This document discusses the concepts of the uncanny valley and the fantastic in relation to visual representations of humanoids. It begins by defining the uncanny valley according to Freud and the Oxford Dictionary. It then examines Freud and Todorov's theories on the uncanny and how they can be applied to analyzing visual humanoids. Specifically, it explores how representations can achieve the marvelous, fantastic, or uncanny based on their realism and creation of uncertainty. The document analyzes examples from the TV show Humans to show how robotic characters can traverse the line between the uncanny and fantastic. It concludes by discussing the challenges of creating truly fantastic humanoid representations and how the uncanny valley represents the failure to eliminate uncertainty.
This document discusses definitions of the uncanny and how they relate to representations of humanoids. It examines Freud's definition which focuses on familiarity and the relationship to humanity. It also looks at Todorov's definition from "The Fantastic" which distinguishes the uncanny, marvelous, and fantastic genres based on how supernatural elements are reacted to. The document argues that visual humanoid representations can fall into these categories, and that robotic depictions in particular straddle the line of the uncanny and fantastic due to the uncertainty of future technology. It provides the TV show "Humans" as a current example that successfully creates both uncanny and fantastic robotic characters.
This document discusses the depiction of madness in three films: Psycho (1960), eXistenZ (1999), and The Cell (2000). It explores how each film portrays mental illness through their use of dreams, reality, and technology as narrative devices. Specifically, it analyzes how the films reflect the social anxieties of their time periods regarding modernization and new technologies. By inviting audiences to analyze characters through these devices, the films provide an outlet to work through contemporary societal fears in a way that can feel therapeutic.
The document discusses conventions of genre in horror films. It explains that horror films aim to scare audiences and generally establish this through settings that are dark, old, and isolated. It also notes that horror films establish a main character who faces threats and that the audience can relate to, and that most horror films are set in modern times so audiences can relate more. Finally, it discusses how props like knives and guns are used in horror films to elicit fear due to the damage they can cause, and how everyday items can take on a scary persona when featured in a horror movie.
This document defines and provides examples of key elements of postmodernism, including bricolage, hybridity, intertextuality, hyperrealism, and hyperconsciousness. Bricolage is exemplified by punk subcultures that eclectically combine styles and symbols from different classes and politics. Hybridity is shown through a song that blends musical styles and lyrics from different artists and a work that merges Edgar Allan Poe texts with a familiar tune. Intertextuality is demonstrated in novels that reference and reimagine other classic works. Examples of hyperrealism include a TV show questioning facts and a film presented as a documentary that is fictional. Hyperconsciousness is represented in fictional characters aware of their own fictional nature
This document discusses how fiction and nostalgia are related. It notes that advertisements often blur the lines between reality and fiction to link products to desirable fictional worlds. It also discusses how nostalgia films set in the past recreate cultural experiences from an idealized earlier time period. Finally, it explores how modern media texts are filled with references and allusions to past works, representing a postmodern emphasis on intertextuality, pastiche, and nostalgia over original meaning or reality.
Task 4 enabled us to view horror through the years. We used examples of filmed through the ages and analysed how they changed to back up our key point - that horror is the best genre. Active spectatorship, audience reception and the role of social media were all points which enabled us to bad up our statement.
This document discusses the history and evolution of the horror genre in film from the 1920s to present. It covers key developments such as the rise of black-and-white silent films in the 1920s-1930s, the introduction of slashers in the 1970s, and the increasing realism and use of graphic violence in recent decades. It also analyzes how horror films aim to create an active spectatorship by eliciting emotional and psychological responses from audiences.
The document discusses early ideas for a slasher film poster and magazine. For the poster, the antagonist will be shot from a low angle to appear threatening, wear all black to blend into the darkness, and have a mask that hides his face and strips away his humanity. His weapon will be a large axe. The title will be in red font and the tagline will be in a smaller font above. For the magazine, ideas include a long shot of the antagonist on a black background using direct address, or showing both the antagonist and protagonist with the killer lurking over the final girl. Multiple masthead name ideas are also listed.
This document discusses definitions of the uncanny and how they relate to representations of humanoids. It examines Freud's definition which focuses on familiarity and the relationship to humanity. It also looks at Todorov's definition from "The Fantastic" which distinguishes the uncanny, marvelous, and fantastic genres based on how supernatural elements are reacted to. The document argues that visual humanoid representations can fall into these categories, and that robotic depictions in particular straddle the line of the uncanny and fantastic due to the uncertainty of future technology. It provides the TV show "Humans" as a current example that successfully creates both uncanny and fantastic robotic characters.
This document discusses the depiction of madness in three films: Psycho (1960), eXistenZ (1999), and The Cell (2000). It explores how each film portrays mental illness through their use of dreams, reality, and technology as narrative devices. Specifically, it analyzes how the films reflect the social anxieties of their time periods regarding modernization and new technologies. By inviting audiences to analyze characters through these devices, the films provide an outlet to work through contemporary societal fears in a way that can feel therapeutic.
The document discusses conventions of genre in horror films. It explains that horror films aim to scare audiences and generally establish this through settings that are dark, old, and isolated. It also notes that horror films establish a main character who faces threats and that the audience can relate to, and that most horror films are set in modern times so audiences can relate more. Finally, it discusses how props like knives and guns are used in horror films to elicit fear due to the damage they can cause, and how everyday items can take on a scary persona when featured in a horror movie.
This document defines and provides examples of key elements of postmodernism, including bricolage, hybridity, intertextuality, hyperrealism, and hyperconsciousness. Bricolage is exemplified by punk subcultures that eclectically combine styles and symbols from different classes and politics. Hybridity is shown through a song that blends musical styles and lyrics from different artists and a work that merges Edgar Allan Poe texts with a familiar tune. Intertextuality is demonstrated in novels that reference and reimagine other classic works. Examples of hyperrealism include a TV show questioning facts and a film presented as a documentary that is fictional. Hyperconsciousness is represented in fictional characters aware of their own fictional nature
This document discusses how fiction and nostalgia are related. It notes that advertisements often blur the lines between reality and fiction to link products to desirable fictional worlds. It also discusses how nostalgia films set in the past recreate cultural experiences from an idealized earlier time period. Finally, it explores how modern media texts are filled with references and allusions to past works, representing a postmodern emphasis on intertextuality, pastiche, and nostalgia over original meaning or reality.
Task 4 enabled us to view horror through the years. We used examples of filmed through the ages and analysed how they changed to back up our key point - that horror is the best genre. Active spectatorship, audience reception and the role of social media were all points which enabled us to bad up our statement.
This document discusses the history and evolution of the horror genre in film from the 1920s to present. It covers key developments such as the rise of black-and-white silent films in the 1920s-1930s, the introduction of slashers in the 1970s, and the increasing realism and use of graphic violence in recent decades. It also analyzes how horror films aim to create an active spectatorship by eliciting emotional and psychological responses from audiences.
The document discusses early ideas for a slasher film poster and magazine. For the poster, the antagonist will be shot from a low angle to appear threatening, wear all black to blend into the darkness, and have a mask that hides his face and strips away his humanity. His weapon will be a large axe. The title will be in red font and the tagline will be in a smaller font above. For the magazine, ideas include a long shot of the antagonist on a black background using direct address, or showing both the antagonist and protagonist with the killer lurking over the final girl. Multiple masthead name ideas are also listed.
The document discusses early ideas for marketing materials for a slasher film called "Deadwood Grove." It proposes ideas for the antagonist's costume, mask, and weapon to make him appear threatening. It also provides ideas for the poster design, including using red font for the title and taglines referring to the forest setting. Finally, it outlines potential images and text for a marketing magazine, such as shots of the antagonist or a chase between the antagonist and protagonist, as well as masthead name ideas for the magazine.
This document discusses various theories of narrative, including definitions, theorists, and concepts. It defines narrative as a chain of events organized in a causal relationship with a beginning, middle, and end. Theorists discussed include Branigan, Propp, Barthes, Levi-Strauss, and others. Branigan views narrative as embodying a judgment about events. Propp identified character archetypes. Barthes identified five codes that help readers make sense of narratives. Levi-Strauss examined how stories reflect a culture's values and beliefs through binary oppositions. The document also discusses postmodern narratives and concepts like pastiche and intertextuality.
The document discusses early ideas for a slasher film poster and magazine. For the poster, the antagonist will be shot from a low angle to appear threatening, wear all black to blend into the darkness, and have a mask to strip away his humanity. His weapon will be a large axe. The title will be in red font and the tagline above in a smaller font. For the magazine, ideas include a long shot of the antagonist on a black background using direct address, or shots of both the antagonist and protagonist with the killer lurking over the final girl. Several masthead name ideas for the magazine are also listed.
1. Narrative is defined as a chain of events in a cause-effect relationship that occurs over time, with a beginning, middle, and end.
2. Theorists have identified common narrative structures and elements across different texts, including character archetypes and codes that help audiences understand and interpret narratives.
3. Narrative analysis involves considering how various narrative elements like mise-en-scene, editing, and sound work together to construct meaning for audiences.
Slides presented at POPCAANZ17, Wellington, July 2017.
It's an exploration of the representation of virtual reality and dream in popular culture (mainly cinema and TV), but also the implications of these similarities.
Here are my notes for the reading:
Welcome to the infinite screen: virtual reality interfaces and dream
My name is Bruno Rodriguez, and I work with the department of media and communications at University of Sydney teaching new media audiences
Currently applying for a PhD
Thanks to Ryszard Dabek and POPCAANZ
To the question, everybody is asking themselves: Spanish. If at some point my accent gets too thick you’re more than welcome to raise your hand and ask me. If you don’t feel like that, you can also use Twitter to criticise this presentation, remember we’re using the hashtag #popcaanz2017.
THIS PRESENTATION WILL ADDRESS 2 MAIN THEMES
I’ll start with a story
During Google’s I/O 2016 conference, presented a new set of tools for VR
They called it daydream
-Set of tools for developers
-Specific hardware (controller + headsets)
-Daydream-ready smartphones
-Daydream-ready experiences
---SW for smartphones
---Through Google Play
---Still they don’t call them apps
---Full of terms like Dreamscape, dreamlike, etc.
By using the term Daydream, Google seems to draw a parallelism between the experience of virtual reality and the experience of dreaming.
But this is part of a bigger phenomenon.
Dream Vision is the company responsible for Dream360, a VR device that streams content directly from your phone and that also digged the oneiric branding reference.
Kortex, a project that was recently crowdfunded on Kickstarter receiving close to $117,000 is a project that delivers a low dose alternating current shocks to the back of your skull for reducing stress and helping sleep while using VR.
Relaxation, meditation and sleep apps are one of the most popular categories in VR media.
-Guided meditation VR
-Lumen - dev by Walter Greenleaf (Stanford) as a simulator for relaxation
-MindZenze Sleep - enter a dreamier state of mind
-Relax VR
Including an overwhelming support from the ASMR community, for those of you interested in this phenomenon.
And because this is 2017, there’s even an anime waifu sleep simulator, where you can sleep next to or over the lap of Rem, the famous character from RE: Zero - Starting Life in Another World
The selection of the name “Daydream” to invoke virtual reality can be interpreted as an intentional association between VR and dream, or an example of Google’s executives instinctively drawing the comparison between the two.
Either way, it highlights the historical connection between dream and visual media, and how it’s been stressed with each new iteration of visual media facilitated through technology.
They aren’t the first drawing this analogy between moving image and subconscious.
002 Raisin In The Sun Essay ~ Thatsnotus. A Raisin in the Sun Essay Prompts. 007 Raisin In The Sun Essay Example 008004507 1 ~ Thatsnotus. A Raisin in the Sun Response to Literature Essay. essay examples: a raisin in the sun essay. “Raisin in the Sun | 06880. A raisin in the sun - GCSE English - Marked by Teachers.com. A Raisin in the Sun Essay | Essay on A Raisin in the Sun for Students .... A Raisin in the Sun Analysis - Free Essay Example - 645 Words .... a raisin in the sun. Frightening Raisin In The Sun Essay ~ Thatsnotus. ⇉A Raisin in the Sun: Beneatha's Dreams s Essay Example | GraduateWay.
The document discusses the film Rashomon and differing views on the nature of truth. It summarizes the plot of the film, in which four witnesses give conflicting accounts of a murder in the forest. It then examines the perspectives of Morris and Ebert on whether truth is objective or subjective. While Morris believes there is one objective truth, Ebert argues that reality and truth are subjective based on human perception. The document agrees with Ebert's view, finding it most aligned with the interpretation of truth presented in Rashomon, where the different witness accounts leave the true facts of the murder ambiguous and open to the viewer's own perception.
The document discusses the film Rashomon and differing views on the nature of truth. It summarizes the plot of the film, in which four witnesses give conflicting accounts of a murder in the forest. It then examines the perspectives of Morris and Ebert on whether truth is objective or subjective. While Morris believes there is one objective truth, Ebert argues that reality and truth are subjective based on human perception. The document agrees with Ebert's view, finding it most aligned with the interpretation of truth presented in Rashomon, where the different witness accounts leave the true facts of the murder ambiguous and open to the viewer's own perception.
How to Write a Definition Essay: Writing Guide with Sample Essays. Definition Essay - A Complete Guide and Examples. Writing a definition essay - College Homework Help and Online Tutoring.. Definition Essay Writing Tips [+Universal Guide] | Pro Essay Help. How to Write a Definition Essay: Outline, Thesis, Body, and Conclusion. 006 Sample Definition Essay Example ~ Thatsnotus. Definition essay writing examples. Page 3 for Explore Free Definition Essay Examples: Topics, Outlines ....
The document discusses several theories of narrative structure and their application to the film "The Shining". It analyzes Vladimir Propp's theory of character types and plot functions and how they can be applied to characters in the film, though not without some debate. It also summarizes Tzvetan Todorov's theory of narrative equilibrium and disruption and how it relates to the plot structure of "The Shining". Finally, it outlines Claude Levi-Strauss's concept of binary oppositions and David Bordwell and Kristin Thompson's perspective on audience perception of time and space in narratives and how these theories provide lenses for analyzing the film.
The document analyzes three film trailers from different genres: Grave Encounters (horror), The Fourth Kind (psycho horror), and Mean Girls (American teen comedy). Various film and narrative theories are discussed in relation to each trailer, including how they influence expectations, represent certain groups, and impact audiences.
Amanda Carlson is seeking a Masters in Business Design and Arts Leadership with goals of management roles. She has a BFA from Savannah College of Art and Design and experience in office management, education, and 3D design. Currently, she is the Special Programs Director at Planet Bravo, managing daily operations, correspondence, advertising, and staff assistance. She has also worked as a teacher, summer camp director, freelance rendering artist, and applications engineer.
This document summarizes the progress of a 3D character model named Wanda Donna. The modeling stage is complete and textures have been painted for the body and face. The topology for both the body and face is rough but functional and will be cleaned up further during rigging and weight painting. Texture maps have also been created.
1) The document discusses exploring the concept of the "uncanny" through a CGI robotic human character that undergoes a change to appear more humanlike.
2) A video glitch will occur during this change to highlight unintended digital effects known as "glitches".
3) Uncanny sounds will be distorted and added to the video to make the humanlike version seem subtly unsettling and complex, examining ideas about reality, hyperreality, and the digital human.
The document outlines a process book for a Wikihuman Project that will use the Emily 2 model to create a glitch effect transitioning from an uncanny robot texture to an uncanny human texture. It will involve creating new shaders, lighting, and textures in Maya and an After Effects glitch effect, with an animatic portraying a robotic uncanny style at the beginning transitioning to an eerie zoom of an uncanny human with glitching and looping music to portray technology and dread.
This document discusses Wanda Donna's texturing project. It includes sections on texture maps, progress renders with notes on quality settings and lighting, and preferred angle renders of the final results.
The document outlines a process book for the Wikihuman Project. It details plans to use the Emily 2 model and create new shaders, lighting, textures, and a "glitch" effect. Research was done including finding a tutorial for similar shaders on YouTube to use as a starting point, with the intention to vary the shaders greatly and create the glitch effect in After Effects.
This document discusses wireframe renders and screen captures of a 3D model of a spaceship interior created by Amanda Carlson in Spring 2017. It notes that the model has over 134,000 polygons and details like a bean bag, blanket, and bead curtain will be further defined through texturing. Most objects in the ship are hidden behind panels to create a clean environment safe for travel in space. The current coloring is rough but will be refined during texturing.
The document discusses early ideas for marketing materials for a slasher film called "Deadwood Grove." It proposes ideas for the antagonist's costume, mask, and weapon to make him appear threatening. It also provides ideas for the poster design, including using red font for the title and taglines referring to the forest setting. Finally, it outlines potential images and text for a marketing magazine, such as shots of the antagonist or a chase between the antagonist and protagonist, as well as masthead name ideas for the magazine.
This document discusses various theories of narrative, including definitions, theorists, and concepts. It defines narrative as a chain of events organized in a causal relationship with a beginning, middle, and end. Theorists discussed include Branigan, Propp, Barthes, Levi-Strauss, and others. Branigan views narrative as embodying a judgment about events. Propp identified character archetypes. Barthes identified five codes that help readers make sense of narratives. Levi-Strauss examined how stories reflect a culture's values and beliefs through binary oppositions. The document also discusses postmodern narratives and concepts like pastiche and intertextuality.
The document discusses early ideas for a slasher film poster and magazine. For the poster, the antagonist will be shot from a low angle to appear threatening, wear all black to blend into the darkness, and have a mask to strip away his humanity. His weapon will be a large axe. The title will be in red font and the tagline above in a smaller font. For the magazine, ideas include a long shot of the antagonist on a black background using direct address, or shots of both the antagonist and protagonist with the killer lurking over the final girl. Several masthead name ideas for the magazine are also listed.
1. Narrative is defined as a chain of events in a cause-effect relationship that occurs over time, with a beginning, middle, and end.
2. Theorists have identified common narrative structures and elements across different texts, including character archetypes and codes that help audiences understand and interpret narratives.
3. Narrative analysis involves considering how various narrative elements like mise-en-scene, editing, and sound work together to construct meaning for audiences.
Slides presented at POPCAANZ17, Wellington, July 2017.
It's an exploration of the representation of virtual reality and dream in popular culture (mainly cinema and TV), but also the implications of these similarities.
Here are my notes for the reading:
Welcome to the infinite screen: virtual reality interfaces and dream
My name is Bruno Rodriguez, and I work with the department of media and communications at University of Sydney teaching new media audiences
Currently applying for a PhD
Thanks to Ryszard Dabek and POPCAANZ
To the question, everybody is asking themselves: Spanish. If at some point my accent gets too thick you’re more than welcome to raise your hand and ask me. If you don’t feel like that, you can also use Twitter to criticise this presentation, remember we’re using the hashtag #popcaanz2017.
THIS PRESENTATION WILL ADDRESS 2 MAIN THEMES
I’ll start with a story
During Google’s I/O 2016 conference, presented a new set of tools for VR
They called it daydream
-Set of tools for developers
-Specific hardware (controller + headsets)
-Daydream-ready smartphones
-Daydream-ready experiences
---SW for smartphones
---Through Google Play
---Still they don’t call them apps
---Full of terms like Dreamscape, dreamlike, etc.
By using the term Daydream, Google seems to draw a parallelism between the experience of virtual reality and the experience of dreaming.
But this is part of a bigger phenomenon.
Dream Vision is the company responsible for Dream360, a VR device that streams content directly from your phone and that also digged the oneiric branding reference.
Kortex, a project that was recently crowdfunded on Kickstarter receiving close to $117,000 is a project that delivers a low dose alternating current shocks to the back of your skull for reducing stress and helping sleep while using VR.
Relaxation, meditation and sleep apps are one of the most popular categories in VR media.
-Guided meditation VR
-Lumen - dev by Walter Greenleaf (Stanford) as a simulator for relaxation
-MindZenze Sleep - enter a dreamier state of mind
-Relax VR
Including an overwhelming support from the ASMR community, for those of you interested in this phenomenon.
And because this is 2017, there’s even an anime waifu sleep simulator, where you can sleep next to or over the lap of Rem, the famous character from RE: Zero - Starting Life in Another World
The selection of the name “Daydream” to invoke virtual reality can be interpreted as an intentional association between VR and dream, or an example of Google’s executives instinctively drawing the comparison between the two.
Either way, it highlights the historical connection between dream and visual media, and how it’s been stressed with each new iteration of visual media facilitated through technology.
They aren’t the first drawing this analogy between moving image and subconscious.
002 Raisin In The Sun Essay ~ Thatsnotus. A Raisin in the Sun Essay Prompts. 007 Raisin In The Sun Essay Example 008004507 1 ~ Thatsnotus. A Raisin in the Sun Response to Literature Essay. essay examples: a raisin in the sun essay. “Raisin in the Sun | 06880. A raisin in the sun - GCSE English - Marked by Teachers.com. A Raisin in the Sun Essay | Essay on A Raisin in the Sun for Students .... A Raisin in the Sun Analysis - Free Essay Example - 645 Words .... a raisin in the sun. Frightening Raisin In The Sun Essay ~ Thatsnotus. ⇉A Raisin in the Sun: Beneatha's Dreams s Essay Example | GraduateWay.
The document discusses the film Rashomon and differing views on the nature of truth. It summarizes the plot of the film, in which four witnesses give conflicting accounts of a murder in the forest. It then examines the perspectives of Morris and Ebert on whether truth is objective or subjective. While Morris believes there is one objective truth, Ebert argues that reality and truth are subjective based on human perception. The document agrees with Ebert's view, finding it most aligned with the interpretation of truth presented in Rashomon, where the different witness accounts leave the true facts of the murder ambiguous and open to the viewer's own perception.
The document discusses the film Rashomon and differing views on the nature of truth. It summarizes the plot of the film, in which four witnesses give conflicting accounts of a murder in the forest. It then examines the perspectives of Morris and Ebert on whether truth is objective or subjective. While Morris believes there is one objective truth, Ebert argues that reality and truth are subjective based on human perception. The document agrees with Ebert's view, finding it most aligned with the interpretation of truth presented in Rashomon, where the different witness accounts leave the true facts of the murder ambiguous and open to the viewer's own perception.
How to Write a Definition Essay: Writing Guide with Sample Essays. Definition Essay - A Complete Guide and Examples. Writing a definition essay - College Homework Help and Online Tutoring.. Definition Essay Writing Tips [+Universal Guide] | Pro Essay Help. How to Write a Definition Essay: Outline, Thesis, Body, and Conclusion. 006 Sample Definition Essay Example ~ Thatsnotus. Definition essay writing examples. Page 3 for Explore Free Definition Essay Examples: Topics, Outlines ....
The document discusses several theories of narrative structure and their application to the film "The Shining". It analyzes Vladimir Propp's theory of character types and plot functions and how they can be applied to characters in the film, though not without some debate. It also summarizes Tzvetan Todorov's theory of narrative equilibrium and disruption and how it relates to the plot structure of "The Shining". Finally, it outlines Claude Levi-Strauss's concept of binary oppositions and David Bordwell and Kristin Thompson's perspective on audience perception of time and space in narratives and how these theories provide lenses for analyzing the film.
The document analyzes three film trailers from different genres: Grave Encounters (horror), The Fourth Kind (psycho horror), and Mean Girls (American teen comedy). Various film and narrative theories are discussed in relation to each trailer, including how they influence expectations, represent certain groups, and impact audiences.
Similar to Visual Humanoids and The Certainty of the Uncanny (8)
Amanda Carlson is seeking a Masters in Business Design and Arts Leadership with goals of management roles. She has a BFA from Savannah College of Art and Design and experience in office management, education, and 3D design. Currently, she is the Special Programs Director at Planet Bravo, managing daily operations, correspondence, advertising, and staff assistance. She has also worked as a teacher, summer camp director, freelance rendering artist, and applications engineer.
This document summarizes the progress of a 3D character model named Wanda Donna. The modeling stage is complete and textures have been painted for the body and face. The topology for both the body and face is rough but functional and will be cleaned up further during rigging and weight painting. Texture maps have also been created.
1) The document discusses exploring the concept of the "uncanny" through a CGI robotic human character that undergoes a change to appear more humanlike.
2) A video glitch will occur during this change to highlight unintended digital effects known as "glitches".
3) Uncanny sounds will be distorted and added to the video to make the humanlike version seem subtly unsettling and complex, examining ideas about reality, hyperreality, and the digital human.
The document outlines a process book for a Wikihuman Project that will use the Emily 2 model to create a glitch effect transitioning from an uncanny robot texture to an uncanny human texture. It will involve creating new shaders, lighting, and textures in Maya and an After Effects glitch effect, with an animatic portraying a robotic uncanny style at the beginning transitioning to an eerie zoom of an uncanny human with glitching and looping music to portray technology and dread.
This document discusses Wanda Donna's texturing project. It includes sections on texture maps, progress renders with notes on quality settings and lighting, and preferred angle renders of the final results.
The document outlines a process book for the Wikihuman Project. It details plans to use the Emily 2 model and create new shaders, lighting, textures, and a "glitch" effect. Research was done including finding a tutorial for similar shaders on YouTube to use as a starting point, with the intention to vary the shaders greatly and create the glitch effect in After Effects.
This document discusses wireframe renders and screen captures of a 3D model of a spaceship interior created by Amanda Carlson in Spring 2017. It notes that the model has over 134,000 polygons and details like a bean bag, blanket, and bead curtain will be further defined through texturing. Most objects in the ship are hidden behind panels to create a clean environment safe for travel in space. The current coloring is rough but will be refined during texturing.
HD Video Player All Format - 4k & live streamHD Video Player
Discover the best video playback experience with HD Video Player. Our powerful, user-friendly app supports all popular video formats and codecs, ensuring seamless playback of your favorite videos in stunning HD and 4K quality. Whether you're watching movies, TV shows, or personal videos, HD Video Player provides the ultimate viewing experience on your device. 🚀
Taylor Swift: Conquering Fame, Feuds, and Unmatched Success | CIO Women MagazineCIOWomenMagazine
From country star to global phenomenon, delve into Taylor Swift's incredible journey. Explore chart-topping hits, feuds, & her rise to billionaire status!
The Midnight Sculptor.pdf writer by Ali alsiadali345alghlay
The city of Ravens burg was known for its gothic architecture, fog-covered streets, and an eerie silence that seemed to hang over the town like a shroud.
Enhance Your Viewing Experience with Gold IPTV- Tips and Tricks for 2024.pdfXtreame HDTV
In the ever-evolving landscape of digital entertainment, IPTV (Internet Protocol Television) has emerged as a popular alternative to traditional cable and satellite TV services. Offering unparalleled flexibility, a vast selection of channels, and affordability, IPTV services like Gold IPTV have revolutionized the way we consume television content. This comprehensive guide will delve into everything you need to know about Gold IPTV, its features, benefits, setup process, and how it can enhance your viewing experience.
You know you're an adult when every check-up gets you down. View What Going to the Doctor is Like as an Adult and more funny posts on salty vixen stories & more-saltyvixenstories.com
The cats, Sunny and Rishi, are brothers who live with their sister, Jessica, and their grandmother, Susie. They work as cleaners but wish to seek other kinds of employment that are better than their current jobs. New career adventures await Sunny and Rishi!
Party Photo Booth Prop Trends to Unleash Your Inner StyleBirthday Galore
Are you planning an unforgettable event and looking for the best photo booth props to make it a memorable night? Party photo booth props have become essential to any celebration, allowing guests to capture priceless memories and express their personalities. Here, we'll explore the hottest party photo booth prop trends that will unleash your inner style and create a buzz-worthy experience with Birthday Galore!
For more details visit - birthdaygalore.com
Explore Treydora's VR economy, where users can trade virtual assets, earn rewards, and build digital wealth within immersive game environments. Learn more!
The Evolution and Impact of Tom Cruise Long Hairgreendigital
Tom Cruise is one of Hollywood's most iconic figures, known for his versatility, charisma, and dedication to his craft. Over the decades, his appearance has been almost as dynamic as his filmography, with one aspect often drawing significant attention: his hair. In particular, Tom Cruise long hair has become a defining feature in various phases of his career. symbolizing different roles and adding layers to his on-screen characters. This article delves into the evolution of Tom Cruise long hair, its impact on his roles. and its influence on popular culture.
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Introduction
Tom Cruise long hair has often been more than a style choice. it has been a significant element of his persona both on and off the screen. From the tousled locks of the rebellious Maverick in "Top Gun" to the sleek, sophisticated mane in "Mission: Impossible II." Cruise's hair has played a pivotal role in shaping his image and the characters he portrays. This article explores the various stages of Tom Cruise long hair. Examining how this iconic look has evolved and influenced his career and broader fashion trends.
Early Days: The Emergence of a Style Icon
The 1980s: The Birth of a Star
In the early stages of his career during the 1980s, Tom Cruise sported a range of hairstyles. but in "Top Gun" (1986), his hair began to gain significant attention. Though not long by later standards, his hair in this film was longer than the military crew cuts associated with fighter pilots. adding a rebellious edge to his character, Pete "Maverick" Mitchell.
Risky Business: The Transition Begins
In "Risky Business" (1983). Tom Cruise's hair was short but longer than the clean-cut styles dominant at the time. This look complemented his role as a high school student stepping into adulthood. embodying a sense of youthful freedom and experimentation. It was a precursor to the more dramatic hair transformations in his career.
The 1990s: Experimentation and Iconic Roles
Far and Away: Embracing Length
One of the first films in which Tom Cruise embraced long hair was "Far and Away" (1992). Playing the role of Joseph. an Irish immigrant in 1890s America, Cruise's long, hair added authenticity to his character's rugged and determined persona. This look was a stark departure from his earlier. more polished styles and marked the beginning of a more adventurous phase in his hairstyle choices.
Interview with the Vampire: Gothic Elegance
In "Interview with the Vampire" (1994). Tom Cruise long hair reached new lengths of sophistication and elegance. Portraying the vampire Lestat. Cruise's flowing blonde locks were integral to the character's ethereal and timeless allure. This hairstyle not only suited the gothic aesthetic of the film but also showcased Cruise's ability to transform his appearance for a role.
Mission: Impossible II: The Pinnacle of Long Hair
One of the most memorable instances of Tom Cruise long hair came in "Mission: Impossible II" (2000). His character, Ethan
How OTT Players Are Transforming Our TV Viewing Experience.pdfGenny Knight
The advent of Over-The-Top (OTT) players has brought a seismic shift in the television industry, transforming how we consume media. These digital platforms, which deliver content directly over the internet, have outpaced traditional cable and satellite television, offering unparalleled convenience, variety, and personalization. Here’s an in-depth look at how OTT players are revolutionizing the TV viewing experience.
1. Carlson / Course SDGM-719-OL / Visual Humanoids and The Certainty of the Uncanny 1
The uncanny valley is a hot topic revolving around visual effects communities. This term
according to the oxford dictionary,
“Used in reference to the phenomenon whereby a computer-generated figure or
humanoid robot bearing a near-identical resemblance to a human being arouses a
sense of unease or revulsion in the person viewing it.”1
The definition of the uncanny valley is seems to give a direct answer to what it is.
However, if you look at the word uncanny on its own , the answer isn’t so simple. Can
we define the uncanny? How has it been defined before and how can we use semiotics to
surpass the uncanny valley? Let’s look at previous critically analyses, and examples of
how it has already been represented.
Freud’s Take on the Uncanny
The uncanny as a word has many definitions and uses.
“It is equally beyond a doubt that the word is not always used in a clearly
definable sense.” 2
It is a term that is used in day to day speech, to discuss narrative genres, and 3D
creations of humans. What is the common denominator in the definition and use of the world
uncanny? Freud in his essay on the uncanny focuses on its background and different ways
languages have used a similar word to uncanny. The germans have a similar word called
unheimlich which is comparative to the English word uncanny. The opposite word exists just as
there is canny to uncanny. The word is heimlich. The german definitions for heimlich translate
1
"uncanny valley, n.1."OED Online. (Oxford University Press, March 2017), Web. 24 April 2017.
2
Sigmund, Freud. The Uncanny (First published in Imago, Bd. V., 1919; reprinted in Sammlung, Fünfte Folge.
Translated by Alix Strachey.) p. 1
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to a familiarity to home, familiarity to humans, unease, and secrets. How can this word mean
familiarity and unease?
Unheimlich when broken down to its definitions seems more like an synonym than an
antonym to heimlich. In german, this term can mean, ghostly, fearful, mysterious, and hidden.
“Unheimlich nennt man Alles, was im Geheimnis, im Verborgenen...bleiben sollte und
hervorgetreten ist, ‘Uncanny is what one calls everything that was meant to remain secret
and hidden and has come into the open’” 3
However the german terms for uncanny and canny definitions blur together without a single
answer to its definition. This lack of answer can be seen as a hint to the value of what the
uncanny represents. The answer is in certainty and uncertainty.
Todorov and The Fantastic
Exploration of how uncanny is used to define narratives leads us down a familiar path.
Freud’s focus on the narrative suggests that the definition is just as varied. His definition
contrasts greatly with the author of The Fantastic, Tzevetan Todorov. Freud believes that the
uncanny genre is filled with double possibilities, uncertainty, and a relationship to being human.
In contrast Todorov’s book The Fantastic puts a focus on the uncanny genre relating to realism
without uncertainty. The fantastic is a term when used in a narrative describes the uncertainty of
the narrative's reality. The marvelous is when a narrative resolves its reality with the
unexplained or supernatural answer. The uncanny is when the narratives reality is answered
rationally with a basis in reality.
3
Sigmund, Freud. The Uncanny (First published in Imago, Bd. V., 1919; reprinted in Sammlung, Fünfte Folge.
Translated by Alix Strachey.) p. 132
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The neighboring genres the marvelous and the fantastic can be used to describe realism
and uncertainty. All three categories can be used as sub categories to define a narrative. A
narrative can be uncanny, fantastic and uncanny, fantastic and marvelous, and marvelous. We
will explore this further in a later section. Both Freud and Todorov use the uncanny in terms of
familiarity, humanity, and certainty. If we use both Freud’s and Todorov’s analytical structure to
critique visual representations of humans perhaps we will get a better understanding of the
uncanny.
The Fantastic, The Marvelous, The Uncanny in Humanoids
Let’s start with the marvelous. According to Todorov, the author of The Fantastic,
“In the case of the marvelous, supernatural elements provoke no particular
reaction in either the characters or in the implicit reader.”4
The supernatural elements are accepted throughout the narrative without question. In
visual representations of humans we could use this term in a similar fashion. The marvelous is
when the character or human is accepted as being not real or lacks in characteristics based on
reality. Just as the marvelous narrative is related to a lack in reality and rationality. An example
of this would be the movie Toy Story. The characters though humanoid do not have realistic
skin, proportions, or movements. The viewer knows the characters aren’t human and do not
doubt that the movie does not take place in reality. This term can be used to define all
caricatures of humans in animated pictures.
4
Todorov, Tzvetan. The Fantastic (Ithaca, New York:Cornell University Press,1975) p. 54
4. Carlson / Course SDGM-719-OL / Visual Humanoids and The Certainty of the Uncanny 4
The uncanny seen in visual representations of figures typically is an undesirable effect.
With Todorov’s definition the uncanny can be seen as a rational and familiar to reality. However,
Todorov was comparing fiction to reality. It was a comparison of a story based in reality that did
not actually take place. It is familiar to reality but not actual facts or truth. So in this way the
uncanny in visual representations is the same. The digital humanoid can be seen as close to what
a human actually is. However, the eerie feeling that something is off or disturbing about the
figure tells the viewer that the figure is not actually human. Both the uncanny and the marvelous
have something in common. They have a definitive answer of their reality. They are either
obviously lacking in realism, or close to being real. What if the answer is in the third category,
the fantastic?
The fantastic is a genre defined as an uncertainty to either the characters or readers
perception of the narratives basis in rationality and reality. An example of this would be if
supernatural events take place in the story, however, there could be a rational answer for it. This
in between knowing and not knowing is the fantastic. When the truth of the reality is answered
the genre switches to being either marvelous or uncanny. If we were to say that character on
screen was indecipherable from being either human made or actually human; did we surpass the
goal of the uncanny valley? In this way realism can be viewed as the fantastic.
Can a character be both fantastic and uncanny? If the goal in a film was to mimic our
current reality where robots had to contend with the uncanny valley then those characters surely
would be fantastic. An example of this would be robotic representations of characters. Many of
these representations can be seen as fantastic and uncanny.
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Robotic Representations of The Uncanny
The uncertainty of a visual representation of character’s existence brings about an
element of realism. This uncertainty has been brought up before in Freud’s definition of the
uncanny. He also talks about familiarity and a relation to being human. If we use certainty as
the basis of our evaluations of visual representations of humanoids we can start to categorize
what we perceive as real. However this essay will focus on theory and semiotics and not full
scientific evaluations on reality. Lets focus our efforts on recent fantastic humanoid
representations.
To evaluate, robotic depictions were picked based solely on their relation and closeness
to humanity. Though, realistic humanoid robots are slowly blooming into our reality they
currently do not match the futuristic representations in film. This allows an area of uncertainty
which gives way to the fantastic. We have no actual proof as to what a robot in the future would
look like. We assume the goal is to create a robot that is human-like. When the viewer sees an
actor or actress playing a robot it is seen as believable. This uncertainty of what a robot is and
certainty of what a human is makes visual representations of robotic characters believable. This
uncertainty of its existence creates an area of disbelief. It could be real. This disbelief means the
character’s depiction is fantastic.
In what ways do films successfully create robotic humans? The knowledge of how
robots exist in the uncanny valley and the biology of what a human is used as a defining basis for
the creation of the characters. Both Freud and Todorov say that uncanny is a familiarity to
humanity. It would be easy to hypothesize that the uncanny is a pathway to the fantastic. Using
real actors to play the robotic characters immediately makes the characters relatable. Familiarity
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is immediately apparent. The goal of a robotic creation in film is to mimic reality. Robots in our
reality and current technological standards all lay within the the uncanny valley. To replicate
this a film must focus on removing humanity from the actor.
Humans and the Uncanny
A great example that is currently on television is the BBC show Humans. This show has
robots known as synths that can pass as humans when they have a human based consciousness.
However, not all synths are the same. Many are lacking the human quality and the ability to be
conscious of their decisions. To be able to complete this feat of treading the line of the uncanny
valley and the fantastic the production had their actors attend Synth School.
Their movements and actions were choreographed by Dan O’Neill. There was a detailed
pamphlet with information about the sophistication of the robots. The movements and actions
were a combined effort of the choreographer, two of the main actors, and the director. According
to O’Neill, a large focus was placed on energy. They considered how a robot would be
programmed to conserve their energy for tasks. Minimal movements and twitches would be seen
as unnecessary, although natural for humans. A large part of making the synths uncanny was
their use of movement.
Another part of removing their humanity was removing their individuality. These
movements and ideas were used as a rulebook for the actors. They were told to find a
commonality with their movements with other actors. According to Dan O’Neill and his
interview for Vulture online,
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“We did really look at each element of the body. So with the eyes … normally
when we look at something, we lead with our noses and find it and focus. We did
a lot of work on [Synths] leading with their eyes, and the skull kind of following.5
Some of the characters of the show were more uncanny than others. To achieve this
more aspects of humanity were removed. Will Tudors plays William
Hurt’s broken robot. He often has a hard time with coherent speech.
Often his speech includes digital glitch sounds and repetitions which no
human would be able to make. His arm is off center to his body and
does not move. He is often lacking facial expression and character. It
is immediately apparent that he is a malfunctioning robot character and
not a human. This certainty puts Will Tudor’s character solely in the
realm of the uncanny and not the fantastic.
One last way the show Humans creates the uncanny is through the use of makeup. The
synths in the show are distinguishable by their unrealistic green eyes. The actor’s wore green
contact lenses to create the effect. In the show many of the synths attempt to convince other
characters that they are in fact human. To do this the synths would wear contact lenses to shield
their true eye color. However in reality the actors often would just remove the lenses they were
wearing for the scene. The actress that plays Niska has blue eyes. In the show she removes her
green lenses to display her true eye color. This changing from being robotic to human is an
example of being both uncanny and fantastic.
5
Cohen, Ivan. Vulture Online. Graceful Robots ( New York Media LLC, 2015)
8. Carlson / Course SDGM-719-OL / Visual Humanoids and The Certainty of the Uncanny 8
What is uncanny about a human acting robotic? If the depiction is telling the audience
the character is close to human and not actually human then the answer is uncanny; the viewer is
certain the character depiction is not human. The show Humans does any amazing thing. It not
only shows the characters as uncanny but as fantastic. These characters become believably
human by the other humans in the show. The other characters believing them to be human also
helps add to the fantastic. If the viewer can’t tell the difference or is uncertain if the character is
different than the other characters in the scene then this is fantastic.
The Fantastic and Reality
Fantastic humanoids not only exist in film but they
exist in reality as well. The artist Duane Hanson creates
realistic sculptures. He creates sculptures based off of
characteristics of real people. He has created tourists,
janitors, tanners, joggers, and security guards. These
realistic statues have an amazing realm of uncertainty.
Witnessing one in person one might be cautious to inspect
9. Carlson / Course SDGM-719-OL / Visual Humanoids and The Certainty of the Uncanny 9
closely wondering if the subject will move or the security guard might ask you to stop staring.
This disbelief in reality means the creation is fantastic. His work is masterful and convincing.
However, once the viewer waits for movement the magic starts the fail. Once the viewer realizes
it is art it is no longer fantastic but marvelous. The doubt leaves and the viewer is convinced of
the role of the art. Doubt plays a large part in Duane Hanson’s works.
The fantastic is reality. Doubt plays a large part in the human mind’s interpretation of
existence. The philosopher, Descartes, focuses on the theory of doubt and perception.
According to Descartes there is one main truth in reality and that is the knowledge of one’s own
existence and thought. There is uncertainty to what we feel, what we see, and hear. Our reality
lies in what we judge things to be. If we judge a film to be a film then that is what it is to us.
Perception is adding up the parts of one sees and making a judgement on to what it is. This
judgement relies in the mind. However, the mind is easy to error and trick.
“But as I reach this conclusion I am amazed at how <weak and) prone
to error my mind is. For although I am thinking about these matters
within myself, silently and without speaking, nonetheless the actual 32
words bring me up short, and I am almost tricked by ordinary ways of
talking. “6
This tricking of the mind is the goal of the digital humanoid artist of the fantastic. They
want their creations to be judged as real. This judgement of realism is uncertainty. The
uncertainty of reality. The hesitation upon closer inspection, the doubt. The fantastic is the goal
of the digital artist to succeed the artist creates a realm of uncertainty. This uncertainty is what
6
Descartes, René. The Philosophical Writings of DESCARTES (Bath, Great Britain: Cambridge University
Press,1984) p. 22
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makes the word uncanny hard to define. It is knowledge of reality and our perception that makes
the word undefinable and interchangeable. Just as our reality is certain it is also uncertain.
The Failures of the Fantastic
The failure of the fantastic is the uncanny valley. The uncanny valley as described earlier
is an unpleasant experience. In film, it is a failed attempt in creating the fantastic. Creating the
fantastic has a lot of hurdles to overcome. The uncanny fantastic gives room for error. The
creation of a believable character relies on artistic talent, technology, and the scientific processes
and developments. Though, Duane Hanson has created fantastic statues, fantastic robots do not
exist. Hanson has an advantage. Movement and sound are not required to be part of his statues.
Hanson’s statues are stuck in time. The fantastic for these creations lasts as long as the viewer is
willing to make-up their mind. Once they decide that the creation is art it is no longer fantastic.
It is marvelous.
Robots however require manufacturing, programming, movement, and sound. The
creation of skin that can move and deform with muscles would be a magnificent achievement. It
seems like an impossible hurdle. The creation of digital skin can be seen as the same. To create
skin from 1s and 0s seems like an impossible task. However, over time it is slowly becoming
reality. The digital humanoid is currently in the realm of the uncanny valley. It means progress
has been made. The creations have surpassed the realm of the marvelous into their own genre. It
will be a matter of time before actors will no longer have to be filmed in the traditional sense.
Actors will be created out of will and not reality. They will be fantastic.
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Bibliography
Cohen, Ivan. "Graceful Robots." Vulture Online. N.p., 7 July 2015. Web. 20 Apr. 2017.
<http://www.vulture.com/2015/07/humans-robots-synth-school-walk-talk.html>.
Descartes, Rene, John Cottingham, Robert Stoothoff, and Dugald Murdoch. "The Philosophical
Writings of Descartes." (1985)
Freud, Sigmund. "The 'uncanny' (1919). Part I. Linguistic Approach to the Uncanny." Trans. Alix
Strachey. The Uncanny (1919)
Todorov, Tzvetan, and Richard Howard. The Fantastic: A Structural Approach to a Literary
Genre. Ithaca, NY: Cornell U Pr., 2007. Print.