This research achieves two main goals: First it proposes a set of extensions to the existing Opencast Matterhorn lecture video capture system, which should enhance its effectiveness and enable the collection of fine-grained datasets for further research. These extensions allow users to quickly and easily create, find, tag, annotate, and share `clipshows' of their video recorded classes both publicly and privately. Second, the tracking data generated when users create or view the clipshows using these extensions are used to analyze the efficacy of the system.

Avec l’apparition des chaînes musicales au début des années 1980, l’industrie musicale investit massivement dans la production de clips vidéo. Pour répondre à la forte demande de clips, de nombreux réalisateurs venant aussi bien de la télévision, de la publicité, que du cinéma mirent tous leur talent au service de ce nouveau format télévisuel. C’est dans ce contexte que différents artistes visuels furent également sollicités ou proposèrent leur service pour réaliser différents clips. Au début des années 1980, le clip apparut à certains artistes comme le format idéal pour diffuser leurs images à la télévision. Il leur permettait par sa diffusion à la télévision de toucher un plus large public que celui des musées ou des galeries d’art. Pour d’autres, le clip fut un format d’expérimentation mais aussi un prolongement possible pour leur pratique artistique. Ainsi cette étude se propose d’analyser une partie de la production de certains artistes plasticiens souvent ignorée par les historiens de l’art et les critiques. À travers leurs travaux artistiques, certains artistes construisirent au contraire une critique et interrogèrent le format tout en remettant en question la pop culture diffusée à la télévision. Si la création de MTV fut une date fondatrice dans l’histoire du clip vidéo, vingt-cinq ans plus tard, l’avènement de YouTube et des sites de partage de vidéos dès 2005 marqua un grand changement dans la production mais aussi dans la consommation de clips vidéo. Nous verrons que cela entraina de nouveaux usages pour les utilisateurs pour les artistes qui s’emparèrent des contenus disponibles pour les détourner. / With the advent of music channels in the early 1980s, the music industry invested heavily in the production of music videos. To meet the high demand of music video, many filmmakers from television industry, advertising, cinema put their talents in this new TV format service. It is in this context that different visual artists were also requested and proposed their services to direct different music videos. In the early 1980s, the clip appeared some artists as the ideal format to distribute their images on television. It allowed them by its broadcast on television to reach a wider audience than museums or art galleries. For others, the clip was an experimental format, but also a potential extension to their artistic practice. So this study will analyze some of the production of certain visuals artists often ignored by art historians and critics. Through their artworks, some artists built instead a critique and questioned the format while challenging pop culture broadcast on television. If the creation of MTV was a funding event in the history of the music video, twenty-five years later, the advent of YouTube and in 2005 marked a big change in production but also in consumption of music videos. We will see that it led to new uses for Internet users and for artists who took possession available content to divert it.

In the digital age where video content is abundant, this thesis investigates the efficient adaptation of an existing video-language model (VLM) to new data. The research leverages CLIP, a robust language-vision model, for various video-related tasks including video retrieval. The study explores using pre-trained VLMs to extract video embeddings without the need for extensive retraining. The effectiveness of a smaller model using aggregation is compared with larger models and the application of logistic regression for few-shot learning on video embeddings is examined. The aggregation was done using both non-learning through mean-pooling and also by utilizing a transformer. The video-retrieval models were evaluated on the ActivityNet Captions dataset which contains long videos with dense descriptions while the linear probes were evaluated on ActivityNet200 a video classification dataset.  The study's findings suggest that most models improved when additional frames were employed through aggregation, leading to improved performance. A model trained with fewer frames was able to surpass those trained with two or four times more frames by instead using aggregation. The incorporation of patch dropout and the freezing of embeddings proved advantageous by enhancing performance and conserving training resources. Furthermore, using a linear probe showed that the extracted features were of high quality requiring only 2-4 samples per class to match the zero-shot performance.

Dynein is a minus end directed molecular motor required for numerous cellular processes during intracellular transport and mitosis. Pac1/LIS1 and Bik1/CLIP-170 are two proteins required for targeting dynein to cytoplasmic microtubule plus ends in budding yeast. The lab previously proposed a model whereby Pac1/LIS1 binds to the motor domain of dynein heavy chain, Dyn1/HC, forming a complex that interacts with the +TIP protein Bik1/CLIP170 at plus ends. This project focused on using Bimolecular Fluorescence Complementation (BiFC) to visualize protein-protein interactions among dynein pathway components in vivo. Budding yeast, Saccharomyces cerevisiae is an ideal system to manipulate dynein as it is a non-essential protein in this system. The BiFC assay fuses two non-fluorescent halves of Venus, a YFP-derivative, to proteins of interest. If an interaction between the proteins occur, the two halves are brought to close proximity and the fluorophore is reconstituted. Cells co-expressing Dyn1-VN with Pac1-VC or Bik1-VC exhibited fluorescent foci associated with microtubule plus ends, the cell cortex and spindle pole bodies (SPBs). Additionally, cells co-expressing Pac1-VC with Bik1-VN exhibited fluorescent foci associated with microtubule plus ends. Cells coexpressing Tub1-VC and Bik1-VN or Dyn1-VN have BiFC signal indicating that both interact with the microtubule directly. Pac-1 coexpressed with Tub1 had no signal above background. These data support that these three components associate at microtubule plus ends. Dyn1 and Pac1 interact with Bik1 at microtubule plus ends. Bik1 serves as a docking platform for the two, but dynein is still able to interact with microtubules, while Pac1 is not.

Coordination of transition metals to peptides, either through the incorporation of unnatural chelating groups or amino acid ligating side-chains, expands the utility of peptides for biological studies. The first part of this project describes induction of α-helical secondary structure in pentapeptides upon side-chain coordination of inert transition metal ions. The second part of this project describes the syntheses of biologically active peptide species that contain a macrobicyclic hexaamine ligand that can complex radioactive metal ions for diagnostic imaging purposes. / Short peptide sequences do not form thermodynamically stable α-helices in water. The capacity of two metal clips, cis-[Ru(NH3)4(solvent)2]2+ and cis [Pd(en)(solvent)2]2+ to induce α-helicity in peptides that are five amino acids long, Ac HARAH NH2 and Ac MARAM-NH2 has been explored. In all cases at pH < 5, the metal ions bind to the side-chains of amino acid residues at positions i, i+4 of the pentapeptides resulting in formation of bidentate macrocyclic species. Circular dichroism and 1H nuclear magnetic resonance data indicate that the metal complexes of Ac-MARAM-NH2 are highly α helical in water, and in the most spectacular case, coordination of Ac-MARAM-NH2 to cis-[Ru(NH3)4(solvent)2]2+ results in up to 80% α-helicity. In contrast, metal complexes of Ac-HARAH-NH2 exhibit significantly less α-helicity in water. / 64Cu-radiolabelled peptides have been investigated for their ability to target specific tissue or cell types. These peptides require a chelating group that binds copper ions strongly. Macrobicyclic hexaamine ligands, based on the compound commonly referred to as “sarcophagine”, have demonstrated extremely high stability under biological conditions. Here we describe the synthesis of diaminosarcophagine chelators with carboxylate groups for conjugation to peptides. These new chelators have been attached to the N-terminus or lysine side-chain of biologically-active peptides, including Tyr3 octreotate, Lys3-bombesin and an integrin targeting peptide. Spectroscopic and voltammetric studies of these species suggest that the conjugated sarcophagine group retains the high metal binding affinity and structural properties of the parent species, diaminosarcophagine. These are among the first sarcophagine-peptide compounds that have been properly characterised. The new sarcophagine-peptide conjugates can be easily radiolabelled with 64Cu2+ over a wide pH range at ambient temperature.

Undersökningens avsikt är att granska video-centric webbplatsers användning bland Karlstads universitets studenter, varför och hur studenter använder webbplatserna. Undersökningen är baserad på Uses and Gratifications modellen.

The energy provider in South Africa, Eskom, faces an increasing electricity demand. The need to ensure sufficient supply gave rise to Demand Side Management (DSM) projects scheme. The DSM focus has shifted to the mining sector in South Africa. The large electricity use of the mining sector ensured the need for Energy Services Companies (ESCo’s). The ESCo is contracted to ensure energy savings of DSM projects implemented within the multiple sectors such as mining industry. The mining sector business model has the constant pressure to increase gold production. This pressure to expand has led to rapid expansion plans to increase the gold output for the relevant company. The expansion process and production increase in turn increases the electricity consumption. Compressed air use is a large contributing factor to the monthly electricity use as it is widely used within the mine sector. The implementation of a DSM project on the compressed air ring of an expanding gold mine was the focus of the study. This case study focused on an expanding gold mine within South Africa. The DSM lifecycle was followed to initially determine the DSM saving potential. The possible control strategies were investigated with simulation models and savings calculations. The viable option was to be implemented with a preliminary control philosophy. Results were in turn compared with the initial investigations and control philosophy. The deviations as experienced with implementation were addressed and a potential sustainable control philosophy for an expanding gold mine was constructed. The results indicated, verified Eskom peak clip electricity savings of 2.165 MW of the 2.4 MW target. The energy efficiency component for these performance assessment months was 1.944 MW of the targeted 1.5 MW. The sustainability of the system was proven with production increase on an expanding gold mine. / MIng (Computer and Electronic Engineering), North-West University, Potchefstroom Campus, 2013

The energy provider in South Africa, Eskom, faces an increasing electricity demand. The need to ensure sufficient supply gave rise to Demand Side Management (DSM) projects scheme. The DSM focus has shifted to the mining sector in South Africa. The large electricity use of the mining sector ensured the need for Energy Services Companies (ESCo’s). The ESCo is contracted to ensure energy savings of DSM projects implemented within the multiple sectors such as mining industry. The mining sector business model has the constant pressure to increase gold production. This pressure to expand has led to rapid expansion plans to increase the gold output for the relevant company. The expansion process and production increase in turn increases the electricity consumption. Compressed air use is a large contributing factor to the monthly electricity use as it is widely used within the mine sector. The implementation of a DSM project on the compressed air ring of an expanding gold mine was the focus of the study. This case study focused on an expanding gold mine within South Africa. The DSM lifecycle was followed to initially determine the DSM saving potential. The possible control strategies were investigated with simulation models and savings calculations. The viable option was to be implemented with a preliminary control philosophy. Results were in turn compared with the initial investigations and control philosophy. The deviations as experienced with implementation were addressed and a potential sustainable control philosophy for an expanding gold mine was constructed. The results indicated, verified Eskom peak clip electricity savings of 2.165 MW of the 2.4 MW target. The energy efficiency component for these performance assessment months was 1.944 MW of the targeted 1.5 MW. The sustainability of the system was proven with production increase on an expanding gold mine. / MIng (Computer and Electronic Engineering), North-West University, Potchefstroom Campus, 2013

This diploma thesis will focus on music, film, literature and visual arts of Islamic coun-tries, as a material that leaves the original cultural and religious context and is being "sent" to be received in the context of the stabilised Western culture. Guided by her own judgment, the author of this diploma thesis shall select the most important and inte-resting artists who were born or are still living in one of the Islamic countries. And she will further interpret their work in terms of their influence and impact on the Western culture. As to the methodological approach, this diploma thesis is based on the concept of the cultural transfer, as it has been examined and defined in cultural studies in recent decades.

The thesis focuses on ways of creating an animated video clip as part of art education at basic school and on various views of art as a school subject, in which multimedia creation is used. The theoretical part describes the animated film as a specific way of intermedia expression in the context of past and contemporary art. It deals with the origin and history of animated film and describes the production and various techniques used for its creation. It analyzes the scope for the creation of an animated video clip in intermedia and experimental activities in art education at basic school. The practical part contains the implementation and reflection of my own art lessons focusing on the creation of animated video clip in class 5.B at Lerchova school in Sušice in 2013.