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Mémoire numérisé par la Direction des bibliothèques de l'Université de Montréal.

This thesis investigates the effectiveness (doing the right thing) and efficiency (doing the thing right) of computer-based discrete-event simulation for designing manufacturing systems. This investigation looked at the use of this technology in the manufacture of discrete components in aerospace, automotive and consumer electrical (white goods) industries and for material handling (warehousing). Continuous and quasi-continuous manufacture have not been investigated and hence, the conclusions of this thesis cannot be generalised to cover these areas. Working hypotheses were developed and tested which looked at how discrete-event simulation influences the understanding of, confidence in and credibility of a system's design. Testing these working hypotheses lead to conclusions about how discrete-event simulation affects the quality of decision making and the lead-time to develop, commission and ramp-up a manufacturing facility. The following five factors were identified as influencing the efficiency of delivery of discrete-event simulation: l. Management of the simulation study and its intended benefits. 2. Management of customers' expectations. 3. Use of geometric animation. 4. Validation and establishing credibility. 5. How simulation's effectiveness varies over the life of a manufacturing system development project. A qualitative research methodology was employed to test these working hypotheses and to explore these efficiency factors. Twenty-three research subjects, in twelve companies, were drawn from the following three groups: ° Modellers (who provide the modelling service). ° Team members (who are closely involved with supporting the execution of a simulation study). Senior decision makers (who are not closely involved with the execution of the study, but who review its findings). A good practice model was developed for the efficient acquisition and application of the technology. This model consists of the following six elements: 1. Establishing and maintaining a DES modelling capability in the organisation. 2. Knowing whether to use DES modelling for this manufacturing system and when. 3. Defining the study's objectives and their means of measurement. 4. Specify responsibilities for supporting the study and implementing its findings. 5. There is no improvement in the effectiveness of DES modelling in using 2D rather than 3D geometric animation. 6. 3D geometric animation can increase the efficiency of a study, if used appropriately. Conclusions were made about the effectiveness of discrete-event simulation, how the above mentioned factors influence its efficiency of delivery and how to implement the good practice model.

The social internet environment has given rise to new ways of engaging and critiquing animated video. In this democratic environment, criticism is no longer exclusive to a few select recognised professional critics and there is no real distinction between professional and non-¬professional critics. The coexistence of both types of critics within the same space results in more dynamic engagement with the subject and creates the conditions for learning. Developments in technology which include cellular phones in particular but also include other devices such as tablets have allowed viewers and potential critics to access online video from any location, broadening accessibility and the scope for critical engagements. New online tools and increased internet connectivity have resulted in an explosion of animated video and critics of all kinds are needed to cater to the growing demand for criticism. This suggests that greater significance needs to be placed on self-proclaimed critics and other opinionated users of the web. This paper sets out to examine and assess the value in criticism by the new expanded audience of non¬‐professional critics. It explores interactive social tools in detail, including blogs, twitter and particularly video‐based websites to understand the manner in which they affect the reception of animated videos as well as the subsequent criticism of these videos. The main question to be addressed is whether or not valuable and relevant criticism can be accessed from various online social platforms attached to newly accessible sources for animation.

A Research Report submitted in partial fulfillment of the requirement for the Degree of Masters of Arts in Digital Animation at the University of the Witwatersrand (Wits School of Art) Johannesburg, South Africa 12 October 2015 / This research report aims to encourage the research, development and production of interactive educational animated series in southern Africa such as the highly successful US series Dora the Explorer, specifically to teach southern African languages. Over the years mediums of imparting knowledge to children have changed rapidly (mainly due to ever-evolving technology), but the fact that children learn best when they are having fun has remained constant. Animation has been a leader in children’s entertainment as it has the power of expanding their imaginations and at the same time captures their attention. Animated series such as Dora the Explorer and Blues Clues have been popular with preschool children and impart valuable lessons. Dora the Explorer in particular helps children learn Spanish as a second language. The research takes a look at how children acquire a second language and how animation can aid the process of learning. Various theories on how children learn reveal the link between language, age and play. It is revealed that during production, careful consideration of content is required for educational animation to be an effective learning aid. This leads to the discovery of Richard Mayer’s principles that are recommended to be considered when creating effective educational animation. Included is a comparative analysis of the development processes of successful US children’s educational animated series to similar southern African productions. The research aims to inform the possible creation of an educational interactive animated series to enhance second language development for preschool children.

Abstract Japanese anime being an important part of modern and contemporary popular visual culture, its aesthetic merits, its roots in Japanese visual arts as well as its rich symbology derived from Japanese folkloristic, literary and religious themes are worth investigating. This research aims to track the visual links between Edo and Meiji period monster art (y??kai-ga) paintings and modern day anime by concentrating on the works of Edo and Meiji period painters and the post-war period animation and manga series Gegegeno Kitaro, created by Mizuki Shigeru. Some of the Japanese origins of anime and manga imagery can be traced back to the early 12th century Ch??j?? Giga animal scrolls, where comic art and narrative pictures first appear. However, more recent sources are found in woodblock prints of the late Edo period. These prints are the forerunners of manga in that dialogues appear with the image, generally no anatomical details are given nor are they in perspective, but often a mood is expressed in a cartoon-like manner. The visual rendering of y??kai (monsters) is a Japanese cultural phenomenon: y??kai paintings originate in the Muromachi period, and take up part of the visual arts of that era. The distinct monster (y??kai) imagery emerging in the late Edo to early Meiji periods is the focus of this research. Investigating the Gegegeno Kitaro series, the study pinpoints the visual roots of the animation characters in the context of y??kai folklore and Edo and Meiji period monster painting traditions. Being a very popular series consisting of numerous episodes broadcast from the 1960s to the present time, by analyzing the changing images related to the representation of monsters in the series the study documents the changes in the perception of monsters in this time period, while it reflects on the importance of Mizuki??s work in keeping visual traditions alive and educating new audiences about folklore by recasting y??kai imagery in modern day settings in an innovative way. Additionally, by analyzing and comparing character, set, costume and mask design, plot and storyline of y??kai-themed films, the study attempts to shed light on the roles the representations of y??kai have been assigned in post-war Japanese cinema.

A full-length feature film such as Pixar's Toy Story, or the award-winning educational programs such as Walking with Dinosaurs, require a production time of several years and draw on the full-time efforts of several hundred skilled employees. Digital videography and photography has equally broad impact as everyone uses photos and videos to record memories of friends, family and events. Despite a wealth of sophisticated techniques for manipulating photographs, illustrations, and motions the compelling images in educational videos and feature films are more commonly the results of artistry and of painstaking work than of intuitive tools. As a result, despite their potential to revolutionize all educational material, high quality visual aids are used infrequently because of the extensive production costs. In the MIT Computer Graphics Group, we evolve these techniques to make them more accessible to inexperienced authors: scientists, educators, storytellers, and other broad public. We present easy-to-use tools that reduce the cost of producing compelling photographs, illustrations, and motions. / Singapore-MIT Alliance (SMA)

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