Unmanned Aerial Systems (UAS) have become increasingly popular recently for surveying and mapping because of their efficiency in acquiring remotely sensed data in a short amount of time and the low cost associated with them. They are used to generate digital elevation models (DEM) derived from aerial photography for various purposes such as the documentation of cultural heritage sites, archaeological surveying or earthwork volume calculations. This thesis investigates the possible effects different file formats may have on the quality of elevation models. In this thesis, an UAS survey was simulated using a digital camera to produce six DEMs based on JPEG, TIFF and RAW format in Agisoft Photoscan by taking two sets of images of a city model, in different light conditions. Furthermore, a reference DEM was produced in Geomagic Studio using data from a Leica Nova MS50 Multistation. The DEMs were then compared in Geomagic Control. The results from the 3D comparison in Geomagic Control show that the standard deviation of all elevation models is 4 mm with the exception of the elevation model derived from raw-edited images taken with lighting, which has a standard deviation of nearly 6 mm. Also, all of the models have an average deviation of 0.4 mm or less. The significant deviations in all DEMs occur in areas where the multistation lacked vision of certain objects of the city model such as walls, or on the edges of the analysed area. Additionally, the georeferencing results from Photoscan show that the DEMs based on normal light condition images have slightly lower georeferencing errors than the DEMs with lighting. It has been concluded that it is difficult to say whether file formats have any noticeably effect on the uncertainty of digital elevation models.

In this dissertation the performance of a novel variant of a return-to-zero (RZ) modulation format, based on square-wave phase modulation and filtering of a continuous-wave (CW) signal, is investigated and compared with various modulation formats considered in the literature. We call this modulation format continuous-wave square-wave (CWSW). With CWSW an RZ pulse train is generated by phase modulating the CW signal by a periodic square-wave phase function having an amplitude of and frequency of half the bit rate, and then filtering the signal. The filter performs phase-to-amplitude conversion, resulting in an alternate-sign RZ pulse train, which is shown to be resistant to fiber dispersion. The alternate-sign RZ pulse train is then amplitude modulated with the data before the transmission. Alternate signs between adjacent pulses makes this signal format robust to impairments caused by the optical fiber, similar to a conventional alternate-sign RZ signal format. However, the unique property of the CWSW signal format is that individual pulses can induce peak intensity enhancement (PIE), a phenomenon by which the peak of a pulse increases during the initial propagation in the presence of dispersion. The PIE in effect delays the decrease in the pulse peak, which represents the signal level for bit 1. Thus, the eye opening at the receiver is improved. An analytically tractable model is developed to explain the occurrence of the PIE, which cannot be achieved with a conventional pulse shape. The sources of performance degradations for different modulation formats in single-channel 40 Gb/s systems are also discussed in this dissertation. Various transmission system configurations of practical interest are considered and the performance of CWSW is compared with alternative modulation formats. It is found that the CWSW signal format performs significantly better than the other considered modulation formats in systems not employing dispersion compensation and is comparable to the others in dispersion-managed systems. Furthermore, the transmitter configuration of the CWSW signal format is simpler than the other approaches. / Ph. D.

La thèse contient deux parties principales: la première partie est consacrée à l’extraction du format des messages, la deuxième partie est consacrée à l’obfuscation des comportements des malwares et la détection. Pour la première partie, nous considérons deux problèmes: "la couverture des codes" et "l’extraction du format des messages". Pour la couverture des codes, nous proposons une nouvelle méthode basée sur le "tainting intelligent" et sur l’exécution inversée. Pour l’extraction du format des messages, nous proposons une nouvelle méthode basée sur la classification de messages en utilisant des traces d’exécution. Pour la deuxième partie, les comportements des codes malveillants sont formalisés par un modèle abstrait pour la communication entre le programme et le système d’exploitation. Dans ce modèle, les comportements du programme sont des appels systèmes. Étant donné les comportements d’un programme bénin, nous montrons de façon constructive qu’il existe plusieurs programmes malveillants ayant également ces comportements. En conséquence, aucun détecteur comportemental n’est capable de détecter ces programmes malveillants / The thesis consists in two principal parts: the first one discusses the message for- mat extraction and the second one discusses the behavioral obfuscation of malwares and the detection. In the first part, we study the problem of “binary code coverage” and “input message format extraction”. For the first problem, we propose a new technique based on “smart” dynamic tainting analysis and reverse execution. For the second one, we propose a new method using an idea of classifying input message values by the corresponding execution traces received by executing the program with these input values. In the second part, we propose an abstract model for system calls interactions between malwares and the operating system at a host. We show that, in many cases, the behaviors of a malicious program can imitate ones of a benign program, and in these cases a behavioral detector cannot distinguish between the two programs

Cette recherche explore d’une part les relations entre le format de publicité et l’intrusion publicitaire perçue, et cherche d’autre part à comprendre les conséquences de cette dernière sur les réponses attitudinales et les intentions de comportement de l’internaute, notamment en termes de résistance. L’intrusion publicitaire est envisagée comme une perception négative qui pourrait être déclenchée par l’affichage de certains formats. La première partie de ce travail vise à appréhender l’impact de l’intrusion publicitaire perçue, la seconde permet d’opérationnaliser le concept et de tester le modèle de recherche. L’étude des conséquences de l’utilisation des formats de publicité permet de rendre compte de leur influence sur l’intrusion publicitaire, mais aussi sur l’attitude envers le format et à l’égard de l’annonce. Les conséquences de l’intrusion perçue sont étudiées, permettant ainsi d’affirmer que l’intrusion publicitaire perçue influence simultanément les réponses attitudinales et les intentions de comportement. Enfin, des relations invariantes selon le format de publicité utilisé pour diffuser l’annonce sont mises en évidence / This research explores the relations between the format of advertising and perceived intrusion and tries to understand the consequences on attitudinal responses and on behaviour intentions of the Internet user, in particular in terms of resistance. The advertising intrusion is envisaged as a negative perception which could be activated by formats. The first part of this work is to understand the impact of perceived advertising intrusion, the second part is to operationalize the concept and test the research model.The study of the consequences of the use of ad formats allows reporting their influence on the advertising intrusion but also on the attitude towards the format and towards the ad. The consequences of perceived intrusion are studied, suggesting that perceived advertising intrusion simultaneously influences attitudinal responses and behavioral intentions. Finally, invariant relations under the advertising format used for the ad diffusion are shown

Des méthodes de modulation et de détection de la lumière originales ont été étudiées afin d’améliorer la performance des systèmes de transmission optique longue distance. Des formats de modulation multiplexés en polarisation, utilisant plusieurs niveaux de phase ont été étudiés en particulier. La détection cohérente associée à un traitement numérique du signal a également été choisie au niveau de la réception afin d’optimiser la performance du système. Cela permet notamment de compenser de façon très efficace les distorsions linéaires introduites par la propagation dans le fibre optique, telles que la dispersion chromatique et la dispersion modales de polarisation. Après propagation sur grande distance, le rapport signal à bruit devient une limitation importante. L’autre limitation provient des interactions non linéaire entre la lumière et la fibre optique qui limitent la puissance maximale que l’on peut injecter dans la fibre optique.La première transmission multiplexée en longueur d’onde sur grandes distances (>1000km) utilisant la détection cohérente a notamment été démontrée.Afin de minimiser l’impact de ces effets non linéaires, différentes stratégies ont été proposées et investiguées. L’impact du multiplexage de polarisation a notamment été quantifié dans des configuration où la dispersion chromatique de la fibre est compensée régulièrement dans la liaison et dans le cas où elle n’est compensée qu’en fin de liaison de façon numérique.La proposition d’utiliser un format de modulation à 2 niveaux de phase ainsi que les algorithmes permettant de le détecter ont été fait. Le gain de performance obtenu par rapport à la solution conventionnelle à 4 niveaux de phase a été montré.Au débit de 100Gb/s, la démonstration de la première transmission sur des distances transocéanique a également été faite.Ces travaux de recherche ont été notamment utilisés pour définir puis développer des produits Alcatel-Lucent qui sont maintenant commercialisés, à 40Gb/s en utilisant un format de modulation multiplexé en polarisation à deux niveaux de phase, et à 100Gb/s en utilisant un format multiplexé en polarisation à quatre niveaux de phase. / Modulation and detection methods have been studied to improve the performance of optical long distance communication systems. Polarization division multiplexed modulation and multilevel phase modulation format have been evaluated. Coherent detection associated with digital signal processing has been selected at the receiver side to optimize system performance. This receiver design allows especially to compensate linear distortions induced by fiber optics propagation very efficiently. After long distance propagation, optical signal to noise ratio is a major limitation. The other main limitation comes from non linear interactions of light and fiber optics which put a limit on the maximum power to be injected within fiber optics.The first wavelength division multiplexed transmission over long distances (>1000km) using coherent detection has been demonstrated.Various strategies have been proposed to minimize the impact of non linear effect. The impact of polarisation multiplexing has been quantified in configuration where chromatic dispersion is either regularly optically compensated within the line or digitally compensated at the receiver end.The proposition to use a polarization multiplexed format using only 2 phase levels as well as the algorithms capable to detect them has been done. The performance gain obtained compared to the convention solution using 4 phase levels has been demonstrated.At 100Gb/s bit rate, the demonstration of the first transmission over trans-oceanic distance has also been done.These research work have been used to define and then develop Alcatel-Lucent products which are now commercialized, at 40Gb/s by using a polarization multiplexed and 2 phase levels modulation format, and at 100Gb/s by using a polarization multiplexed 4 phase levels format.

Déplacement est un paradigme qui permet de décrire les procédés que j’utilise pour m’organiser en tant qu’individu, artiste et chercheur. Mon processus se fait en mouvement constant que ce soit dans un contexte particulier ou entre différents contextes, aussi en perpétuel mouvements. Bouger et être bougé, déplacer et être déplacé sont des procédés qui impliquent une lecture ininterrompue des contextes, la création de situations appropriées, et/ ou une utilisation réfléchie de situations existantes. Cela appelle des attitudes de présence, de distanciation et de (re-)positionnement. Cinq méthodes et trois pratiques sont nées du temps consacré à cette recherche développée dans le cadre d’un doctorat. Celles-ci sont proposées, partagées afin d’inviter le lecteur à un jeu de perception(s) et de positionnement(s) en vue d’un déplacement. Ma thèse intitulée “Displacement(s) as Method(s)”, est une matrice constituée de plusieurs formats (lettre, catalogue, conversation) et médias (texte, film, etc.) dont l’objectif est d’analyser mes œuvres, méthodes, pratiques et outils. Il est possible d’y circuler à son gré, de suivre le processus de son choix et de consacrer un temps qui peut aller de quelques minutes à plusieurs heures. Le lecteur est invité à plonger dans un travail qui a ses propres réalités, temporalités et espaces. Chaque notion, chaque positionnement, chaque format et chaque proposition artistique sont des fragments d’une recherche développée et mise en pratique pendant quatre années. Les multiples éléments de cette recherche entraînent des divergences et des superpositions qui densifient ma proposition d’articulation. / Displacement is a paradigm I use to describe the ways in which I organize myself and invite others to reposition themselves while being in constant movement in and between contexts that are also in perpetual motion. Move and be moved, displace and be displaced are principles that (i) imply constant readings of contexts, the creation of appropriate situations, or/and informed uses of existing situations; and (ii) call for attitudes of presence, distanciation, and (re-)positioning. Five methods and three practices came out of the time dedicated to search and research within my PhD project. My thesis, titled “Displacement(s) as Method(s)”, is a matrix of several formats (such as letter, catalogue, conversation) and media (text, film, etc.), which I used to filter my works, methods, practices, and tools. Within this matrix, one can choose one’s own journey and process, and the time one wants to dedicate to and invest in it – from a few minutes to several hours. The reader is invited to dive into a work that has its own reality, temporality, and space. Each notion, positioning, format, and work is a fragment of the research I have processed over the last four years. These diverging and overlapping elements and components are numerous and multiple; they nourish and densify my proposition of an articulation.

<p>Osnovna oblast razmatranja u ovoj disertaciji odnosi se na načine na koje televizija prihvata balet i različite pojavnosti umetničke igre, sa jasnom distinkcijom izmeĎu realizacije prenosa baletske predstave i kreativnog procesa formiranja specifičnog formata, televizijskog baleta. U strukturalnom pogledu disertacija je podeljena na tri celine koje sadrže sedam poglavlja. To su teorijski, istorijsko-deskriptivno-analitički deo i komparativni deo, uz uvod, zaključak, literaturu, priloge i biografiju autora. U prvom delu pod nazivom &bdquo;Umetnička igra i televizija&ldquo;, prvo poglavlje odnosi se na definisanje pojmova i prikaz savremene teorijske i filozofske misli u oblasti baleta, odnosno umetničke igre. Drugo poglavlje posmatra televizijski diskurs u bogatoj medijskoj praksi savremenog sveta. Iz aspekta studija kulture, teorije medija i teorije televizije, razmatraju se televizijske mogućnosti za procese kreiranja originalnih umetničkih dela, kao i televizijske poruke u čijoj je osnovi kodiranje i dekodiranje. Treće poglavlje fokusira se na umetničko delo i načine njegove transformacije i doživljaje kroz medijsku reprodukciju. Ovde se defini&scaron;u pojmovi remedijacije, imedijacije i hipermedijacije, karakteristike i meĎusobna interakcija scene i televizije, a u finalu ovog poglavlja pravi se jasna distinkcija izmeĎu baleta na televiziji i televizijskog baleta. Četvrto poglavlje prvog dela odnosi se na predmet istraživanja i metodolo&scaron;ke smernice disertacije i obuhvata: predmet, potrebe i ciljeve istraživanja, metode, analitički korpus i hipoteze.<br />Drugi, istorijsko-deskriptivno-analitički deo disertacije pod nazivom &bdquo;Umetnička igra na televiziji&ldquo;, u integralnom petom poglavlju, posle istorijskog uvoda o počecima uvoĎenja plesne prakse u televizijski medijski prostor, jasno defini&scaron;e sve načine nastanka televizijskog baleta i ostale oblike prisutnosti umetničke igre na televiziji.<br />Treći komparativni deo pod nazivom &bdquo;O interakciji umetničke igre i televizije&ldquo; obuhvata &scaron;esto poglavlje u čijim se potpoglavljima problemski posmatraju teme: gradivni elementi i sredstva u procesu nastanka baleta na televiziji ili za televiziju; tipični motivi i teme u različitim viĎenjima i transformacijama: Labudovo jezero kao inspiracija; odnos baletske muzike, umetničke igre i medijskog tumačenja kao odnos tekstova i njihova recepcija; scena-televizija-film i kombinovanje medija; zastupljenost umetničke igre u programskoj &scaron;emi; model bolje prakse.<br />Sedmo poglavlje odnosi se na analizu prisutnosti umetničke igre u programskoj &scaron;emi i predlaže se model bolje prakse.<br />Analitička potpoglavlja sadrže analize primera prisutnosti umetničke igre na televiziji, a odnose se na muzičku osnovu, koreografsku postavku i televizijsku realizaciju uz sistematizaciju televizijskih oblikotvornih principa. Analitički korpus predstavljaju primeri iz dokumentacije Televizije Beograd, ali i dostupni snimci strane produkcije. Ciljevi istraživanja su: identifikacija, sistematizacija i analiza primera iz prakse, poreĎenje prakse sa postojećim teorijskim postulatima, definisanje postupaka transformacije scenskog žanra u televizijski medij. Radom na ovoj temi biće prikazano kako se stariji žanr &ndash; scenski balet, izme&scaron;ta u novi medij, dobija prefiks novog izražajnog prostora i konstitui&scaron;e specifičan televizijski format.</p> / <p>In this dissertation, the main field of consideration is the way the television accepts ballet and the different appearances of dance, with the clear distinction between the realization of broadcasting a ballet play and the creative process of modeling a specific format, the television ballet. Structurally, this dissertation is divided in three sections which contain seven chapters. These are the theoretical, historic-descriptive-analytical part and the comparative part, besides the introduction, conclusion, literature, inserts an biography of author. In the first part &ldquo;Artistic dance and television&rdquo;, the first chapter is dedicated to defining the terms and describing the contemporary theoretical and philosophical reflections in the field of ballet and dance. The second chapter analyses television as a dominant discourse in the vast media practice of the contemporary world. From the perspective of culture studies, media theory and television theory, the potential of television is regarded as suitable for creating original artwork, aside from television messages based on coding and decoding. The third chapter focuses on the artwork and the transformations it experiences through media reproduction. It defines the terms of remediation, immediacy and hypermediation, the features and interactions between the scene and television, and, in the final part of this section, a clear distinction is made between ballet on television and the television ballet. The fourth chapter refers to the subject of research and the dissertations methodological guidelines, and contains: the research topic, needs and goals of the research, methods, analytical corpus and hypothesis.<br />The second, historic-descriptive-analytic part of the dissertation &ldquo;Artistic dance on television&rdquo;, in the integral fifth chapter, after the introduction about the historical beginnings of introducing the artistic dance in the television media, clearly describes the genesis of television ballet and other forms of dance present on television.<br />The third, comparative section &ldquo;About interaction between dance and television&rdquo;, includes sixht chapter where the following subjects are problematically analyzed: the elements and means in the process of transmission ballet on TV and making TV ballet; typical motifs and themes in different perspectives and transformation: Swan lake as an inspiration; artistic dance as the text in media reading; the scene, television and film and the combination of different media.<br />The seventh chapter is about the presence of artistic dance in the program schedule, with proposition of a model for a better practice.<br />The analytical subchapters contain examples for the presence of dance in television, which is referred to as the music fundament, choreographic settings and the television realization, with the systematisation of the form creating television principles. The analytical corpus is combined from examples from the Belgrade Television archives, but also foreign production examples that were available. The goals of this research are: the systematisation and analysis of examples in practice, the comparison of the practice with the existing theoretical postulates, defining the transformation process of the scene genre to the television media. The work presents the transformation of the older genre, the scene ballet, to in a new media, and how it earned a prefix of a new expression space and created a specific television format.</p>

Simulation games originate from strategic, scenario-based planning; they are playful, interactive and participatory methods or formats designed to train multiple competences, ranging from simple, instantly performed role plays to complex simulations lasting several days or weeks. Simulation games either focus on prototypal imitations of real/existing situations or events (simulation), or address archetypal scenarios of fundamental problems or conflicts (planspiel). In academic contexts simulation games become increasingly popular and relevant. They appeal to our gaming nature as homo ludens; they call for an essential academic freedom to act; and they provide novel, innovative and adaptive learning arrangements.

Background. Ray tracing can be used to achieve hyper-realistic 3D rendering but it is a computationally heavy task. Since hardware support for real-time ray tracing was released, the game industry has been introducing this feature into games. However, even modern hardware still experience performance issues when implementing common rendering techniques with ray tracing. One of these problematic techniques is alpha testing. Objectives. The thesis will investigate the following: 1) How the texture format of the alpha map and the number of alpha maps affect the rendering times. 2) How tessellation of the alpha tested geometry affects the performance and if tessellation has the potential to fully replace the alpha test from a performance perspective. Methods. A DXR 3D renderer will be implemented capable of rendering alpha tested geometry using an any-hit shader. The renderer was used to conduct a computational performance benchmark of the rendering times while varying texture and geometry data. Two alpha tested tree models were tessellated to various levels and their related textures were converted into multiple formats that could be used for the test scenes. Results &amp; Conclusions. When the texture formats BC7, R(1xfloat32), and BC4 were used for the alpha map, the rendering times decreased in all cases, relative RGBA(4xfloat32). BC4 showed to give the best performance gain, decreasing the rendering times with up to 17% using one alpha map per model and up to 43% using eight alpha maps. When increasing the number of alpha maps used per model the rendering times increased with up to 52% when going from one alpha map to two. A large increase in rendering times was observed when going from three to four alpha maps in all cases. Using alpha testing on the tessellated model versions increased the rendering times in most cases, at most 135%. A decrease of up to 8% was however observed when the models were tessellated a certain amount. Turning off alpha testing gave a significant decrease in rendering allowing higher tessellated versions to be rendered for all models. In one case, while increasing the number of triangles with a factor of 78 the rendering times were still decreased by 30% relative to the original alpha test implementation. This suggests that pre-tessellated models could potentially be used to replace alpha tessellated geometry when performance is highly required. / Bakgrund. Strålspårning(Ray tracing) kan användas för att uppnå hyperrealistisk 3D-rendering, men det är en mycket tung beräkningsuppgift. Sedan hårdvarustöd för att utföra strålspårning i realtid lanserades har spelindustrin introducerat funktionen i spel. Trots modern hårdvara upplevers fortfarande prestandaproblem när vanliga renderingstekniker kombineras med strålspårning. En av dessa problematiska tekniker är alfa-testning(alpha testing). Syfte. Denna avhandling kommer att undersöka följande: 1) Hur texturformatet på alfamasken(alpha map) och hur antalet alfamaskar påverkar renderingstiderna. 2) På vilket sätt tesselering av den alfa-testade geometrin påverkar prestandan och om tesselering har potentialen att ersätta alfa-testet helt ur ett prestandaperspektiv. Metod. En DXR 3D-renderare kommer att implementeras som kan rendera alfatestad geometri med hjälp av en “Any-hit” shader. Renderaren användes för att mäta och jämföra renderingstider givet varierande textur- och geometri-data. Två alfaprövade trädmodeller tesselaterades till olika nivåer och deras relaterade texturer konverterades till fyra format som användes i testscenerna. Resultat &amp; Slutsatser. När texturformaten BC7, R(1xfloat32) och BC4 användes för alfamasken visade alla en minskad renderingstid relativ RGBA (4xfloat32). BC4 gav bästa prestandaökningen och minskade renderingstiden med upp till 17% med en alfamask per modell och upp till 43% med åtta alfamasker. När antalet alfamasker som användes per modell ökade renderingstiderna med upp till 52% när alfamaskerna ökade från en till två. En stor ökning av renderingstiden observerades när alfamaskerna gick från tre till fyra i alla testfall. När alfatestning användes på de tesselerade modellversionerna ökade renderingstiderna i de flesta fall, som högst 135%. En minskning på upp till 8% observerades emellertid när modellerna tesselaterades till en viss grad. Att stänga av alfatestning gav en signifikant ökning av prestandan, vilket tillät högre tesselerade versioner att renderas för alla modeller. Samtidigt som antalet trianglar ökade med en faktor på 78, i ett av fallen, minskades renderingstiden med 30%. Detta antyder att förtesselerade modeller potentiellt kan användas för att ersätta alfatestad geometri när prestanda är ett högt krav.

This thesis examines the advantages and disadvantages of interactive resumes in comparison to traditional static formats, with a specific focus on their relevance in the consultancy industry. Despite the prevalent use of resumes in job applications, there is a lack of research on the merits and drawbacks of interactive resumes in relation to their static counterparts. To address this gap, a case study approach was employed, utilizing qualitative research methods to explore the advantages and disadvantages of interactive resumes. In the study, an interactive resume was created and compared to its static counterpart. The study revealed several advantages associated with interactive resumes, including enhanced engagement, visual appeal, and customization options. However, it also identified certain disadvantages, such as technical complexities and the additional required effort. The findings contribute to a deeper understanding of the benefits and drawbacks of interactive resumes, potentially influencing the recruitment process for both resume creators and readers. Consequently, it is recommended that resume creators take into consideration these advantages and disadvantages when selecting the appropriate resume format. / Denna avhandling undersöker fördelar och nackdelar med interaktiva CVn jämfört med traditionella statiska format, med särskilt fokus på deras relevans inom konsultbranschen. Trots den utbredda användningen av CVn i jobbansökningar finns det en brist på forskning kring fördelarna och nackdelarna med interaktiva CV jämfört med de statiska varianterna. För att fylla denna kunskapslucka användes en fallstudieansats där kvalitativa forskningsmetoder användes för att utforska fördelarna och nackdelarna med interaktiva CVn. I studien skapades ett interaktivt CV som sedan jämfördes med dess statiska motsvarighet. Studien identifierade flera fördelar med interaktiva CVn, såsom ökat engagemang, ökad visuell attraktion och anpassningsmöjligheter. Dock uppmärksammades även vissa nackdelar, såsom tekniska komplexiteter och det krävda extra arbetet. Resultaten bidrar till en djupare förståelse för fördelar och nackdelar med interaktiva CVn, vilket potentiellt kan påverka rekryteringsprocessen för både CV-skapare och läsare. Det rekommenderas därför att CV-skapare tar hänsyn till dessa fördelar och nackdelar vid val av lämpligt CV-format.