Ambient Occlusion är en teknik för ambient ljussättning i digitala tredimensionella scener. Sådana scener ljussätts vanligtvis med en konstant mängd ambient ljus på samtliga ytor oberoende av ytornas vinkel och position gentemot olika ljuskällor i scenen. Detta ger ett platt och kalt intryck och utan vidare ljussättningstekniker är det ytterst svårt att urskönja detaljer i scenen. Ambient Occlusion åthjälper detta genom att reducera mängden ambient ljus i vissa delar av scenen. Ambient ljus är en enkel approximation av det reflekterade diffusa ljuset som antas nå nästan överallt i scenen. Genom att sänka det ambienta ljuset på punkter i scenen med tät eller täckande geometri så ger Ambient Occlusion ett intryck av att det sekundära diffusa ljuset ej når dessa platser. Pappret undersöker en äldre variant av Ambient Occlusion där mängden ambient ljus beräknas statiskt för en scen och sparas i texturer. Vidare undersöks nyare metoder där mängden ambient ljus beräknas dynamiskt på den renderade scenen i Pixel Shaders. Det senare tillvägagångssättet kallas Image Based Ambient Occlusion eller Screen Space Ambient Occlusion. Detta nya tillvägagångssätt jämförs mot den traditionella angreppsvinkeln med förberäknade texturer. Teknikerna utvärderas och jämförs mot varandra i avseende på tids- och minneskomplexitet, enkelhet och visuellt resultat utöver specifika egenskaper för de enskilda teknikerna. Arbetets resultat beskrivs i slutet av rapporten. I resultatet presenteras hur shaderteknikerna pga sina brister inte är applicerbara i alla scener.

This work deals with image enhacements technology for 2D faces.. Describes methods of image processing, which are used in the proposed methods. These methods eliminate inhomogeneous lighting and shadows in the face. It also suggests the detector face, which is used as input for the method to eliminate shadows.

Shared spaces have proven to be the most sustainable solution in the midst of growing demand to implement sustainable lifestyles and at present, co-living is the most trending housing option. In these coliving spaces, the common shared spaces are very important among which kitchen is the most critical one as most of the tasks are carried out there. The main objective of this study is to find if a relationship exists between task lighting, illuminance and multiple users in shared residential kitchens. Limited research in this area has been the primary motivation for this study. Furthermore, during the course of the study, the importance of flexibility in the task lighting for shared residential kitchens was investigated.   Realizing the objectives, the study aims at answering the following main investigation questions: Is task lighting in a shared kitchen designed with the number of users in mind and does it consider the different ways in which they perform different tasks at the same time? Should the lighting design standards be reconsidered for shared residential kitchens? Would flexibility in the lighting devices be beneficial for shared kitchens ? The main investigation questions are answered with the help of the following sub-investigation questions which mainly highlights the relation between the multiple users, illuminance and task performances. Do multiple users affect the various performances carried out in a shared kitchen? Are there any shadows cast by the multiple users in a shared kitchen? Do they affect the illuminance levels in the task areas and thereby affect the visual and task performances?   Case studies of two different shared residential kitchens were carried out. The methodology of the case study involved two stages, complete site analysis and an experiment. The experimental set up is adapted from McGuiness, Boyce and Harker‘s investigation study “The effects of illuminance on task performance in domestic kitchens” and was modified to suit this  study. The experiment was conducted in two different scenarios. Quantitative and qualitative analysis was carried out during the study. The end results of the experiment proved that there is a strong influence of multiple users on the task performances without having any major impacts on the lighting conditions. This indicated that new lighting standards have to be framed for shared residential kitchens in the aspects of ergonomics and flexibility. The importance of flexibility in shared spaces and in shared residential kitchens was realised was considered just beneficial in terms of mood, comfortability and practicality.

The aim of this work was to create a program to visualize voxel scenes in real time using ray tracing. It included the study of various methods of such a rendering with a focus on shadows. The solution was created using Unity engine and experimental packages Unity Jobs and Burst. The thesis presents multiple ray tracing passes and SVGF technique, that is used to turn a noisy input into full edge-preserving image. The final program is able to render hard shadows, soft shadows, and ambient occlusion at speed of fifty frames per second.

Vidéos et images des résultats disponible à : http://www.iro.umontreal.ca/labs/infographie/theses/fatnasss/ / La synthèse d'une flamme animée dans un environnement 3D virtuel, reste à ce jour une tâche ardue, exigeant de judicieusement balancer réalisme et coût de calcul. Dans ce mémoire, nous présentons un ensemble de techniques pour sa simulation en temps réel tout en modélisant une interaction à des forces externes. Nous désirons minimiser son coût de calcul tout en préservant une apparence convaincante dans l'optique d'une intégration au sein de systèmes existants, n'affectant pas indûment leurs performances. Un champ de vélocité est extrait d'une simulation de ressorts et mis à profit dans le déplacement de chaînes de particules modélisant la forme de la flamme par l'entremise de la paramétrisation d'une surface NURBS. Considérant l'importance qu'ils ont sur notre perception de la combustion, nous prenons également soin de reproduire l'illumination, les ombres, et l'effet d'éblouissement qu'elle engendre. / The synthesis of an open flame in a virtual 3D environment, remains to this day an arduous task, requiring a wise balance between realism and processing cost. In this M. Sc. thesis, we present a set of techniques for its simulation in real time while also modeling the interaction with external forces. Our goal is to minimize the cost while preserving a convincing appearance, thus facilitating integration of the techniques into existing systems without unduly affecting their performance. A velocity field is extracted from a spring-mass simulation which contributes to moving chains of particules that are used in modeling the flame shape through the configuration of a NURBS surface. In light of the importance they have on our perception of combustion, we also take care to duplicate the lighting, shadows and bloom the flame gives rise to.

Made available in DSpace on 2016-04-26T18:16:24Z (GMT). No. of bitstreams: 1 Bruno Fischer Dimarch.pdf: 4202658 bytes, checksum: fbec2c82e772f775a28f755773e88f33 (MD5) Previous issue date: 2007-08-27 / Secretaria da Educação do Estado de São Paulo / The present Dissertation devotes to think about the Gothic, identifying the problems brought by the mistaken media exposition. For this purpose, it is presented a gothic reading of the Goth, so that it can be understood as a part of an usual process to all cultures, as a refuge of the generation of the, named here, culture norm . This research present as the theoretical corpus the General Systems Theory, in the development of Jorge de Albuquerque Vieira, proposing a new approach of the concept of collective shadow proposed by Carl Gustav Jung (1875-1961), from the hypothesis that every culture projects its shadow (the term culture refers only to western culture in this dissertation). This shadow is the allegoric night of moral, ethics and dominant customs. The repressed elements are organized in a system of mediation in the communicative relation of body with environment, named Shadows . Goth is a subsystem of Shadows, which found a great difficult in media communication. Through broadcasted interviews, sites and journalistic subjects in several means of communication, it is possible to find Goth associations with a culture and life style that are subversive, licentious, antichrist, necrophile etc. That kind of mediatic exposition, injured public identification in relation to Gothic culture. Although, the Goth intracommunication ensured its permanence and evolution, retreated from mediatic light. In the Shadows, this process points towards a relative distinction of the other subsystems and a specialization of its internal information. Besides the bibliographic research, interviews and an image documentary research in different media means were held / A presente Dissertação se dedica a pensar sobre o Gótico, identificando os problemas trazidos pela sua equivocada exposição midiática. Para tal, apresenta uma leitura gótica do Gótico, com o objetivo de fazê-lo ser entendido como parte de um processo comum a todas as culturas, o refugo da geração da, aqui nomeada, norma da cultura . Essa pesquisa apresenta como corpus teórico a Teoria Geral dos Sistemas, no desenvolvimento de Jorge de Albuquerque Vieira, propondo uma nova abordagem do conceito de sombra coletiva , de Carl Gustav Jung (1875 1961), a partir da hipótese de que toda cultura projeta a sua sombra (e aqui o termo cultura se refere somente à cultura ocidental). Essa sombra é a noite alegórica da moral, da ética e dos costumes dominantes. Elementos reprimidos se organizam em um sistema de mediação na relação comunicativa do corpo com esse ambiente, nomeado de Sombras . O Gótico é um subsistema das Sombras que encontrou grande dificuldade de comunicação midiática. Em entrevistas televisivas, sites e matérias jornalísticas em diversos meios de comunicação é possível encontrar associações do Gótico a uma cultura e estilo de vida subversivo, licencioso, anticristo, necrófilo etc., refugos da norma da cultura. Esse tipo de exposição midiática prejudicou a possibilidade de identificação e melhor compreensão, por parte do público, da cultura gótica. Todavia, foi a intracomunicação no Gótico que garantiu a sua permanência e evolução, fora da luz midiática. Nas Sombras, esse processo apontou para uma relativa distinção de outros subsistemas e uma especialização das suas informações internas. Além da pesquisa bibliográfica, foram realizadas entrevistas e uma pesquisa documental de imagens em diferentes mídias

La synthèse d'une flamme animée dans un environnement 3D virtuel, reste à ce jour une tâche ardue, exigeant de judicieusement balancer réalisme et coût de calcul. Dans ce mémoire, nous présentons un ensemble de techniques pour sa simulation en temps réel tout en modélisant une interaction à des forces externes. Nous désirons minimiser son coût de calcul tout en préservant une apparence convaincante dans l'optique d'une intégration au sein de systèmes existants, n'affectant pas indûment leurs performances. Un champ de vélocité est extrait d'une simulation de ressorts et mis à profit dans le déplacement de chaînes de particules modélisant la forme de la flamme par l'entremise de la paramétrisation d'une surface NURBS. Considérant l'importance qu'ils ont sur notre perception de la combustion, nous prenons également soin de reproduire l'illumination, les ombres, et l'effet d'éblouissement qu'elle engendre. / The synthesis of an open flame in a virtual 3D environment, remains to this day an arduous task, requiring a wise balance between realism and processing cost. In this M. Sc. thesis, we present a set of techniques for its simulation in real time while also modeling the interaction with external forces. Our goal is to minimize the cost while preserving a convincing appearance, thus facilitating integration of the techniques into existing systems without unduly affecting their performance. A velocity field is extracted from a spring-mass simulation which contributes to moving chains of particules that are used in modeling the flame shape through the configuration of a NURBS surface. In light of the importance they have on our perception of combustion, we also take care to duplicate the lighting, shadows and bloom the flame gives rise to. / Vidéos et images des résultats disponible à : http://www.iro.umontreal.ca/labs/infographie/theses/fatnasss/

This thesis is an intensive, multi-layered analysis of an unpublished, English language, handwritten, mid-20th century manuscript. Originally undated, untitled and unsigned, it has now been positively identified as “Text A”, a Wiccan proto-Book of Shadows compiled by Gerald Brosseau Gardner (1884-1964) in the last half of the 1940’s. Different methodologies were applied to the document: transcription using Leiden conventions, handwriting analysis to identify the author, archival research to uncover photographs of the manuscript in use, historical and bibliographical research to situate the manuscript and its author, and finally, an in-depth and exhaustive source analysis to uncover literary and documentary influences on the text. Subsequently, the manuscript was identified as handwritten by Gerald Gardner, from 1940 to 1949, and contains almost no original material other than a handful of pages for a speech or oral presentation. The rest of the document is comprised of extracts from published sources available to Gardner. These include books on Free Masonry, Templars, British Folklore, Kabbalah, Magic – ancient and ceremonial, and books by Aleister Crowley. The document also includes ritual passages and ceremonies, most of which also appear in Gardner’s published novel, High Magic’s Aid. Two theme-lines, “Magic – ancient and ceremonial” and “the writings of Aleiser Crowley”, comprising almost 40% of the total page count, were chosen for thorough analysis. Based on the information revealed by the various methodologies applied to this document, one can assert that Gardner’s claims to have been initiated into an ancient indigenous tradition, Wicca, and to be making available its long secret rituals are not supported by this document.

Η συζήτηση για το μουσείο ως εργαλείο εκπαίδευσης στην εικαστική διεργασία εγγράφεται τόσο στο πεδίο της Τέχνης όσο και της Μουσειακής Εκπαίδευσης. Τα ερωτήματα που τίθονται είναι: κατά πόσο μπορεί το μουσείο να αποτελέσει ένα αποτελεσματικό εργαλείο εικαστικής αγωγής υπερβαίνοντας ή επαναπροσδιορίζοντας τον ρόλο του στο πλαίσιο της αισθητικής αγωγής, στον σχολικό χώρο; Κατά πόσο είναι έτοιμοι ή διατεθειμένοι οι εκπαιδευτικοί προσχολικής αγωγής να υιοθετήσουν μια τέτοια πρακτική; Μπορούν οι καινοτόμες μουσειακές δράσεις να βρουν ευρύτερη εφαρμογή στη διδασκαλίας της εικαστικής αγωγής; Μπορεί η λαϊκή μορφή τέχνης του Θεάτρου Σκιών να αποτελέσει γέφυρα σύνδεσης του παρελθόντος με το παρόν, της παραδοσιακής με τη σύγχρονη εκπαίδευση, της μουσειακής αγωγής με την εικαστική εκπαίδευση; Υπό το πρίσμα αυτό θα εστιαστούμε στην εικαστική αγωγή, ως σχολικό μάθημα και στις εκπαιδευτικές δραστηριότητες που αναπτύσσουν τα μουσεία στα πλαίσια διαμόρφωσης της καλλιτεχνικής παιδείας, σε μαθητές προσχολικής αγωγής και πως αυτές οι πρακτικές συμβάλλουν στην καλλιέργεια της προσωπικής έκφρασης και ευαισθησίας των παιδιών. / Η ΒKΠ διαθέτει αντίτυπο της διατριβής σε έντυπη μορφή στο βιβλιοστάσιο διδακτορικών διατριβών που βρίσκεται στο ισόγειο του κτιρίου. / The discussion concerning the museum as an educational material in the pictorial process is stated in the field of Arts as well as the Museum Education. The questions posed are the following: to what extend can the museum constitute an effective means of art education outrunning or reassigning its role in the framework of Aesthetic Education(Arts) in the school environment? To what extend are the Pre-school Education Teachers willing to adopt such a technique? Can the innovative museum actions find a broader application on the teaching of pictorial education? Can the folk type of art of the Theatre of Shadows bridge the gap between the past and the present, the traditional and modern education, the museum and the pictorial education? Bearing the above into consideration, we will focus on the pictorial education as a school subject and the teaching activities applied by museums in order to form artistic education to pre-school learners and on how these techniques contribute to the development of children’s personal expression and sensitivity.

Le roman indien et pakistanais de langue anglaise est habité par le trauma de la Partition à travers des tropes de l’esthétique moderniste comme la fragmentation et l’ellipse. Il est aussi structuré par des métaphores de mutilation, de déracinement, d’exil, ainsi que par la figure symbolique du réfugié. Non exploré jusqu’ici, le trope visuel et poétique des ombres inscrit en creux dans la fiction la violence inexprimable de la Partition. Signes prémonitoires de la rupture cataclysmique de 1947, dans le roman Twilight in Delhi (1940), les ombres dramatisent les conséquences dévastatrices de la modernité coloniale sur la haute culture musulmane de l’Inde. Dans quatre romans publiés après la fracture du sous-continent – Sunlight on a Broken Column (1961), Clear Light of Day (1980), The Shadow Lines (1988), Burnt Shadows (2009) –, les ombres sont les traces-mémoires indélébiles, poreuses, et instables qui imprègnent la cartographie régionale et les psychés individuelles. Associée aux tropes ambivalents du fantôme et du miroir, l’ombre subvertit l’historiographie officielle en ouvrant un espace mémoriel dans lequel les souvenirs d’individus et de familles subalternes, transmis sur plusieurs générations, lient la Partition à d’autres traumas internationaux à travers des nœuds de mémoire multidirectionnelle. Par sa dimension visuelle, l’ombre produit une mémoire corporelle qui implique le lecteur dans une sémiotique empathique et réflexive du regard. / Partition inhabits the Indian and the Pakistani novel in English through modernist tropes such as ellipsis and fragmentation, metaphors of mutilation, dislocation and exile, and the symbolic figure of the refugee. The unspeakable violence of this trauma is also embedded within the narrative through the visual and poetic trope of the shadows, which has not been examined yet. In the novel Twilight in Delhi (1940), the shadows are premonitions of the cataclysm of 1947 as they stage the devastating impacts of colonial modernity on the high Muslim culture of India. In four novels published after the division of the subcontinent – Sunlight on a Broken Column (1961), Clear Light of Day (1980), The Shadow Lines (1988), Burnt Shadows (2009) –, the shadows are indelible, porous and unstable memory-traces that permeate the regional cartography and individual psyches. Together with the dual motives of the ghost and the mirror, these shadows subvert the official historiography and open up a discursive space in which the memories of subaltern individuals and families, transmitted over several generations, connect Partition to other international traumas via knots of multidirectional memory. Through their visual dimension, the shadows shape a body memory which involves the reader in an empathic and reflexive semiotics of the gaze.