Web applications are a form of computer software running in the browser. They have many advantages, one of them is that they do not need to be installed on each computer. However, they also impose a higher security requirement, as communication is via the Internet. The project on which the report is based on aims to develop a web application for vacation management for employees at the company CGI in Sundsvall. Previously the employees used an Excel docu- ment to handle vacation applications. In the beginning of the work a require- ment specification was designed, some features requested where that the web application should be synchronized with their existing account systems, consi- dering of current laws in PUL and GDPR, categorization of vacations, and abili- ty to generate reports. In addition to the development, the safety of the techno- logies and tools chosen is evaluated. The work process began by investigating and selecting which tools would be used. Thereafter, the application developed according to agile principles. The evaluation was performed by comparing the features of the web application with those in the requirements specification, and evaluating the security of the application through investigating information about the security of the tools gathered through relevant literature. The hope was to compile an overall picture of how the web application corresponds to the requirements and how secure it is. In addition, there has been an ethical review based on the data stored and the consequences that an attack would have. After the evaluation, it was found that web application in principle fulfilled all requi- rements, but that certain security aspects could be improved. / Webbapplikationer är en form av datorprogram som körs i en webbläsare. Web- bapplikationer har många fördelar, en av dessa är att de inte behöver installeras på varje dator. Samtidigt medför de också ett högre krav på säkerheten eftersom kommunikationen sker via internet. Examensarbetet som rapporten baseras på går ut på att utveckla en webbapplikation för ledighetshantering på företaget CGI i Sundsvall. Tidigare har personalen på kontoret använt sig av ett Excel- dokument för att hantera ledighetsansökningar. Arbetet inleddes med att en kravspecifikation utformades, några funktioner som efterfrågades var att web- bapplikationen skulle synkroniseras med deras befintliga kontosystem, ta ställ- ning till rådande lagar i PUL och GDPR, kategorisering av ledigheter och möj- lighet att generera rapporter. Utöver utvecklingen ska säkerheten i teknikerna och verktygen som valts utvärderas. Arbetsprocessen inleddes med att undersö- ka och välja ut vilka verktyg som skulle användas. Därefter utvecklades appli- kationen enligt agila principer. Utvärderingen utfördes genom att jämföra funk- tionerna i webbapplikationen med de i kravspecifikationen och undersöka sä- kerheten i applikationen genom att undersöka information om säkerheten i verktygen som samlats via relevant litteratur. Förhoppningen var att samman- ställa en helhetsbild över hur webbapplikationen motsvarar de krav som ställdes och hur säker den är. Dessutom har det gjorts en etisk granskning utifrån det data som lagras, och vilka konsekvenser ett intrång skulle medföra. Efter utvär- deringen konstaterades att webbapplikationen uppfyllde i princip alla krav, men att vissa säkerhetsaspekter kan förbättras.

Advances in 3D computer technology have led to aesthetic experimentation within the comics medium. Comic creators have produced comic books done entirely with 3D models that are then assembled digitally for the printed page. However, in using these 3D objects in a comic format, the creators have developed art styles that do not adhere to the paradigms established by this traditionally 2D medium. More successful results can be achieved by integrating 3D computer generated imagery with traditional 2D imagery, rather than replacing it. This thesis develops a method of combining rendered 3D models with 2D vector graphics to create a comic book art style that is consistent with the traditional medium, while still taking advantage of the new technology.

The cinema, as originally an analogue apparatus of representation, has a particularly complex and contradictory relationship to the incursion of new digital practices and potentialities. This thesis examines this relationship through a study of the impact of computer-generated images (CGI) on the Hollywood mode of production, and on its visual and narrative filmic codes. Computer animation is unquestionably a technology of digital simulation, and its initial presence is necessarily based on an aesthetics of simulation, visually separating, and diegetically demarcating, the digital image as virtual and artfficial. Consequently, most previous accounts of CGI have focused predominantly on films depicting cyberspace and VR, such as Tron and The Lawnmower Man, within the parameters of debates on special effects, the generic conventions of science fiction, and postmodern concerns with virtuality and simulation. In the early 1 990s, however, technological innovations facilitated the transition to an aesthetics of photorealism, emphasising the seamless compositing and integration of CGI characters, objects and environments with live-action. The thesis argues that the this shill is fundamental in establishing the commercial and aesthetic credibility of CGI as a production tool, and it is closely examined through a case study of Jurassic Park. The processes by which the first organic, photorealistic CG characters were created are analysed, with particular reference to the role of procedural and hand methods of computer animation in constructing a new virtual aesthetics. The integration of CGI as a production tool is also related to the diegetic presence of information technologies as narrative devices, and the extra-textual commercial and professional discourses through which CGI is explicated and celebrated. The thesis argues that the cinema is able to exploit the potential of digital methods, whilst simultaneously displaying a fundamental anxiety over the status of its own representational codes. Finally, strategies of visibility and virtuality in computer animation are further examined in the context of the emerging digital mode of production in Hollywood, and of the high concept film's role in multimedia marketing and distribution strategies

Human beings have two perfectly aligned eyeballs working together sending three-dimensional images to the brain and providing accurate depth perception. I lack true stereoscopic vision. When I was five years old I had my second eye surgery and I remember lying blind and terrified for two days in the children's ward of Reid Memorial Hospital in Richmond, Indiana. I later learned that my eyes didn't align properly and for the rest of my life my right eye would "wander". Because of my condition, I was given a list of jobs that I could never perform, jobs where human lives are entrusted to skilled professionals wielding scalpels or landing jets. I could never be one of those people. Or so I was told. I've always had excellent vision, nearly 20/20 my whole life and I've never struggled academically. It's just that my eyes don't point in the same direction like everybody else. Those who know me best can see it, but I've learned ways to make it not so obvious. It's all I've ever known. But, in an ironic twist of fate, it's become clear that my lazy eye has taught me to "see" better than the average artist. Having spent the last five years of my life studying 3D Design and exploring the most advanced creative technology on the planet, I've created a series of computer-generated environments, objects and characters. This is my latest attempt to prove to the world that I can see just fine. I could've been a doctor or a pilot after all. In this paper I present to the world a digital friend manifested from my slightly skewed interpretation of the world. Rocky is part of my imagination brought to life in perfect three-dimensional clarity for the world to see. He's a symbolic representation of my childhood love for cartoons and science fiction. He is strong yet gentle, modest, intelligent and noble. And, he is fiercely protective of that scared and blind five-year old boy.

The aim of this study has been to create and compare different holiday planners. The comparison takes place between availapp, Excel spreadsheets and absence. Availapp is a tailor-made vacation planning application for CGI Sundsvall / Härnösand that is fully scalable with mobile and desktops devices. The applikation automatically retrieves personal information from windowsAD at first login. The web application also takes into account social ethical aspects where we use encryption to ensure that information does not reach the wrong people. Also taking into account with PUL and GDPR for storing user information. Excel spreadsheets is CGI's current vacation planner consisting of an excel sheet with macron to ease the vacation planning. Absence is a commercial holiday planner aimed at companies to replace excel vacation planners. The comparison between availapp, excel spreadsheets and absence is evaluated according to a few key criteria, which is access, readability, navigation, functionality and startup of applications. The result is then compiled in a table to get an easy overview of the criteria for each application. After the compilation, it is found that availapp is the most suitable holiday planner according to the chosen criteria. / Målet med denna undersökning har varit att skapa och jämföra olika semesterplanerare. Jämförelsen sker mellan availapp, excelark och absence. Availapp är en skräddarsydd semesterplaneringsapplikation för CGI sundsvall/härnösand som är helt skalbar med mobil och skrivbord samt automatiskt hämtar personinformation från windowsAD vid första inloggning. Webbapplikationen tar även hänsyn till samhällsetiska aspekter där vi använder oss av kryptering för att säkerställa att information inte kommer till fel personer. Vi håller oss även till PUL och GDPR för lagring av användarinformation. Excelarket är CGI’s nuvarande semesterplanerare som består av ett excelark med macron för att underlätta semesterplaneringen. Absence är en kommersiell semesterplanerare som riktar sig till företag för att ersätta excel semesterplanerare. Jämförelsen mellan availapp, excelarket och absence utvärderas efter ett par nyckelkriterier vilket är åtkomst, läsbarhet, navigering, funktionalitet och uppstart av applikationerna. Resultatet är sedan sammanställt i en tabell för att få en lätt översikt över vilka kriterier varje applikation klara. Efter sammanställningen konstateras det att availapp är den mest lämpade semesterplaneraren efter dom valda kriterierna.

Det här examensarbetet har kretsat kring svårigheterna med att skapa realistiska ansikten inom datorgrafik. Rapporten har tittat på nuvarande teknik som används för att skapa digitala karaktärer som ska representera en verklig person, i dessa fall en skådespelare. Metoden har varit att genom utskickad undersökning kunna få svar på hur folk uppfattar ett visst antal CGI-karaktärer skapade med fotorealism som mål. I synnerhet försökte undersökningen besvara i vilken del av ansiktet som realismen oftast brister och hur detta påverkar filmtittare, samt uppfattningen om mänskliga CGI-karaktärer kontra omänskliga och om det finns några skillnader på hur de bedöms och uppfattas.Analysen av undersökningen ska kunna användas som en påminnelse om vad man bör tänka extra på när man skapar animationer för fotorealistiska karaktärer inom film.

For centuries films have given filmmakers the ability to affect their audiences visually and emotionally. Special effects and digital effects make a fictional scene appear more realistic. In the film An American Werewolf in London, make-up artist Rick Baker revolutionized the use of practical effects when transforming David Naughton’s character into a werewolf. In 1997 when An American Werewolf in Paris was released, director Anthony Waller utilized digital effects, instead of practical effects, when transforming various characters into werewolves. These transformation scenes were not met with as much praise as its predecessor. If we were to have a better understanding of how individuals perceive practical effects and digital effects it would allow us to determine which one better conveys an emotional reaction. This thesis will demonstrate which type of special effect, practical effects or digital effects, is more effective at relaying an emotional response in a viewer.

The phenomenon of cell type-specific DNA methylation has received much attention in recent years and a number of DNA methylation differences have been described between cells of the immune system. Of particular interest when studying DNA methylation are CpG islands (CGIs) which are distinct from the rest of the genome due to their elevated CpG content, generally unmethylated state and promoter association. In the instances when they become methylated this is associated with gene repression although it is unclear the extent to which differential methylation corresponds to differential gene expression. I have used an immune system model to assess the role of CGI methylation and the role of the methylation reader MBD2 in regulation of gene expression. A relatively small number of DNA methylation differences were seen between immune cell types with the most developmentally related cells showing the fewest methylation differences. Interestingly, the vast majority of CGI-associated cellspecific methylation occurred at intragenic CGIs located, not at transcription start sites, but in the gene body. Increased intragenic CGI methylation tended to associate with gene repression, although the precise reason for this remains unclear. Most differentially methylated CGIs were depleted for the active chromatin mark H3K4me3 regardless of their methylation state but some of these were associated with the silencing mark H3K27me3 when unmethylated. These findings suggest that intragenic CGIs are a distinct class of genomic element particularly susceptible to cell type-specific methylation. I also looked at the effect of removing the methyl- CpG binding domain protein MBD2 from immune system cells. Immune cells from Mbd2-/- mice showed a number of previously uncharacterised phenotypes as well as a number of differences in gene expression compared to wild-type animals. Most of these genes increased their expression in the absence of MBD2 consistent with MBD2’s role as a transcriptional repressor and Mbd2-/- Th1 cells showed increases in histone H3 acetylation compared to wild-type Th1 cells. This work provides an insight into the role played by cell-specific CGI methylation and MBD2 in regulating gene expression.

<p>Merparten av de kommersiella system för mobilkommunikation som finns och byggs i världen idag bygger fortfarande på GSM, antalet abbonnenter är över 2 miljarder. För att utöka funktionaliteten med mobila terminaler har det forskats på att införa positionering i GSM-nätverk. Tjänster som använder abbonnentens positionsinformation kallas Location Based Service och de ger möjlighet att utöka funktionaliteten och spara användaren av tjänsten arbete. </p><p>Rapporten beskriver olika tekniker för positionering och slutsatsen att CGI-TA är den teknik som positioneringen ska byggas på. Denna teknik finns tillgänglig hos de svenska operatörerna idag och för att kommunicera med dem används Mobile Location Protocol 3.0.0. Implementation av positioneringen realiserades i en J2EE-miljö i form av en WebLogic Server 8.1 med hjälp av Enterprise Java Beans och Java Connector Architecture. Prototypen verifierades med hjälp av en emulator till Ericsson Mobile Positioning System som klarar av att hantera Mobile Location Protocol 3.0.0.</p>

This paper addresses many concepts and concerns related to the previously underexplored topic of CGI and narrative in Hollywood children’s films. Through an analysis of scenes from Harry Potter and the Philosopher’s Stone, The Chronicles of Narnia, The Golden Compass, The Spiderwick Chronicles, and Inkheart it demonstrates that CGI spectacle does not exist in opposition to narrative progression as some scholars have suggested. Instead, by drawing on theorists like Lefebvre and Furstenau (2002), this investigation asserts that belief in fictional realism is paramount to spectatorship. It is shown that CGI can be used in a way that respects realism in the Bazin tradition and continuity editing in order to allow the spectator to believe in the fictional reality of narrative events. This belief is then connected to the emotional engagement of the spectator by drawing on ideas from Smith’s (1994) structure of sympathy. The ultimate goal of this paper is to present a conceptualization of CGI that creates a stronger distinction between reality and film realism than previous literature has suggested.