"Helen Czerski's absorbing Storm in a Teacup stands head and shoulders above other popular science books. ![]() ![]() It's a wonderful way to discover the hidden scientific connections behind the ordinary and everyday." Helen invites you in to see the world through a her eyes and understand how a physicist thinks. "This book is charming, accessible and enthusiastic. Fun, fascinating and brilliantly well written – 'Right there, in my teacup, I can see the storm.' Me too and I know what it is now." It is rare that someone can explain that which seems endlessly complex and makes you feel like in fact you'd understood it all along. It'll carry you gently to the peak and show you how stunning and beautiful the view is. "If you've ever felt like understanding how things work is just too big a mountain to climb then read this book. Czerski's enthusiasm is infectious because she brings our humdrum everyday world to life, showing us that it is just as fascinating as anything that can be seen by the Hubble Telescope or created at the Large Hadron Collider." We conclude, inter-acting with 2D puppets is similar to the marionette manipulation and needs more interpretation than with 3D puppets."A quite delightful book on the joys, and universality, of physics. An audience had to identify by the output final animation, the actions performed by non-expert artists using their bodies to drive the puppets. Last, we performed a pilot experiment animating silhouettes and 3D puppets, to better understand differences in the interaction. We extend the previous study by presenting another method to interact with puppets using indirect mapping by connecting the puppet to the puppeteer with virtual strings. The system was deployed using the Microsoft Kinect and by assuming the marionette aesthetics and constraints, showing how low-cost devices can provide a new mean for motion capture representation. In this paper we study how users can interpret simple actions like walking, using their bodies as puppet controllers. We present a low-cost performance-driven technique that allows real-time puppet animation based on the inter-acting, which can be used in live storytelling. Motion capture methods makes the puppet animation fast and simple, based on the acting of the performer, but they are out of reach for the major consumers. ![]() Digital puppetry presents performance-driven animation, making the puppet reactive to the motion of the performer in real-time. But animating puppets using traditional key frame animation is not a trivial task taking too much time and practice, in particular for the non-expert artists. They create the illusion of life, making the audience believe in the story. Puppets can be great storytellers when performed in a dramatic way. The final section of the chapter addresses the pertinence of puppetry to teacher training and curriculum development, exemplified by the case of Italian, both as a tool in the instructor’s lesson and in student-led productions. While the application of puppetry in education has almost always been considered with regards to primary and secondary school levels of teaching, a number of puppet theater techniques translate remarkably well into higher education, especially when teaching languages whose cultures present strong puppetry traditions, such as Italian. The chapter begins with an examination of the literature currently available in support of this creative approach, identifying recurring themes and issues, and evaluating educators’ reflections vis-à-vis certain historic and cultural dynamics and influences. This chapter makes a case for the integration of the puppet theater in the foreign language curriculum grounded in an acknowledgment of the art’s cathartic effect, its ability to engage and develop multiple intelligences and various skills, and the cultural value and uniqueness of its different traditional forms.
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