Slices of Time: Appraising the use of dynamics in design
ABSTRACT Dynamics, movement, kinetics, animation: So many names for an area so frequently ignored in graphics. Ephemeral by nature, such transient devices are frequently ignored over the concrete and contextual. Yet the screen has become the primary source for accessing information and is ubiquitous in urban advertising, stimulating graphics increasingly to include dynamics and visual momentum in their design. This paper seeks to reappraise the application of dynamics for representation and appeal, drawing on implied dynamics in static images, dynamics within the frame and dynamic editing.
Using illustrative examples this paper discusses whether a commonality of kinetic perception in dynamics can be relied upon for engagement and appeal, and offers a new conceptual model for event perception, drawing on cognitive psychology, montage theory and eye tracking technology.
The paper posits that motion is a primary perceptual form and that its application in visualization boosts gestalt comprehension.
Article: The Oxford companion to the mind.[show abstract] [hide abstract]
ABSTRACT: With 1001 entries ranging from brief statements to substantial essays on major topics, "The Oxford Companion to the Mind" takes the reader on a lively tour of this endlessly fascinating subject, spanning many questions and answers within the broad compass of philosophy, psychology, and the physiology of the brain. The entries are arranged alphabetically and linked by a network of helpful cross-references. The 200 illustrations have been carefully chosen to amplify the text, while specialist bibliographies provide suggestions for further reading. The whole work is served by a comprehensive index, making this a companion for instant reference as well as continuous reading. (PsycINFO Database Record (c) 2012 APA, all rights reserved)
Conference Proceeding: Principles of traditional animation applied to 3D computer animation.[show abstract] [hide abstract]
ABSTRACT: This paper describes the basic principles of traditional 2D hand drawn animation and their application to 3D computer animation. After describing how these principles evolved, the individual principles are detailed, addressing their meanings in 2D hand drawn animation and their application to 3D computer animation. This should demonstrate the importance of these principles to quality 3D computer animation.Proceedings of the 14st Annual Conference on Computer Graphics and Interactive Techniques, SIGGRAPH 1987; 01/1987
Conference Proceeding: How Psychophysical Perception of Motion and Image relates to Animation Practice[show abstract] [hide abstract]
ABSTRACT: This paper investigates the difference between seeing and perceiving in animation. It analyses character design in the light of experiments in face recognition, in particular how iconic a character can be in design. It discusses whether a universal theory can be applied and if caricatures are really 'super-portraits' that echo how brains recall faces. The psychophysical perception of motion in animation is analysed in the light of animation principles such as 'squash and stretch' and 'isolation'. Using made and found examples, the paper looks at how signature movement and animation principles are now being supplemented or even supplanted by motion capture and posits what this means for animation in the future. The paper maps popular animation characters within two specially designed triangular charts for image and for motion. It analyses the resulting images in terms of perceived and received information, looking particularly at the region of empathic connection coined by Dr Masahiro Mori as the 'Uncanny Valley'.  By examining the different empathic demands motion capture makes on an audience it reaches the conclusion that both image and motion must be treated symbiotically for full analysis to be achieved.Computer Graphics, Imaging and Visualisation, 2007. CGIV '07; 09/2007