also her experience with the Romany-Sinti-Kali and Yéniches nomadic families.We shall get to know all the difficulties the gypsy “Travellers” and “Nomads” have to face – the Circulation permits, the encampment areas. This all builds up a very special kind of atmosphere. But everyday life is all about struggling, struggling to live and struggling for culture; therefore from a social and historical point of view the interest lies here in watching the progression of artists and families over time, leading to the revocation of circulation permits and to them becoming fully-fledged French citizens.Cette thèse en anthropologie sociale et historique relate vingt ans de route auprès des familles Roms-Sinti-Kalé et Yéniches de France ou d’Europe. À la mise en œuvre du concept de caravane musée Art Rom, Tania Magy et toute l’équipe de l’association « Art Rom, de Voyages », Bordeaux, a permis de célébrer autant dans les squats et friches industrielles, que dans des musées internationaux, l’Art sous toutes ses formes. Être au service des enfants scolarisés ou non, c’est choisir d’utiliser le médium du dessin, des Arts Plastiques, pour raconter, dire les maux ou les bons moments. Mais les familles amenèrent l’auteur à la découverte de savoirs très anciens, et nous découvrons ici pourquoi ils étaient parfois passés sous silence. A cause des guerres, des persécutions. À la manière d’une auto-anthropologie, Tania décrit son vécu personnel, enfance des marchés, mais aussi son vécu avec les familles Roms-Sinti-Kali et Yéniches, Nomades. Nous percevons ici toutes les difficultés liées au fait d’être Gens du Voyage et Nomade. Les Titres de circulation, les Aires d’accueil, c’est là tout une atmosphère. Mais le quotidien est fait de luttes, lutte pour survivre et lutte culturelle, donc d’un point de vue social et historique l’intérêt ici est de voir le cheminement d’artistes et familles sur le long terme, aboutissant à l’abrogation des Titres de circulation, au fait de devenir citoyen français à part entière
Kinetics and mechanism of unimolecular decomposition of 3-methyl-1para-tolyltriazene
No full textPT: J; CR: ALBERT K, 1976, B CHEM SOC JPN, V49, P2537 CSERHEGYI A, 1971, MAGY KEM FOLY, V77, P607 CURCI R, 1973, SPECTROSC LETT, V6, P293 DAVIES GL, 1956, J CHEM SOC, P4397 DAVIES GL, 1972, COMPREHENSIVE CHEM K, V5, P582 ENGEL PS, 1980, CHEM REV, V80, P102 ISAACS NS, 1974, J CHEM SOC P2, P899 ISAACS NS, 1974, J CHEM SOC P2, P902 JONES CC, 1980, J CHEM SOC CHEM COMM, P322 KRYGER RG, 1977, J AM CHEM SOC, V99, P7589 PRYOR WA, 1970, J AM CHEM SOC, V92, P5403 SEEMAN JI, 1978, J ORG CHEM, V43, P1854 VAUGHAN K, 1977, J CHEM SOC P2, P17 VAUGHAN K, 1978, CHEM SOC REV, V7, P377; NR: 14; TC: 4; J9: CAN J CHEM; PG: 4; GA: LH023Source type: Electronic(1
Projecting Tension in Virtual Environments through lighting
No full textInteractive synthetic environments are currently used in a wide variety of applications, including video games, exposure therapy, education, and training. Their success in such domains relies on their immersive and engagement qualities. Filmmakers and theatre directors use many techniques to project tension in the hope of affecting audiences ’ affective states. These techniques include narrative, sound effects, camera movements, and lighting. This paper focuses on temporal variation of lighting color and its use in evoking tension within interactive virtual worlds. Many game titles adopt some cinematic lighting effects to evoke certain moods, particularly saturated red colored lighting, flickering lights, and very dark lighting. Such effects may result in user frustration due to the lack of balance between the desire to project tension and the desire to use lighting for other goals, such as visibility and depth projection. In addition, many of the lighting effects used in game titles are very obvious and obtrusive. In this paper, the author will identify several lighting color patterns, both obtrusive and subtle, based on a qualitative study of several movies and lighting design theories. In addition to identifying these patterns, the author also presents a system that dynamically modulates the lighting within an interactive environment to project the desired tension while balancing other lighting goals, such as establishing visibility, projecting depth, and providing motivation for lighting direction. This work extends the author’s previous work on the Expressive Lighting Engine [1-3]. Results of incorporating this system within a game will be discussed
France vis-a-vis Israel from (1948-1969)
No full textBoston University. University Professors Program Senior theses.PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at [email protected]. Thank you.2999-01-0
Nonverbal Communication in Virtual Worlds: Understanding and Designing Expressive Characters
No full text1.Introduction to this CollectionBy Joshua Tanenbaum2. Author and Editor BiosSection I – Introduction to the History and Theory of NVC for VWs3.Basics of Nonverbal Communication in the Physical WorldBy Joshua Tanenbaum, Michael Nixon, and Magy Seif El-Nasr4.Basics of Nonverbal Communication in Virtual WorldsBy Joshua Tanenbaum, Michael Nixon, and Magy Seif El-NasrSection II – Identity and Communication in Virtual Worlds5. Our Empathic Experience of Believable CharactersBy Leslie Bishko6.Virtual Gaze: The Communicative Energy Between Avatar FacesBy Jeffrey Ventrella7.Avatar Appearance as Prima Facie Non-Verbal CommunicationBy Jacquelyn Ford Mori8.TimeTraveller™: First Nations Nonverbal Communication in Second LifeBy Elizabeth LaPensée and Jason Edward LewisSection III – Virtual Performance and Theater9. Lessons from the Arts: What the Performing Arts Literature Can TeachUs About Creating Expressive Character MovementBy Michael Neff10. Theater as Virtual RealityBy Jim R. Parker11. Animation Principles and Laban Movement Analysis: Movement Frameworks for Creating Empathic Character PerformancesBy Leslie Bishko12. Loss of Agency as Expression in Avatar PerformanceBy Ben Unterman and Jeremy Owen TurnerSection IV – Animating and Puppeteering13. Empathy in virtual worlds: Making characters believablewith Laban Movement AnalysisBy Leslie Bishko14. Avatar Puppeteering: Direct Manipulation of Avatar Jointsfor Spontaneous Body LanguageBy Jeffrey Ventrella15. Automation of Avatar BehaviorBy Hannes Högni Vilhjálmsson16.Synthesizing Virtual Character Behaviors fromInteractive Digital PuppetryBy Elena Erbiceanu, Daniel Mapes, and Charles E. HughesSection V –Studying Nonverbal Communication in Virtual Worlds17. A Few Choice Animations: Nonverbal Communication Through Production and Consumption in Second LifeBy Jennifer Martin18.A Microsociological Perspective on Non-Verbal Communicative Strategies in MMORPGsBy David Kirschner and J. Patrick Williams19.The Uncanny Valley and Nonverbal Communication in Virtual CharactersBy Angela Tinwell, Mark Grimshaw, and Debbie Abdel-NabiSection VI – New Directions for NVC in VWs20.The Future of Avatar Expression: Body Language Evolves on the InternetBy Jeffrey Ventrella21.Challenges and Opportunities for the Ongoing Study of Nonverbal Communication in Virtual WorldsBy Joshua Tanenbaum, Magy Seif El-Nasr, and Michael NixonView Video FIgures, referenced in the text.</p
Automatic Expressive Lighting for Interactive Scenes
No full textAdvances in computer graphics have led to the development of interactive entertainment applications with complex 3D graphical environments. Lighting is becoming increasingly important in such applications not only because of its role in illumination, but also because of its utility in directing the viewer’s gaze to important areas and evoking moods. However, lighting design is a complex process, and is especially problematic for interactive applications. Rendering time for such applications is linear in the number of lights used, thus restricting the number of lights used in realtime rendering engines to 8 or fewer; yet current practice in the animation industry is to use 32 lights or more per scene. Moreover, the scene’s spatial configuration, mood, dramatic intensity, and the relative importance of different characters, all change unpredictably in real time, necessitating continual redesign as the characters and camera move. Current systems, however, use fixed, manually designed lighting. This manual design is labor intensive and leads to partially invisible characters, unmotivated or distracting color changes, and frustration for the player/audience. In this dissertation, I present a new approach to lighting design for interactive scenes. I will describe this approach using the Expressive Lighting Engine (ELE) that I have developed. ELE uses non-linear constraint optimization to automatically and unobtrusively adjust lighting in real-time, utilizing traditional cinematic and theatrical lighting design theory. This approach accommodates variations in spatial and dramatic configurations that occur during interactive scenes. ELE also allows artists to author lighting changes and override its decisions. ELE accommodates artistic desires, but also maintains style and visual continuity within an interactive scene
A user-centric adaptive story architecture: borrowing from acting theories
No full textInteractive virtual environm ents are becoming increasingly popular for their utility in education, virtual training, and entertainment. These applications often rely on a s cenario that is revealed to the user as he/she interacts with synthetic objects and characters that inhabit virtual worlds. Current interactive narrative architectures used in the interactive entertainm ent industry often use decision trees, which are hard to author and modify. Some interactive entert ainment productions are starting to use more generative techniques, such as plan-based or goal-based narrative. In this paper, I present an interactive narrative architecture that extends current research in interactive narrative by integrating a user modeling and user behavior analy sis technique, which I argue facilities a m ore engaging and fulfilling experience. I have im plemented the architecture within an interactive story called Mirage. The architecture resulted from an iterative design and development process involving a team that included film and theatre professionals. During this design and development process, I have experimented and evaluated different narrative techniques, which resulted in the proposed architecture
Simulation of Turbine-Generator
Get PDFThis study involved mathematical modeling of turbine generator simulator (TGS) and speed governing system for Fast Breeder Reactor (FBR). All steam turbine system utilize governor controlled valves at the inlet to the turbine to control the steam flow. The previously developed FBR and Pressurized water reactors (PWR) mathematical models (by author) [1] were connected to the same Turbine-generator model and controlled by the same method of control. Then a comparison between the dynamic performance transient response of FBR and PWR controlled plants were considered in two cases, load demand perturbation and reactivity perturbations. The steam chest and inlet piping to the turbine cylinder introduce delays between valve movement and change in the steam flow. The results show that the model is capable of simulating the dynamic transient response for FBR in two cases, load demand perturbation and reactivity perturbations
