Soft set theory based decision support system for mining electronic government dataset

Electronic government (e-gov) is applied to support performance and create more efficient and effective public services. Grouping data in soft-set theory can be considered as a decision-making technique for determining the maturity level of e-government use. So far, the uncertainty of the data obtained through the questionnaire has not been maximally used as an appropriate reference for the government in determining the direction of future e-gov development policy. This study presents the maximum attribute relative (MAR) based on soft set theory to classify attribute options. The results show that facilitation conditions (FC) are the highest variable in influencing people to use e-government, followed by performance expectancy (PE) and system quality (SQ). The results provide useful information for decision makers to make policies about their citizens and potentially provide recommendations on how to design and develop e-government systems in improving public services

Real-time rendering and simulation of trees and snow

Tree models created by an industry used package are exported and the structure extracted in order to procedurally regenerate the geometric mesh, addressing the limitations of the application's standard output. The structure, once extracted, is used to fully generate a high quality skeleton for the tree, individually representing each section in every branch to give the greatest achievable level of freedom of deformation and animation. Around the generated skeleton, a new geometric mesh is wrapped using a single, continuous surface resulting in the removal of intersection based render artefacts. Surface smoothing and enhanced detail is added to the model dynamically using the GPU enhanced tessellation engine. A real-time snow accumulation system is developed to generate snow cover on a dynamic, animated scene. Occlusion techniques are used to project snow accumulating faces and map exposed areas to applied accumulation maps in the form of dynamic textures. Accumulation maps are xed to applied surfaces, allowing moving objects to maintain accumulated snow cover. Mesh generation is performed dynamically during the rendering pass using surface o�setting and tessellation to enhance required detail

Projection Mapping Explorations

Recent developments in video making and new ways of expressing in the form of the film have given more possibilities to creative people. Techniques like projection mapping, VR, AR, etc. are making room for themselves in a wide range of application like gaming, entertainment, and education. These techniques aid us in finding new ways of illustrating creative audio-visual works and on any of the other surfaces instead of the screen. Video Mapping/ projection mapping is one of the latest video projection techniques that is used to turn almost any dead surface into a dynamic video display. Video mapping aims to create a physical illusion of images by combining audio-visual elements. Earlier, most of the video mapping projects used by artists in concerts, fashion shows, dramas, etc. Lately, video mapping technique comes as new technology when it started using by artists on sculptures, monuments, public spaces, clubs, schools, live events, etc. The project is an exploration of the technique to understand how the nature of surface matters in the projection and what are the challenges of projection mapping After experimenting all the possibilities of surfaces in IIT Hyderabad the façade of the academic building was chosen to work on. In this building, hundreds of students and faculties come together regularly and work in their respective fields. Being an academic building, it represents all those peoples working spaces. That is why working on a building like this became the idea of working on a theme like sci-fi and technolog

Modeling wildland fire radiance in synthetic remote sensing scenes

This thesis develops a framework for implementing radiometric modeling and visualization of wildland fire. The ability to accurately model physical and op- tical properties of wildfire and burn area in an infrared remote sensing system will assist efforts in phenomenology studies, algorithm development, and sensor evaluation. Synthetic scenes are also needed for a Wildland Fire Dynamic Data Driven Applications Systems (DDDAS) for model feedback and update. A fast approach is presented to predict 3D flame geometry based on real time measured heat flux, fuel loading, and wind speed. 3D flame geometry could realize more realistic radiometry simulation. A Coupled Atmosphere-Fire Model is used to de- rive the parameters of the motion field and simulate fire dynamics and evolution. Broad band target (fire, smoke, and burn scar) spectra are synthesized based on ground measurements and MODTRAN runs. Combining the temporal and spa- tial distribution of fire parameters, along with the target spectra, a physics based model is used to generate radiance scenes depicting what the target might look like as seen by the airborne sensor. Radiance scene rendering of the 3D flame includes 2D hot ground and burn scar cooling, 3D flame direct radiation, and 3D indirect reflected radiation. Fire Radiative Energy (FRE) is a parameter defined from infrared remote sensing data that is applied to determine the radiative energy released during a wildland fire. FRE derived with the Bi-spectral method and the MIR radiance method are applied to verify the fire radiance scene synthesized in this research. The results for the synthetic scenes agree well with published values derived from wildland fire images

teamLab Research

teamLab undoubtedly opened a new era of art. It allows professionals in multi-industries to use the latest science and technology to create art, they are all popular for local audiences from Japan to the United States, from Italy to China, wherever they go. As a significant representative form of the trendy show and immersive exhibition, teamLab\u27s works are completely different from the past in terms of creative logic, exhibition experience, and collection methods. By going through the development history of teamLab, this article studies the characteristics of its exhibitions, audience, and the connection with traditional art, in order to explore the development of today\u27s art and look forward to the future of new art

Prepare to Pivot: Shifting from the projection surface to the Zoom screen necessitated by global pandemic

Design for theatre is an endeavor in which the physical, the corporeal, the defined, is applied to an ephemeral artform, one meant to happen only in the moment and then fade away. As such, building the world of the theatrical space, whether physical or digital, is similar to shooting at a moving target. While one angle of approach may be perfect for a moment, being ready and flexible enough to pivot, whether to reimagine due to limitation or to adjust an entire project due to calamity, like the shift from in person to online streaming. This paper investigates the joy of research, the growing pains of development, and then the labor of reshaping and rebuilding a projection design when the Covid-19 pandemic forced a rethinking of live performance. Chapter 1 explores the excitement that comes from diving into the exploration of first concepts of design, with the beginner’s mind engaged. Chapter 2 is a discussion of virtual filmmaking and how the game building software Unreal Engine is being utilized in the film world, as well as how these relate to theatre. Chapter 3 takes us on the ride of The Pivot as a pandemic forces changes in scripts and platforms. Chapter 4 deals with the balance of choices in design elements as they relate to projection in a live space versus the Zoom live stream, specifically, motion/stillness and geography building in a 2D platform. Finally, by maintaining a level of flexibility in design and approach, the pivot allows for new outcomes and unexpected discoveries

Dot: Animation in theatre for children

Herráiz Zornoza, B. (2015). Dot: Animation in theatre for children. Animation Studies. 10. http://hdl.handle.net/10251/122258S1

Wave Form, wave function.

The project Wave form, wave function is conceived as an examination of the relational dynamics of form and function in contemporary implementations of electronic media in the visual arts. Creative work comprising installation of digital and analogue media equipment, projection of live rendered and pre-programmed immersive computer graphics, high energy kinetic and video sculpture - in relational configurations, leads the research. The electronic media being intrinsically signals based, consideration is given to a broad definition of the signal encompassing electronic analogue waveforms, digital encodings, programmatic flow control structures and semiotic and language based signal exchange. The electronic media are considered as rhetorical devices that use an expanded language of visual and procedural rhetoric in their processes. The project is premised on a position that considers scientific realism to be a questionable basis for understanding. Quantum physics has demonstrated the entanglements of matter and energy, of object and observer, as relational and transmissible, somewhat magical processes. In this context aspects of form and function in the produced artwork are discussed as poietic work, the process of engaging in ongoing cultural discourse that is world building. A poetic license is allowed in translating between the literal and literary as Scientific Realist and socially constructed models of reality are compared. Noesis, knowing and being in the world, is examined for how contemporary artists employ technoesis, that is cultural production through technological media. Such work is considered as sympoietic, evoking symbiotic, hybrid modes of poiesis. Working with contemporary electronic media in the visual arts entails a grasp of the nature of the medium that extends to the metaphysical

Inside: A Video Game about Depression

Video games are increasingly becoming a part of people’s daily lives. More importantly, digital games have been increasingly built as products that challenge the player morally and ethically. Video games do not only demonstrate their moral and ethical influence, they also influence people's behavior by their own social, economic and historical context. The choices people make in video games start from a moral, social, economic and historical contextualization and it is important to understand the relationship that is developed between players, their contextualization, and video games, in order to understand how digital games can constitute themselves as moral and educational challenges. Thus, it is intended to highlight the educational potential of digital games through the influence they can have on shaking, challenging and consolidating people's moral systems. The aim of this dissertation is to create a game about depression in order to build not only an educational object, but also a product of self-expression that can help depression-affected patients cope with their illness. The developed game aims to explore the power that digital games can reveal in creating moments of reflection, contemplation and moral challenges in the player. Basically, the aim is to find out if digital games have the power to educate through the challenges they present to players. The video game described in this dissertation was developed using the Unity game engine.Os videojogos fazem, cada vez mais, parte do quotidiano das pessoas. Mais importante, os jogos digitais têm-se construído, progressivamente, como produtos que desafiam o jogador moral e eticamente. Os videojogos não demonstram a sua influência apenas a nível moral e ético, influenciam também o comportamento das pessoas pelo próprio contexto social, económico e histórico em que se inserem. As escolhas que as pessoas realizam nos videojogos partem de uma contextualização moral, social, económica e histórica e importa compreender a relação que se desenvolve entre os jogadores, as suas contextualizações, e os videojogos, de forma a compreender de que forma os videojogos podem constituir-se como desafios morais e educacionais. Os objetivos desta dissertação são, portanto, destacar o potencial educacional que os jogos digitais evidenciam através da influência que podem ter no abalar, desafiar e consolidar dos sistemas morais das pessoas, e entender, adicionalmente, se os jogos digitais podem servir como ferramentas para a expressão daqueles que os desenvolvem. Isto é, procura-se descobrir o jogo digital enquanto objeto artístico que possibilita a expressão por parte do criador da obra. Esta dissertação tem como alvo criar um jogo sobre a depressão, de forma a construir não só um objeto de expressão educativo, como também um produto que possa ajudar doentes afetados pela depressão a lidar com a sua doença. Desta forma, o jogo procura informar as pessoas que o jogarem sobre a vida de uma pessoa que sofre de uma doença mental, neste caso, de depressão, elucidando-as sobre os riscos e sinais da depressão, permitindo que elas os reconheçam através desta aprendizagem. O jogo retrata a história de uma jovem que tenta cometer suicídio porque sofre de depressão e não consegue melhorar a sua condição. A jovem já tinha tentado melhorar a sua condição de várias formas, mas nunca conseguiu ver resultados. No fim, o suicídio pareceu-lhe a melhor opção. Depois de tentar acabar com a sua vida, a personagem acorda num mundo fantástico, desconhecido, que representa o coma em que se encontra submetida. Sirah, a personagem principal, terá de desvendar o mundo onde se encontra e tentar combater a sua depressão, numa batalha épica contra a doença. Para fazer isto, o jogador deverá controlar a personagem e desvendar a aventura sobre a sua vida, levando-a até à conclusão da sua história. Depois de conseguir derrotar a sua doença, Sirah acorda, percebe que estava adormecida num coma e compreende o momento de catarse que viveu. Assim sendo, o jogo desenvolvido pretende explorar o poder que os jogos digitais podem revelar na criação de momentos de reflexão, contemplação e desafio moral no jogador. No fundo, pretende-se averiguar se os jogos digitais têm o poder de educar através do desafio que apresentam perante os jogadores. O videojogo descrito nesta dissertação foi desenvolvido utilizando o motor de jogo Unity

Immersion and interaction: Creating virtual 3d worlds for stage performances

This thesis was submitted for the degree of Doctor of Philosophy and awarded by Brunel University.This thesis formulates an approach towards the creation of a gesture activated and body movement controlled real time virtual 3d world in a dance performance context. It investigates immersion and navigation techniques derived from modern video games and methodologies and proposes how they can be used to further involve a performer into a virtual space as well as simultaneously offer a stimulating visual spectacle for an audience. The argument presented develops through practice-based methodology and artistic production strategies in interdisciplinary and collaborative contexts. Two choreographic performance/installations are used as cases studies to demonstrate in practice the proposed methodologies. First, the interactive dance work Suna No Onna, created in collaboration with Birringer/Danjoux and the Dap Lab, investigates the use of interactive pre-rendered animations in a real time setting and in real time by incorporating wearable sensors in the performance. Secondly, the potentials offered by the sensor technology and real time rendering engines led to the “creation scene", a key scene in the choreographic installation UKIYO (Moveable Worlds). This thesis investigates the design, creation and interaction qualities of virtual 3d spaces by exploring the potentialities offered by a shared space, between an intelligent space and a dancer in a hybrid world. The methodology applied uses as a theoretical base the phenomenological approach of Merleau-Ponty and Mark Hansen‟s mixed reality paradigm proposing the concept of the “space schema", a system which replicates and embeds proprioception, perception and motility into the space fabric offering a world which “lives”, functions and interacts with the performer. The outcome of the research is the generation of an interactive, non-linear, randomized 3d virtual space that collaborates with a technologically embedded performer in creating a 3d world which evolves and transforms, driven by the performer‟s intention and agency. This research contributes to the field of interactive performance art by making transparent the methodology, the instruments and the code used, in a non-technical terminology, making it accessible for both team members with less technological expertise as well as artists aspiring to engage interactive 3d media promoting further experimentation and conceptual discussions