Formal Methods in Software and Systems Modeling: Animation - Research Proposal Example

Glossary of Terms in Animation PART Glossary of Terms in Animation Assignment CIU110.2 Glossary of Terms Introduction In animation, every picture may be referred to as a frame. In the past, individuals experimented with images designed to amuse children at parties or funfairs. In the modern world, animation seems to be advancing due to technological advances. Examples of animation include images within video games as well as those in cartoons on television programs. The technology used to enliven animation may be referred to as the twelve principle of 2D (two dimensions) or 3D CGI (Three Dimensional Computer Generated Imagery) (Kreowski & Ehrig, 2005). Terms and Concepts Aesthetics In animation, aesthetics simply refer to the attributes that build up the existence of the film. These building blocks include the sounds and images. The value of aesthetics in animation cannot be quantified. It may appear subtle. However, aesthetics in animation plays a vital role. In other fields like cinemas, the content within a storyline as well as the storyline itself play the aesthetic role. By use of aesthetics, a story may be delivered as intended, or it may deliver the contradictory message. The thrill in collaboration of images and pixels of objects surpasses the verbal grasp. For this reason, animation may appear to be imaginary or real (Kreowski & Ehrig, 2005). In order to deliver the best aesthetics in animation, one needs to consider the coherence of the artificial models. Poor aesthetics, on the other hand, may be able to result in delivery of the wrong message. This could make a film to appear disengaging or even unprofessional. When making animated films, attention to aesthetics is inevitable. Proper aesthetics helps the audience to build their trust in the product. Consequently, they may forget that they are watching a film. This helps in impacting the intended emotions in the audience (Pikkov, & Näripea, 2010). Style In animation, style may be referred to as the preferences of the filmmaker in the choice of aesthetics. A filmmaker’s style may be determined by the kinds or models of worlds that he chooses to lean on. The choice of style depends on the consideration of its purity and authenticity. In addition, they may choose to exploit their prowess, experience and knowledge. Often, the filmmakers may not be quite aware of their choice of style. These filmmakers perform their chores so faithfully and naturally (Carroll, 2001). Style generates itself through a combination of ideals of the filmmaker. In essence, style emanates through the product as compared to the inputs. Sometimes, style may be misinterpreted as the superficial change of the appearance of an individual’s work. However, the choice of aesthetics that barely contribute towards enhancing content may be referred to as surface style. Surface style works to ensure that the filmmaker’s work stands out. The main aim of using surface style includes creation of identity. Surface style necessitates originality. One may use diverse fashion, music or even advertisements (Carroll, 2001). Animation Techniques Facial Modeling Currently, numerous studies have been conducted in relation with techniques of facial animation as well facial modeling. Practically, construction of three-dimensional (3D) characters involves processes of long duration. There are various approaches in constructing a 3D modeled figure. The Standard Geometric Face Modeling helps in construction of animations in games and films. Generic Model Individualization (GMI) on the other hand creates its characters through deforming an already existing model. The Example Face Modeling uses this approach (Murdock, 2010). In facial animation, three major techniques may be employed. First, the simulation-based approach mimics the contractions of facial muscles so as to create synthetic facial movements. Secondly, the Performance Driven Approach applies actual facial emotions to a model obtained from a performance capture or video recording. The MPEG-4 application uses this technique. Thirdly, the Blend Shape centered approach combines numerous facial models in order to create the desired animations. In these techniques, the granularity of images may be varied between images (Pikkov, & Näripea, 2010). 3D CGI The three dimensional Computer Generated Imagery came into application in the early twentieth century. The Toy Story produced in 1995 became the first film produced with 3D CGI purely. The onset of this technique transformed the animation industry. Though repetitive, the 3D employs various principles as those applied in 2D animation. The models employed in 3D animation employ the stop motion animation. However, in 3DCGI, creation of animation films does not involve the use of physical objects (Kreowski & Ehrig, 2005). The 3D technique uses virtual objects. On the other hand, the Computer Aided Animation majorly used in two-dimensional programs employs both the virtual and physical objects. Traditionally, production of animations requires the use of computers so as to quicken the processes of cell, key frame as well as interpolation. The three dimensional Computer Generated Imaging may be applied in numerous animations. This may include a combination that uses MPEG4. With a combination of blend shape approach, the MPEG4 techniques produce high-quality facial animation (Carroll, 2001) PART II Assignment CIU110.3 Creative Media Essay Postmodernism, a terminology used to address numerous attitudes in aesthetic productions and criticisms of culture emerged in the 1980s. Its uniqueness in critiquing critical subjects of concern may be appropriately applied in arts, politics or even philosophy. Postmodernism in the contemporary world occurs as a description of visual arts, dance, theatre and music. In addition, postmodernism describes newer cultures in historiography, criticism and theology. Postmodernism is the period within which technology influx and evolving multiplicity in cultures were characterized by new representations. Through postmodernism, various individuals have innovatively created an insight into the plight of people within a society (Pikkov, & Näripea, 2010). In the contemporary world, knowledge serves as a commodity as well as media for empowerment. Through diversity of its interpretation, knowledge may be communicated through mediums such as narratives. Grand narratives establish a cultural or political view authoritatively making them appear as outright truths beyond criticism of any measure. These narratives bear a totalizing impact on a particular culture thereby minimizing its global codes and surpassing its local equivalents. When grand narratives act as the force behind a particular culture, the predominant regime often holds a monopoly in knowledge (Clark & Bamberg, 2012). The Simpsons, a popular television animated program offers a reading into postmodernity. Through application of theories of hyper-reality, intertextuality and metanarratives; The Simpsons, outlines major aspects of postmodernity. Such aspects include postmodernity in the society. The application of appropriate aesthetics into this production can be observed through its numerous episodes (Carroll, 2001). First, the filmmaker, Lyotard explores signs in tendencies of anti-authoritativeness. The filmmaker further uses the theory of metanarratives to cover the theme of intertextuality. Through pastiche, self-reflexivity and parody The Simpsons constructs a hyper-reality in postmodernism. The film does so by depicting how media influences Homer Simpson, a famous citizen within the Springfield told created in the film (Clark & Bamberg, 2012). The postmodern entity involves simulations in reality as well as hyper-realities. On the other hand, signs refer to the external existence to other signs. This combination consequently results in a culture with indistinguishable depth or surface. Here, only superficial appearance may be achieved. Through animation, the reality within the society may be mirrored in the construction of hyper-reality (Pikkov, & Näripea, 2010). Through the animation of The Simpsons, the filmmakers portray the multidimensional glory of the society. The filmmakers enable the audience to witness the society in its entire spectrum. The numerous characters of the film play diverse roles. The filmmakers present the chaotic society symbolically through the differentiated city of Springfield. Virtually, production of The Simpsons would have been thought to be impossible (Schneider & Hartner, 2012). The aesthetic use of intertextuality in The Simpsons animation helps to deliver the message of postmodernism. A huge portion of the comedy relies on the rich application of implicit and explicit references to cultural figures from both the past and present. The classic comedic techniques applied herein feature references to cultural icons in The Simpsons animated novel. When watching any episode of the film, the audience may be exposed to notice the bombardment of allusions in reference to all forms of cultural phenomena. For instance, the episode named “A Streetcar Named Marge”; the filmmakers apply reference to cultural phenomena in from Ayn Rand, a Russian philosopher as well as the Broadway play named Oh! Calcutta. This particular episode focuses on the participation of Marge, the streetcar, in the production of A Streetcar Named Desire. This production by Tennessee Williams serves a reference for numerous dialogues and lines all through the episode (Schneider & Hartner, 2012). In addition, the A Streetcar Named Desire production serves as an allegory of brutish treatment of Marge by Stanley Kowalski, a character in the film. Meanwhile, Marge abandoned at the Ayn Rand School for tots, escapes and reenacted other scenes captured in The Great Escape film and that of The Birds produced in the year 1963. The filmmakers make an assumption that the audience may ignore and become oblivious of philosophies of Ayn Rand. Therefore, the make several references to Ayn’s motifs through posters such as “A is A” in addition to “helping is futile”. Hyper allusive tendency of The Simpsons towards cultural awareness occurs as the major characteristic of postmodern forms of art (Schneider & Hartner, 2012). The Simpsons gives its characters the unlimited role associated with ethnicity, age groups and social class. The film combines the multifaceted differences of characters in the society so as to emulate the chaotic Springfield town. Not only do the characters portray chaos but even the content of the film. For instance, the episode may begin with banality in elementary school and end up with a discussion on gay marriage. The audience, therefore, tends to be blindsided owing to the unpredictability of shifts in focus. The film represents America as depicted in the embrace of numerous genres. This paradigm localizes the film to regions within America as well as the period within the postmodern era (Schneider & Hartner, 2012). The film portrays timelessness as well as within families that tend to be placeless. For instance, children of The Simpsons never grow older. Neither do they get to higher levels in school. In addition, the infant crawls for seventeen years and is yet to let go of its pacifier. Paradoxically, this film represents every American family in every region. The Simpsons acts a proof for decentralization of postmodernism in modern consciousness of the masses. By accepting diversity in ethnicity, sexual orientation, socio-economic status and gender, The Simpsons adequately portrays heterogeneity embedded in the society (Schneider & Hartner, 2012). The concept of recombinant applied in animation acts as an opportunity for repositioning of intrinsic quality of the product. It does not merely involve the repetition of antecedents or processes. Furthermore, this concept allows for animators to reproduce variations of historical approaches through inevitably fresh approaches. Therefore, animation acts as a dialect of metamorphosis. In addition, animation acts as the literal illustration of progress and change. Although the animation allows for alternative perspectives and aesthetics, numerous films share a similar style. With the advances in technology, animation may gain the ability to diverge, converge and reinvent itself (Carroll, 2001). Regardless of diversity in every individual’s point of view, the definition of realism in literature bears undoubtable diversity. However, every method in realism occurs within characteristics of consistent trends in revealing and acknowledging contradictions of reality. These contradictions may be truthfully reflected within historical limits. Various forms, as well as techniques, may be applied in diverse artistic techniques to reflect on reality. The deep penetration of the phenomena of life and its essence may be manifested in a variety of mediums. Thee mediums include animated cartoons, poetry or other artistic films (Carroll, 2001). At times, realism may appear as the dominant characteristic in realistic art. However, not every manifestation of facts of reality may be real. An artistic image may be empirically reliable only when it may be considered as the truthful reflection of reality. This aspect occurs because some diversity may only be revealed through extreme hyperboles. This revelation may include exaggeration of life itself. Therefore, artistic truth may only be presented in two aspects. First, the truth may be presented through objective consideration of basic elements of life. Secondly, artistic truth may be manifested through candid aesthetic evaluation. Both of these aspects correlate the ideal social aesthetic features with its potential to progress within reality while hidden (Carroll, 2001). The Simpsons film uses postmodernists’ techniques to bring out realism of diversity of American culture and American people. The film does so by employing fragmentation. The audience may be subjected to realize the interjecting captions which serve to embed the technique of plot drifting. In the short episodes of only twenty minutes duration, the film further breaks down its episodes. This, therefore, gives rise to mini-stories which bear a whole new message. For instance, the “Treehouse of Horror” episode allows the filmmakers to present numerous detached stories. This episode mainly captures the Halloween specials. Criticism point out that this episode ought to carry forth one complete story from the beginning to the end (Clark & Bamberg, 2012). Realism also occurs beneath the highly satirical nature of The Simpsons film. Though highly hidden, opposition to political, religious, academic authorities seem to make appearances. As depicted in the film, many characters, both supporting and main characters seem to be connected to politicians, policemen and ministers. The character of Mayor Quimby appears as the most corrupt. Despite making numerous public appearances, the Mayor barely tells the truth. In addition, he takes bribes from the public. Chief Wiggum, the Chief of Police in Springfield, appears to be immensely incompetent for the high rank he holds. This character seems always to apply the mental ability similar to that of a child (Clark & Bamberg, 2012). Conclusion Animation in the film industry seems to be making huge economic gains. The advances in technology in addition help to build finer characters which the society associates with. In the earlier days, animation occurred as a form of entertainment for the children only. In the contemporary world, numerous critics of vices of the society use animation as a media to air their opinions. In addition, animation may be used to air plight of a portion of the population while as keeping the emotional reactions on check. References: Buchan, S. (2013). Animation. Hoboken: Taylor and Francis. Carroll, N. (2001). Beyond aesthetics: Philosophical essays. Cambridge, UK: Cambridge University Press. Clark, I., & Bamberg, B. (2012). Concepts in composition theory and practice in the teaching of writing (2nd ed.). New York: Routledge. El Rhalibi, A. and Shen, Y. (2004) Animation: Berkshire Encyclopedia of Human-Computer Interaction. Volume 1. p. 13-17. Berkshire Publishing Group. Kelly L. Murdock ‘3ds Max 2010 Bible’ John Wiley & Sons Kreowski, H.-J., & Ehrig, H. (2005). Formal methods in software and systems modeling: Essays dedicated to Hartmut Ehrig on the occasion of his 60th birthday. Berlin [etc.: Springer. Pikkov, U., & Näripea, E. (2010). Animasophy: Theoretical writings on the animated film. Tallinn?: Estonian Academy of Arts. Schneider, R., & Hartner, M. (2012). Blending and the study of narrative: Approaches and applications. Berlin: De Gruyter. Read More