Stop-motion Research Articles

Simulation of the Full‐Process Dynamics of Floating Vehicles Driven by Flash Floods

AbstractFlash flooding has become more prominent under climate change, threatening people's life and property. Post‐event investigations of recent events emphasize the role of floating debris, such as vehicles, in exacerbating damage. Few modeling methods and tools have been developed to simulate the full‐process dynamics of floating debris driven by large‐scale flood waves in real world. In this work, a fully coupled model is developed for simulating the full‐process interactive movements of vehicles driven by flash flood hydrodynamics, from entrainment, transport to deposition. The proposed coupled modeling system consists of a finite volume shock‐capturing hydrodynamic model solving the 2D shallow water equations and a 3D discrete element method (DEM) model. The proposed two‐way coupling approach estimates the hydrostatic and hydrodynamic forces acting on solid objects using the water depth and velocity predicted by the hydrodynamic model; the resulting counter forces on the fluid flow are then considered by adding extra source terms in the hydrodynamic model. A multi‐sphere method is further embedded in the DEM model to better represent vehicle shapes. New calculation modules are further implemented to represent the vehicle entrainment, contact and stopping motions. The coupled model is applied to reproduce a flash flood event hit Boscastle in the UK in 2004. Over 100 vehicles were moved and carried downstream by the highly transient flood flow. The model well predicts the hydrodynamics, interactive transport process and the final locations of vehicles. The proposed coupled model provides a new tool for simulating large‐scale flash flooding processes, including debris dynamics.

β-Grain refinement in WAAM Ti-6Al-4 V processed with inter-pass ultrasonic impact peening

As-deposited Wire-Arc Additive Manufactured (WAAM) Ti-6Al-4V parts typically contain large columnar β-grains on a centimetre scale, with a strong 〈001〉 fibre texture, leading to anisotropic mechanical properties and unacceptable scatter in damage tolerance. Inter-pass deformation, introduced by the application of Ultrasonic Impact Peening (UIP) across each added layer, has been shown to be effective in refining the β-grain structure and achieving a weaker texture. The depth of deformation and the grain refinement mechanism induced by UIP have been investigated by combining advanced electron backscatter diffraction (EBSD) characterization with a ‘stop action’ observation technique. UIP facilitates a similar refinement mechanism and nearly the same depth of deformation as conventional machine hammer peening, with the advantages of a much higher strain rate, lower peak force, and two orders of magnitude lower impact energy, making it a faster and more economical process. β recrystallization is seen within the deformation zone during re-heating through the α → β transition. Although new recrystallized β-grains formed in the UIP surface-deformed layer to a shallower depth than that of remelting, recrystallization initiated ahead of the melt pool and the recrystallized grains grew downwards to a greater depth before remelting. These refined grains were thus able to survive and act as nucleation sites at the fusion boundary for epitaxial regrowth during solidification, greatly refining the grain structure.

The Effect of Stop Motion Video as An Examination Media on The Knowledge and Safe Behavior of PT. X Metal Casting Industry Workers in Klaten

A work accident is one of the risks that can occur in the metal casting industry. Workers' unsafe behavior is the primary cause of occupational accidents. The definition of unsafe behavior is any human behavior that can allow work accidents to occur to oneself or others. The preliminary study results found that 100% of workers had work accidents due to unsafe behavior, and out of 19 workers, 47.3% had insufficient knowledge about unsafe behavior. Counseling using video stop motion is one effort that can be used to overcome. This research aims to investigate the impact of counseling using video stop motion media on enhancing workers' knowledge and safety practices in the metal casting industry. This type of research is a quasi-experiment with a pre-test, post-test, and control group. The experimental group consisted of the workers in the finishing section, while the control group consisted of the workers in the induction section. The Wilcoxon test analysis reveals a significant difference in knowledge and behavior values between the pre-test and post-test, resulting from the use of video stop motion media. Media. The Mann-Whitney test showed a significant difference in the mean value of differences in knowledge and behavior in the pre-test and post-test between the experimental and control groups with a significance value of 0.000 (p <0.05). Video stop motion has the effect of increasing the value of knowledge and safe action among industry workers.

Overstretching alveolar epithelial type II cells decreases surfactant secretion via actin polymerization and intracellular trafficking alteration

Pulmonary surfactant is essential for maintaining proper lung function. Alveolar epithelial type II (AE2) cells secrete surfactants via lamellar bodies (LBs). In tidal loading during each breath, the physiological cyclic stretching of AE2 cells promotes surfactant secretion. Excessive stretching inhibits surfactant secretion, which is considered to contribute to the development of lung damage. However, its precise mechanism remains unknown. This study tested whether actin polymerization and intracellular transport are required for pulmonary surfactant secretion and the association of actin polymerization and transport in identical human AE2-derived A549 cells using live-cell imaging, not in the bulk cells population. We found that overstretching approximately doubled actin polymerization into filaments (F-actin) and suppressed LB secretion by half in the fluorescent area ratio, compared with physiological stretching (F-actin: 1.495 vs 0.643 (P < 0.01); LB: 0.739 vs 0.332 (P < 0.01)). An inhibitor of actin polymerization increased LB secretion. Intracellular tracking using fluorescent particles revealed that cyclic stretching shifted the particle motion perpendicularly to the direction of stretching according to the orientation of the F-actin (proportion of perpendicular axis motion prior particle: 0h 40.12 % vs 2h 63.13 % (P < 0.01)), and particle motion was restricted over time in the cells subjected to overstretching, indicating that overstretching regulates intracellular transport dynamics (proportion of stop motion particle: 0h 1.01 % vs 2h 11.04 % (P < 0.01)). These findings suggest that overstretching changes secretion through the cytoskeleton: overstretching AE2 cells inhibits pulmonary surfactant secretion, at least through accelerating actin polymerization and decreasing intracellular trafficking, and the change in actin orientation would modulate intracellular trafficking.

Lingering with Multispecies Kin: Re-Turning to Encounters between Children, Invertebrates and Amphibians

Abstract Based on an ethnographic study in a Finnish primary school, we explored lingering as both a pedagogical approach and a methodological concept for multispecies education research and practice. Through this conceptual thinking, we “re-turned” to the multiplicities that unfolded from noticing rhythms, enterings and different lifeworlds to show how children’s lingering encounters developed into speculative inquiries about how invertebrates and amphibians generate polyphonous affects and temporalities. In our study, children’s “attuning-with” clay, waste materials, photographs, and stop-motion animation opened up the unfamiliar worlds and temporalities of invertebrates and amphibians, involving active silences, slow rhythms, and awkward becomings. Overall, the study highlights that children’s attuning-with the uncertainties of today’s socioecological world create new avenues for thinking about multispecies relationalities.

Communicative potential of stop-motion animation in the practice of modern design

The relevance of the research is determined by the need to substantiate and implement effective visualnarrative media formats for creating effective visual communications capable of clearly conveying messages and ideas to the viewer. The purpose of the work is to reveal and evaluate the communicative potential of stop-motion animation in the context of audiovisual practices of modern design. Research methodology is formed by general scientific and special methods, in particular, comparative and historical analysis, scientific analysis and synthesis, methods of visual observation, modeling, art history and content analysis. The research substantiates the technical techniques, formal and artistic approaches of stop-motion and reveals their influence on the communicative potential of animation in the context of various project tasks. The effectiveness of the tools of stop-motion animation in modern audiovisual design practices for increasing the emotional involvement of the audience and improving the perception of content due to attractiveness and experimentation has been proven. The ability of stop-motion animation for detail, visual saturation, expressiveness and emotional expressiveness can play a key role in solving design problems where a deep narrative impact needs to be achieved. The paper substantiates the expediency of using the main technical techniques of stop-motion animation in the implementation of specific conceptual project tasks, in particular in short animated films of various genres, in advertising videos, in art projects, where the goal can be achieved due to the high artistic characteristics of the visual series, interactivity and emotional interaction with the viewer. The practical value of the work is determined by the possibility of implementing the research results into practical recommendations for the implementation of specific projects. The results of the research can be useful in the academic community for the further development of the theoretical foundations of stop-motion animation and the expansion of project approaches in educational courses related to audiovisual art and visual communication

Prototype for Digitizing the Sato Kewan Fairy Tale as A Javanese Language Education Media

This research aims to develop and validate the digitalization product of the Sato Kewan fairy tale as a Javanese language educational medium for elementary school students. This research uses the development method (Research and Development) with the ADDIE model to design a learning system. This development model goes through five steps: Analysis, Design, Development, Implementation, and Evaluation. The validation questionnaire for linguists and media experts is a research instrument. Data analysis techniques include qualitative and quantitative descriptive analysis. Based on data from validity results by linguists and media experts on the stop motion animation video of Sato Kewan's fairy tale, the media is a suitable criterion for use. For the language aspect, the language expert scored 75%, and the content aspect was 80%. The visual aspect got 75%, the audio aspect 83%, and 83% effectiveness.

Aesthetic relationship between personality emotions and contemporary graphic design patterns on the surfaces of textiles

In this work, five different types of animated graphic design ideas (traditional, 2D, 3D, stop motion, motion) were examined on three different textile fabrics (cotton, silk, polyester) through digital printing. Psychological-emotional expressions (openness, conscientiousness, extroversions, agreeableness, and neuroticism) were investigated that influenced the perceptual criteria. Lastly, a quantitative investigation was carried out from a sample of 300 students whose ages varied from 20 to 24 years old for an analysis of aesthetic appeal through a 5-point Likert scale. The results revealed that motion animation design has the most effective aesthetic appeal while the stop motion design pattern has the least aesthetic appeal. Silk fabric samples have better graphic consequences whereas polyester fabric samples have the least. Moreover, individuals with neuroticism emotional personality have the least effective response while agreeableness has the utmost for the sense of aesthetics. 71% of students were accustomed to aesthetic appeal as compared to structural fabrics.

Developing a Stop-Motion Animation in Improving Junior Secondary Students’ Learning in Chemistry Lab: An Exploratory Study

Developing a Stop-Motion Animation in Improving Junior Secondary Students’ Learning in Chemistry Lab: An Exploratory Study

Multimodality In Stop Motion Animation Films

Stop motion animation films use a complicated process of giving life to inanimate objects through visuals and cinematic experience that are created by using puppets made of clay, resin, silicon, wool etc. In the world of digital communication and technology, there has been rise of using multiple modes in order to give deeper meaning to the visuals of a film. Today, apart from language, stop animation film uses various semiotic modes of sound, music, visual metaphors, set design, camera angles, color theory, gestural, spatial and haptic illusion that helps in disseminating ideas, and concepts that are difficult to communicate through a film. The researcher has conducted a content analysis of three Oscar Nominated stop motion animation films including Negative Space, Sister and Lost and Found to identify the various semiotic modes used in the narrative of the film and a quantitative study was conducted to investigate the perception of the young adults including college students of undergraduate and post graduates and professionals between age group of (18-24) living in Mumbai regarding these modes.

Narrating Fabrics: Nostalgia in Animated Puppets’ Skin

In recent years, many studies in the field of animation aesthetics have recognized that puppets’ materiality in stop-motion animation films is a powerful narrative tool. Starting from these premises, this article explores stop-motion films performed by fabric-skinned puppets and suggests that textile materials convey meta-narratives about loss and nostalgia. The analyses of the anthropological and expressive–sensorial dimensions of fabric indeed allow us to investigate the concepts of melancholy and nostalgia as intellectual and emotional experiences made possible thanks to the material characteristics of an artifact. To validate this hypothesis, three stop-motion short films are considered: the Japanese film Komaneko’s Christmas: The Lost Present (2009) by Tsuneo Goda and produced by the Dwarf studio; Christopher Kezelos’ film The Maker (2011); and Marionette (2012) by Thomas Tanner and Frayah Humphries. In these films, puppets’ materiality enhances either the melancholy aspects or the positive consequences of nostalgia and this interpretation can be formulated by looking at the ‘stories’ narrated by puppets’ fragile fabric skin as a manifestation of wistfulness. After providing an interdisciplinary overview of the main theoretical studies that explore concepts such as craftsmanship, puppets’ materiality and nostalgia from either animation, design or psychanalytical perspectives, the article defines three phenomenological dimensions of nostalgia suggested by fabric-skinned puppets’ material surface. Nostalgia is analysed as an emotion that proactively allows us to face the present by remembering the past, as an unconscious relational feeling that manifests human beings’ need to connect and as a pessimistic reaction to an inconsolable and irretrievable loss.

Research on Development Strategies of British Animated Films

This article aims to explore the development strategies of British animated films, analyze their history, current situation, and challenges faced, and propose corresponding strategic suggestions. British animated films boast a rich and colorful history, with early paper-cutting animation and stop-motion animation forms exhibiting unique characteristics. However, in the global market, the share of British animated films is limited, and there is a certain gap compared to giants like Disney and Pixar in the United States. Nevertheless, we also see opportunities amidst the challenges. Through in-depth research and analysis of the development of the British animated film industry, we hope to contribute new ideas to the prosperity and development of this industry and provide valuable reference for relevant practitioners. Therefore, this article will focus on how to promote the British animated film industry to achieve greater scale and broader success and explore effective strategies that may be adopted to facilitate the achievement of this goal.

Efektivitas Penggunaan Video Stop Motion Dalam Menentukan Nilai Sebagai Implementasi Pembelajaran Teks Hikayat

The aim of this research, which was carried out using a quasi-experimental design, was to determine whether the different variables used were successful or not. This research aims to determine the effectiveness of using stop motion video in determining grades as an implementation of saga text learning in SMA/SMK/MA. This research is a quasi-experiment. The effectiveness of using stop motion video in determining grades as an implementation of saga text learning in SMA/SMK/MA between classes that were treated using stop motion video and without using stop motion video. Written tests and multiple choice exams were used to evaluate success in this research. Both the experimental class which was treated using stop motion video to determine the value of the saga, and the control class who were not treated were given this test before and after the learning process was carried out. The results of this research show that the experimental group treatment which used stop motion video to determine the value of the saga was superior to the control group treatment which did not use stop motion video.

Flotsam and Jetsam.

The time-based piece “Flotsam and Jetsam” is a stop-motion video that refers to a beach walk and shows hundreds of collected Plastic pieces at different paces floating, appearing and disappearing on the screen. The title refers to 17th-century sailing terminology for materials or goods floating on the water after wreckage or released to lighten a sinking ship. These terms reflect on the found plastic objects and their appearance as floating and stranded goods, the aftermath of the streams of consumer goods discharged into our oceans, disappearing into an unknown future calling out SOS into the world of petrocaptialism. The viewer is invited to discover plastic garbage metamorphosing during the process of stop-motion animation into mysterious forms but also familiar objects passing by. Through different paces, the found objects appear as uncanny, artificial creatures, haunting us and our entanglement with plastic.&#x0D; https://vimeo.com/826981036

Understanding the empirical process of animating to open up the field of stop motion analog simulation

As a stop motion specialist I tend to think it less as a relic than as a persisting medium, especially since this kind of production is still vivid in the film industry but also because I think some practices, or ways to use the medium are still not cleared because they are only considered as effects, not as an entire way of making a whole film.On the one hand it’s not only about theorizing but opening up new fields and developments based on what has already been done, sometimes unconsciously by artists. On the other hand we also feel the urge to free ourselves from discourses and practical tips given by the animators themselves. Most of the time stop motion animators are engaged in an empirical process leading them to a no less empirical knowledge. I myself discussed it with Patar and Aubier from the Beast animation fame and they don’t have much clue they are promptly and punctually disguising, transfiguring and thus transmuting matter, they only think in terms of material and technic limitations and how hint (or elaborated tricks) can help them solving it when trying to convey something on screen.That’s why we would like to engage ourselves into a physics-based analysis that would be a real asset to assert, didactically, what cause leads to what effects when animated one way or another, for example, exactly what kind of material can be used and what kind of manipulation or substitution leads to that effect of matter.

Bruegel według Majewskiego. Literackie i malarskie problemy adaptacji

Lech Majewski’s The Mill and the Cross (2011) is a full-length feature film, a screen adaptation of Pieter Bruegel’s painting The Way of the Cross (1564). Majewski proves to be an excellent interpreter of Bruegel’s art, whom he considers a philosopher, an epic, and a poet. He relies on the research of Michael F. Gibson, and in his plotting he draws on a long-standing tradition of literary experience and digital technology (without this, it would have been impossible to faithfully reproduce the overall plan and realities of the painting). Majewski exposes the palimpsest nature of the narrative and shapes the film like a contemporary novel of space. In order to make the ideas of the screened painting comprehensible and to emphasize the fictionality of the depicted world, he introduces various versions of “literature about literature”. In the film, he perfectly integrates painterly features (word reduction, stop motion, long static camera shots) and literary features (the structure of an episodic novel of manners).

Stop-Motion Animation’s Object Substitutions and Non-Depictive Representation

This article explores a distinctive representational strategy used in stop-motion animation: the object substitution. Using as its central example a children’s TV episode in which brushes stand in for dogs, it explains how this strategy produces a complex relationship between depiction and representation. The analysis highlights the pragmatic underpinnings of various theories of pictorial and cinematic representation, arguing that, in a substitution, depicted elements constitute explicatures and represented ones implicatures. Connecting this strategy to humans’ capacity for pareidolia (seeing things in other things), it contends that an object substitution achieves its effects—and reconciles its marked incongruities—by prompting viewers to pleasurably reverse-engineer the far-fetched projective imagining that motivated its use. This process, which is a form of conceptual blending, is based on relations that are neither straightforwardly iconic nor purely arbitrary.

Stop Motion Animation Video: A Learning Media on Global Warming for Middle School Students

&lt;p&gt;Material delivered was not innovative resulted in a loss of motivation and interest in learned students. The used of interesting educational media such as stop motion animation videos, could complement the used of related technologies. The result of this studied was to describe production steps, examine product validation, assess readability, and assess student responses to stop motion animated videos used as global warming learned resources. For the 35 seventh-grade students, the research was conducted on one of the MTs in Bandung Regency using an R&amp;amp;D (Research and Development) approach and a 3D model. The researched findings were presented as a description of the development stages, including the define, design, and develop phases involved in making stop motion animated video products (&lt;a href="https://youtu.be/W7V3v1dP_5Y"&gt;https://youtu.be/W7V3v1dP_5Y&lt;/a&gt;). Stop motion animated videos undergo expert validation, receiving scores of 83% from material experts, 78% from media experts, and 94% from subject teacher experts who were considered to had high validity. The readability of stop motion animation videos as teaching tools scored 90% in the easy-to-understand category, the quality of student responses scored 93% in the very positive category. Therefore, stop motion animation videos were appropriate have been used as a source of learned about global warming.&lt;/p&gt;

Crafting a Crafty Witch

This paper presents strategies for conducting a mixed-method practice-led investigation through the creation of a one-minute micro-short stop-motion animation film that uses 3D printing to represent two distinct design styles. The film combines the 1950s animation style of ‘cartoon modern’ (Amidi, 2006) with historic woodblock printing found in early documents on witchcraft, reflecting various definitions of 'craft' that combine analogue methods with digital skills and tools. This was documented in a making-of video, showing the various processes and technologies used throughout the film, which uses 3D printing as both a tool and a material in the creation of a novel aesthetic to explore conceptual visual ideas such as post-digital art, glitch art and sloppy craft.

Цифровой сторителлинг как средство воспитания и формирования духовно-нравственных ценностей в подростковом возрасте (на примере литературного материала)

&lt;p&gt;The article presents the results of the study that identifies the possibilities of applying activity technologies in education to create digital stories for the purposes of formation of spiritual and ethical values in adolescents. The study took place in March, 2023, on the basis of MBOU SOSH school No. 4 in Kashira town, 38 schoolchildren of the 7th grade aged 13-14 years old took part in it. As part of the study, during three sessions 9 cartoons were created in the stop-motion animation technique, they were based on the literary material of A.P. Chekhov. The article presents an analysis of the production process of animation products creation, it also discusses the aspects of the formation of spiritual and moral values ​​while creating cartoons. The article also focuses on the empirical data that demonstrate the peculiarities of the adolescents&amp;rsquo; perception of joint activities when working on cartoons and according to the degree of motivation for the activity. The study proves the effectiveness of the use of practices for creating digital stories by adolescents for establishing interpersonal communication, appropriating moral and prosocial behavior patterns, developing interest in classic literature, and creative self-realization.&lt;/p&gt;