Animation - AR Silhouette Model to Create Character Identity Innovation for Computer Art Pre-Production

The research objectives are: (1) to develop an Animation-AR (AAR) Silhouette Model to Create Character Identity Innovation for Computer Art Pre- Production; (2) to evaluate the model; and (3) to study the effect of using the model. The sample group are 7 experts who have taught computer art for more than 5 years. The results of the research were: (1) the model consists of 3 elements: Input Factors, AAR Silhouette Process, and Character Identity Innovation; (2) the result of a satisfaction model based on expert assessment is at the highest level (xˉ = 4.33, S.D. = 0.69); and (3) the results of the trial using the model found that the Character Identity Innovation displays a high level of satisfaction.

CATEGORIES FOR UNDERSTANDING INDIVIDUALITY IN ARCHITECTURE

Individualism in creativity is one of foundation. Nevertheless that understanding of creativity neediness is deficient today. The category combine, as theory and practice by itself. For identifying individuality, we can use such architectural categories as style, boundary, norm, scale, and fundamental philosophical category as character, identity, method, phenomenon. The problem was researched theorist of architecture O. Rapparot in the context of individuality, creativity and identity. Individuality have multiply nature, that is necessary to fit it connection with , architectural fundamental categories. Temporal context and prevailing style is also worth to consideration. No less important factor influencing of economic to it nowadays. Economic, more precisely the price often acts as a determinant. Сonsidering the complexity of this concept, it is nesecity to define boundaries of individuality. We can divide the Individuality into deep and superficial. Deep individuality is always multiple and generated by many factors with complexity of their relationships. Superficial individuality rather easy to understand, often generated by artistic or compositional factors as usual. Individuality relates to design and architecture in different way. Individuality, as an architecture is generated by uniqueness. It is often the basis of identity, a fundamental category in philosophical discourse. Concept of typology can be a points of connection between architecture and individuality. Concept of individuality have phenomenological nature. We must know about it. Therefore, category of norm can often conflict with individuality, because they have very different foundation. The scale can determinate the borders of individuality. Technology, method and fashion can expand or straiten possibilities for individuality in architecture.

Everyone in Space Wants to Hear You Scream

When considering player voice in the context of game sound, existing examinations remain inconclusive. As player voice exists in a liminal position between reality and virtuality, some academics see them as sonic violations of the game space. Voice can convey information about identity, which may oppose our understanding of the avatars within the game world. Voice can facilitate social communication, which may remind us of the physical world outside the virtuality. Mediations of voice into the virtual world may introduce obstacles or inflections that interfere with our enjoyment of the virtual space. Alongside these concerns, however, we can also find virtual worlds that prioritize and privilege player voice. Player voice can become part of character identity. Gameworlds can encourage us to communicate ludically, without disrupting immersion. Interruptions and disruptions can be limited by players. Amongst others, the virtual world of the long-running MMORPG EVE Online demonstrates how voice can coexist with immersion. Marketing materials for the game now place player voice at the center of consumer focus. Including an interview with one of the videographers who placed player voice at the center of his fan videos, the article uses EVE Online as a case study for the integration of player voice into virtual worlds. By examining virtual worlds and the role of voice within them, this article develops a framework for understanding player voice in the context of game sound. This allows us to recognize how player voice, an often overlooked aspect of game sound, can function within virtual worlds.

TRANSLATING CODE-SWITCHING IN THE INDONESIAN VERSION OF DER BOXER

Code-switching is the use of more than one language in an utterance. Within a narrative work like comics, code-switching can be used to show exoticism, character identity, or dramatic effect. Translating such a speech pattern poses a challenge to a translator. This paper discusses how a translator covert speeches that code-switch to three foreign languages – English, Yiddish, and Hebrew – in the German comic der Boxer by Reinhard Kleist into Indonesian. Translation units such as words, phrases, and sentences in the the target text will be compared to its counterparts in the source text to note the procedures used by the translator. The data gathered will then be analyzed to observe which utterances are kept in their foreign form, kept with additional information, or translated functionally and literally. Each procedure taken has its effects on the target text. Some preserve story elements such as surprise effect and otherness, while some preserve the readers’ immersion in the story. The procedures taken show that one needs to consider the context of each unit in translating and that not only one procedure can be applied as a panacea in translating every unit in a code-switching language pair.

Mr Povondra’s Collage in Hungarian

Karel Čapek’s The War with the Newts combines a wide assortment of textual forms and genres to portray the assumed history of the newts in close connection with that of the human race. Newspaper articles, scientific studies, notes of drunken sailors, and other inserts form a unique collage in style as well as in layout. In the various editions of the originally 1948 Hungarian translation of the novel, the textual arrangements of the most composite part of The War with the Newts – the second book – are significantly altered compared to the Czech edition. Moreover, the introductory sentences of the inserts, the typefaces, and the stylistic differences tend to suggest that there is a different notion of text and reading underlying the Hungarian versions. Other unifying tendencies traceable in the translation, e.g. standardized language use or concepts of character identity, can be correlated with these features. As the borders of various text-types within the Czech text are reorganized and re-established in the translation, a different position of the reader and a different idea of the literary text emerge. My aim is to demonstrate the translational differences and try to account for them with an underlying concept of text and translation embedded in the Hungarian variant.