The aim of this thesis is to study the methods of a free space optical link design and its application in the communication technologies. The thesis describes possible intrusive influences on the transmitted optical signal, which are the signal noise, atmospheric attenuation and atmospheric turbulences. The thesis is particulary focused on the influence of the atmospheric turbulences and atmospheric attenuation on the optical beam.

This master thesis deals with description of hierarchical techniques in global lighting computation. Here is explaining the importance of hierarchical techniques in lighting computation and shows method, how to use these hierarchical techniques in realtime radiosity and its extension to dynamic area lighting. These two techniques are described in detail in the first part of this project. In the other part is desing and implementation of application for dynamic area lighting computation.

La religiosità e i processi di auto-identificazione di giovani con background musulmano in Occidente soggiacciono a una doppia dinamica: da un lato, essi devono misurarsi con una narrazione negativa che dipinge l’Islam come “altro” e “diverso”; dall’altro, la loro religione subisce un processo di deculturazione (Roy 2004), ovvero lo scollegamento tra cultura e Islam in contesto di emigrazione. Sulla base di uno studio qualitativo, (60 interviste biografiche e osservazione partecipante) condotto in due città italiane (Milano e Torino), la tesi indaga come giovani con background musulmano articolino la loro appartenenza religiosa attraverso le loro pratiche quotidiane (Ammerman 2007), comparando in particolare giovani attivi nel mondo associativo religioso (impegnati in particolare come volontari o staff del ramo italiano dell’organizzazione umanitaria Islamic Relief) e giovani non interessati al coinvolgimento in organizzazioni religiose. La ricerca esamina così le pratiche religiose, nonché le risorse impiegate per la costruzione della propria identità, tra giovani musulmani “iper-visibili” (pubblicamente attivi e devoti - Jeldtoft 2013) e “non-visibili” (i cui sentimenti di appartenenza alla comunità di riferimento sono meno ovvi) sviluppando una tipologia di “riflessività religiosa” ed esplorando forme di visibilizzazione e invisibilizzazione della religiosità. / In Western countries, the religiosity and self-identification of youths with a Muslim background is shaped by a double dynamic: on one hand, they face negative discourses that cast Islam as “Different” and “Other”; on the other, their religion undergoes a process of deculturation (Roy 2004) - that is, the disconnection between culture and Islam in contexts of emigration. On the basis of a qualitative study (60 in-depth interviews and participant observation) carried out in two Italian cities (Milan and Turin), this thesis investigates how Italian descendants of Muslim migrants articulate and live their religious belonging, by analysing the “everyday lived religion” (Ammerman 2007) of youths acting as volunteers or staff members in the Italian branch of Islamic Relief (the largest Sunni international humanitarian NGOs) and of youths who are not active or involved in any religious or ethnic/national organisation. Hence, the study examines how feelings of religiosity and resources mobilized for identity-building differ between “hyper-visible” young Muslims - i.e. publicly active, vocal and devout (Jeldtoft 2013) - and “non-visible” ones - who have less of an obvious group bound. The study develops a typology of different forms of “religious reflexivity” and explores forms of visible and invisible religiosity.

The Colossi of Memnon are a prominent feature of the constructed landscape at ancient Thebes (modern day Luxor, Egypt). They were built on the West Bank during the later years of Amenhotep III reign and they stood in front of his royal cult temple, Mansion of Millions of Years, known today colloquially as Kôm el-Hetan. There is no consensus on the purpose of the statues and it is plausible that they were meant to represent multiple things. However, what all the theories surrounding their purpose have in common is that they are all reliant on the visibility of the statues. The Theban Harbours and Waterscapes Survey led by Angus Graham (Uppsala University) discovered that the royal cult temple and colossi statues was built on top of an elevated area of what is believed to be have been a pre-existing wadi fan (Toonen et al.2018; 2019). To the east of the temple, a minor channel of the Nile river was also discovered. The aim of this thesis was to analyse the visibility and visual experience of the Colossi of Memnon during the 18thDynasty. By analysing the boreholes from the Theban Harbours and Waterscapes Survey, I have (re)constructed the geological features of the surrounding landscape in a game engine (Unity). The visual analysis was done by a combined GIS spatial analysis and a VR based phenomenological approach. I concluded that the levees of the minor channel of the Nile were not elevated high enough to create any substantial blocking of the view from the floodplain or from inside of the channel during the low season. It was only when you got up close to the levees and kneeled on the ground that you would lose sight of parts of the colossi. As the surface level of the Nile rose during its annual cyclethe, it would be easier to observe the statues from any part of the minor channel. As for the visual experience of observing the Colossi of Memnon from different parts of the model, the experience only changed slightly from viewing the statues from the view of the floodplain or the channel. What changed the experience drastically was if you approached the statues from the front of from the side. As you approached the statues from the front you had the statues standing symmetrically in front of the temple and they are in turn facing you. Being in front of the Colossi statues creates a feeling of being part of the statues’ experience. Not only where the humans meant to see the statues, I believe that the statues were meant to see us. This as the most ideal location to observe and visually experience the statues, is where we are in the view of both the Colossi of Memnon. The experience of the statues fades as you approach them from their side where you become the observer rather than the observed. The visual experience from the side also results in that you do not get to fully take part in the experience that both statues provide. This is because one of them becomes slightly blocked by the other. / <p>På grund av pandemi utfördes opponering på distans över Zoom</p>

This masters thesis deals with a real-time low vegetation rendering in 3D space. The low vegetation means grass and shrub. At first it looks on a implementation of vegetation in a 3D games that already exist and there investigate characteristics notable while playing and after that it comes to a evaluation of visual qualities. As next will follow design of solution of this problems and description of implementation. In final part will be summary of achieved product.

No description available.

Road traffic signs provide regulatory, warning, guidance, and other important information to road users to prevent hazards and road accidents. Therefore, the traffic signs must be detectable, legible, and visible both in day and nighttime to fulfill their purpose. The nighttime visibility is critical to safe driving on the roads at night. The state of the art gives clear evidence that the retroreflectivity improves the nighttime visibility (detectability and legibility) of the road traffic signs and that the nighttime visibility can be improved by using an adequate level of retroreflectivity. Furthermore, nighttime visibility can be affected by human, sign, vehicle, environmental, and design factors.  The retroreflectivity and colors of the road signs deteriorate over time and thus the visibility worsens, therefore, maintaining the road signs is one of the important issues to improve the safety on the roads.  Thus, it is important to judge whether the retroreflectivity and colors of the road sign are within the accepted levels for visibility and the status of the signs are accepted or not and need to be replaced.  This thesis aims to use machine learning algorithms to predict the status of road signs in Sweden. To achieve this aim, three classifiers were invoked: Artificial Neural Network (ANN), Support Vector Machines (SVM), and Random Forest (RF). The data which was collected in Sweden by The Road and Transport Research Institute (VTI) was used to build the prediction models. High accuracy was achieved using the three algorithms (ANN, SVM, and RF) of 0.84.3, 0.93, and 0.98, respectively. Scaling the data was found to improve the accuracy of the prediction for all three models and better accuracy is achieved when the data was scaled using standardization compared with normalization. Additionally using principal component analysis (PCA) has a different impact on the accuracy of the prediction for each algorithm. Another aim was to build prediction models to predict the retroreflectivity performance of the in-use road signs without the need to use instruments to measure the retroreflectivity or color. Experiments using linear and logarithmic regression models were conducted in this thesis to predict the retroreflectivity performance. Two datasets were used, VTI data and another data which was collected in Denmark by voluntary Nordic research cooperation (NMF group). The age of the road traffic sign, the chromaticity coordinate X for colors, and the class of retroreflectivity were found significant to the retroreflectivity in both datasets.  The logarithmic regression models were able to predict the retroreflectivity with higher accuracy than linear models. Two suggested logarithmic regression models provided high accuracy for predicting the retroreflectivity (R2 of 0.50 on VTI data and 0.95 on NMF data) by using color, age, class, GPS position, and direction as predictors. Nearly the same accuracy (R2 of 0.57 on VTI data and 0.95 on NMF data) was achieved by using all parameters in the data as predictors (including chromaticity coordinates X, Y for colors). As a conclusion, omitting chromaticity coordinates X, Y for colors from the logarithmic regression models does not affect the accuracy of the prediction.

This diploma thesis of the self-presentation explores the aspects of self-presentation and social perception of a group of 5 selected drag queens. The thesis has a form of 5 case studies based on deep analysis of their profiles on Facebook, Instagram and TikTok, which are currently the most used social networks. The areas of interest in this diploma thesis were the visual presentation of their drag identity, the trends their profiles show in areas of make-up, wig or hair, costume and body position in which they are shown on their profiles. The second area of interest was the nature of the textual presentation and captions, use of hashtags and interaction with their audience. Third are of interest was the audience itself, whether it was supportive in terms of drag and LGBTQ+ community in general and the nature of the interaction with the audience. The results from the content analysis were then summarized and used as a basis for semi-structured interview based on the outcomes from the said content analysis. The focus of this thesis was the relation of their drag identity to their civil identity and how these identities interact on their profiles on social medial. The thesis claims that the shift of drag from club shows to everyday presence on social media positively affects the reception of this...

Relationship between the UV index and selected parameters Abstract Ultraviolet radiation (UV radiation) is a shortwave radiation with wavelengths from 100 to 400 nm. This radiation has both positive and negative effects on living organisms and human health. Therefor the so-called UV index (UVI), characterizing the biological effect of UV radiation on human health was defined in 1994. This thesis aims to evaluate the link between selected factors (total ozone column, solar elevation angel, cloudiness and altitude) and the UVI values. Observed data at four stations in Czechia (Hradec Králové, Košetice, Kuchařovice, Labská bouda) and SYNOP reports from the four nearest stations during the period 2010−2017 were used. The Sun elevation (angle of Sun ray) has the strongest effect on the UVI values. The highest UVI values are generally reached at high angels when the Sun rays go the shortest path through the atmosphere. The increase of the UVI is exponential, from an angle of 30ř the increase is approximately linear. The UVI values increase on average by 0.8 at the Hradec Králové station and by 0.9 at the Labská bouda station for angle increasing by 5ř. The effect of clouds is significant and depends on the height and the clouds amount. High level clouds reduce UVI negligible, overcast sky by only 15 %. Medium and...

En regard de la convention d’originalité propre à l’art contemporain, l’extraordinaire imprécision des critères visant à déterminer la qualité et la légitimité des œuvres d’art et du statut de l’artiste qui les crée nécessite l’intervention d’intermédiaires dont le mandat est de découvrir et de promouvoir de nouveaux talents. Dans ce contexte, les artistes en quête de reconnaissance doivent se plier aux règles et aux conventions établies au préalable par ces intermédiaires puisque leur légitimité dépend de leur validation commune. Cependant, avec l’arrivée d’Instagram et l’investissement massif des artistes visuels qui utilisent la plateforme pour promouvoir leurs œuvres et leurs expositions, un certain discours émerge des mondes de l’art et prétend que, de plus en plus, les artistes s’autonomisent des déterminants de la légitimité et parviennent à contourner les réseaux traditionnels de légitimation des œuvres d’art, et ce, en vendant directement aux publics. La présente recherche a toutefois montré que la réalité est en fait beaucoup plus complexe que cela. L’objectif de ce mémoire consiste donc à mettre à l’épreuve cette hypothèse largement promue dans les mondes de l’art et de mesurer l’impact réel de l’utilisation d’Instagram sur les dynamiques de pouvoir et les rapports à la légitimité. Pour ce faire, 12 artistes visuels qui utilisent Instagram régulièrement dans le cadre de leur pratique artistique ont été interrogés. Dans un premier temps, l’utilisation de l’application par les artistes visuels a été décrite et documentée dans le but d’offrir un premier aperçu de cette nouvelle pratique. Ensuite, l’analyse et la mise en tension de certains processus a permis de dévoiler la complexité des dynamiques qui y sont véritablement à l’œuvre. Les résultats de la recherche montrent que l’utilisation d’Instagram contribue à inscrire les artistes dans des logiques capitalistes néolibérales et dans un esprit de marchandisation du soi du fait d’une nouvelle injonction à la vente de soi et de l’accentuation des concurrences interindividuelles. Cependant, les résultats attestent aussi d’un fort attachement envers des idéaux anticonformistes et anticapitalistes qui restreignent en retour l’investissement des artistes sur la plateforme. La recherche permet donc de documenter et d’analyser les nuances qu’entraînent la rencontre de ces idéologies opposées sur la plateforme. Ce mémoire constitue une première analyse critique de l’utilisation d’Instagram par les artistes visuels contemporains. / Within the convention of originality specific to contemporary art, the criteria used to determine the quality and legitimacy of works of art and the status of the artist are extremely vague. This is why it requires the intervention of intermediaries whose purpose is to discover and promote new talents. In this context, artists who seek recognition must comply with the rules and conventions established beforehand by these intermediaries as their legitimacy depends on their common validation. However, with the arrival of Instagram and the massive increase of visual artists using the platform to promote their works and exhibitions, a discourse is emerging from the art worlds which claims that, more and more, artists are becoming less dependant on the determinants of legitimacy as they are able to bypass the traditional networks of art intermediaries. However, this research has rather shown that the reality is much more complex. Therefore, the purpose of this thesis is to challenge this hypothesis largely circulating in the art worlds and to observe whether the dynamics of power and legitimacy are actually changing. To do so, 12 visual artists who frequently use Instagram as part of their artistic practice were interviewed. First, the thesis describes the use of the application by visual artists in order to offer a first glimpse at this new practice. Then, the analysis and questioning of some processes reveal the complexity of the dynamics that are really at work. The results of this research show that the use of Instagram constraint artists to deal with neoliberal capitalist ideologies. It also contributes to subscribe them into a state of commodification of the self due to the new injunction of self promotion and increased competition between visual artists on the platform. However, the results also attest of a strong attachment to anti-conformist and anti-capitalist ideals which curbs the way artists use the platform. Therefore, the thesis paints a more nuanced portrait resulting from the meeting of the two opposite ideologies on the platform. This thesis constitutes a first critical analysis of the use of Instagram by contemporary visual artists.