This motion info graph will be done on the definition, origin, causes, treatment, symptoms, and statistics of anxiety. Ideally I will be focusing on the data for American college students, but many of the studies have a much more broad group. I will now describe how I will complete this assignment.
To define anxiety, I will be using mainly typographic elements to illustrate anxiety through the shape of the words. The origin of anxiety will be demonstrated with minor animation: a saber tooth tiger turning into a paper. For causes I will again use some more animation techniques to visually demonstrate the symptoms. I would like to find, but have not yet found a data representation of what percentage of people’s with anxiety is caused by which factors, but I am convinced I will find it with enough digging. I will be doing a similar technique to illustrate techniques for treatment. Next, I will delve into that which what percent of the population has anxiety, and then highlight specific groups and the prevalence of anxiety within them.
I will be utilizing data from a number of reliable sources, namely on NIMH to illustrate how anxiety is distributed across the population, which populations it affects more than others, and how much of those people are receiving adequate treatment. Much of the data around anxiety is wether or not a person has anxiety, which type they have, and the duration of the condition.
All in all, I hope to to concisely convey the knowledge about anxiety. For so many, mental conditions, disorders, and, diseases are stigmatized inner culture. I hope to latest shed a little more light into grey matter with this video
**I would like to note here, where I will not directly in the project that it is know that many people that should be diagnosed with anxiety are not, so the statistics are representative of only the diagnosed, not the people that silently struggle with the condition.
1. “Anxiety Disorder General Statistics." Anxiety Centre. N.p., n.d. Web. 28 Oct. 2016. <http://www.anxietycentre.com/anxiety-statistics-information.shtml>.
2. ”College Students’ Mental Health Is a Growing Concern, Survey Finds." American Psychological Association. N.p., June 2013. Web. 28 Oct. 2016. <http://www.apa.org/monitor/2013/06/college-students.aspx>.
3. ”Current Anxiety Disorder Statistics." Calm Clinic. N.p., n.d. Web. 28 Oct. 2016. <http://www.calmclinic.com/anxiety/anxiety-disorder-statistics>.
4. ”NIMH » Any Anxiety Disorder Among Adults." U.S National Library of Medicine. U.S. National Library of Medicine, n.d. Web. 28 Oct. 2016. <https://www.nimh.nih.gov/health/statistics/prevalence/any-anxiety-disorder-among-adults.shtml>.
5. Steimer, Thierry. “The Biology of Fear- and Anxiety-Related Behaviors.” Dialogues in Clinical Neuroscience 4.3 (2002): 231–249. Print.
The model was created for FORM assignment 7: Connector.
This was my original design, and I liked the tubes being cut off at a 90º angle, but I worried that this may not for sure be the most attractive option and it certainly wouldn't print well, because every angled bit would have its best 3D print with support structure, and I wanted it to print clean without support. The challenge was to build this in a way the 3D printer could print, particularly considering the internal structure and the intersection of the tubes.
This is the same as the first, but instead of cutting the legs short with the cubes, I simply used wire cut. I did this for two reasons; first its about 40x faster. Second, this would create a better print than the first because it would need absolutely no support structure!
Sunshine sunshine is fine #goldenchild #sunshine #sunshinesmiles #beautifulfalldays #asmileadaykeepsthedoctoraway #asmileisthebestmakeup #blackandwhiteselfie #blackandwhite #breatheinbreatheout
Sara and I have decided to make some kind of screw-based table leg attachment. We both wanted to create something furniture related, but also something useful. Which, with 3D printing, means we will be producing a part of a whole, rather than a whole thing on its own.
Laser cutting some shoes! #lasercutwood #omgshoes this is part of my experiment in different methods of bringing 3D models to life. I've already3D printed this model but want to explore he possibilities with laser cutting. #lasercutting #maker #shoes #
This essay is a response to the following prompt:
Can a person, group or culture own a dance?
Throughout time, humans have been obsessed with ownership, who has, and who dose not, and what they possess. While the concept of recognized physical property is as old as civilization idea ownership is a relatively recent concept, so now we reach the question; can anyone own a dance? Dance Cannot be owned by any one person,group, or culture because at the core of dace is evolution through influence.
While names are given to dances, that are named to honor the creator, not to give ownership to. ownership, as defined by Google, is the " act, state, or right of possessing something." Possession is then defined as "having or controlling something." In jazz and swing dance, the move Tacky Annie is named for a stripper named Annie, but is not owned by her, as generations of dancers have performed and built upon the move that holder her name. If it was truly Annie's move, denoting ownership, would mean she is in the continual act of controlling the move. But since generations of dancer have performed it and changed it, it is not just hers to control, and therefore now owned by Annie. This is also true with the Petipa pas de deux structure. While Petipa created the structure, he is not the sole proprietor nor the current implementing body. He is not controlling the structure now, and although he created the dance structure, he is not the owner.
In dance, people, groups, and cultures create, but do now own dance because in dance there is always an expectation for transmission, translation, and interpretation. For example, in African dance, dancers are referred to as griots, who alter dances slightly while still conveying the overall story. The evolution of the dance through lines of griots is important to to the development of their culture as a whole. The griots have created the dance, but as a conduit for the dance, not the copyright holder (Asante). In hip hop, (according to Mr. Wiggles, via Larry Southall) to be a hip hop dancer, you must create original moves. Contributing is an integral part of being a part of the community. This addition or alteration of the dances allows for the progression of the dance. If these dances were owned, they would not be changed, which would soon become boring and stagnant, unable to communicate with other people, groups, and cultures.
Dance has flourished with the prolific availability of digital media, allowing for the rapid and diverse dissemination of the body of dance knowledge. Now, everyone can share and edit, building on one another, allowing anyone to be a part of the dance discourse. This creates a "feedback loop" (Barnes) in dance. A person may know a style, and bring other elements of a different style, slightly altering the style, and progressing it. For example, Barnes took elements of breakdancing, and inserted it into her post modern dancing, to create an original synthesis of the two. These cross stylistic (fusion) and cross cultural exchanges are vital to keep up the evolution of dance vital to all people.
However, problem occur when cultural appropriation occurs. Cultural appropriation is defined as qualities curated by a minority culture, curated or cherry picked by a more powerful culture for specific characteristics. Thereby partially stripping a minority culture of its identity (Desmond). Dance frequently transmits cross culturally, but is only considered cultural appropriation when it is done without knowledge of, or respect and sensitivity towards. Diedie Skylar elaborates in her "5 Aspects of taking a culturally sensitive approach to dance" on the matter. Importantly, since dance is not owned by a culture, it can and should be spread cross culturally, problems arise when the origin or significance is not treated with the reverence due, or the correct people, groups, or cultures are not attributed. Then there is syncretism, "the amalgamation of different cultured, where two culture mix to create a third, new element, an important cross cultural transmission of dance knowledge. Dance is built upon, like science. While science describes "the incremental acquisition of knowledge through observation" (Tim Minchin), dance is the continual conversation of physical communication. Every concept is somehow built on the previous, knowingly or unknowingly, but we must do out best to note those who we are building upon and their origins.
In conclusions, a dance cannot be owned by any one culture, group or person, because a dance is not a thing to hold; it is sculpted by every body that moves through its motion. Creators are not copyright holders, because dance is meant to evolve.
Asante, Kariamu Welsh. "Commonalities in African Dance: An Aesthetic Foundation." Moving History / Dancing Cultures: A Dance History Reader. Ed. Ann Dils and Ann Cooper. Albright. Middletown, CT: Wesleyan UP, 2001. 144-50. Print
Banes, Sally. "Introduction." Writing Dancing in the Age of Postmodernism. Middletown, CT: Wesleyan UP, 1994. Xi-Xv. Print.
Desmond, Jane C. "Embodying Difference: Issues in Dance and Culture Studies." Meaning in Motion: New Cultural Studies of Dance. Durham: Duke UP, 1997. 29-50. Print.
Gottschild, Brenda Dixon. "Stripping the Emperor: The Africanist Presence in American Concert Dance." Ed. Ann Dils and Ann Cooper. Albright. Moving History / Dancing Cultures: A Dance History Reader. Middletown, CT: Wesleyan UP, 2001. 332-41. Print.
Asante, Kariamu Welsh. "Commonalities in African Dance: An Aesthetic Foundation." Moving History / Dancing Cultures: A Dance History Reader. Ed. Ann Dils and Ann Cooper. Albright. Middletown, CT: Wesleyan UP, 2001. 144-50. Print.
McCarty, Shasta Daisy. "Appreciation, Appropriation, and Exploitation in Ethnic Dance." Zarifa's Touch of Egypt. N.p., n.d. Web. 22 Sept. 2016.
In so many chairs, my feet don’t touch the ground; hanging over the sharp edge of the chair, cutting off the circulation from mid thigh down. This stool was created to contour to my body.
On the laser cutter, I have typically created small, flat things, but this assignment gave me the opportunity to explore the vast possibilities of taking a 2D material, and turning it into a 3D project. I do my best to always design with intention, so I designed to create an item that fixed problems I saw with similar items. Being a smaller than average human, ergonomically designed furniture is often built to suit people larger than me. Which often is fine, but with sitting objects (and tables) lead to discomfort.
The 6 Stool solves some of the issues I have with other objects for sitting. It has rounded edges, so they don’t sharply press into the thighs of the sitter. It allows for a person of about 5’4’’ to sit with their legs at a 90º angle, also preventing the afore mentioned leg blood flow issue, while also aiding better posture. The grid top allows for a supportive, but light weight and breathable seat, eliminating the sweaty thighs (and the then uncomfortable removal) from plastic chairs.
First, I modeled the area of the laser cutter bed and the amount of material I had. If this were a chemical reaction, these factors would be out limiting reactant. I then modeled the basic outline of the pieces that would form the four leg pieces. I chose a very rectangular designed because that yielded the least wasted material. I also really like 90º angles. The top rectangle was copied and the used for the slats to go between the legs. I then placed the location of the slats using rectangles exactly as wide as the materials is thick, knowing the laser cutter would kerf off some of the material so they fit together snuggly. After that, I extrudeded all the pieces, and put them together as if they were physical, and created a butt that I BooleanDifferenced to create the seat shape. I then deconstructed and silhouetted the solids, and deleted all the curves and solids that were not on the same plane. After that all the pieces were complete, and I went to work arranging them to make the best use of the material space.
There are more technical descriptions as captions to the photos in the slide show below.
The production and construction couldn't have been easier! After a few test cuts, everything cut out cleanly and beautifully (except for one corner which went off the edge of the laser cutter a tiny bit, which can be seen in the close up photos below). I then put all of the leg pieces together, then the first layer of slats, and then the top layer. They fit very well; some were tapped in with a hammer, which really makes it sturdy.
Download the Model!
Taken from behind my wheel. #mountainbiking #spokes #getoutsideandplay #biking #sunnyday #saturdayfun #procrastination #fattire #fattirebike #wheels
Little elements of beauty in the morning start the day off right #leaf #oakleaf #beautiful #happymorning #natureisamazing #fallcolors
One of the beautiful things that are able to created with a laser cutter is books. The amazing feature is the living hinge (using many small lines to kerf the wood, allowing it to bend). The joinery part is the small piece of wood that holds the book together. The one challenge of this problem is that the wood chosen was very thin and fragile. If we were to repeat this, we would use stronger wood and have a larger living hinge.
This process couldn't have been easier. After designing it, all we had to do was laser cut it, and it is done! The joinery bit easily and intuitively slides into place to create a book with the living hinge.
In this project, I will recreate and modernize the original 1963 Pink Panther debut for our motion class. I plan on using a similar theme as the 1963 version, but with a slightly updated color pallet, cleaner lines, and more solid colors (as opposed to odd color gradients). The primary motion will be walk cycles of the panther and the other character. The other character will either be a painter or a detective (there are two versions of the title, one that has a painter, and one that has a detective, both with their merits). The interaction between the other character and the pink panther will be creating a color, and trying to erase the others’s color.
I chose Pan Panther because everything about it felt modern, except for the technology that was apparently used in its creation, its color, and its use of depth. But the music is phenomenal, the whole thing is simplistically animated, and now that is has been half a decade, it could use a revamp.
My goal is to modernize the Pink Panther title sequence. With its simplicity, the challenge will be found in finding creative ways to make the pink panther appear so slink around appear to slink around. I plan to achieve this by breaking him down into as many parts as I think I can control (ie. the tail will be 20 parts, the body 3, the feet 2…) and then parenting those to one another as we did with the old times walk cycle. With the amount of parts I have to control, I will be able to achieve the fluidity that is characteristic of the panther. I will also be choosing more simplistic solid color backgrounds. When the original title sequence was made in the 60s, everyone was about the gradient, which I assume is cause that was a way to demonstrate the talent of the animator. But more recently, the major trend in media design is to flatten everything. This can be seen in just about every app, and most typography design (missing the white space holes of the e, d, p, and os.
I intentionally chose not to use highlight and shadow. I put them in when I first made it, and decided it detracted from the overall simplicity of the motion, and there by the essence of this short film.
Here's a gif!