When I search for Depression in animationstudies2.0, there is an article under ANIMATION AND INVISIBILITY classification.
Being a true animator implies knowing the psyche of a character besides the body’s mechanism. It goes beyond learning software or the 12 principles of animation. It is about acting from the inside out as we re-interpretate the world from the outside in. As animators, we observe with the mind of a scientist and feel with an artist’s heart to make our characters act with coherence. We are conscious of the world that we create. “Without consciousness, there would practically speak, be no world, for the world exists as such only in so far as it is consciously reflected and consciously expressed by a psyche” (Jung, 1958).
作为一个真正的动画师意味着除了身体的机制之外还要了解角色的心理。它超越了学习软件或动画的 12 条原则。当我们从外向内重新诠释世界时，它是关于从内而外的行动。作为动画师，我们用科学家的心去观察，用艺术家的心去感受，让我们的角色动作连贯。我们意识到我们创造的世界。“没有意识，实际上就不会有世界，因为世界只有在它被心灵有意识地反映和有意识地表达的情况下才存在”（荣格，1958）。
From my cross-cultural work experience as an animator and researcher, I define animation as a social emotional learning media, as a language of the invisible anima, since animators are also artists who work the expression of the soul. How abstract can we get from this?
从我作为动画师和研究员的跨文化工作经验来看，我将动画定义为一种社交情感学习媒体，一种无形动画的语言，因为动画师也是表达灵魂的艺术家。我们能从中得到多少抽象？
Every day the industry is more interested in studying emotions and how cinema affects our brains, characters and behaviors. Far from selling products or being a tool for those interested in manipulating with private agendas, the real cinema was born out of the need to keep sharing stories and being a reflection of our society, exposing its light and shadow. And animation has been covering abstract subjects considered dark, such as for example depression.
电影行业每天都对研究情绪以及电影如何影响我们的大脑、角色和行为更感兴趣。与销售产品或成为那些对操纵私人议程感兴趣的人不同的工具，真正的电影诞生于不断分享故事和反映我们社会的需要，揭示它的光与影。动画一直在涵盖被认为是黑暗的抽象主题，例如抑郁症。
Show how an explicit relationship exists between the internal world of the animator and the expressions and personality of the animated bodies.
展示动画师的内部世界与动画身体的表情和个性之间如何存在明确的关系。
In this semantic nexus, Cholodenko not only exposes an idea about the spiritual of the animated, but he also worries about the mental and the emotional, imbricating in the task of the animator the spectrum of social activities linked to the concept of life (i.e. movement). He demonstrates that this is not just a mechanical-biological process easily related to the cinematic. Indeed he shows that the movement is the essence of all things and is expressed through what he defines the animatic.
在这个语义联系中，乔洛登科不仅揭示了动画的精神理念，而且他还担心精神和情感，在动画师的任务中包含与生活概念相关的社会活动范围（即运动）。他证明了这不仅仅是一个容易与电影相关的机械生物过程。事实上，他表明运动是所有事物的本质，并通过他对动画的定义来表达。
Computer Modeling of Visual Model of Animation Color Information Based on Augmented Reality Technology
Description:With the rapid development of computers, its application fields have also begun to spread to all walks of life, and the modeling of information visualization models for animation colors has also begun to spread. This paper was aimed at studying the computer modeling of the visual model of animation color information. To this end, this article proposes an optimization of the collection of animation colors based on augmented reality technology and image recognition technology to make the collected data more accurate. It provides accurate color information to the computer, making the color information of animation more visible. To this end, experiments and analysis are also designed to conduct a comprehensive analysis and performance exploration. The experimental results in this paper show that the improved visualization of the animation color information visualization model has increased by 27.4%, which effectively solves the current problems faced by computer modeling.
描述:随着计算机的飞速发展，其应用领域也开始向各行各业扩散，动画色彩的信息可视化模型建模也开始普及。本文旨在研究动画色彩信息视觉模型的计算机建模。为此，本文提出了一种基于增强现实技术和图像识别技术的动画色彩采集优化方法，使采集的数据更加准确。它向计算机提供准确的颜色信息，使动画的颜色信息更加清晰可见。为此，还设计了实验和分析，进行全面的分析和性能探索。本文的实验结果表明，改进后的动画色彩信息可视化模型的可视化程度提高了27.4%，有效地解决了目前计算机建模所面临的问题。