This video introduces the transformations we'll be using in the rest of this lesson.

First let's think about how to rotate some really simple points such as (0,0) and (1,0)

First we'll use the slope intercept form of a line to define each frame along a straight line.

First we need to make sure we understand exactly what happens in the split & average steps.

Find out how we can make curved lines using straight ones using the string art construction.

What happens if the director changes their mind and asks for two headed robots?

First we'll review weighted averages of two points and extend the idea to three points. Practice weighted averages of two points in Environment Modeling if you haven't seen it before.

How can we calculate a weighted average between two points? (pssst. This video is super important).

Short Description:
Learn flat pattern techniques as they apply to the design of 20th century clothing.

Word Count: 1806

(Note: This resource's metadata has been created automatically by reformatting and/or combining the information that the author initially provided as part of a bulk import process.)

Next lets build a diagram that break rotation into smaller parts. The next exercise will give us a chance to build our understanding of this diagram.

Let's look more closely at how light behaves when it strikes an object. We'll cover diffuse and specular surface responses.

First we'll review De Casteljau's algorithm using three points. Then it's your turn to figure out how to do it with 4 points!

Let's review the multiplication principle which allows us to quickly count the number of possible robots.

Now we can combine split and average into a single operation called subdivide.

Next let's extend the averaging step from the previous lesson to include multiple points. Now we'll need to calculate positions using a weighted average.

Where does the string touch the parabola? See if you can come up with your hypothesis!

Now we are ready to calculate an intersection point using our ray CP (parametric form) and our line AB (slope-intercept form).

Now that we have a feeling for constructing permutations let's introduce the factorial formula to make counting them easy.

In this video we'll uncover the connection between the previous diagram and the rotation formulas. Repeat viewing suggested!

A simple step-by-step guide to working with the maya graphe editor by creating a bouncing ball.

We can use de Casteljau's algorithm to calculate curves using any number of points.

Let's take a closer look at the weights used during subdivision. Do we have to be careful when selecting weights?

Let's look more closely at how light bounces when it strikes an object. We'll cover reflected and refracted rays.

Are we really creating parabolic curves using this construction? Let's gain some insight first.

Use an array to store many objects as well as create any shape you can imagine. Click here to review objects.

Now you can start scaling your shapes to make your lamp look younger.

Now you are ready to start subdividing your own shapes with more than 4 points!

Now it's time for a really meaty problem! How can we count the number of possible casts when given a large set of robots to choose from?

We need to be careful with the order of scaling and translation. But why?

Tree diagrams allow us to visualize these counting problems using any number of parts.

Okay we know how to calculate the touching point, great! Next let's think about how we can prove this is true.

Next let's build a blade of grass using a parabolic arc as a spine.

Let's breathe some life into our ball using a key animation principle: squash and stretch.

Next we need to throw away the slope-intercept form and use the line equation instead.

Bonus! In this video we'll connect the degree of these curves to the number of control points in the construction.

Now we are ready to ray trace in 3D. We'll look at the problem of ray triangle intersection.

Now it's your turn to drive. In this video we'll present you with a casting challenge to complete using everything we've learned so far.

Why do we divide the number of combinations by the number of permutations?

Now we just need to determine whether our intersection point is inside or outside the triangle.

Let's put everything together. Get ready for a really powerful formula: the binomial coefficient (warning: you may need to watch this a few times!).

Time to get a little mathy. Let's look at the general form for any transformation.

Develop a passion for visual communication and learn new skills! In Two-Dimensional Design students of all abilities will master the fundamentals of visual composition, and the various ways artists and designers use visual language. Through the study of the elements and principals of design students will develop technical proficiency in a range of art media and find creative confidence in the expression of visual communication. This course approach fosters creativity through one-one-one instruction during time, written feedback, and group critiques.

Develop a passion for visual communication and learn new skills! In Three-Dimensional Design students of all abilities will master the fundamentals of visual composition, and the various ways artists and designers use visual language. Through the study of the elements and principals of design students will develop technical proficiency in a range of art media and find creative confidence in the expression of visual communication. This course approach fosters creativity through one-one-one instruction during time, written feedback, and group critiques.

An infographic can be used to display a concept graphically. For your final project, you will develop your personal and professional code of ethics. This "code" will include what you value and how you will conduct yourself in personal and professional relationships.

Your code of ethics infographic should have at least these three components:

- What does (or should) ethics mean in our society?
- What does ethics mean to you?
- How will you conduct yourself?

This advanced video class serves goes into greater depth on the topics covered in 4.351 Introduction to Video. It also will explore the nature and function of narrative in cinema and video through exercises and screenings culminating in a final project. Starting with a brief introduction to the basic principles of classical narrative cinema, we will proceed to explore strategies designed to test the elements of narrative: story trajectory, character development, verisimilitude, time-space continuity, viewer identification, suspension of disbelief, and closure.

This interdisciplinary course surveys modern European culture to disclose the alignment of literature, opposition, and revolution. Reaching back to the foundational representations of anarchism in nineteenth-century Europe (Kleist, Conrad) the curriculum extends through the literary and media representations of militant organizations in the 1970s and 80s (Italy's Red Brigade, Germany's Red Army Faction, and the Real Irish Republican Army). In the middle of the term students will have the opportunity to hear a lecture by Margarethe von Trotta, one of the most important filmmakers who has worked on terrorism. The course concludes with a critical examination of the ways that certain segments of European popular media have returned to the "radical chic" that many perceive to have exhausted itself more than two decades ago.

Now we'll pull everything together and explore how we calculate the position of a particle over time (frame by frame).

This class examines the ways humans experience the realm of sound and how perceptions and technologies of sound emerge from cultural, economic, and historical worlds. In addition to learning about how environmental, linguistic, and musical sounds are construed cross-culturally, students learn about the rise of telephony, architectural acoustics, and sound recording, as well as about the globalized travel of these technologies. Questions of ownership, property, authorship, and copyright in the age of digital file sharing are also addressed. A major concern will be with how the sound/noise boundary has been imagined, created, and modeled across diverse sociocultural and scientific contexts. Auditory examples — sound art, environmental recordings, music — will be provided and invited throughout the term.

This entry-level course is designed to help you gain a general appreciation for art as well as to help you develop a working vocabulary for the knowledgeable analysis of art based on the Visual Elements and the Principles of Design. The syllabus is included in the course and contains the course objectives, student learning outcomes, list of assignments and names of the course textbooks.

We will explore images that pertain to the emergence of Japan as a modern state. We will focus on images that depict Japan as it comes into contact with the rest of the world after its long and deep isolation during the feudal period. We will also cover city planning of Tokyo that took place after WWII, and such topics as the 1964 Tokyo Olympics.
A unique feature of this offering is that we will run it concurrently with the edX MOOC and two University of Tokyo MOOCs, Visualizing Postwar Tokyo and Four Faces of Contemporary Japanese Architecture, for much of the remainder of the class.

This course focuses on novels and films from the last twenty-five years (nominally 1985–2010) marked by their relationship to extreme violence and transgression. Our texts will focus on serial killers, torture, rape, and brutality, but they also explore notions of American history, gender and sexuality, and reality television—sometimes, they delve into love or time or the redemptive role of art in late modernity. Our works are a motley assortment, with origins in the U.S., France, Spain, Belgium, Austria, Japan and South Korea. The broad global era marked by this period is one of acceleration, fragmentation, and late capitalism; however, we will also consider national specificities of violent representation, including particulars like the history of racism in the United States, the role of politeness in bourgeois Austrian culture, and the effect of Japanese manga on vividly graphic contemporary Asian cinema.
We will explore the politics and aesthetics of the extreme; affective questions about sensation, fear, disgust, and shock; and problems of torture, pain, and the unrepresentable. We will ask whether these texts help us understand violence, or whether they frame violence as something that resists comprehension; we will consider whether form mitigates or colludes with violence. Finally, we will continually press on the central term in the title of this course: what, specifically, is violence? (Can we only speak of plural "violences"?) Is violence the same as force? Do we know violence when we see it? Is it something knowable or does it resist or even destroy knowledge? Is violence a matter for a text's content—who does what, how, and to whom—or is it a problem of form: shock, boredom, repetition, indeterminacy, blankness? Can we speak of an aesthetic of violence? A politics or ethics of violence? Note the question that titles our last week: Is it the case that we are what we see? If so, what does our obsession with ultraviolence mean, and how does contemporary representation turn an accusing gaze back at us?

This course is conducted as an artificial intelligence programming contest in Java. Students work in teams to program virtual robots to play Battlecode, a real-time strategy game. Optional lectures are provided on topics and programming practices relevant to the game, and students learn and improve their programming skills experientially. The competition culminates in a live Battlecode tournament.
This course is offered during the Independent Activities Period (IAP), which is a special 4-week term at MIT that runs from the first week of January until the end of the month.

Becoming the Next Bill Nye is about using video production techniques to develop your ability to engagingly convey your passions for science, technology, engineering, and / or math. You'll have the opportunity to script and on-screen host 5-minute YouTube science, technology, engineering, and / or math-related shows to inspire youth to consider a future in science.

One way we can prove that we are calculating the actual touching point.

Now we'll add a lens to our camera and explore the idea of an f-stop.

Find out how hair simulation tools were used in the film the Good Dinosaur.

Variety of cultural city icons for multiple countries

To download and access the icons, click on view resource.
This will open the resource in a new google drive tab.
In the top right corner there should be a download button.
The folder will download as a ZIP file.
Once the ZIP file is downloaded, double click on it to open it, and it will create a new folder with all the icons!
The icons are PNG files, which means they have a transparent background, so they can easily be placed on top of other materials.