Klauenerkrankungen sind die Hauptursache für Lahmheiten bei Milchkühen und eine der Hauptabgangsursachen in den Betrieben. Für die Erkennung und Prävention von Lahmheiten sind ein biomechanisches Verständnis und präventive Optionen notwendig. Die biplanare Hochfrequenz-Fluoreszenz-kinematografie (HFK) stellt ein neuartiges Verfahren dar, welches Vermessungen von knöchernen Strukturen an lebenden Tieren während der Fortbewegung mit einer sehr hohen Präzision ermöglicht. In Kombination mit Computertomografie gestützten Knochenaufnahmen können dreidimensionale Animationen von Knochen-bewegungen angefertigt werden, um die Biomechanik der Klaue zu erforschen. Der Goldstandard, die markerbasierte Animation, erfordert die Implantation von drei röntgendichten Markern in den zu untersuchenden Knochen, daher ist die Anwendbarketi bei lebenden Tieren limitiert. Ziel der vorliegenden Arbeit war es, nichtinvasive Rekonstruktionsmethoden der bovinen distalen Gliedmaße einzusetzen und zu evaluieren. Mit Kenntnis der Animationsdaten sollte die Analyse der Lokomotion lebender Rinder erfolgen, um erstmals Bewegungsumfänge in den proximalen und distalen Interphalangealgelenken zu bestimmen. Die vorliegende Studie zeigt, dass Flexion und Extension die Hauptbewegungsrichtungen in den proximalen und distalen Interphalangealgelenken des Rindes sind, jedoch auch extrasagittale Bewegungen in nennenswerten Umfängen auftreten. Extrasagittale Bewegungen spielen für das Kompensieren mediolateraler Imbalancen eine Rolle.:1 Einleitung 1 2 Literaturübersicht 2 2.1 Anatomie und Biomechanik der Klaue des Rindes 2 2.1.1 Biomechanisch relevante Strukturen der distalen Vordergliedmaße des Rindes 2 2.1.1.1 Knöcherne Strukturen der distalen Vordergliedmaße 2 2.1.1.2 Gelenke der distalen Vordergliedmaße 2 2.1.1.3 Muskeln der distalen Vordergliedmaße 4 2.1.2 Der Klauenschuh und die Fußung der Klaue 7 2.1.3 Bewegungsablauf von Kühen 10 2.2 Klaue Boden Interaktion 12 2.2.1 Bedeutung von Untergründen für die Bewegung des Rindes 12 2.2.2 Bedeutung von Untergründen für das Wohlbefinden des Rindes 13 2.2.3 Bedeutung von Untergründen für die Klauengesundheit 16 2.3 Methoden zur Analyse kinematischer Prozesse 19 2.3.1 Bisherige Verfahren zur Analyse kinematischer Prozesse 19 2.3.2 Biplanare Hochfrequenz Fluoreszenzkinematografie 21 2.3.2.1 Markerbasierte Animation 23 2.3.2.2 Markerlose Animation 25 3 Tiere, Material, Methoden 30 3.1 Tiere 30 3.2 Evaluierung markerloser Animationsmethoden ex vivo 31 3.2.1 Markerimplantation 31 3.2.2 Computertomografie und Knochenmodelle 32 3.2.3 Biplanare Hochfrequenz Fluoreszenzkinematografie 32 3.2.4 Dreidimensionale Animation der distalen Gliedmaße 34 3.2.4.1 Markerbasierte Animationsmethode 34 3.2.4.2 Markerlose Animationsmethoden 35 3.2.5 Datenanalyse 38 3.2.6 Statistische Auswertung 40 3.3 Untersuchung der Gelenkwinkeländerung auf Beton und Gummiboden in vivo 41 3.3.1 Markerimplantation 41 3.3.2 Computertomografie und Knochenmodelle 41 3.3.3 Biplanare Hochfrequenz Fluoreszenzkinematografie 42 3.3.4 Markerbasierte Animationsmethode 42 3.3.5 Markerlose, manuelle dreidimensionale Animationmethode 43 3.3.6 In vivo Messungen der Gelenkwinkel auf Beton und Gummiboden 44 4 Ergebnisse 48 4.1 Evaluierung markerloser Animationsmethoden ex vivo 48 4.1.1 Dreidimensionale Animation 48 4.1.2 Abweichung beider markerlosen Animationsmethoden für Translation 49 4.1.2.1 Euklidische Translationswerte beider markerlosen Animationsmethoden 49 4.1.2.2 Translationswerte in X, Y und Z-Richtungen beider markerlosen Animationsmethoden 52 4.1.2.3 Translationswerte beider markerlosen Animationsmethoden zwischen linker und rechter Knochenseite 53 4.1.3 Abweichung beider markerlosen Animationsmethoden für Rotation 55 4.1.3.1 Euklidische Rotationswerte beider markerlosen Animationsmethoden 55 4.1.3.2 Rotationswerte in X, Y und Z-Richtung beider markerlosen Animationsmethoden 57 4.1.3.3 Rotationswerte beider markerlosen Animationsmethoden zwischen linker und rechter Knochenseite 58 4.2 Untersuchung der Gelenkwinkel auf Beton und Gummiboden in vivo 60 4.2.1 Gelenkwinkel in den proximalen Interphalangealgelenken 61 4.2.1.1 Gelenkwinkel in den proximalen Interphalangealgelenken auf Beton 62 4.2.1.2 Gelenkwinkel in den proximalen Interphalangealgelenken auf Gummiboden 65 4.2.1.3 Vergleich des Bewegungsumfangs der proximalen Interphalangealgelenke auf Beton und Gummiboden 68 4.2.2 Gelenkwinkel in den distalen Interphalangealgelenken 70 4.2.2.1 Gelenkwinkel in den distalen Interphalangealgelenken auf Beton 70 4.2.2.2 Gelenkwinkel in den distalen Interphalangealgelenken auf Gummiboden 73 4.2.2.3 Vergleich des Bewegungsumfangs der distalen Interphalangealgelenke auf Beton und Gummiboden 75 5 Diskussion 77 5.1 Methodik 77 5.1.1 Biplanare Hochfrequenz Fluoreszenzkinematografie 78 5.1.2 Nichtinvasive Animationsmethoden 80 5.1.3 Gelenkwinkel der Interphalangealgelenke in vivo 81 5.2 Ergebnisdiskussion 82 5.2.1 Manuelle Animationsmethode ex vivo 83 5.2.2 Semiautomatische Animationsmethode ex vivo 84 5.2.3 Vergleich beider markerlosen Verfahren ex vivo 85 5.2.4 Gelenkwinkel in den Interphalangealgelenken in vivo 88 5.2.4.1 Gelenkwinkel in den proximalen Interphalangealgelenken 88 5.2.4.2 Gelenkwinkel in den distalen Interphalangealgelenken in vivo 90 5.2.4.3 Vergleich des Bewegungsumfangs der Interphalangeal- gelenke auf Beton und Gummiboden 92 5.3 Schlussfolgerungen und Ausblick 95 6 Zusammenfassung 97 7 Summary 99 8 Literaturverzeichnis 101 9 Anhang 115

Forming attachments to other creatures and things is not a phenomenon that is contingent on the entity existing in the real world. It’s a common thing in video games that the player grows attached to certain characters in some way, and it can sometimes even be a driving factor for a game’s gameplay. However, the process of creating an entity that the player may form an attachment to, especially for such games where this is a vital aspect, is not defined. By taking the popular virtual pet game Tamagotchi as an example and looking into various character design theories, we developed our own virtual pet game and reviewed our design process in an attempt to establish a baseline model.

The goal of this paper is to create a positive account of Masahiro Mori’s theory of the uncanny valley. A theory wherein Mori speculated on the relationship between one’s perceived affinity for a robot and the human-likeness of that same robot. Mori believed that the closer to a human a robot looked, the higher one’s affinity for it would be, until a certain point where the robot looked close enough to a human without being fully convincing. When this happened one would feel a negative affinity for the robot. Mori called this phenomenon the uncanny valley.  In later years, Mori’s theory has gained more popularity and is now applied outside of robotics. Most notably it is often applied to the medium of 3D animation and CGI, which is what this essay will be discussing when trying to create a positive account of the uncanny valley. To do so it will discuss the phenomenon in relation to some examples of 3D animation and CGI that critics have claimed reside in the uncanny valley. This essay will give an overview of what the uncanny valley actually entails as well as give an explanation of how the uncanny valley can be applied to 3D animation.  In order to create a positive account, this essay will claim that the positive aesthetic value that the uncanny valley can lead to is akin to that of Brecht’s idea of the distancing effect. This essay argues that the uncanny valley distances the viewer from what they are viewing and that makes the viewer gain didactic knowledge of both CGI and their own relationship to technology. This essay will argue that this is a positive aesthetic experience that is unique to the uncanny valley.

This thesis is a supporting paper for three of my 3D animations created and presented for a Master of Fine Arts graduate exhibition. It discusses how the two realms of graphic design and 3D animation helped me to develop my heuristic techniques of creating animations. Using the three animations as examples, I make an attempt to explain how linear and figurative images influence each other in the creative process of creature/character development. I also discuss the various influences and cumulative explorations behind the imageries of animation. A brief discussion about Asian Indian aesthetic concepts and the general methodology of creating 3D animation using Alias|Wavefront Maya is also included.

Det finns många olika animatonstekniker och vanligtvis använder filmer och TV-serier bara en, men vissa blandar olika animationstekniker i olika utsträckning. Ett sådant verk är den första säsongen av TV-serien Arcane, som konstant blandar digital 2D- och3D-animation. Denna uppsats undersöker hur blandad animation påverkar bildberättandet, med fokus på hur en blandning av 2D- och 3D-animation kan användasför att gestalta karaktärspsykologi. Uppsatsen analyserar Arcane utifrån ett multimodalt perspektiv med syftet att få en djupare förståelse för animationsteknkernas egenskaper och samspel. Analysen visar att Arcane använder sina två aimationstekniker på många olika sätt i olika sammanhang, vilket skapar ett brett utbud av olika meningar. Vidare varierar animationstenikernas förekomst beroende på vilken karaktär en given scen kretsar kring. Genomgående i hela säsongen är att vid flera tillfällen används kontrasten mellan animationsteknikernas utseenden för att illustrera motsättningar mellan element animerade med olika tekniker. Slutsatsen som kan dras är att verk animerade med flera tekniker kan använda båda teknikernas unika egenskaper efter önskemål och behov. Dessutom kan verken använda kontrasten mellan två animationstekniker för att skapa ytterligare meningar. Alltså kan verk animerade med flera tekniker variera sitt visuella berättande mer och skapa fler olika meningar än verk animerade med bara en teknik.

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Liminal Perspective refers to an alternative theoretical framework for understanding the interpretation of pictorial space in visual art when influenced by new technologies. Creating the illusion of depth on a two-dimensional surface has relied on the theory of linear perspective created in the renaissance. Leon Battista Alberti, in his landmark work De Pictura, created a geometric system for the illusion of deep space that uses orthogonals and a vanishing point to allow objects to diminish as they move backwards in space. This theory placed humans at the center of perception and the singular vantage point of pictorial space. Alberti's theory marked a huge philosophical shift from a god-centric worldview to a human-centric one. Technology, however, is rapidly changing our functional relationship to perspective and allows an expanded understanding of perception. Humans are no longer single vantage points but rather exist in tandem with technological augmentations like smart phones. The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. Using 3D animation in combination with computer vision and physical computing, Liminal Perspective explores new interpretations of pictorial space and how our perceptual philosophies might evolve to keep up with technology's evolution. / Master of Fine Arts / Liminal Perspective is a paper and body of visual art that uses interactive 3D animation to examine the historical genre of still-life painting. Creating the illusion of depth on a two-dimensional surface has relied on the theory of linear perspective created in the renaissance. This theory placed humans at the center of perception and the singular vantage point of pictorial space. Technology, however, is rapidly changing our functional relationship to perspective and allows an expanded understanding of perception. Humans are no longer single vantage points but rather exist in tandem with technological augmentations like smart phones. The body of work discussed in this paper imagines alternative artwork-viewer relationships to what have been historically proposed by still-life painters in classical history such as those in the Dutch Golden Age. Using 3D animation in combination with computer vision and physical computing, Liminal Perspective explores new interpretations of pictorial space and how our perceptual philosophies might evolve to keep up with technology's evolution.

Claymation is an animation technique developed around a century ago and featured inseveral video games. However, traditional claymation production is not most accessible togame developers due to its specialized skill requirements. This research aims to make theclaymation visual style more accessible by digitally emulating its characteristics usingmethods widely used in game development. Our approach involved developing and iteratingdigital techniques to replicate the surface texture of clay models and the jittery animationquality in a 3D physics-based game, the emulated results of which were evaluated throughinternal and external playtesting. The research team concluded that a combination ofdisplacement maps, normal maps, and color adjustments could be used to emulate realisticclay surface textures. Meanwhile, 3D animation and physics-based animation approacheswere explored to recreate the jittery animation look. The team found that, within 3Danimation, strategic use of still frames and manual motion variance addition to each in-motionpose are effective jitter emulation methods, with the latter being more effective. With physics-based animation, adding a randomized value to an object’s physically simulated motionsimulates motion jitters. The research compiled the emulation process into steps, serving asemulation guidelines for future projects.

The bulk of research in digital 3D animation is focused on problem solving and the development of new techniques and innovations for the 3D animation software of the future. However, little consideration is given for the underlying reasons why problems arise from a psychological perspective, and if 3D animation is to establish itself as a discipline in academia, strides must be taken to strengthen its foundations with existing academic disciplines.This undergraduate thesis examines the possible causes of joint deformation problems inherent to digital human character rigs in Autodesk Maya using cognitive psychology, specifically theories of perception, with additional considerations for the roles of the Uncanny Valley effect and suspension of disbelief. An experiment was devised to evaluate the presence of joint deformation problems on a basic human character rig and in two approaches of solution.The results supported the presented hypothesis on what causes the viewer to notice joint deformation problems, but further investigation is required for test it definitively. The study also implied that whilst joint deformation problems may be noticed by the viewer and cause distraction from the content of a digital film, other factors also strongly affect the viewer’s experience in a similar manner. The results of further studies could help digital artists better understand how the audience may respond to the presence of joint deformation problems and optimise their workflow. / Den övergripande forskningen kring digital 3D-animation är främst fokuserad på problemlösning samt utvecklingen av ny teknik och innovation för framtida programvaror utformade för 3D-animation. Dock har det sällan tagits någon hänsyn till de underliggande anledningarna om varför problemen uppstår, och inte heller genom ett psykologiskt perspektiv. Om 3D-animation ska bli mer etablerat inom den akademiska disciplinen så behöver framsteg göras för att skapa en starkare grund.Denna vetenskapliga uppsats undersöker möjliga anledningar till varför joint-deformationsproblem upplevs med riggen för digitala mänskliga karaktärer i Autodesk Maya. Detta utforskas genom att använda kognitiv psykologi, speciellt teorier kring perception, med ytterligare överväganden om att ”the Uncanny Valley” och ”Suspension of disbelief” skulle vara avgörande faktorer. Ett experiment var utformat för att utvärdera närvarandet av joint-deformationsproblem gällande en grundläggande mänsklig karaktär samt två möjliga lösningar till problemet.Den presenterade hypotesen, om vad som påverkar att en betraktare noterar joint-deformationsproblem, stärktes av undersökningens givna resultat. Dock är fortsatta forskningar kring ämnet nödvändiga för att definitivt bekräfta hypotesens reliabilitet och validitet. Undersökningen visade att problem med joint-deformationer kan noteras av betraktaren och därmed skapa en distraktion för filmens handling, men att andra faktorer kan vara mer avgörande för samma innebörd. Framtida forskningar kan resultera i att hjälpa digitala artister att underlätta deras förståelse om hur en publik kan tänkas reagera på närvarandet av joint-deformationsproblem och att effektivisera deras arbetsprocess.

En animation de personnages 3D, la déformation de surface, ou skinning, est une étape cruciale. Son rôle est de déformer la représentation surfacique d'un personnage pour permettre son rendu dans une succession de poses spécifiées par un animateur. La plausibilité et la qualité visuelle du résultat dépendent directement de la méthode de skinning choisie. Sa rapidité d'exécution et sa simplicité d'utilisation sont également à prendre en compte pour rendre possible son usage interactif lors des sessions de production des artistes 3D. Les différentes méthodes de skinning actuelles se divisent en trois catégories. Les méthodes géométriques sont rapides et simples d'utilisation, mais leur résultats manquent de plausibilité. Les approches s'appuyant sur des exemples produisent des résultats réalistes, elles nécessitent en revanche une base de données d'exemples volumineuse, et le contrôle de leur résultat est fastidieux. Enfin, les algorithmes de simulation physique sont capables de modéliser les phénomènes dynamiques les plus complexes au prix d'un temps de calcul souvent prohibitif pour une utilisation interactive. Les travaux décrits dans cette thèse s'appuient sur Implicit Skinning, une méthode géométrique corrective utilisant une représentation implicite des surfaces, qui permet de résoudre de nombreux problèmes rencontrés avec les méthodes géométriques classiques, tout en gardant des performances permettant son usage interactif. La contribution principale de ces travaux est un modèle d'animation qui prend en compte les effets des muscles des personnages et de leur interactions avec d'autres éléments anatomiques, tout en bénéficiant des avantages apportés par Implicit Skinning. Les muscles sont représentés par une surface d'extrusion le long d'axes centraux. Les axes des muscles sont contrôlés par une méthode de simulation physique simplifiée. Cette représentation permet de modéliser les collisions des muscles entre eux et avec les os, d'introduire des effets dynamiques tels que rebonds et secousses, tout en garantissant la conservation du volume, afin de représenter le comportement réel des muscles. Ce modèle produit des déformations plus plausibles et dynamiques que les méthodes géométriques de l'état de l'art, tout en conservant des performances suffisantes pour permettre son usage dans une session d'édition interactive. Elle offre de plus aux infographistes un contrôle intuitif sur la forme des muscles pour que les déformations obtenues se conforment à leur vision artistique. / Surface deformation, or skinning is a crucial step in 3D character animation. Its role is to deform the surface representation of a character to be rendered in the succession of poses specified by an animator. The quality and plausiblity of the displayed results directly depends on the properties of the skinning method. However, speed and simplicity are also important criteria to enable their use in interactive editing sessions. Current skinning methods can be divided in three categories. Geometric methods are fast and simple to use, but their results lack plausibility. Example-based approaches produce realistic results, yet they require a large database of examples while remaining tedious to edit. Finally, physical simulations can model the most complex dynamical phenomena, but at a very high computational cost, making their interactive use impractical. The work presented in this thesis are based on, Implicit Skinning, is a corrective geometric approach using implicit surfaces to solve many issues of standard geometric skinning methods, while remaining fast enough for interactive use. The main contribution of this work is an animation model that adds anatomical plausibility to a character by representing muscle deformations and their interactions with other anatomical features, while benefiting from the advantages of Implicit Skinning. Muscles are represented by an extrusion surface along a central axis. These axes are driven by a simplified physics simulation method, introducing dynamic effects, such as jiggling. The muscle model guarantees volume conservation, a property of real-life muscles. This model adds plausibility and dynamics lacking in state-of-the-art geometric methods at a moderate computational cost, which enables its interactive use. In addition, it offers intuitive shape control to animators, enabling them to match the results with their artistic vision.