M.Sc (Computer Science) / Facial modelling and animation is considered one of the most challenging areas in the animation world. Since Parke and Waters’s (1996) comprehensive book, no major work encompassing the entire field of facial animation has been published. This thesis covers Parke and Waters’s work, while also providing a survey of the developments in the field since 1996. The thesis describes, analyses, and compares (where applicable) the existing techniques and practices used to produce the facial animation. Where applicable, the related techniques are grouped in the same chapter and described in a chronological fashion, outlining their differences, as well as their advantages and disadvantages. The thesis is concluded by exploratory work towards a talking head for Northern Sotho. Facial animation and lip synchronisation of a fragment of Northern Sotho is done by using software tools primarily designed for English. / Computing

In the course of this dissertation, I will interrogate traditional representations of the heroic figure within the fantasy genre. I will argue that the tropes established by some of the most renowned fantasy texts are undergoing a process of evolution and that Steven Erikson (who is the special focus of my discussion) seeks to revision the heroic mould through his construction of Coltaine of the Crow Clan in Deadhouse Gates (2001). Deadhouse Gates centres on Coltaine, who is tasked with escorting tens of thousands of refugees across four hundred leagues of hostile territory. This re-evaluation of fantasy modes has significant ramifications for the future development of the genre as a whole. In order to explore how Erikson interrogates heroic representation, I briefly establish some of the distinctive characteristics of fantasy. I then explore how some major fantasy texts represent heroism, before investigating Erikson’s particular response to these traditions. / English Studies / M. A. (English)

This essay concerns Purple Hibiscus and Kambili's emotional development, and explores how violence, submission and emotional dependence along with a traditional feminine gender role can hinder acknowledgement of trauma. I propose that Kambili is encouraged to take on a culturally expected feminine gender role, and her submissive disposition is discussed and connected to her constant search for a father figure. The notion of personal and collective postcolonial trauma is explained and applied to contextualise her inability to question either her father or the political situation in Nigeria. I read Kambili's change as negative and aim to show that she has internalised patriarchal structures. Her change is contrasted to the change in her brother Jaja, to show how and why they develop in different directions. Traditional gender roles are discussed from a rather general perspective, but also in a context that concern masculinity, violence and power relations.

Text in Afrikaans / "Teksbetekenis" staan sedert die opkoms van strukturalisme in die middelpunt van die diskussie in literere Kringe. Die ontwikkeling van lesersgeorienteerde teoriee en die opkoms van die konsep van "intertekstualiteit" het veral bygedra tot die bevraagtekening van die opvatting dat tekste 'n "eintlike" betekenis "het". In konserwatiewe kerklike kringe word daar egter nog baie gemaak van die Skrif as 'n regulatiewe dokument met een sensurerende eintlike of korrekte betekenis. Die opvatting is ook dat prediking Skrifprediking moet wees waarin slegs die Skrifwoord 'n plek het. Die opvatting strook nie met literere insigte nie. In hierdie studie word sekere aspekte van die literere gestalte van die Masoretiese 1 Konings 21 ontleed en die resultaat hiervan vergelyk met soortgelyke analises van die weergawe van die verhaal in vertalings (LXX, Vulgaat, Wycliffe, Purvey, en die Geneva Bible), oorvertellings (deur Josefus en Lukas), kommentare (in die kantlyne van Purvey-en Geneefse vertalings), preke en in 'n akademiese artikel. Die bevinding is dat elke weergawe, ongeag die genre daarvan, die verhaal op een of ander manier verander het en dat interpretasies wissel van mindere uitbouings tot die skep van nuwe verhale. Die situasie van die interpreteer- der het telkens die interteks gevorm wat 'n nuwe vertelling laat ontstaan het. Hoewel tekste betekenis mag he (wat dit moontlik maak om hulle met mekaar te vergelyk) is elke interpretasie 'n kontekstualisering wat onvermydelik 'n nuwe teks produseer. Die bevinding bring konserwatief-teologiese definisies van Skrifbeskoulike konsepte soos kanon, kanoniese betekenis, Skrifgesag en Skrifprediking ernstig in gedrang en noodsaak dringende herbesinning op daardie terreine / Since the rise of structuralism "textual meaning" has been at the centre of the literary debate. The formation of reader orientated theories and a concept like "intertextuality" contributed a great deal to the questioning of the idea that texts "have" a "real" meaning. However, in conservative church circles much is still being made of scripture as a regulative document with one censuring "real" or correct meaning. The conviction is, further, that preaching should be "scriptural", that is, sermons should only repeat what Scripture says. This view does not tally with insights gained from current literary theory. In this study certain aspects of the literary shape of the Massoretic version of 1 Kings 21 are analysed and the results compared with similar analyses of accounts of this narrative in translations (LXX, Vulgate, Wycliffe, Purvey and the Geneva Bible), re-tellings (by Josephus and Luke), comnentaries (Purvey and Geneva Bible margins), sermons and an academic article. It was found that each account, irrespective of its genre, in some or other way changed the narrative and that the interpretations vary from lesser extentions to the creation of completely new narratives. The situation of the interpreter constantly functioned as the intertext generating a new narrative. Even though texts may "possess" meaning (enabling one to compare them with one another) every interpretation is a contextualisation inevitably producing a new text. This conclusion seriously questions conservative theological definitions of concepts such as canon, canonical meaning, scriptural authority and scriptural preaching and necessitates urgent rethinking in these areas / Biblical and Ancient Studies / D. Th. (Ou Testament)

International Telemetering Conference Proceedings / October 22-25, 2001 / Riviera Hotel and Convention Center, Las Vegas, Nevada / Automating Telemetry Tracking Systems Operational Readiness Tests is a concept that was introduced at White Sands Missile Range in the early 1980’s. The idea was to determine the condition of a Telemetry Tracking System in a reliable manner in a short time as possible. A series of RF and Servo Tests designed to determine the condition of a Telemetry Tracking System was implemented using HP BASIC. The latest personal computers are faster and have more storage capacity plus the capability to be programmed in higher level languages such as C/C++ and LabView. This technology makes it easier to automate system tests. Many of these tests need to be conducted just prior to supporting a mission. Some tests are required to be performed on mobile systems after moving the system from one location to another, especially if the move was over long distances and rugged terrain. Tests such as G/T are conducted before each mission because it yields accurate information on the Figure of Merit, or, System Sensitivity. Noise Figure Measurements are more difficult to perform to determine the System Sensitivity since modern RF Subsystems have pre-amplifiers with Noise Figures of less than 1.0 dB. The “down-sizing” of personnel increases the possibility of failure in mission support scenarios due to the many critical readiness tests needed to assess the Telemetry Tracking Systems. Also, conventional test methods can be time consuming and are subject to human error. This paper describes four critical tests that have been automated to improve reliability of the test data and decrease the amount of time required to conduct the tests. The “C/C++” language was used to write the automation programs. More tests will be automated later.

Autoriteto sąvoka yra seniai įsigalėjusi ir veikianti visuomenėje, kaip įtakos, galios, absoliutaus pasitikėjimo ir pranašumo prieš kitus simbolis. Autoritetas yra patraukiantis pavyzdys, kuriuo žavimasi, o kartu sąmoningai ar ne norima jam prilygti – įgauti autoriteto turimą pagarbą, mėgautis jo sėkme. Dabartinėje visuomenėje tradicinio religinio autoriteto formos yra tik vienos iš daugelio dominuojančių autoritetų, kurie egzistuoja nebe kaip viską apimantys, viską žinantys ir teigiantys, o atvirkščiai specializuojasi į tam tikras skirtingai apibrėžiamas, vertinamas ir suprantamas sritis. Autoriteto sąvoka modernioje visuomenėje daugiau siejama su specialisto, eksperto apibrėžimais. Autoritetas suprantamas kaip tam tikros srities lyderis, kuris savo pranašumu traukia pasekėjus ir savo sėkmės pavyzdžiu formuoja jų siekiamybes. Reklamoje pasirodanti autoriteto figūra tampa neatskiriama populiariosios kultūros dalimi. Toks autoritetas nebepriklauso pats sau, jo įvaizdį kuria imagologai, kurie autoritetą paverčia reikiamu vaizdu ir žodžiais – taip autoritetas tampa simuliakru – veidrodžiu, atspindinčiu ne šalia vykstantį gyvenimą, bet imančiu vaizduoti imagologų norimą sukurti tikrovę. Taip autoritetas, veikiantis reklamoje, už tam tikrą mokestį sutinka atiduoti dalį savo populiarumo reklamuojamam produktui, nes tikėtina, kad jį gerbiantys ir pasitikintys žmonės lygiai taip pat ims pasitikėti reklamuojamo produkto verte – šis procesas vadinamas dalinimusi simboliniu kapitalu... [toliau žr. visą tekstą] / Notion of authority has been prevailing and well functioning in society, like symbol of influence, power, and absolute confidence and advantage over others. Authority is an attractive example widely admired at, and thus consciously or not wanting to equal it – to acquire the respect featured by the authority, to enjoy its success, and so on. In the current society, traditional forms of religious authority is only one of the most dominant authorities, which no longer exists as a comprehensive, all knowing and claiming, but specializes in a number of differently defined, understood and valued areas. The concept of authority in modern society is more associated with the specialist, the expert definitions. Authority is understood as a leader in some field, which by his/her advantage attracts followers and, based on his/her success, forms others’ strivings. Authority figure appearing in advertisement becomes an integral part of popular culture. Such authority no longer belongs to him/herself, his/her image is created by image makers, who turn authority into the right image and words: in this way authority becomes simulacra, the mirror, reflecting not a near-going life, but showing the reality desired to create by image makers. Thus, authority, acting in advertising, for a fee agrees to surrender a part of his/her popularity to the product being advertised, as it is likely that abiding and confident people in the same way will trust the value of the product being advertised, a... [to full text]

Access to abstract permanently restricted to Ball State community only / Access to thesis permanently restricted to Ball State community only / Department of Communication Studies

Mainstream cinema is to an ever-increasing degree deploying digital imaging technologies to work with the human form; expanding on it, morphing its features, or providing new ways of presenting it. This has prompted theories of simulation and virtualisation to explore the cultural and aesthetic implications, anxieties, and possibilities of a loss of the ‘real’ – in turn often defined in terms of the photographic trace. This thesis wants to provide another perspective. Following instead some recent imperatives in art-theory, this study looks to introduce and expand on the notion of the human figure, as pertaining to processes of figuration rather than (only) representation. The notion of the figure and figuration have an extended history in the fields of hermeneutics, aesthetics, and philosophy, through which they have come to stand for particular theories and methodologies with regards to images and their communication of meaning. This objective of this study is to appropriate these for film-theory, culminating in two case-studies to demonstrate how formal parameters present and organise ideas of the body and the human. The aim is to develop a material approach to contemporary digital practices, where bodies have not ceased to matter but are framed in new ways by new technologies.

My work explores the nature of individual perception, and the side of our lives lived entirely within our minds. I do this through the lens of self-reflection, examining the images of my own mental life and translating them into delicately handwoven cloth. These images and their structures become sensory experiences of the intangible, and a meeting place for my internal life and that of my viewer. The cloth I weave is simultaneously familiar and strange. Through woven surface and imbedded imagery, I attempt to illuminate the deep emotions that necessarily isolate us from each other, and the shared experiences of our physical beings, which connect us. The quiet, ritualistic act of weaving expresses an overlapping of mental and physical space: the resulting cloth bears within each line of warp and weft the metaphor of that process.

La recherche vise à élaborer la condition tragique qui émane de la figure de l'enfant au cinéma – à travers ses traumas, ses blessures, voire sa destruction et sa perte – devant laquelle le spectateur adulte éprouve un certain malaise. Nous pouvons voir au cinéma des enfants aux prises avec des conditions de vie traumatisantes, voire inhumaines. Que ce soit les enfants abandonnés ou orphelins, les enfants violés, les enfants maltraités, les enfants victimes de guerre – incluant la dualité paradoxale qu’instaure l'enfant-soldat, de Ivan (« L’enfance d’Ivan », Tarkovski, 1962) à Komona (« Rebelle », Kim Nguyen, 2012) – ou les enfants face à la mort, diverses situations peuvent contribuer à inscrire l'enfance dans le registre du tragique, par la destruction ou la perte de l'enfance. L'enfance détruite porte en elle une blessure (trauma) – qu'elle soit physique ou psychique – qui renvoie au « manque », ou à la fragilité humaine que traduit l'image de l'enfant dit « sans secours ». Quand l’enfant doit faire face à une situation tragique où il est sans défense et confronté à son propre anéantissement, sa figure devient pour nous traumatique. Nous suggérons que le tragique place l’enfant au cinéma dans un après-coup qui renvoie à un traumatisme premier fondamental, prototype de toute situation traumatique. Pour le psychanalyste Sigmund Freud, ce serait un traumatisme lié à la détresse infantile – le « Hilflosigkeit » – qui correspond à la première angoisse vécue par le nourrisson dû à son impuissance (« Inhibition, symptôme et angoisse », [1926] 1951, Paris : PUF). Dans cette lignée, certains psychanalystes (comme Otto Rank ou Jean-Marie Delassus) préciseraient que le traumatisme s'installe dès la naissance, qui marque de manière universelle le premier sentiment de perte et d'angoisse suite à l'éjection dans un monde étranger et d'abord impossible, ce qui correspond à une dislocation première (suivant le sens qu’en propose Benoit Goetz dans « La dislocation » (2002, Paris : Éditions de la Passion)). L'enfant au cinéma, qui traverse des épreuves qui nous sont difficiles à concevoir, nous regarde et pointe en nous nos propres faiblesses, et cela interagit avec nos propres traumatismes. Quelques exemples filmiques viendront soutenir la recherche, avec principalement l’analyse d’un film exemplaire, « Les tortues volent aussi » de Bahman Ghobadi (2004). / This study aims to develop the tragic condition that emerge from the child's figure in cinema – through his traumas, his wounds, or the destruction and loss of childhood – before which the adult viewer may feel uncomfortable. Children in films can deal with particularly traumatic circumstances, if not inhuman. Whether children are abandoned or orphaned, raped, abused, victims of war – including the paradoxical duality that the child-soldier establishes, from Ivan (in "Ivan’s chilhood", Tarkovski, 1962) to Komona (in "War witch", Kim Nguyen, 2012) – or facing death, various situations can contribute to include childhood in the tragic register, with the destruction or loss of childhood. A destroyed childhood carries a wound (trauma) – physical or psychological –, which refers to a default or the human fragility that the image of the “helpless child” reflects. When a child has to deal with a tragic situation while he is defenseless and facing his own destruction, his figure becomes one that is traumatic. The tragic puts the child in a state of “afterwardsness” (après-coup), which refers to a primary and fundamental trauma, prototype of all traumatic situations. For Sigmund Freud, that primary trauma arises from the first anguish experienced by the infant because of his helplessness, that he names "Hilflosigkeit" ("Inhibition, symptôme et angoisse", [1926] 1951, Paris: PUF). For some psychoanalysts (such as Otto Rank or Jean-Marie Delassus), this trauma sets in at birth, which represents the first feeling of loss and separation following the ejection in a world that is unfamiliar and at first impossible, which corresponds to a first dislocation in the meaning that Benoit Goetz intends in "La dislocation" (2002, Paris: Éditions de la Passion). In movies, the child who gets thought hardships that can barely be imagined looks at us and emphasizes our own weaknesses, and it interacts with our own traumatic experiences. This study is supported by a number of examples of different movies, but with one main film analysis, "Turtles can fly" by Bahman Ghobadi (2004).