This report investigates how the construction and query time of multiple spatial partitioning data structures is impacted by spatial distribution of and number of agents in a crowd simulation. In addition a method is investigated for updating the data structures less frequently at the cost of increasing the radius queried, without affecting the correctness of the queries. The data structures are tested in a simulation using a Boids model and update and query times are measured. It is found that the performance of the grid is better than the quad tree and the kd- tree for low number of agents, but deteriorates more quickly when the number of agents increase. It is also found that this approach can decrease the sum of time spent updating and the time spent querying in the simulation. The effectiveness of this method is highly dependent on the update of the data structure. / Denna rapport undersöker hur konstruktion och grannsökning av flera datastrukturer för spatial partitionering påverkas av spatial fördelning av simuleringens agenter och antal agenter i simuleringen. Dessutom undersöks en metod för att uppdatera datastrukturerna mindre ofta, på bekostnad av att utöka grannsökningens radie, utan att påverka grannsökningens korrekthet. Datastrukturerna testas i en simulering baserad på Boids och uppdaterings- och frågetider för datastrukturerna mäts. Det visar sig att prestandan av grid är bättre än prestandan av quad tree och kd- tree för ett litet antal agenter, men att prestandan för grid försämras snabbare när antalet agenter ökar. Dessutom visar sig denna metod kunna ge en minskning i den totala tiden som går åt till att göra grannsökningar och uppdateringar av datastrukturen. Hur effektiv denna metod är beror i hög grad på hur lång uppdateringstiden är för den använda datastrukturen.

I detta arbete jämförs prestanda mellan olika implementationer av algoritmer som utför samma uppgift. Som sammanhang för algoritmerna har flockbeteende inom datorspel använts. En anledning till att använda flockbeteende i datorspel och film är att öka realismen i det som presenteras på bildskärmen. Detta ökar betraktarens acceptans av den digitala verkligheten. Under arbetets gång har en artefakt utvecklats med syfte att mäta prestandan för de valda algoritmerna: Alla mot alla, QuadTree och OverlapCircle. Artefakten är utvecklad i spelmotorn Unity för att enklare koppla ihop implementationen med ett spelprojekt. Analysen visar att den av de tre undersökta algoritmerna som ger bäst prestanda är OverlapCircle. En trolig anledning till att den presterar bäst är att den baseras till stor del på inbyggd funktionalitet i den använda plattformen Unity och kan på så sätt dra nytta av den underliggande arkitekturen. / <p>Det finns övrigt digitalt material (t.ex. film-, bild- eller ljudfiler) eller modeller/artefakter tillhörande examensarbetet som ska skickas till arkivet.</p>

Electroacoustic music is often regarded as not being sufficiently accessible to the general public because of its sound-based abstract quality and the complexity of its language. Live electronic music introduces the figure of the performer as a gestural bodily agent that re-enables our multimodal perception of sound and seems to alleviate the accessibility dilemma. However, live electronic music generally lacks the level of detail found in studio-based fixed media works, and it can hardly be transferred outside the concert hall situation (e.g. as a video recording) without losing most of its fresh, dynamic and unpredictable nature. Recent developments in 3D simulation environments and game audio technologies suggest that alternative approaches to music composition and distribution are possible, presenting an opportunity to address some of these issues. In particular, this Portfolio of Compositions proposes the use of real and virtual space as a new medium for the creation and organisation of sound events via computer-simulated audio-sources. In such a context, the role of the performer is sometimes assumed by the listener itself, through the operation of an interactive-adaptive system, or it is otherwise replaced by a set of automated but flexible procedures. Although all of these works are sonic centric in nature, they often present a visual component that reinforces the multimodal perception of meaningful musical structures, either as real space locations for sonic navigation (locative audio), or live visualisations of physically-informed gestural agents in 3D virtual environments. Consequently, this thesis draws on general game-audio concepts and terminology, such as procedural sound, non-linearity, and generative music; but it also embraces game development tools (game engines) as a new methodological and technological approach to electroacoustic music composition. In such context, space and the real-time generation, control, and manipulation of assets combine to play an important role in broadening the routes of musical expression and the accessibility of the musical language. The portfolio consists of six original compositions. Three of these works–Swirls, Alice - Elegy to the Memory of an Unfortunate Lady, and Alcazabilla–are interactive in nature and they required the creation of custom software solutions (e.g. SonicMaps) in order to deal with open-form musical structures. The last three pieces–Singularity, Apollonian Gasket, and Boids–are based on fractal or emergent behaviour models and algorithms, and they propose a non-interactive linear organisation of sound materials via real-time manipulation of non-conventional 3D virtual instruments. These original instrumental models exhibit strong spatial and kinematic qualities with an abstract and minimal visual representation, resulting in an extremely efficient way to build spatialisation patterns, texture, and musical gesture, while preserving the sonic-centric essence of the pieces.