Global ETD Search

1	A study of IMAX Theatre in Museum visitors¡¦ motivations and satisfactions Yang, Ting-yun 14 July 2009 (has links) The development of Science Museums has a close relationship with the IMAX film system. Museums can use IMAX film system to provide visitors with the science education, recreation, social activities and other functions. In Taiwan, NMNS, NSTM, TCRC, TAM all have set up different types of IMAX film systems. Although the IMAX theatre plays an important role in the museum management, the museum has to invest a lot of money, manpower and other resources to keep it can operate properly and to maximize its functions. Under the trend of consumer-oriented, this study focuses on the operations of NSTM¡¦s IMAX® 3D Theater, to investigate its visitors' motivations and satisfactions. The main purpose of this study includes: 1. To understand IMAX® 3D Theater visitors¡¦ motivation and satisfactions. 2. To exam the differences among various backgrounds of IMAX® 3D Theater¡¦ motivations and satisfactions. 3. To explore the dependence between IMAX® 3D Theater visitors¡¦ motivations and satisfactions. 4. To provide operational suggestions to the museum. This study was conducted with Survey Research Method by using questionnaire to collect data. There are toyal 449 valid questionnaires. The results show that: the visitors¡¦ backgrounds, affect their motivations and satisfactions; motivations and satisfactions have positive correlation. IMAX Theater visitors¡¦ motivations emphasis on entertainment, but they do not get great satisfaction from the theater.Many visitors are willing to revisit the theater, however, they are not satisfied with the present experiences. Based on the survey, the study has raised several suggestions toward the operations of the theater, including the selection of films, pricing strategies, marketing strategies. motivation satisfaction IMAX Theater visitor studies
2	The Mall In America Bates, Uma 01 January 2017 (has links) "The Mall In America" centers around female protagonist, Sam, as she navigates the sociological and psychological realities of adolescent life. Readers follow Sam through the strained atmosphere of her home, into the transcendental realm brought on by an "Aquatic Underworlds," an IMAX production.Told in the humorous yet vulnerable voice of a teenager, "The Mall In America" demonstrates the varying levels of complexity within human life. Short Story "Ask Me If I Care " IMAX Theatre Adolescence Family Fiction
3	The Info-immersive Modalities of Film Documentarian and Inventor Roman Kroitor Langdon, Graeme Hamish 23 July 2012 (has links) In this thesis, it is argued that Canadian film documentarian and inventor Roman Kroitor’s lifework is structured by simultaneous appeals to the realist and reflexive capacities of film and animation. It is shown that the diverse periods in Kroitor’s lifework (including documentary film production at the National Film Board of Canada; co-invention and development of the large-format film apparatus, IMAX; and software design for computer animation in stereoscopic 3D) are united by a general interest in facilitating immersive audience experiences with documentary information and evidentiary entertainment. Against those who have conceptualized cinema as functioning like a frame or a window, this thesis analyzes Kroitor’s diverse work in relation to Gene Youngblood’s conception of “expanded cinema” (1970). It is argued that Kroitor’s efforts in film and invention constitute modalities that actively eschew the architectonic limits that typically characterize the cinematic experience. Roman Kroitor Immersion Expanded Cinema IMAX National Film Board Stereoscopy Animation Canada 0723 0900 0708
4	The Info-immersive Modalities of Film Documentarian and Inventor Roman Kroitor Langdon, Graeme Hamish 23 July 2012 (has links) In this thesis, it is argued that Canadian film documentarian and inventor Roman Kroitor’s lifework is structured by simultaneous appeals to the realist and reflexive capacities of film and animation. It is shown that the diverse periods in Kroitor’s lifework (including documentary film production at the National Film Board of Canada; co-invention and development of the large-format film apparatus, IMAX; and software design for computer animation in stereoscopic 3D) are united by a general interest in facilitating immersive audience experiences with documentary information and evidentiary entertainment. Against those who have conceptualized cinema as functioning like a frame or a window, this thesis analyzes Kroitor’s diverse work in relation to Gene Youngblood’s conception of “expanded cinema” (1970). It is argued that Kroitor’s efforts in film and invention constitute modalities that actively eschew the architectonic limits that typically characterize the cinematic experience. Roman Kroitor Immersion Expanded Cinema IMAX National Film Board Stereoscopy Animation Canada 0723 0900 0708
5	Nutrient Uptake Estimates for Woody Species as Described by the NST 3.0, SSAND, and PCATS Mechanistic Nutrient Uptake Models Lin, Wen 31 August 2009 (has links) With the advent of the personal computer, mechanistic nutrient uptake models have become widely used as research and teaching tools in plant and soil science. Three models NST 3.0, SSAND, and PCATS have evolved to represent the current state of the art. There are two major categories of mechanistic models, transient state models with numerical solutions and steady state models. NST 3.0 belongs to the former model type, while SSAND and PCATS belong to the latter. NST 3.0 has been used extensively in crop research but has not been used with woody species. Only a few studies using SSAND and PCATS are available. To better understand the similarities and differences of these three models, it would be useful to compare model predictions with experimental observations using multiple datasets from the literature to represent various situations for woody species. Therefore, the objectives of this study are to: (i) compare the predictions of uptake by the NST 3.0, SSAND, and PCATS models for a suite of nutrients against experimentally measured values, (ii) compare the behavior of the three models using a one dimensional sensitivity analysis; and (iii) compare and contrast the behavior of NST 3.0 and SSAND using a multiple dimensional sensitivity analysis approach. Predictions of nutrient uptake by the three models when run with a common data set were diverse, indicating a need for a reexamination of model structure. The failure of many of the predictions to match observations indicates the need for further studies which produce representative datasets so that the predictive accuracy of each model can be evaluated. Both types of sensitivity analyses suggest that the effect of soil moisture on simulation can be influential when nutrient concentration in the soil solution (CLi) is low. One dimensional sensitivity analysis also revealed that Imax negatively influenced the uptake estimates from the SSAND and PCATS models. Further analysis indicates that this counter intuitive response of Imax is probably related to low soil nutrient supply. The predictions of SSAND under low-nutrient-supply scenarios are generally lower than those of NST 3.0. We suspect that both of these results are artifacts of the steady state models and further studies to improve them, such as incorporating important rhizospheric effects, are needed if they are to be used successfully for the longer growth periods and lower soil nutrient supply situations more typical of woody species. / Master of Science Imax model comparison sensitivity analysis soil moisture
6	La rencontre des contraires : attraction/narration et immersion/réflexivité dans le film en IMAX 3-D Auger Gosselin, Louis 06 1900 (has links) Ce mémoire est consacré à la question de la réception spectatorielle des films en IMAX 3-D. Dans un premier temps, nous retracerons l’histoire du cinéma stéréoscopique, des origines jusqu’à l’inauguration de l’IMAX 3-D en 1986. Nous verrons que le modèle de l’attraction cinématographique s’est maintenu de tout temps dans l’économie de ce format, ce qui a contribué aux échecs de son institutionnalisation dans les années 50 et 80. En un deuxième temps, nous nous intéresserons à l’« expérience IMAX », afin de cerner la position qui y est attribuée au spectateur. Nous montrerons que les films IMAX misent à la fois sur leur potentiel immersif et sur la mise en évidence du dispositif. L’état d’immersion du spectateur entre donc en dialogue avec la réflexivité du médium. Par l’analyse des films Sea Monsters : A Prehistoric Adventure et Haunted Castle, il sera démontré que cette tension entre immersion et réflexivité sert un discours de glorification de l’IMAX. Aussi, nous interrogeons les liens entre la structure ponctuelle imposée par le modèle attractionnel et le fil narratif immanquablement mis en place dans les films IMAX. / This thesis examines the ways in which IMAX 3-D films positions its spectator. First, we look at the history of 3-D cinema, from its origins to the inauguration of IMAX 3-D in 1986. We argue that for the first 70 years of its history, 3-D cinema was staged as a return to the cinema of attractions, and that this aesthetic was an obstacle to its institutionalization in the mid-50’s and 80’s. Then, we describe the “IMAX experience” and argue that IMAX films induce a state of immersion and, at the same time, draw the viewer’s attention to the presence of the apparatus and the act of mediation. In analysing the movies Sea Monsters: a Prehistoric Adventure and Haunted Castle, we demonstrate that this tension between viewer immersion and medium reflexivity serves to glorify the IMAX trademark. Furthermore, we examine the relationship between the punctual structure imposed by the logic of attractions and the narrative line held by each and every IMAX film. cinéma stéréoscopique IMAX 3-D narration attraction immersion réflexivité Sea Monsters Haunted Castle
7	La rencontre des contraires : attraction/narration et immersion/réflexivité dans le film en IMAX 3-D Auger Gosselin, Louis 06 1900 (has links) No description available. cinéma stéréoscopique IMAX 3-D narration attraction immersion réflexivité Sea Monsters Haunted Castle
8	Sinbad Automation Of Scientific Process: From Hidden Factor Analysis To Theory Synthesis Kursun, Olcay 01 January 2004 (has links) Modern science is turning to progressively more complex and data-rich subjects, which challenges the existing methods of data analysis and interpretation. Consequently, there is a pressing need for development of ever more powerful methods of extracting order from complex data and for automation of all steps of the scientific process. Virtual Scientist is a set of computational procedures that automate the method of inductive inference to derive a theory from observational data dominated by nonlinear regularities. The procedures utilize SINBAD – a novel computational method of nonlinear factor analysis that is based on the principle of maximization of mutual information among non-overlapping sources (Imax), yielding higherorder features of the data that reveal hidden causal factors controlling the observed phenomena. One major advantage of this approach is that it is not dependent on a particular choice of learning algorithm to use for the computations. The procedures build a theory of the studied subject by finding inferentially useful hidden factors, learning interdependencies among its variables, reconstructing its functional organization, and describing it by a concise graph of inferential relations among its variables. The graph is a quantitative model of the studied subject, capable of performing elaborate deductive inferences and explaining behaviors of the observed variables by behaviors of other such variables and discovered hidden factors. The set of Virtual Scientist procedures is a powerful analytical and theory-building tool designed to be used in research of complex scientific problems characterized by multivariate and nonlinear relations. Bayesian networks Blind source separation Causal relations Concept acquisition Curse of dimensionality IMAX Knowledge representation Nonlinear factor analysis Virtual scientist Computer Sciences Engineering
9	dis.PLAY - Center for the Art of Moving Images. A Film Center for Washington, D.C. Torres-Barreto, Jose Antonio 10 March 2006 (has links) This thesis explores how a displayed image and architecture interact together. This manifesto is analogically explored using parts of the human body such as the eyeballs as a structural analysis for the buildings with a projection of the cornea, the pupil, the retina, the optic nerves and the brain. This analysis follows a sequential order of capturing light, transcribing light into image, and displaying such image onto a screen. Both, the image and architecture are created parallel to each other respectively when conceiving an architectural idea in order to develop the idea into a building and then perceiving the architecture from such building. These steps are a cinematic approach using a video camera to record an experience of movement through the journey of a metro ride. This video is one of the tools used to edit an urban tissue of downtown Washington, D.C. The project becomes a Center for the Art of Moving Images exposing vectors of movements through its architecture. The building is manifested in a three-dimensional design where the site provides a sunken plaza 60 ft below street level perceived as a new floor in the city. The underground metro station transitions to the street surface through the use of this plaza in a very harmonious way. The result is a visual depth parallel to the perspectives perceived in movies where you see beyond the surface of the screen and in this case, beyond the surface of the city. / Master of Architecture Academy Cinema Projection Light Memory Sequence IMAX Film Washington D.C. Torres Tony Screen Illussion Center Art Sound Stage City Sphere Metro Display Vision Transcription Capture Perception Movement Image Architectural Eyeball Cornea Pupil Retina Movies Conceive Perceive Develop Chinatown Urban Building Plaza Vision Urban Fabric Gallery

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