[pt] Em apresentações hipermídia, umas das principais tarefas coordenadas pelo orquestrador da apresentação é a sincronização entre os diversos objetos componentes, que pode ser obtida através do ajuste elástico do tempo de exibição dos objetos. Esta técnica pode ser aplicada em tempo de compilação, de forma a manter os relacionamentos de sincronização especificados pelo autor, ou em tempo de apresentação, para prevenir qualquer descasamento temporal causado pelos ambientes de transmissão e de execução. Este trabalho descreve um conjunto de mecanismos para executar o ajuste elástico em fluxos MPEG-2 de Vídeo e de Sistemas, propondo algoritmos para a realização da compressão e expansão do tempo de exibição, do controle da ocupação do buffer do decodificador, da sincronização intermídia e da reconstrução do relógio de referência. Visando seu emprego em tempo de execução, todo o processo de ajuste é realizado diretamente no fluxo MPEG, sem qualquer transcodificação. / [en] In hypermedia presentations, one of the main tasks provided by the orchestrator is the synchronization of all presentation objects, which may be achieved by elastic time adjustment of period of exhibition of the objects, or simply timescale adaptation. This technique can be applied at compilation time, in order to keep track of synchronism relationships specified by authors, or at presentation time, to prevent any temporal mismatch caused by transmission or execution environments. This work presents a set of mechanisms to carry out timescale adaptation in MPEG-2 Systems and Video streams, proposing algorithms to perform compression and expansion of exhibition period, also called playback dilation, rate control, inter-media synchronization and clock reconstruction. In order to be performed at execution time, timescale operations are realized directly in compressed MPEG-2 streams, requiring no transcodification.

The progression of technical development has yielded practicable camera systems for the acquisition of so called depth maps, images with depth information. Images and movies with depth information open the door for new types of applications in the area of computer graphics and vision. That implies that they will need to be processed in all increasing volumes. Increased depth image processing puts forth the demand for a standardized data format for the exchange of image data with depth information, both still and animated. Software to convert acquired depth data to such videoformats is highly necessary. This diploma thesis sheds light on many of the issues that come with this new task group. It spans from data acquisition over readily available software for the data encoding to possible future applications. Further, a software architecture fulfilling all of the mentioned demands is presented. The encoder is comprised of a collection of UNIX programs that generate MPEG Z/Alpha, an MPEG2 based video format. MPEG Z/Alpha contains beside MPEG2's standard data streams one extra data stream to store image depth information (and transparency). The decoder suite, called TexMPEG, is a C library for the in-memory decompression of MPEG Z/Alpha. Much effort has been put into video decoder parallelization, and TexMPEG is now capable of decoding multiple video streams, not only in parallel internally, but also with inherent frame synchronization between parallely decoded MPEG videos.

The subject of my master´s thesis is analysis of the operating costs in households in various energy categories of houses. The theoretical part is focused on passive homes issue where I explained principles and differences of standard constructions. The practical part is based on a concrete example of the differences and the structure of costs. The aim is to confirm or refute the hypothesis, which say that higher investment costs for the construction of low energy buildings could reduce costs and family budgets in the future. They also lead to higher liquidity.

A playback experiment in which a recording of vocalization is played to the tested subject and its response is observed, is a widely used tool for examining bird song and its functions. Most often only acoustic stimulus is used, but sometimes a visual stimulus is also provided in the form of a dummy. Taxidermic mounts or models made from different materials are used as the dummy. It is discussed among researchers, whether it is or is not necessary to use a dummy in experiments and how does its presence affect behavior of the tested individuals. However, only few studies directly focus on this issue and test the effect of dummies. The best way to test the effects of a dummy on passerines in playback experiments is to test the same individuals in both situations (with a dummy and without a dummy) and compare the reactions. The aim of this theses was to perform such experiments on Chiffchaff (Phylloscopus collybita) and Yellowhammer (Emberiza citrinella) males and to find out whether they would behave similarly in both variants of the experiment, or if their reaction would be enhanced in the presence of a dummy. Chiffchaffs reacted significantly more aggressively in the dummy experiment. The biggest difference was time spent by attacking the dummy and staying close to it. In Yellowhammers, the dummy...

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Ce projet de recherche-création est axé sur le développement d’un outil de création sonore, qui vise à faciliter l’improvisation de musiques électroacoustiques spatialisées sur de multiples haut-parleurs. L’outil nommé Live 4 Life permet plus spécifiquement de composer des polyrythmies spatialisées, combinées à des textures enveloppantes en temps réel. Actuellement, il est particulièrement difficile de contrôler dynamiquement et simultanément de multiples sons dans l’espace, en raison en partie de la stratification du processus de composition dans plusieurs logiciels et de la complexité à spatialiser individuellement chaque événement sonore. En dotant l’improvisateur d’outils de spatialisation flexibles, celui-ci peut exploiter les dimensions spatiales tout au long du processus de création, de la composition jusqu’à la performance. L’intégration, à même l’outil Live 4 Life, des autres paramètres sonores, comme le rythme ou les vitesses de lecture, permet également de créer de nouveaux liens dans la composition de l’espace. L’outil, implémenté sur la plate-forme en source libre SuperCollider, propose une approche comprenant différentes échelles temporelles, où la spatialisation est déterminée autant au niveau local sur des événements individuels que global sur des flux sonores. Des œuvres ouvertes du point de vue spatial et temporel peuvent ainsi être réalisées à partir de multiples séquences pré-composées, qui sont organisées et modifiées en temps réel. Cet outil de performance spatiale met l’accent sur la construction et la déformation de boucles de paramètres, rythmiques ou spatiales. Il permet, en outre, de questionner le développement spatio-temporel entre les objets sonores eux-mêmes, leurs traitements ou leurs réflexions et ouvre sur des questions plus larges sur les liens qui existent entre l’espace et le temps réel. / The research/creation project is focused on the development of a spatialised sound creation tool, which aims at facilitating the improvisation of electroacoustic music on multiple loudspeakers. More specifically, this tool, which is called Live 4 Life, allows to compose spatialised polyrhythms, combined with enveloping textures in real time. Currently, it is particularly difficult to dynamically and simultaneously control multiple sounds in space, due in part to the layering of the composition process in multiple software programs and the complexity of individually spatialising each sound event. By providing the improviser with flexible spatialisation tools, it allows him to exploit spatial dimensions throughout the creative process, from composition to performance. The integration of other sound parameters, such as rhythm, spectrum or playback speeds, in a global creation tool also allows to create new links in the composition of space. The tool, implemented on the open source platform SuperCollider, offers an approach comprising different time scales, where spatialisation is determined both locally on individual events and globally on sound streams. Spatially and temporally open forms can thus be realised from multiple pre-composed sequences, which are organised and modified in real time. This spatial performance tool emphasises the construction and deformation of parameter loops, rhythmic or spatial. It also makes it possible to question the spatio-temporal development between sound objects themselves, their processing or their reflections, and opens up broader questions on the links that exist between space and real time.

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Theatre for social change is a term used to describe a wide range of theatre-based techniques and methods. Through implementation of performance techniques, participants are encouraged to creatively explore and communicate various ideas with the specific intention of eliciting a societal or political shift within a given community. Through this thesis, I will explore the impact of applying theatre for social change in a youth-centered environment. I will discuss my journey as creator, facilitator, and project director of interACTionZ, a queer youth theatre program in Orlando, FL formed through a partnership between Theatre UCF at the University of Central Florida and the Zebra Coalition®. I will give specific focus throughout this project to Lesbian, Gay, Bisexual, Transgender, Queer (LGBTQ+) youth and straight advocates for the LGBTQ+ community.

Der Vortrag gibt einen Überblick der Neuerungen im Werkzeug Mechanism der Creo Versionen 1.0 und 2.0. Zudem werden 10 hilfreiche "Tips und Tricks" vorgestellt, welche den Mechanismuseinsatz vereinfachen.

Der Vortrag gibt einen Überblick der Neuerungen im Werkzeug Mechanism der Creo Versionen 1.0 und 2.0. Zudem werden 10 hilfreiche "Tips und Tricks" vorgestellt, welche den Mechanismuseinsatz vereinfachen.