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231	Random processes in truncated and ordinary Weyl chambers: Random processes in truncated and ordinary Weylchambers Schmid, Patrick 03 September 2011 (has links) The work consists of two parts. In the first part which is concerned with random walks, we construct the conditional versions of a multidimensional random walk given that it does not leave the Weyl chambers of type C and of type D, respectively, in terms of a Doob h-transform. Furthermore, we prove functional limit theorems for the rescaled random walks. This is an extension of recent work by Eichelsbacher and Koenig who studied the analogous conditioning for the Weyl chamber of type A. Our proof follows recent work by Denisov and Wachtel who used martingale properties and a strong approximation of random walks by Brownian motion. Therefore, we are able to keep minimal moment assumptions. Finally, we present an alternate function that is amenable to an h-transform in the Weyl chamber of type C. In the second part which is concerned with Brownian motion, we examine the non-exit probability of a multidimensional Brownian motion from a growing truncated Weyl chamber. Different regimes are identified according to the growth speed, ranging from polynomial decay over stretched-exponential to exponential decay. Furthermore we derive associated large deviation principles for the empirical measure of the properly rescaled and transformed Brownian motion as the dimension grows to infinity. Our main tool is an explicit eigenvalue expansion for the transition probabilities before exiting the truncated Weyl chamber. info:eu-repo/classification/ddc/500 ddc:500
232	The Art Of The Walk Cycle : Animating Emotions with Artistic Expression Ghazali, Rania January 2024 (has links) This exploration delves into the potential of emotional storytelling through walk cycles. Moving beyond traditional animation, it utilizes the expressive power of modern tools to explore how line, shape, stroke weight, color, texture, and sound can be manipulated to create abstract narratives that evoke deeper emotional experience for the viewer. Drawing on a foundation of psychological principles, scientific research, and relevant articles, the walk cycles become abstract narratives, provoking introspection and emotional connection. The subjective nature of this artistic language is acknowledged, with cultural backgrounds and personal experiences influencing interpretation. The exploration raises questions about the potential for a universal language of emotion in animation, one that speaks not just to the mind, but to the heart. This ongoing journey of discovery aims to observe how viewers connect with these abstract representations and explore the potential for this approach to elevate the art of animation. Animation walkcycle media film framebyframe digitalanimation traditionalanimation technicalanimation animationprinciples artisticexploration strokes textures sounds colors psychologyofcolors psychologyoflines keyframes emotionalnarrative immersive immersivestorytelling storytelling visualstorytelling emotionalfilm emtionsinwalks emotionsinpostures visualcommunication anger sadness depression joy happiness denial neutral aftereffects toonboomharmony tvpaint modernanimation abstract abstractanimation expressiveanimation emotionalexpression emotionalnarrative stylize stylizeanimation protagonist characterdesign quirkyideas womananimation animatedwoman womanemotions walkingwoman womanwalkcycle stories emotionallanguage nonverbalcommunication animatedfeeling feelings walks stride gait posture artisticexpression conveyemotions conveyfeelings theartofanimation universallanguage emotioninanimation moderntools abstractnarratives emotionalexperience Arts Konst Studies on Film Filmvetenskap Media Studies Medievetenskap Media and Communications Medie- och kommunikationsvetenskap
233	Uncanny modalities in post-1970s Scottish fiction : realism, disruption, tradition Syme, Neil January 2014 (has links) This thesis addresses critical conceptions of Scottish literary development in the twentieth-century which inscribe realism as both the authenticating tradition and necessary telos of modern Scottish writing. To this end I identify and explore a Scottish ‘counter-tradition’ of modern uncanny fiction. Drawing critical attention to techniques of modal disruption in the works of a number of post-1970s Scottish writers gives cause to reconsider that realist teleology while positing a range of other continuities and tensions across modern Scottish literary history. The thesis initially defines the critical context for the project, considering how realism has come to be regarded as a medium of national literary representation. I go on to explore techniques of modal disruption and uncanny in texts by five Scottish writers, contesting ways in which habitual recourse to the realist tradition has obscured important aspects of their work. Chapter One investigates Ali Smith’s reimagining of ‘the uncanny guest’. While this trope has been employed by earlier Scottish writers, Smith redesigns it as part of a wider interrogation of the hyperreal twenty-first-century. Chapter Two considers two texts by James Robertson, each of which, I argue, invokes uncanny techniques familiar to readers of James Hogg and Robert Louis Stevenson in a way intended specifically to suggest concepts of national continuity and literary inheritance. Chapter Three argues that James Kelman’s political stance necessitates modal disruption as a means of relating intimate individual experience. Re-envisaging Kelman as a writer of the uncanny makes his central assimilation into the teleology of Scottish realism untenable, complicating the way his work has been positioned in the Scottish canon. Chapter Four analyses A.L. Kennedy’s So I Am Glad, delineating a similarity in the processes of repetition which result in both uncanny effects and the phenomenon of tradition, leading to Kennedy’s identification of an uncanny dimension in the concept of national tradition itself. Chapter Five considers the work of Alan Warner, in which the uncanny appears as an unsettling sense of significance embedded within the banal everyday, reflecting an existentialism which reaches beyond the national. In this way, I argue that habitual recourse to an inscribed realist tradition tends to obscure the range, complexity and instability of the realist techniques employed by the writers at issue, demonstrating how national continuities can be productively accommodated within wider, pluralistic analytical approaches. 823

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