Grateful Live: Mixing Multiple Recordings of a Dead Performance into an Immersive Experience

date-added: 2016-08-23 17:17:44 +0000 date-modified: 2016-08-23 17:22:38 +0000date-added: 2016-08-23 17:17:44 +0000 date-modified: 2016-08-23 17:22:38 +0000date-added: 2016-08-23 17:17:44 +0000 date-modified: 2016-08-23 17:22:38 +0000date-added: 2016-08-23 17:17:44 +0000 date-modified: 2016-08-23 17:22:38 +000

Saliency Based Image Cropping

Image cropping is a technique that is used to select the most relevant areas of an image and discarding the useless parts. Handmade selection, especially in case of large photo collections, is a time consuming task. Automatic image cropping techniques may help users, suggesting to them which part of the image is the most relevant, according to specific criteria. In this paper we suppose that the most visually salient areas of a photo are also the most relevant ones to the users. We compare three different saliency detection methods within an automatic image cropping system, to study the effectiveness of the related saliency maps for this task. We furthermore extended one of the three methods (our previous work), which is based on the extraction of keypoints from the image. Tests have been conducted onto an online available dataset, made of 5000 images which have been manually labeled by 9 users

Learner-generated comic (lgc): a production model

Recent advancement of authoring tools has fostered widespread interest towards using comics as a Digital Storytelling medium. This technology integrated learning approach is known as Learner-Generated Comic (LGC) production; where learners' knowledge and ideas on various subjects are synthesized in a form of digital educational comic. Despite the prior evidences for the didactic values of LGC production, most scholars do not emphasise on a quality, theoretically supported, and strategic LGC production methodology that accommodate to interrelated key elements and production methods of LGC. As a result, there is a tendency to view LGC production as challenging and impractical. Essentially, there is a lack of conceptual models and methods that comprehensively tailor the crucial theories, elements, techniques, technological, and systematic processes of LGC production. Within this context, this study attempts to propose LGC production model that serves as systematic approach which includes the fundamental components for learners to produce digital educational comics. Therefore, in order to accomplish the main aim, a number of sub objectives are formed: (1) to determine the core components for LGC production model, (2) to construct a systematic LGC production model based on the identified components, (3) to evaluate the proposed LGC production model, and (4) to assess the LGC products developed by the proposed model users. This study adopts the Design Science Research methodology as the framework of the research process. Activities of LGC production model construction include literature review and comparative study, expert consultation, and user participation. The proposed model is evaluated through user experience testing and expert review. Results from hypothesis testing concludes that the proposed LGC production model is significantly perceived as having quality in serving as a guideline for learners to design and develop digital educational comics. It was also found that the proposed model has been well-accepted by local and international experts. In addition, assessment of LGC products developed from the user experience testing has implicated there are significance differences between LGC products developed by the proposed model users and non-users. In conclusion, adoption of a systematic, scholarly grounded, and authenticated LGC production model can contribute to the planning, implementation, and evaluation of Digital Storytelling session that enhance learning experience through LGC design and development

Kaijus as environments: design & production of a colossal monster functioning as a boss level

Boss fights are a staple in most video game genres. They are milestones in the adventure, designed and intended to test the skills that the player has acquired throughout their adventure. In some cases, they even define the whole experience of the game, especially one type of enemy that has appeared in several instances and every genre: colossal bosses, monsters of giant proportions usually used as a matter of spectacle and a simple yet effective way to showcase the sheer power that players have achieved up until that point in the adventure. Titles like God of War, Shadow of the Colossus and even many Super Mario titles use this concept in their video games in imaginative ways to create Kaiju-like creatures working as a living environment the player has to traverse to defeat them. However, what is the process behind creating a colossal boss that works as a breathing environment, and how can it be achieved? This project aims to study the process of colossal boss creation and design and apply level design and asset creation. To do this, the author will investigate the main aspects and key-defining features of these bosses, analyzing the strengths and weaknesses of existing bosses in videogames such as God of War 3’s Cronos and Shadow of the Colossus and Solar Ash’s bosses in terms of art production and game design. From this study and following the art process for creating creatures in the video game industry, the author will conceptualize, design and produce a working, playable prototype of a boss fight, showcased in the final presentation

Examining the Conflict Between User Experience and Software Development in Industry

In this age the modern consumer expects a software product to be profusely technically functional with an elegant and intuitive user interface. To accomplish this goal, it has become necessary for software development teams and user experience teams to collaborate on software projects. These two complementary teams often come from different backgrounds, with different technical knowledge, processes, management structures, and deadlines. As these teams continue to collaborate more and more the chance of encountering a conflict also increases. In this research we examine the conflict that can occur between software development and user experience teams and the possible effects on the product quality. This is done by surveying software developers and user experience designers from industry. We collected responses from volunteer participants using an online questionnaire. We examine factors that may make teams more prone to conflict as well as the effect conflict can have on a project. Based on our results we make some suggestions of practices that may lower the likelihood of conflict occurring, and ameliorate conflict that has already occurred