The world's population has grown sedentary during the past one to two decades, with increased time spent sitting and laying down both during work hours and free time spent at home. For people that find normal exercise boring, exergames can be an attractive alternative. Using their body to play the game the player can have fun while exercising or even just to get some blood flowing. In this research project we implemented a game of a successful genre but we changed input from a controller to the body of the player. We set out to find out how to design a game as an exergame, how exhausted players get when playing and whether the players find it uncomfortable or not to play the game. Our testing showed that the implemented game might not have been as responsive as we would have hoped. When it comes to the exhaustion perceived by the play-testers they reported that they considered the game exercise, but also that most of them did not find it too intense during the playtest.

This thesis presents the development and evaluation of an exergame platformer. Designed in the ecosystem of Liopep with the goal of aiding sedentary workers in their office environment. The game was developed using Godot over a period of around 5 months. Results show a clear correlation between higher scores and increased exertion. Additionally analysis of which parts of the design highlight varied movement from the players has been performed. The findings of this work can hopefully further support what and what doesn’t work in this genre of games. The findings can also hopefully act as a further guideline for future game developers aiming to develop similar games in the Liopep ecosystem.

The world is quickly moving to a more and more digital world, everything is online and computerized. This is convenient but also increases the amount of time spent in front of various types of devices and displays, not getting the exercise we as humans need. Gaming or the act of playing video games is very much a part of this and is traditionally thought of as a sedentary activity. However, there is a type of video games that does not fall into this category, that is exergames. Exergames distinguish themselves from sedentary games in that they use the human body for control, leading to their use to combat the lack of exercise. This thesis describes the implementation and testing of one such exergame that is a part of a larger project at Linköping University that aims to create a library of games to be used in organizations where sitting for long periods is common. The game is implemented using the game engine Godot and an ML solution called MediaPipe for movement tracking and recognition. The goal was to create an easy to playgame providing moderate to high physical activity. Testing showed that the game provided the desired physical exertion within a few consecutive rounds and exertion remained on roughly the same level even if the user was experienced.

Orientador: Mario Alberto de Santana / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-19T23:51:27Z (GMT). No. of bitstreams: 1 Melo_GedivanioFeitosaMateus_M.pdf: 950720 bytes, checksum: a03d9be3609069f0698b30f07a486418 (MD5) Previous issue date: 2011 / Resumo: Considerando o Silêncio como um elemento inerente aos processos de criação do teatro moderno, esta pesquisa dedica-se à investigação do Silêncio na obra "Esperando Godot", de Samuel Beckett, construindo cuidadosa reflexão sobre a sua presença em categorias específicas da dramaturgia beckettiana. As inquietações que surgiram ao longo da pesquisa convergiram para que essa análise se configurasse a partir da seguinte proposição: o Silêncio que subsiste em "Esperando Godot" não se restringe à partitura das rubricas e ao dialogismo pautado na palavra, mas na dialética construída a partir da linguagem de seus elementos cênicos inseridos na escrita e no visual estético. Por ora, esta pesquisa denomina "Caligrafia Apagada" o Silêncio aqui investigado / Abstract: Considering the Silence as an inherent element to creation processes of Modern Theater, this research is devoted to research the Silence on the Play "Waiting for Godot" by Samuel Beckett, building careful reflection on its presence in specific categories in the Beckettiana dramaturgy. The concerns that arose during the research have converged to make this analysis shaped by the following proposition: The Silence that remains in "Waiting for Godot" is not restricted to the punctuation of the rubrics and dialogism based on the word, but in the dialectic constructed from the language of their scenic elements inserted in the writing and the visual aesthetic. For now, this research is called "Off Calligraphy" Silence here investigated / Mestrado / Artes Cenicas / Mestre em Artes

When the Irish writer Samuel Beckett (1906-1989) wrote Waiting for Godot in 1948-1949 he was in a state of artistic depression and confusion. He had already turned to French instead of English and with a manuscript for the stage he made an effort to get away from what he called ”the awful prose” he was working on at that time. Waiting for Godot had its first opening night in Paris in 1953, and during the years since then many different interpretations have been made of this challenging work of art. In this essay, with the meta textual elements in Waiting for Godot as a foundation, I’m reading the drama as a writer’s struggle with his material – not strictly biographical, but with Beckett as an artistic example. Vladimir and Estragon, as well as Pozzo and Lucky, then become personalizations of the voices in the mind of the author, where intellect/reason/analysis on one hand and intuition/feeling/fantasy on the other are working side by side, or as a pair of opposites, to try to get along through conflict and cooperation; conferring, clashing, and complementing one another. Godot will then function as the mystical and driving force, the necessary lack of purpose or fundamental meaning that keeps the artist in touch with art. In this aspect Godot has not to come; his absence is an absolute condition to get the play going, to keep the writer writing, to make all artists continue their lonely, tiresome, difficult work. Waiting for Godot tells us something about the struggle every writer has to face when writing a play, or a novel, or a poem, where he, or she, has to speak with and listen to the inner voices of intuition and intellect and try to get by in spite of the overall sense of hopelessness of it all. Art is at the same time without meaning and of infinite value and I believe that this paradox is alive and working in Waiting for Godot.

Background. Streaming games is traditionally done with video and audio both for watching on websites like Twitch and YouTube or playing via cloud gaming services. Streaming with video and audio requires good internet speeds to be of satisfactory quality therefore compression algorithms are used. Compression algorithms decrease bandwidth usage but it also lowers the quality of the stream. An alternative would be to stream game states and user inputs to recreate the game state for the viewer, this would lower the bandwidth usage while not compromising the quality. Objectives. This thesis aims to explore and compare a generalized streaming tool for the Godot engine. Where game states and user inputs are sent between two game instances to synchronize the host game with the client game. The tool will then be compared to a video and audio streaming setup in terms of image quality, bandwidth, and processing power. Methods. A combination of state replication and client simulation has been implemented for a streaming tool for games. Bandwidth, image quality, and processing power metrics are gathered for seven games for streaming with state replication and client simulation. The performance metrics have also been gathered when streaming video and audio data. To validate the streaming tool, the seven games were visually compared between images from the host and client of the streaming tool. Results. Compared to streaming video and audio data there was shown to be an overhead for streaming game states and user inputs. This overhead causes multiple games to have significant performance issues in terms of processing power for the CPU. In terms of image quality and bandwidth, the generalized streaming tool performed better.  Conclusions. The results showed that there is a possibility for a generalized streaming tool for the Godot engine to be successfully implemented. The implementation of the Godot streaming tool didn't work perfectly for each tested game, but most games use less bandwidth and there's no quality loss regarding the image quality. However, the streaming tool requires better hardware than traditional video and audio streaming. / Bakgrund. Att strema spel är oftast gjord med ljud och bild på webbsidor som Twitch eller Youtube, det används också i cloud gaming. Att skicka ljud och bild via nätet kräver bra bandbredd, även när man minskar bandbredden genom existerande komprimerings algoritmer som påverkar kvalitén. Genom att skicka knapp-tryckningar och lägen av spelet, så kan spelläget återskapas hos tittaren och där med minska användning av bandbredden och kvalitén skulle inte bli påverkad. Syfte. Det här examensarbetet utforskar ett spel-agnostiskt streaming verktyg för Godot. Verktyget fungerar genom att skicka knapptryckningar och speldata från en host till en klient för att synkronisera klientens spel till att matcha hostens spel. Sen kommer data från verktyget och traditionell streaming samlas in för att jämföra skillnaden i bildkvalitet, bandbredd, och processanvändning. Metod. Ett spel-agnostisk streaming verktyg blev implementerade för Godot, som använder sig av state replication och client simulation för att synkronisera spel. Sen samlades data in genom att testa sju spel gjorda med Godot, både för verktyget och traditionell video och ljud streaming. Datan som samlades in innehåll bandbredddata, process användning, och bilddata, datan jämfördes och blev analyserad. Resultat. Jämförd med traditionell streaming så använder den spel-agnostiska streaming verktyget betydligt mindre bandbredd och hade bättre bildkvalitet. Medantraditionell streaming använde mindre process användning och differensen mellanspelen var väldigt liten jämfört med streaming verktyget. Slutsatser. Resultatet visade att det finns en chans för spel streaming med knapp-tryckningar och spellägen att vara ett vettigt alternativ för traditionell streaming. Verktyget är inte helt spel-agnostisk för alla spel gjorda i Godot men det använder mindre bandbredd för de flesta spelen och bildkvaliteten är bättre. Men verktyget kräver bättre hårdvara än vanlig streaming med ljud och bild.

Call number: LD2668 .T4 1964 B16 / Master of Science

No description available.

There are many parallels and points of similarity between the themes of the play Waiting for Godot by Samuel Beckett and the themes explored by Friedrich Nietzsche. This essay examines the play in light of some of Nietzsche’s key concepts, such as the Will to Power, the Übermensch or Overman, the Eternal Recurrence, as well as the aesthetic conception of existence. The essay argues that while Waiting for Godot shares many of the premises and conclusions of Nietzsche’s philosophy, the play can also be interpreted as a critique of the same. The play presents a post-religious world marked by pessimism and resignation rather than affirmation and Nietzschean amor fati. The characters are as far removed from the heroic Overman ideal as can be imagined, unable to harness the Will to Power, which is absent or distorted or even unknowable. Communication is fraught with difficulty and uncertainty. The dynamic of the Eternal Recurrence is present but rather than being affirmed it is a source of crushing boredom, tediousness and existential angst. The characters are unable to embrace the Eternal Recurrence and are in a continual state of mental flight from its implications. They suffer from a vague recollection of the past while projecting their hopes into the future in order to diminish the unbearable suffering of the existing present, or state of perpetual becoming. Beckett can thus be said to be offering a satirical critique of the concept of salvation, both in its traditional religious sense as well as in the sense implied by Nietzsche’s concept of the Eternal Recurrence. However, Beckett does offer a sense of hope by suggesting, paradoxically, that the abandonment of hope of salvation may lead to a sort of salvation of resignation.

本研究從語用學的角度探討荒謬劇「等待果陀」（Waiting for Godot）中種種的語言脫序現象。荒謬劇作家將戲劇形式以及內容結合起來表達荒謬的主題，並不再視語言為能夠承載意義的工具，因此「等待果陀」中充滿了違背一般日常語言使用規則的脫序現象。本文運用語用學理論規則來分析劇中人物的對話，並將其分門別類以及計算數量，以達到探究「等待果陀」的作者貝克特（Samuel Beckett）在劇中製造荒謬效果的主要語言策略。 雖然「等待果陀」充滿了脫序的語言使用，但是讀者和觀眾們依然能夠閱讀、欣賞，進而評論以及解讀這齣荒謬劇。但是在日常對話中，脫序的語言使用卻往往意味著溝通的失敗。這顯示人們在一般日常溝通和文學批評解讀中運用不同的語用原則。然而，語用學在文學批評解讀上的著墨卻極少，也無法解釋為何讀者觀眾在面對脫序的語言對話時仍有能力解讀。因此，本文提出新的語用原則－持續原則（The persistence principle）－來解釋此一現象，並架構一個文學解讀的模型來闡述文學批評解讀與日常對話的基本差異。 / The present study analyzes the language use of Waiting for Godot from the pragmatic point of view. The absurd playwrights combine the form and content of play to convey the theme of absurdity, and do not trust language as a reliable vehicle to convey meaning. Therefore, the conversations of Waiting for Godot are filled with disordered and incoherent language use. The present study analyzes the conversations of the play with pragmatic principles, and categorizes the language uses in terms of the types of violation cases. In addition, the violation cases are calculated in order to reveal the main strategy that Samuel Beckett adopts for constructing the dramatic effect of absurdity. Surprisingly, the readers and audiences of Waiting for Godot could still appreciate and interpret the play even though the play is full of nearly incomprehensible conversations. In daily life, on the contrary, communication would likely break down if the language uses are like the ones in the play. It indicates that people activate different pragmatic principles in daily communication and in literary interpretation. However, very little attention is paid to the field of literary critics and interpretation, and pragmatic principles cannot explain why the readers/audiences of Waiting for Godot could comprehend the play. Therefore, the researcher proposes the “persistence principle” to explain how the readers/audiences search for the meaning of the text. Moreover, a model of literary interpretation is constructed to illustrate the basic differences between daily communication and literature reading.