Robotic Cultivation System Design

Robotic Cultivation dust DesignAbstract Population of the world is vexing rapidly and this rapid growth demands more(prenominal) food. collectable to the advancement and revolution boost in petrochemical industries, the agriculture persistence also have some developments, but at the cost of soil, environment, and our health. The conventional agriculture industry needs sustainability, improvement, robustness, and mechanisation. Moreover, to keep pace with the requirements, we require machinery support that can fulfil its tasks more precisely and swiftly, according to the given instruction. In our proposed idea of Robotic Cultivation System, the crux objective is to flourish your garden without any supervision of the farmers. This system works effectively in such areas where farmers face difficulties in farming. The system is designed to perform many tasks including weeding tool, soil moisture, seed injecting, and watering. All these parameters are remotely accessible through an y device and continues update of the aforementioned parameters on the meshworksite. Robotic Cultivation System can operate on grid as well as on renewable solar energy. However, it can be scalable from your backyard to agriculture industry. Subsequently, referable to less energy consumption and its vital properties, Robotic Cultivation System result be a great revolution in agribusiness.IntroductionPakistan is an agricultural country, where finish plays a vital role to maintain the economy. Population of our country is growing rapidly and this rapid growth demands more food. The number of agriculture universities and lack of consciousness and research, also has a great influence on the production of food. Developing countries are converting farmer hardship into modern scientific methods by using automation that works more accurately, swiftly, and produce more yield per acre. Farmers waste a lot of water to irrigate their knowledge bases which affects the growth of crops, there fore the new conventional simulacrum has to devise some method to declare the wastage of water. The inadequate quality control measures and poor seeding also affects the augmentation of food production. All these repercussions need to be revamped in dedicate to get fresh and healthy crops.Moreover, through research and past knowledge we can use less human struggle to cover more land per cultivation reducing hectic and tiresome practices. The use of chemicals, which are being used to kill pesticides, herbicides, and fungicides, also needs to be curbed, as these chemicals lead to honest health hazards. Limited and unleveled land with low per acre yield are prominent factors which we are facing in production of food crops. Now-a- geezerhood engineers have designed various methods which can help the farmers to overcome these limitations and increase food production. Being an agricultural country, we need a lot of improvement and prosperity to overcome the study problems in cultiva tion system of Pakistan.When presented with the current food production system one cannot look past how broken it is. We have surrendered our knowledge in control over, how our food been produced and as a result we are destroying our health and the environment. We have to change that by an idea of new pyridine of food production. The idea lies in the crosswalk of automation, the open source DIY maker movement and small scale polygraph farming. The Robotic Cultivation System is designed to move around X, Y, and Z space, day and night, seven days a week growing food. The system precisely sows seeds in any pattern and density you want and waters them efficiently, the exact amount that each show needs based on its type, according to the plants age, soil, local weather conditions and your growing preferences. The Robotic Cultivation System can grow variety of crops, all in the aforementioned(prenominal) area, at the same duration. Each plant is cared individually in an optimize and a utomated way. By growing many type of plants at once, your garden will benefit from the natural advantages of poly cropping and croporation.Using the onboard camera and advance computer vision software, the system intelligently monitors your garden. With the soil sensor, it tells how your gardens moisture level changes over time, enabling smarter and more efficient farming with each passing season. By this system your garden will flourish, and your plants will frieze. Moreover, you can control Robotic Cultivation System with powerful web based interface. The hardware design of the system is scalable, from your backyard to agriculture industry. Also, it can operate on renewable solar power. The system is perfect to get started in a small space, can be placed outdoors or in a green house or even on a ceiling top.ObjectivesConstruction and Implementation of Cultivation Robot.It has two operating nodes, off grid and on grid.Remote access through any device and continues update of tetr ad parameters such as, moisture of soil before and after watering, quantity of water, and parameter measuring time stamp on website.Online access of weather conditions of the area to put the watering pattern for different vergtion in order to maintain moisture level of the area.Cost analysis of the project based on the real time data collected parameter in step number three.OptionalYield a vegetation pattern of a person and recommend to grow vegetable needed for the person for food using age, blood sugar, and weight. One person has the input over the cycle of one year (Diet Chart).Plant reappraisal using Digital Image Processing.

The Personal Research Project Animation Essay

The Personal Research Project living EssayThis research document was undertaken to discover and analyse temperament playacting in tincturetime, and the divergent method playings use to express emotion and perspective cognitive outgrowth. The document is focused round how an audition is influenced by techniques of compositors case acting, and what elements contribute to its believability. Research of various literature, articles and online sources have been ventured to assist the analysis and conclusion.The evidence researched, suggests that thought move must occur before an action takes place by the lineament. Developing a citation with empathy through with(predicate) their emotions helps the earreach relate to them, contributing to a richer, more presumptive outcome. Various techniques argon used to express thought process and emotion, however, disco rattling has led to the correspondence that eubstance language shadow be just as expressive without dialogue. Internal thought process is best expressed through a records eye front lines in conjunction with body language.IntroductionThe aim of this research document is to gain a deeper knowledge and understanding of how acting methods in character sprightliness cig atomic number 18t be utilised and articulated to express emotions through the display of internal thought processes in a character. This research pass on explore the methods used by animators to frame the illusion of life and discover how it washbowl become believable and engaging for the audience.performing is defined as the art of make of representing a character on a stage or before cameras and derives from the Latin word agere, meaning to do an obsolete meaning for the word acting is animate. (John Kundert-Gibbs, 2009, p4)Research leave al angiotensin converting enzyme be applied to special methods of documentary/stage acting to develop an understanding of acting in character life.Background to the ResearchAnima te verb /annimayt/ 1. set down to life or activity. 2 give (a guide or character) the appearance of movement utilise animation. adjective /annimt/ alive having life. Derives, animator noun. Origin, Latin anim ar, from anima life, soul. (Oxford English Dictionary) life force has been thought to have originated over 35,000 years ago, after the discovery of ancient w all paintings in places like Altamira and Lascaux which depicted various types of humans, objects and animals as Richard Williams (2001, p13) explains, sometimes with iv pairs of legs to show motion. In the early 1800s, Williams shows (2001, p14-15) that thither were various different devices developed for the sole pur quiver of creating an illusion of movement such as the Thaumatrope, the Phenakistoscope, the Zoetrope, the Paxinoscope and the Flipper book. exclusively these devices were based on the rediscovery, in 1824, of The persistence of vision by Peter Mark Roget. The principle of this confronts, on the f act that our eyeball temporarily retain the date of anything theyve just seen. (Williams, 2001, p13)In 1896, this sparked the interest of Thomas Edison, who ended up publicly releasing a combination of drawings, drawn by James Stuart Blackton, in era called Humorous Phases of Funny Faces.Since then, we have seen many different approaches to the genre of animation. With the rise of Disney animation studios, in 1928, Steamboat Willie was introduced with synchronised sound and a new character, Mic tell Mouse. By 1936, Snow White and the Seven Dwarfs was released which received amazing success. This was the starting point of the Golden Age of animation which was shortly followed by the popular Disney titles Pinocchio, Dumbo, Bambi and Fantasia.It wasnt until November, 1995 that illumination Story, the runner full-length computer animated film was released by Pixar Animation Studios. This sparked another new era of animation. Studios like Dream chokes and Blue Sky soon followed.Acti ng in animation has been adopted as the key element for creating believability in an animated sequence, But to make these designs work, the movements have to be believable which leads back to world What we want to achieve isnt realism, its believability. (Williams, 2001, p.34)All animated acting is designed to give a character personality and believability. Just like in stage acting. Doron Meir (2008) explains that believable acting is a result of the audience feeling a characters actions of its own inner motives. Williams (2001) notes that animation principles that were developed by Disney Studios very early on, are passive existence used today in all types of animation to bring characters to life.Research QuestionHow are emotions and internal thought processes expressed through techniques of acting in character animation to make characters believable and engaging to the audience?Survey of books WorksActing is a very broad office out, and drive out be applied to many diffe rent genres of acting for stage and camera. Animation has had a direct influence by the techniques and discoveries on how to portray a character through movement. This is why To the Actor On the Technique of Acting by Michael Chekhov is an ideal choice that links directly to acting. Chekhov is famously known for his in-depth acting methods, and has stood as an iconic teacher for famous actors of today. Chekhov reflects on the methods used to call up emotions, develop characters and strengthen awareness as an actor. All these things help to develop specialized Psychological Gestures that he explains within the book, that show the audience what the character is trying to express through body language, which is also the key to a characters believability in an animated sequence.To get a more specific understanding of how characters move, and the principles surrounding character animation as an art, The Animators Survival Guide by Richard Williams is an in-depth manual on the style and techniques of top-drawn animation. Containing the specific principles used by animators to achieve believable movement.Williams has been maven of the true innovators, and serves as a link between the golden age of animation by hand and new computer animation successes. (Williams, 2001, blurb)Everything in this book relates to the overall aim of producing a character that moves in a believable demeanor. Acting relies on these techniques that are shown through drawing methods of frame by frame animation. By adopting these techniques, animators stick out be taught to study the anatomy of the human body to get along understand how to produce successful animated characters.The analysis of how characters display emotion inevitably to be taken into account throughout this research. Acting for Animators by Ed meat hooks explains the tried and tested methods in acting that reflect personality and feeling within a character. This book takes us through Hooks lessons on acting and the th eoretical approach behind his techniques. Empathy occurs a chance in this book, answering the need to create characters with feeling, for the audience to empathise with. analysis into character movement and acting by example will allow the discovery of techniques used in popular film. Acting in Animation A Look at 12 Films is a second book by Ed Hooks, where he analyses twelve different animated films, going through chapter by chapter, describing the expressive and affective methods used in each scene. Led by these film examples, the techniques discovered through research, can be firmly reinforced.Theoretical Approach for Selecting informationData will be dispassionate, analysed and displayed from a variety of published secondary sources including books, articles, web articles, web blogs and conferences. All data and necessary information will be collected for the purpose of research, but will not all be related to the analysis of animation. Acting technique and method will be t he main subject source of research, which will provide a broader context to base opinions, ideas and thoughts discovered in secondary literature sources by other people in the industry. Literature sources containing examples of proven practise will be used to further enforce the topic of research.Description of Proposed PractiseBy an extended discovery and analysis on the subject of character acting in animation, I plan to produce at least six interesting and achievable artefacts that reflect the knowledge gained through this research document, that will provide further understanding about how emotion can allow an audience to empathise with an animated character. The preliminary design practise will include the development of key character poses to emphasise specific emotions directly influenced by an internal thought process. This will then indicate how a character can be developed further into a collection of believable animation sequences. Each artefact plans to contain one of th e six basal emotions, as stated by Ed Hooks, happiness, surprise, fear, anger, disgust and sadness (2000, p.36)Characters used will be designed and rigged by a secondary source, which will provide a simple, easy to use marionette for the purpose of animation. Dialogue will not be used, as this may stand as a distraction from the emotions that are aimed to be expressed through body language and facial expressions. These artefacts will provide a clearer understanding of subconscious body movements that are often overlooked.DiscussionCharacter animation can take many forms within the context of animation in both the traditional sense as well as in modern computer animation.The following principles were developed and named1. Squash and Stretch 2. Timing and Motion 3. Anticipation 4. Staging 5. Follow through and Overlapping 6. Straight Ahead Action and Pose-to-Pose 7. Slow In and Out 8. Arcs 9. Exaggeration 10. Secondary Action 11. AppealPersonality in character animation is the goal of all of the above. (John Lasseter, 1987, pp. 35-44, 214)Lasseter explains that these specific traditional animation principles and techniques developed in the 1930s by Walt Disney Studios should be incorporated into all animated media especially character animation to develop characters look to make them more realistic and entertaining (Lasseter, 1987, pp. 35-44)Richard Williams explains, The old knowledge applies to any style of approach to the medium no matter what the advances in technology. (2001, p. 20)This shows that successful, believable animation of all types have spawned on the basis and influence of these traditional principles and techniques. Richard Williams also tells us that, in relation to classical and computer animation, both(prenominal) share the same problems of how to give a performance with movement, weight, timing and empathy. (2001, p. 20)This underlines a key point into the advances of technology in animation, covering that 3D animation software progr am packages provided act as a technique of animating and not an easier way to influence believable movement.Lasseter explains, To make a characters personality seem real to an audience, he must be different than the other characters on the screen. A simple way to distinguish the personalities of your characters is through contrast of movement. No two characters would do the same action in the same way. (1994)Creating a unique character, develops its personality. John Kricfalusi (2006) reminisced of how he got drawn in by Chuck Jones cartoons, noticing the unique expressions he drew. specifically as an example, the way he draws two whites of the eyes joined together, one thumpingger than the other to form a D-uh expression.We can see that individuality is very important when introducing personality to a character, Chekhov (1953, p.83) explains on the subject of characterisation, that particular features indigenous to a character like a typical movement, manner of speech, recurrent ha firearm, quaint way of walking and so on, expresses the finishing touches to a character. Characters become more alive and more human with this small feature. Hooks (2000, p.36) explains, When we speak of creating the illusion of life in animation, it boils down not to mannerisms and naturalistic movement, but to emotion. Hooks continues to state that theoretically speaking, emotion is the essential element of acting as the point of empathy for the audience. Hooks, Empathy is as essential to dynamic acting as oxygen is to water. (2000, p.9)Characters of all descriptions, in an attempt to make them believable to an audience, need to have a particular personality. The audience needs to be directly affected by a characters on-screen emotion, to really feel a sense of empathy. Without, the audience will lose interest substantially and the objectives within the storyline can diminish.Hooks (2000, p.41), reflects on Charlie Chaplin as one of the most influential comedians that used a great deal of empathy in his work to touch the audiences emotions. He explains that his innovation as a performer has had a huge influence on the world of comics and animation. As Chuck Jones has said I admire Chaplin very much because you could see him think, and plan, and you cared for him. (Hooks, 2000, p.40)Chaplins unique relationship with the audience has seen a great influence on character animation from the beginning of Walt Disneys profession. golosh Huemer (Hooks, 2000, p.40), Disney storyman, tells us Walt had an image of Mickey Mouse as a little Chaplin.In order to successfully accomplish empathy within a character, there needs to be elements of individuality to provoke emotions. These can be developed through simple recurring mannerisms that correlate with the characters thoughts and actions. In every respect, the audience needs to be the main influence when deciding a characters actions.Hooks states humans express six basic emotions, happiness, surprise, fear, an ger, disgust and sadness (2000, p.36)He also tells us that there is disagreement on whether facial expression is primarily a reflection of the inner emotional state, or if it is exclusively a social display. Hooks concludes that it could be either, depending on the situation. Emotion can be expressed through both facial expression and body language, although the influence of each method can be different. Williams (2001, p. 324) believes that words should be kept to a bare minimum and as an animator, make everything as clear as possible through pantomime using only the body to tell the story. The movements of the body are thought about a lot more by animators than real actors, as animators have to create it rather than do it, although the physical expressive nature of emotions are identical. Different types of feelings can be expressed easily as Chekhov shows, grasping or sleuthing (greed, avarice, cupidity, miserliness) roughly with palms turned earthward lusts to overpower, to p ossess. (1953, p.67)Equally, Chekhov (1953, p.73) explains here that in order to build up your characters expressive nature, hands and arms should act first for example hands up near the chin expresses unavoidability and loneliness, palms turned outward displays self-defence and slight humour is evoked when bending the three middle fingers of each hand. Hooks agrees, The true statement is that our hands and arms are the most expressive parts of our bodies. (2000, p.60)An example to this, Hooks demonstrates, Arms folded across the chest indicate that the person is closed, intractable When you are embarrassed, you tend to shrink in space. (2000, p.62)This reveals that many body language patterns in human figures are emphasised through the movement of hands and arms. Williams (2001, p. 324) explains a method called Twinning where arms and hands are doing the same thing, symmetrically. He teaches that this is used to show authority by preachers, leaders, politicians and so forth. Kev an Shorey agrees that, Symmetry is a good way of adding force to an action to get a point across (2008)Both animators, believe that twinning should be broken up to avoid an exact mirror image of movements that would produce unbelievable messages to the audience. Jeff Lew (2004) explains that to make twinning animation look more interesting, the perspective of shot needs to be changed so they dont physically look identical at a particular camera angle.Walt Disney in 1930s found that expression is better when the whole body is involved and not only the face, Movement begins in the area of your navel and radiates outwards into your limbs. (Hooks, 2000, p.60)John Kricfalusi (2006) explains that animators have evolved a style that has become more stagy than live action by reading characters emotions through body language and poses. Evidentially, facial expressions arent bounteous to provoke a meaningful emotion, and that the whole body needs to be articulating through hand gestures an d arm movements to compliment facial expressions, to achieve a believable emotion through a character.In an example from Toy Story 2, Hooks notes, She (Jessie) doesnt simply greet Woody enthusiastically, she turns him over and gives him nuggies She tosses him this way and that. Her emotion is leading her to energetically celebrate. (2005, p.90)This is a specific example of how body language is reflecting emotion successfully. If this same bit of acting was acted on the stage, or in front of a camera with real actors it would have a very different outcome. The emotion may be similar, but another way of emphasising actions used in animation is through exaggeration. Shawn Kelly (2009) informs us that he was taught to exaggerate something more than it should be, then double it. Exaggeration is one of the original animation principles. Lasseter (1987, pp. 35-44, 214) suggests exaggeration of characters by the animator must be very carefully chosen. If there is too much distortion it cou ld result in an unrealistic look.Looking back much earlier, to 1927, the classic film Sunrise A Song of Two Humans was released. Without synchronised dialogue, films of this era had to deposit on the characters acting and the backing compositions as the two main elements for the story.Sunrise is considered one of the finest films of the silent era, and Janets Gaynors performance is one its greatest virtues Her supple face and emotional eyes convey a range of thoughts and emotions that pages of dialogue could only suggest. (DeFreitas, 2009)Later, DeFreitas (2009) tells us that Sunrise became a winner of the 1929 Best Picture Oscar for Unique and Artistic Production. This film sets as an evidential example of how acting without dialogue can influence and empathise with an audience just as good, if not more so.Often in animation, Lasseter (1987, pp. 35-44) explains that the eye can easily pick up when the motion of a character seems to die, which can come across as looking particular ly interpolate and unbelievable. To overcome this loss of motion, Lasseter uses a moving hold which is a technique used that continues the motion of a body part after an action. This breaks up the animation and results in a smoother and more believable sequence. Preston Blair (Hooks, 2001, p.60), states that an actor should never pause without a specific reason, and when a pause occurs, it should be shown for long enough so the audience can register it. These are both techniques that engage the audience into what the character is acting out.Before a movement of any signifier can occur, thought processes need to become apparent through the character. Hooks outlines, Thinking tends to lead to conclusions emotion tends to lead to action. (2000, p.1)Hooks defines a thought process as a method in discovering a conclusion. Lasseter (1994) mentions that every movement of a particular character must exist for a reason, and, ultimately, develop feelings in a character through their thoug ht processes. As an observation, before a human being puts his body into action, a thought process must occur. In animation, this thought process must be shown to the audience to illustrate believability of an action that has just been revealed. To show a thought process in a character, Disney animator/teacher Eric Larson shows a technique, in Frank Thomas and Ollie Johnsons Illusion of Life, The subject gradually lowered his brows into a frown paused and then lifted one brow and glanced to the side, you immediately would sense a change from one thought to another (Richard Williams, 2001, p.320)This action was discovered when the first Mickey Mouse shorts were being created, and stands as a key element into how change of expression can reflect a meaningful thought process. Shawn Kelly (2009) expresses his ideas, explaining that there isnt anything more important than showing a characters thought process and changes which occur within it to provoke emotions and actions. It is down to these thought processes, he concludes, that drives everything we do. Looking at character animation in Toy Story 2, Hooks (2005, p.87) explains how Woodys realisation that Andy has gone to camp without him, leads him to his express sadness (emotion) which then leads him to withdraw to the back shelf, out of sight. He adds that, The more specific the characters thought process, the better the performance. (2005, p.87)Thought process in character animation, as mentioned, is very important for believability. This has been true for many years since the beginning of Disneys Golden Age in animation. Walt Disney said, In most instances, the driving force behind the action is the mood, the personality, the attitude of the character-or all three. Therefore, the mind is the pilot. We think of things before the body does them. (Lasseter, 1987, pp. 35-44, 214)It is widely concur that thought process is the main building block that needs to be perfected and shown successfully in any animat ed character. Bill Tytla (Hooks, 2005, p.3), concluded that the pose is a reaction to something. Hooks refers to Aristotle, Aristotle referred to this as a unity of action small actions that lead to a bigger action, or objective. This simple rule lies at the base of all acting theory. An action without a thought is impossible, and action without an objective is just a mechanical thing, moving body parts. (Hooks, 2005, p.4-5)Aristotle finds that the thought process of a character separates a character with life to a robotic, lifeless machine.As mentioned earlier, Eric Larsons technique of showing a thought process in a character is very believable. But more specifically, it has been discovered that the eyes are the most important parts of the character to express and emphasis these thoughts. Williams (2001, p.325) advises on how the eyes are the focal point that people watch in a character. As an example, he notes, When listening on the phone the eyes flicker around in a Staccato fa shion reflecting the listeners shifting thoughts in reaction our eyes are rarely still. (2001, p.326)The eyes, the driving force behind a characters actions. Kelly agrees that decisions can be reflected successfully with the eyes, They will very often dart their eyes around a bit as they consider and weigh their options. Its almost as if they are reading an imaginary list of possible choices (2009)Lasseter (1987), explains that eyes lead before the action, and that the only time they wouldnt lead, would be if there was an orthogonal force acting upon the character. He mentions further, that the trick to showing thought process through the eyes of a character is with anticipation. The eyes should move first, followed by the head and then the rest of the body. The eyes of a character are the windows to its thoughts the characters thoughts are conveyed through the actions of its eyes. (Lasseter, 1987)As well as eye movements, the timing and speed of a characters act reflexively can a lso affect the outcome of what is portrayed as a thought process. Kelly (2009), explains that different blinks can offer up our own different perceptions of what the character is thinking. A ton of blinks will feel as though the character is going to cry, is nervous, uncomfortable, shy, or possibly relieved after a big build up while very little to no blinking will either feel dead, stoned worried, angry, or just very intense. (Kelly, 2009)Kelly teaches that blinks should be there for a reason to further promote a particular emotion. Before an animator can even start to animate a particular thought process, they need to know about the character to be able to understand what they would be feeling at a certain moment, in an attempt to achieve a believable outcome.The most important foundation of believable character acting starts with finding out about a specific character. Williams states, Got to get inside the character. What does he/she/it want? and even more interesting why doe s the character want it? (2001, p.20)To develop our understanding of what a character is thinking, and in order to provoke emotion in a character, these questions need to be posed. Ed Hooks also explains to us that, Every character in a scene should be able to answer the question. What am I doing? in a theatrical sense. In other words, what action am I playing in pursuit of what objective? And what is the obstacle/conflict? (2005, p.89)Just like this, in the context of acting for an audience, Michael Chekhov suggests to, Ask yourself what the main desires of the character might be (1953, p.67)This approach sets the scene for any character in order to discover what the characters personality is trying to portray in what they are thinking or doing. Hooks notes, If you want to understand what a character is feeling, it is best to start by asking what the character is thinking and what his value system is. (2000, p.2)To understand how a character must move, the animator needs to disc over the atmosphere and influence of the obstacle that the character is being confronted with. Only then can a thought process occur, and a feeling be evoked by a specific situation or conflict. Jeff Lew (2004) , expresses his thoughts on the development of a characters bio before learning how a character will react in any animated scene. This develops further understanding of a characters background that could be significant in influencing the way their emotions are expressed.This evidence shows us that there are a lot of elements contributing to developing a characters emotional state and to make it believable to the audience. To develop his understanding of a character and what they are thinking, Ed Hooks uses a definition coined by Michael Chekhov called a Psychological Gesture, which, Chekhov explains as the psychology of a character containing thoughts, feelings and a human free will which is expressed physically through external feelings, thoughts and desires. Hooks gives the example, Have you ever noticed someone who wrings his hands a lot while hes talking? A Bully punches someone in the chest with his finger. That is a psychological gesture. (2000, p.66)A psychological gesture is an internal thought process, manifesting itself into an external action to express an emotion. Chekhov gives an acting example, The qualities which fill and permeate each muscle of the entire body, will provoke within you feelings of hatred and disgust. (1953, p.64)The above, is very similar to the way animators approach the discovery of a characters psychological gesture by calling up ideas of how thoughts can influence the emotions that are displayed.ConclusionCharacter animation, in both the traditional and computer medium, rely heavily on the original animation principles that were discovered by Disney Studios. This emphasises how improvements in 3D animated software are used as only as a tool for the creation of animation, and does not rely on the computer to make thi ngs look believable by itself.Analysis has shown that acting techniques in animation are almost identical to stage and film acting. It is the exaggeration of body language and the ability to adapt a character in specific detail that sets it apart.It is evident that the emotional state of a character is a direct influence of its thought process. Thought process can be best expressed through body language to enhance an emotion. This research has lead to discover that eye movements are one of the focal points that enhance a characters thought. Emotions need to be manifested into an external, physical body movement, however slight, in order to engage an audience.The conclusion to the discussion has shown that creating empathy as a result of expressing an emotion, is the key element for engaging any audience. A characters believability is successful when an audience can relate to it in some way or another. This can be done by giving a character a personality through mannerisms and specif ic body language.Bibliography and List of WorksCHEKHOV, M., CALLOW, S To The Actor on the technique of acting, Oxon Routledge, 2002DEFREITAS, J MOVING PICTURES Motion and Emotion in F.W. Murnaus Sunrise, 2009, http//www.berkeleydailyplanet.com/issue/2009-0212/article/32219?headline=MOVING-PICTURES-Motion-and-Emotion-in-F.W.-Murnaus-Sunrise-HOOKS, E., BIRD, B Acting for Animators, Portsmouth Heinemann 2000HOOKS, E Acting in Animation A Look at 12 Films, Portsmouth Heinemann 2005KUNDERT- GIBBS, J, Action Lessons for CG Animators, Oxford John Wiley Sons, 2009KRICFALUSI, J Personal Blog, 2006, http//johnkstuff.blogspot.comKELLY, S Animation Mentor Blog, 2009, http//www.animationtipsandtricks.comLASSETER, J Principles of Traditional Animation utilize to 3D Computer Animation, Siggraph, 1987, http//www.siggraph.org/education/materials/HyperGraph/animation/character_animation/principles/prin_trad_anim.htm

Roman Medicine Essay -- essays research papers fc

The Romans used both scientific and mythological methods in their medicine. By adopting the methods of classical medicine the Romans obtained a solid foundation. They copied Hippocrates, who separated the study of medicine from philosophy and had an overall approach to the health of humans. Hippocrates also observed the habits and environment of humans to accurately determine illnesses and discover treatments. The Romans adapted the Hippocratic method and combined it with mythical and religious views. The Romans used Greek methods, and also included prayers and offerings to the matinee idols. Although all gods had healing powers, Aesculapius, the god of healing, was the most important.Unlike today, the Ancient Roman doctors received no respect, because they were seesidered to be fraudilant. This reputation was caused by the doctors magical tricks, and the lack of useful treatments. The job required stripped training, as they only had to apprentice with their senior. Thus, many f ree slaves and people who had failed at everything else filled this profession. Some did try to find new remedies however, others used medicine to con people. Public surgeries were done to attract audiences as an advertisement. Doctors would even become beauticians providing perfumes, cosmetics, and even hairdressing. When wives wanted their husbands gone, they would say, put the patient out of his misery and the doctors would be the murderers. However, as wars began to get by out, there were improvements bec...

Benjamin Franklin and Henry David Thoreaus Religions Essay -- Frankli

Benjamin Franklin and Henry David Thoreaus ReligionsBenjamin Franklin and Henry David Thoreau atomic number 18 by no means ghostlike in any traditionalsense of the word. If, however, religious is taken to mean the belief in any sort of supreme being...that obliges estimable or moral conduct, then both Franklin and Thoreau fall into this category. Though the two are strikingly opposite in their manner and social interaction, they are both held to a religious and personal standard. Their individual spiritual beliefs, ethical codes, and their quality of lifeshow that all of their actions and thoughts are held by themselves to a higher(prenominal) standard. both(prenominal) men have specific beliefs about the existence of God and mans place in the world. Franklin is a self-proscribed deist, atomic number 53 who believes in God but not church, because of its nature. His attitude was that man runs the church, its the beliefs that are important, the praising and honoring of God on a daily basis, not the institution. throughout the Autobiography, he mentions his prayers and the fact that he enjoyed going to non-formal sermons. He also supported the church monetarily for the benefit of others. Thoreau did none of these things, but he was still a extremely spiritual individual. He did not proscribe to any particular religion but did hold the belief in one supreme being who created the universe. He believed that one should have a true experience with the world according to how it was made and that man was endowed with common sense by the creator. He says that earth no longer camp as for a night, but have settled d witness on earth and forgotten heaven( Thoreau 25). This is why he believed societ... ...reets of Philadelphia. This is consistent with his religious views. Thoreau on the other hand was anti-machine, almost anti-society. He said that there are a thousand people hacking at the branches of evil to one who is striking at the root (Thoreau 51). He believed society would be better off not through inventions but if every individual took it upon themselves to find their own true path. Though differing, these two views express the same idea leading humanity towards what is right. Regardless of their differences, Franklin and Thoreau are focused on a spiritual, humanist, non-shallow viewing of the world. Both dont just do things because it is the thing todo or out of fear, but because of their beliefs. They feel obliged to a higher conduct because of their religious views of the world, whether religious or not.

Social Work Essay -- Sociology, Social Division

This essay will discuss fond divisions social exclusion and social inclusion, of which there are galore(postnominal) definitions and interpretations. Social divisions and Social exclusion has been around for many years. Social exclusion was first noticed in France in 1970s in relation to good deal who fell outside the range of the social insurance system, such as disabled population, lone parents and the young unemployed (Townsend and Kennedy, 2004). Before 1997 Social exclusion was referred to as poverty, which means where people lack many of the opportunities that are available to the average person (Palmer 2010). However for the purpose of this assignment, it will focus on homelessness as a social division, the relationship between exclusion and inclusion, and how this relates to social work practice.Everybody in society is part of a social division. Thompson (2010) states that social divisions are composite plant and people are not only part of one group they are often par t of other groups, for a example a instauration seekers can be linked with social divisions such as poverty, unemployment and homelessness. Asylum seekers can also be marginalised by language barriers. Supporting Thompson (2010) is Armstrong (2006) who stated in 1997, 4.8 million adults suffered from five or more disadvantages of exclusion. Social divisions are class, race, disability, identify, gender and geographical environment, they are often problematic to individuals, groups and communities. Each Government which has come into precedent has tried to eradicate poverty, poor health, poor communities, discrimination and prejudice towards certain individuals and groups (Alcock, 2008). Social exclusion, which excludes people from society, can be categorised into people who are,... ...them (Dalrymple and Burke, 2006). Homeless people as already stated may have a number of disadvantages, one maybe a language barrier, English may not be their first language, therefore the social worker would find it useful to use an interpreter, which shows they value their cultural and want to help and support them. In conclusion the occasion of a social worker is increasingly significant when working with people who are socially excluded, due to multiple factors such as, poverty, homelessness, race, mental health and informal orientation. The essay has shown how people are effected by how Government oversee the country and how they encourage social workers to follow laws and polices, they need to believe in social justice and have an understanding of social divisions, social exclusion and how it informs their practice and then how peoples lives are impacted.

Means To Tragic Ends (oedipus :: essays research papers

Does man really have free will, or does free will lie within a system of limitations that gradually compose a web of circumstantial fate that ultimately cannot be torn apart? The events in both Oedipus The King and Antig hotshot controversially suggests that man ultimately chooses his own deeds and endures fate and the responsibilities for them. These events brought by fate are unmistakably aggravated by certain characteristics within the characters. Oedipus, from Oedipus The King, Antigone, and Creon, both from Antigone own such flawed characteristics that lead to their tragic ends.Oedipus possesses a multitude of characteristics, some of them common to other characters, but pride is exceptionally prevalent. This characteristic, which margins withutter arrogance, appears to be one of the dominant flaws that causes Oedipus&8217 tragic downfall. This is plainly established in the beginning of the play in which he states &8220I Oedipus whom all men call the great. (p11.8). This is st rengthened by the Priest&8217s replies of &8220...Oedipus, Greatest in all men&8217s eyes, (p12.40) and &8220Noblest of men (p12.46).However, pride is not the only characteristic which contributes to Oedipus&8217 tragic end. There exists his temper, which is initially presented in the argument between Teiresias and himself. After Teiresias speaks the truth as factual, Oedipus replies &8220Do you imagine you can always talk like this, and live to laugh at it hereunder? (p26.367) and then soon after calls Teiresias a &8220fool (p29.433). His temper is also exposed whenhe threatens to banish or kill Creon after Creon&8217s attempted reasoning. other contributing factor is his suspicion for others, this is evident where he questions Teiresias &8220Was this your own design or Creon&8217s? (p.27.377). He is falsely rationalizing that Teiresias is secretly plotting, in coalition with Creon, to cut down him. Moreover, Oedipus has an unrelenting pursuit for the truth, which is demonstrate d when he finally believes that he is the murderer and that Polybus was not his father. Nonetheless, he continues with his search with an extensive questioning of both his wife Jocasta and the messenger.Furthermore, Oedipus exhibits self-loathing and a desperation towards the end of the play. After the facts have been voiced, he desperately attempts to rationalize the evidence and states, &8220You said that he spoke of highway robbers who killed Laius. Now if he uses the same(p) number, it was not I who killed him. One man cannot be the same as many. But if he speaks of a man travelling alone, then clearly the payload of the guilt inclines towards me.

What Governments Are Not Essay -- essays research papers

What G overnments Are "Not"     In this essay I will be comparing the three economic systems Communism, Capitalism and Socialism and will explain differences and similarities along with illustrations of each system.     Communism is an economic system where the government owns and operates the means of production and distribution. It is also known as a command system because individuals cannot succeed others, the government controls all. Capitalism is an economic system where private individuals own and operate the means of production and distribution. People deem the freedom to own, choose, compete and earn a living but with little or no government help. They have the freedom to own, choose, compete and earn a living. Socialism is a mixed mart economic system. The basic means of production is managed and owned by the government, with the public owning and operating(a) many businesses. Cooperation is stressed over competition, goals a re high standard of living and economic security and high taxes provide free health care and education.     In communism the government controls the market while in capitalism private individuals own and control the market. Socialism is a mix of the two because the government owns and controls production but with public owning and operating many businesses. In all three systems the lack of competition hurts the quality of goods and profits go down. So...