2009年底，台灣蘋果日報推出【動新聞】，因為其以3D動畫的方式詳述性侵、暴力等社會新聞，引發輿論批評，而且國家傳播通訊委員（NCC）也明白指出，電視新聞使用3D動畫非真實呈現，換句話說，民間與官方都一致認為電視新聞使用3D動畫恐怕有損新聞的專業性。有鑑於新聞媒體最重要的價值就是「新聞可信度」，因此，本研究遂將一般閱聽眾視研究對象，採取實驗法進行社會新聞使用3D動畫有無，進行新聞可信度差異研究。 　　受測者總計52人，依社會新聞次分類分別為突發新聞、犯罪新聞，又依3D動畫有無，共計分為4組，採t檢定檢驗發現，3D動畫有無不會影響新聞可信度，而且突發、犯罪新聞的新聞可信度也無差異；又採二因子變異數檢定發現，新聞可信度不會因為「社會新聞次類型」、「3D動畫有無」或其交互作用產生差異。此外，二因子變異數的檢驗發現，閱聽眾對於3D動畫的既有態度不會影響新聞可信度評估，最後，人口學變項也不會影響新聞可信度評估。 　　即便本研究初步證實社會新聞使用3D動畫有無，在新聞可信度上並無差異，但相較於沒有使用3D動畫的，有使用的反而獲得較高的平均數。 / At the end of 2009, Taiwan Next Media introduced Animated News, which induced considerable public criticism due to its use of 3D animation to portray social news containing acts of sexual assault and violence. Furthermore, the National Communications Commission (NCC) has clearly pointed out that the 3D animation used in TV news is not a real representation. In other words, both the public and government believe to a large degree that 3D animation used in TV news may harm journalistic professionalism. In view of the fact that the most important value of news media is "news credibility," the study employs experimental methods to determine the difference in the credibility of news in the eyes of research subjects consisting of ordinary viewers that results when social news adopts 3D animation. The total of 52 respondents were divided into four groups viewing news in the two subcategories of breaking news and crime news either with or without 3D animation. Inspection employing the t-test revealed that the presence of 3D animation does not affect the credibility of news, and no effect was observed in the case of either breaking news or crime news. Two-way ANOVA further discovered that the credibility of news does not vary due to "social news subcategory," "presence of 3D animation," or their interaction. In addition, two-way ANOVA also revealed that viewers' existing attitude toward 3D animation does not influence their assessment of the credibility of news. This study not only found that the use of 3D animation and social news does not affect the credibility of the news, but also discovered that compared with news not employing 3D animation, news using animation in fact received relatively high average credibility scores.

Diplominiame darbe nagrinėjama pasaka, kaip meninis/socialinis reiškinys. Keliamas tikslas – remiantis pasakų prasmės analize, parodyti kaip transformuojamas pasakų pasaulis iš žodinio į vaizdinį, bei sukurti animuotą pasaką. Šio tikslo siekiama aiškinantis pasakų reikšmę ir prasmę, bei aptariant absurdo pasakos žanrą, pasirinktą kūrybiniam projektui.Kūrybinėje darbo dalyje sukurtas mišrių technologijų animacinis filmas pagal Gabrieliaus Mackevičiaus absurdo pasaką „Senelis“. Filmas sukurtas koliažo technologijos principu, remiantis popartu, bei absurdo teatrui būdingais lėliškais – mechaniškais judesiais. / In this bachelor’s work fairy-tale is studying, like artistic/social phenomenon. Raising a goal – with reference fairy-tale’s meaning analysis, to show how fairy-tale’s world it is transformed from verbal to visual, and to create animated fairy-tale. This goal is reaching by explaining fairy-tales meaning and sense, and discussing absurdity tale genre, taken for creative project. In the creative part of this project mixed technology animated cartoon was made by Gabrielius Mackevičius absurdity fairy-tale „Senelis“. Animated cartoon was created using collage technology, in accordance with pop art and Absurdity Theater typical puppet – mechanical movements.

Les structures fibreuses, formées d'une assemblée d'objets longilignes flexibles, sont très présentes dans notre environnement quotidien, notamment dans des systèmes biologiques tels que les végétaux ou les cheveux. Ces dernières années ont vu se développer diverses techniques de numérisation de la géométrie de fibres, soit par synthèse manuelle, soit par capture automatique. Parallèlement, de nombreux modèles physiques de simulation dynamique de fibres enchevêtrées ont été créés pour animer automatiquement ces objets complexes. Le but de cette thèse est d'établir un pont entre ces deux domaines: la géométrie de fibres d'une part, leur simulation dynamique d'autre part. Plus précisément, nous nous intéressons à la mise en correspondance d'une géométrie de fibres donnée en entrée, représentant un système mécanique à l'équilibre stable sous l'action de forces extérieures (gravité, forces de contact), avec les paramètres d'un modèle physique de fibres en contact. Notre objectif est de calculer les paramètres physiques des fibres de manière à garantir l'état d'équilibre de la géométrie donnée. Nous proposons de résoudre ce problème en choisissant comme modèle physique de fibres une assemblée de super-hélices en contact frottant. Nous proposons deux contributions principales. La première répond au besoin de convertir la géométrie d'une fibre numérisée quelconque, représentée comme une courbe 3d, en la géométrie du modèle des super-hélices, à savoir une courbe $G^1$ en hélices par morceaux. Nous proposons pour cela l'algorithme des tangentes flottantes 3d, qui consiste, en s'appuyant sur la condition de co-hélicité récemment énoncée par Ghosh, à interpoler N+1 tangentes réparties sur la courbe d'origine par N morceaux d'hélice, tout en minimisant l'écart en position. Par ailleurs nous complétons la démonstration partielle de Ghosh pour prouver la validité de notre algorithme dans le cas général. L'efficacité et la précision de notre méthode sont ensuite mises en évidence sur des jeux de données variés, d'abord synthétiques, créés par une artiste, puis issus de la capture de données réelles telles que des cheveux, des fibres musculaires ou des lignes de champ magnétique stellaire. Notre seconde contribution est le calcul de la géométrie au repos du modèle physique d'une assemblée de super-hélices, de sorte que la configuration de ce système à l'équilibre sous l'action des forces extérieures corresponde à la géométrie d'entrée. D'abord, nous considérons une fibre isolée soumise à des forces dérivant d'un potentiel, et montrons que le calcul est trivial dans ce cas. Nous proposons alors un critère simple permettant de décider si l'état d'équilibre est stable, et dans le cas contraire, de le stabiliser. Ensuite, nous considérons une assemblée de fibres soumises à des forces de contact frottant, modélisées par la loi non-régulière de Signorini-Coulomb. En considérant le matériau homogène, de masse et de raideur connues, et en nous appuyant sur une estimation de la géométrie au repos, nous construisons un problème d'optimisation quadratique convexe avec contraintes du second ordre. Nous montrons que ce problème inverse peut être résolu efficacement en utilisant un solveur conçu initialement pour le problème dynamique direct. Pour une géométrie d'entrée constituée de quelques milliers de fibres soumises à plusieurs dizaines de milliers de contacts frottants, nous calculons en quelques secondes une approximation plausible de la géométrie au repos des fibres, ainsi que des forces de contact en jeu. Nous appliquons finalement la combinaison de nos deux contributions à la synthèse automatique de coiffures physiques. Notre méthode permet d'initialiser un moteur physique de cheveux avec la géométrie issue des captures de coiffures réelles les plus récentes, et d'animer ensuite ces coiffures. / Fibrous structures, which consist of an assembly of flexible slender objects, are ubiquitous in our environment, notably in biological systems such as plants or hair. Over the past few years, various techniques have been developed for digitalizing fibers, either through manual synthesis or with the help of automatic capture. Concurrently, advanced physics based models for the dynamics of entangled fibers have been introduced in order to animate these complex objects automatically. The goal of this thesis is to bridge the gap between those two areas: on the one hand, the geometric representation of fibers; on the other hand, their dynamic simulation. More precisely, given an input fiber geometry assumed to represent a mechanical system in stable equilibrium under external forces (gravity, contact forces), we are interested in the mapping of such a geometry onto the static configuration of a physics-based model for a fiber assembly. Our goal thus amounts to computing the parameters of the fibers that ensure the equilibrium of the given geometry. We propose to solve this inverse problem by modeling a fiber assembly physically as a discrete collection of super-helices subject to frictional contact. We propose two main contributions. The first one deals with the problem of converting the digitalized geometry of fibers, represented as a space curve, into the geometry of the super-helix model, namely a $G^1$ piecewise helical curve. For this purpose we introduce the 3d floating tangents algorithm, which relies upon the co-helicity condition recently stated by Ghosh. More precisely, our method consists in interpolating N+1 tangents distributed on the initial curve by N helices, while minimizing points displacement. Furthermore we complete the partial proof of Ghosh for the co-helicity condition to prove the validity of our algorithm in the general case. The efficiency and accuracy of our method are then demonstrated on various data sets, ranging from synthetic data created by an artist to real data captures such as hair, muscle fibers or lines of the magnetic field of a star. Our second contribution is the computation of the geometry at rest of a super-helix assembly, so that the equilibrium configuration of this system under external forces matches the input geometry. First, we consider a single fiber subject to forces deriving from a potential, and show that the computation is trivial in this case. We propose a simple criterion for stating whether the equilibrium is stable, and if not, we show how to stabilize it. Next, we consider a fiber assembly subject to dry frictional contact (Signorini-Coulomb law). Considering the material as homogeneous, with known mass and stiffness, and relying on an estimate of the geometry at rest, we build a well-posed convex quadratic optimization problem with second order cone constraints. For an input geometry consisting of a few thousands of fibers subject to tens of thousands frictional contacts, we compute within a few seconds a plausible approximation of both the geometry of the fibers at rest and the contact forces at play. We finally apply the combination of our two contributions to the automatic synthesis of natural hairstyles. Our method is used to initialize a physics hair engine with the hair geometry taken from the latest captures of real hairstyles, which can be subsequently animated physically.

This thesis evaluates and tests different methods utilized to produce a 2D aesthetic within a 3D pipeline, as in, converting 3D geometry to an aesthetic that is similar to hand-drawn classic films such as Snow White And The Seven Dwarfs. This thesis explores methods to produce both exterior and interior lines that indicate shape and form of 3D models, the conclusion from the tested methods leaves with the statement that it is unlikely the human factor will be ever entirely replaced by automated solutions, and instead a mixed approach with shader relied solutions and involvement of texturing techniques which provides artistic controls where necessary, is deemed to be the most effective way of preserving the hand-drawn 2D aesthetic within a 3D-pipeline.

The master thesis is focused on creation of a visualization environment that displays a movement of a vehicle. A connection of the virtual reality with Matlab/Simulink and its 3D Animation toolbox is realized. Basic parameters of the vehicle can be easily edited using application created in Matlab. Selected dynamic effects are rendered together with the movement of the vehicle. The visualization is managed by results of the simulation calculations or measurements.

As an artist, my work reflects my own life experiences, allowing me to reinterpret and process difficult events in a new light. Creating art is a therapeutic process for me, enabling me to explore and understand my past and my own Self. In line with James Baldwin's views, I believe that the duty of an artist is to provide their audience with an opportunity to rediscover themselves; to help them explore their inner selves. In my experience, to achieve that goal, the first and most important hurdle the artist needs to cross is exploring themselves. In the process of answering questions about their own selves, they can touch many other souls. In Fragmented Self, I employ composited 3D animations of my own body parts juxtaposed over still and moving images. Each body part and piece in Fragmented Self is a metaphorical representation of a specific experience I have lived through. The resulting pieces are meditative, surreal, and abstracted spaces that speak to the complexities of life experiences. I believe each body holds messages from the past, and in Fragmented Self, I disembody and fragment my own body to study and explore my own Self. Drawing inspiration from Walt Whitman's Leaves of Grass in which he proclaims, "I contain multitudes", I see my Self as a composite of various selves shaped by different life experiences coming together to form one Self. I believe that I am a constantly evolving individual, influencing my everyday encounters and choices. As in the Japanese tradition of Kintsugi, in Fragmented Self, I trace the gold lined cracks that unite my multitudinous selves into one in hopes of answering the question "What makes me who I am today?" / Master of Fine Arts / Fragmented Self is a body of artwork created in an effort to learn about my own Self. The work explores how I see my Self as containing multiple selves. The project utilizes video and 3D rendering to create digital composites with semi-realistic aesthetics. The finished work includes 3 pieces focusing on ideas of time, perception, and fragmentation.

No description available.

No description available.

The purpose of my study is to analyze Assyrian sculptures in the palace of Nimrud from throne room of Aššur-nāṣir-apli northwest palace. My research will be to compare sculptures with a theoretical as well as practical issue in the design of the galleries. Images of supernatural beings would be set up at entrances to palaces and temples. Assyrians called sculptures Lamassū (from written Sumerian references LAM(M) (A) lord of horizons, guardian of the Assyrian Gate. Lamassū are both flanked at the doorways from the throne room of Aššur-nāṣir-apli`s northwest palace. The exact meaning is not clear, but Lamassū can be taken as representing an Assyrian protective divinity. The first method in my analysis combines the need to establish the subjective meaning of objects as objective reality that is their meaning for digital design. My thesis aims to define a specific iconographic theme, centered around sculptures based on similarities in the composition of each scene in the selection of images on monuments in Nimrud. Digitalization projects provide an angle from mergers areas as architecture and archeology through images. With the project historians can use traditional documents and images to reconstruct the past and palaces. The analysis takes as an example of the importance of Digital archeology in understanding the role of artefacts and the role as a function of the specific purpose or activities for which such present or used in museums. We construct meaning as the basis for action, and not only from concrete material, but also from the matrix of symbols that are available from within culture to interpret the substantive conditions. Digital archeology is associated with technology that provides a picture of the physical environment. The digital images show the limit between design of the architectural spaces from the British Museum and the old spaces in Nimrud.

The diploma thesis deals with the kinematic analysis of the most frequently used technique in sports karate. Specifically, it analyzes the technique of the direct punch Gjaku cuki from the perspective of kumite discipline. The thesis describes its theoretical implementation on the basis of professional publications dedicated to the general public as well as experts and points to the various factors that affect performance in kumite. The strike technique is analyzed in practice with various technical advances by using 3D kinematic analysis (SIMI Motion). The work analyzes in detail the movements of the individual segments of the body, the angular changes between them and examines the variables such as hull inclination, speed, acceleration, height and center of gravity track during the direct punch. The results are partially compared with the theoretical description and the differences in the results of the members of Czech national karate team with different technical maturity are examined. The conclusion are summarized the acquired knowledge from kinematic analysis, which provide a recommendation for the training practice and appropriate advice on quality of Gjaku cuki.