Work changes are alterations to the original scope of a contract. Work changes are inevitable in a typical construction project due to the complex nature of the construction industry. It is not possible to foresee these changes at the pre-construction or bidding stages. The changes may affect originally planned means and methods and, thus, may impact the quantity and type of the originally allocated resources such as time, labor, and equipment. In other words, work changes may involve time, money or both. Proper quantification of the impacts solely introduced by changes is therefore vital to all parties and to the success of a project. Failing to quantify impacts due to changes may have adverse consequences that may sometimes result in litigation. Several techniques are currently employed by the construction industry to quantify the impacts of changes. There are also a few simulation case studies used for productivity-related impact analysis. Certain simulation techniques and capabilities, such as modeling flexibility, involvement of historical data, and capability to compare alternatives enable simulation to be a promising tool for quantifying impacts due to changes. Despite the fact that simulation is becoming popular in the construction industry, up to this point in time, there are no established guidelines for the use of simulation in quantifying impacts due to work changes. Simulation still needs exploration with further research and applications that are specific to the problems of the construction industry. There is a solid need to explore the opportunities for employing simulation in quantifying impacts. The objective of this work is to explore the use of simulation in quantifying work change impacts. The study consists of a literature review on the relevant topics. It also analyzes and quantifies a case study in depth. The lessons learned from the case study showcase the procedure and potential of the methodology. The output of the research is valuable for practitioners who wish to employ simulation in quantifying impacts due to work changes. / Master of Science

The goal of this work was to create a program for the animation of algorithms in Silverlight. To develop this Silverlight module, platform .NET and programing language C# were used. This work contains basic information about Silverlight module and similar module named Flash.

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Motion transitioning is a common task in real-time applications such as games. While most character motions can be created a priori using motion capture or hand animation, transitions between these motions must be created by an animation system at runtime. Because of this requirement, it is often difficult to create a transition that preserves the feel that the actor or animator has put into the motion. An additional difficulty is that transitions must be created in real-time. This paper provides a method of creating motion transitions that is both computationally feasible for interactive speeds, and preserves the feel of the original motions. To do this, we build the transition from both a procedural motion and a motion segment taken from the motions being transitioned between.

Much research has been done in creating non-photorealistic renderings of objects that mimic the look of hand-made drawings by traditional artists. This thesis extends work in this area by presenting an NPR hatching method that can be applied to 3D animated films to help them feel more hand drawn. In contrast to most other NPR methods, this method preserves the 3D lighting and effects of the film that make it interesting to watch. This process includes a procedural algorithm to create a hatching pattern that can be easily integrated into any film's pipeline that uses Renderman. In addition, we create a set of controls to adjust the hatching that are easy to use and allow our style to be applied to many different objects in many shots of a film in an efficient manner. To show the success of our method, we will discuss the implementation and results of applying it to an actual 3D animated short film.

Syftet med föreliggande examensarbete är att undersöka vad det finns för åsikter, tankar och reflektioner kring Skolverkets förslag på kursplan för ämnet Animation hos fyra lärare på Medieprogrammet. Syftet är också att försöka ta reda på om förslaget upplevs som realistiskt, dvs. om det är möjligt att bedriva undervisning i ämnet med de resurser som den enskilda skolan har till sitt förfogande i form av kompetens och materiella resurser. För att uppnå mitt syfte har jag använt en kvalitativ metod och genomfört intervjuer med fyra lärare på Medieprogrammet. Resultatet av mitt arbete visar att lärarna är positiva till förslaget men att de också ser en rad problem med att genomföra förslaget. Den slutsats jag kan dra av mitt arbete är att Skolverkets förslag att införa animation som ämne uppfattas som svårt att genomföra i sin helhet. Därför tror jag att det är viktigt för en skola som planerar att inför ämnet att konsultera personer med en yrkeskompetens inom området för att på så sätt kunna avgöra om skolan har de förutsättningar som krävs.Förslag till fortsatt forskning skulle kunna vara att följa upp hur animationsämnet utvecklas i gymnasieskolan och i vilken omfattning det ursprungliga förslaget efterlevs. / Syftet med föreliggande examensarbete är att undersöka vad det finns för åsikter, tankar och reflektioner kring Skolverkets förslag på kursplan för ämnet Animation hos fyra lärare på Medieprogrammet. Syftet är också att försöka ta reda på om förslaget upplevs som realistiskt, dvs. om det är möjligt att bedriva undervisning i ämnet med de resurser som den enskilda skolan har till sitt förfogande i form av kompetens och materiella resurser. För att uppnå mitt syfte har jag använt en kvalitativ metod och genomfört intervjuer med fyra lärare på Medieprogrammet. Resultatet av mitt arbete visar att lärarna är positiva till förslaget men att de också ser en rad problem med att genomföra förslaget. Den slutsats jag kan dra av mitt arbete är att Skolverkets förslag att införa animation som ämne uppfattas som svårt att genomföra i sin helhet. Därför tror jag att det är viktigt för en skola som planerar att inför ämnet att konsultera personer med en yrkeskompetens inom området för att på så sätt kunna avgöra om skolan har de förutsättningar som krävs.Förslag till fortsatt forskning skulle kunna vara att följa upp hur animationsämnet utvecklas i gymnasieskolan och i vilken omfattning det ursprungliga förslaget efterlevs.

During World War II, four artists—filmmakers Walt Disney and John Huston, painter Jacob Lawrence, and cartoonist Bill Mauldin—were among the soldiers fighting on the front lines, and the officers and staff who supported them at home and abroad. I argue that the art they created during the war and in their themes, overt and covert resonates beyond the rhetoric of patriotism. Their work reveals the tension between an artist’s desire to support the soldiers and the cause, while questioning the purpose of the war and its destructiveness. The works discussed in this dissertation all operate on these two levels. Created within the historical context of patriotism and anti-fascism, they present a product aimed at support, designed to inform and persuade the American public about the threat of fascism, the realities of war, the strength and reserve of the soldiers fighting it, and the ultimate righteousness of the task ahead. At the same time, these works also reveal a skepticism about the war. Chapter 1 examines Jacob Lawrence’s paintings from his time in the Coast Guard, as well as his War and Hiroshima series. I explore the ways Lawrence’s experience shaped the form and the content of his war paintings. Chapter 2 looks at the wartime documentaries of John Huston: Report from the Aleutians (1943), San Pietro (1945), and Let There Be Light (1946) as well as Huston’s adaptation of The Red Badge of Courage (1951). This chapter shows Huston’s increasingly ambivalent attitude and skepticism about the war. Chapter 3 analyzes Bill Mauldin’s cartoons for Stars and Stripes, as well as his political cartoons printed after the war and his 1956 congressional campaign. I relate Mauldin’s own skepticism towards the war through my analysis of his main characters Willie and Joe, common soldiers frequently overwhelmed by the tedium of war and military bureaucracy. Chapter 4 explores the propaganda cartoons of the Walt Disney Studios, particularly Chicken Little, Education for Death, Der Fuehrer’s Face, and Reason and Emotion, situating them as precursors to Disney’s future works as an educator.

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