Sedan Twitch startade sin livestreaming site 2011 så har livestreaming vuxit otroligt fort. År 2014 hade Twitch 100 miljoner unika tittare varje månad. De som streamar på Twitch är allt från esport spelare till personer som streamar för nöjets skull. Idag finns det streamers som inte jobbar utan livnärar sig på att streama och få microdonationer från sina tittare. Vi är nyfikna på hur en streamer kan leva genom att bara spela datorspel. De samlar på sig en publik som återkommer så fort streamern börjar streama. Utöver reklam på deras sida så får streamers in microdonationer via sina tittare. Dessa microdonationer står för en stor del av deras inkomst. Vi har valt att fokusera extra på de som tittar och inte de som streamar. Hur kommer det sig att någon kan tänka sig att donera pengar till en streamer? Vi har då valt att göra en enkät om motivation och microdonationer som Twitchtittare kommer svara på. I vår undersökning så var det endast 36.5% som spenderade mindre än 4 timmar per vecka på Twitch, restrerande svar var från personer över 4 timmar. Enligt vår undersökning så påverkas många inte av andra när det kommer till val av streams. Många väljer stream på grund av att streamern är underhållande eller att man spelar likadana spel som streamern. Trots att vissa personer i undersökningen spenderar mycket tid på Twitch så donerar de inte ofta. 43% har varken donerat eller subscribat till en stream innan. Endast 5.5% donerar mycket (över 10 $) och ofta. Enligt vår undersökning så har endast 56.1% donerat eller subscribat till en stream innan. Man får ta hänsyn till att 75,6% är ungdomar under 24 år och kanske inte har en inkomst, därav är det svårt att donera trots att man vill. Trots att många donerar väldigt små summor så finns det personer som donerar otroligt stora summor där en streamer kan nästan hamna i chocktillstånd. Det fanns ett antal olika faktorer som motiverade personer att donera sina pengar till streamers. De tre mest framstående faktorerna var "Entertaining streamer" en streamer som engagerar publiken och får dem att skratta, "I play the same game" tittarna känner igen spelet och spelar det under sin egen tid och "I want to learn something" tittarna vill förbättra sina egna färdigheter och lära sig något nytt. Mer än hälften av de personer som svarat skulle vara villiga att spendera minst 10 dollar i månaden på Twitch relaterat material. De flesta av de personer som svarade var män och cirka 1525 år. “Benefits” dvs få något i utbyte mot en donation hade en mycket lägre effekt på folks motivation än väntat. / Since Twitch started its livestreaming site in 2011 live streaming have grown incredibly fast. In 2014 Twitch had 100 million unique viewers monthly. The streams on Twitch range from esports players to people streaming for fun. Today there are streamers that are not working but instead create a living based on streaming and micro donations from its viewers. We are curious and want to explore how a streamer can live just by playing computer games. They accumulate an audience who will return as soon streamer begins streaming. In addition to advertising on their page to get streamers into micro donations through their viewers. These micro donations account for a large portion of their income. We focus on those watching rather than those who stream. How is it that someone would be willing to donate money to a streamer? We then decided to do a survey on motivation and microdonations Twitch viewers will answer. The questions is focused on what kind of genre, user prefer to watch and and what motivates them to donate. In our study, it was only 36.5% who spent less than 4 hours per week on Twitch, the rest of the responses were from people who spent over 4 hours. According to the responses of our survey people were not affected by others when it came to the choice of stream to watch. Many people choose the stream due to the streamer being entertaining or playing the same game as the streamer. Even if the people who answered our survey spent alot of time on Twitch only a part of them choose to donate 43% of them have neither donated or subscribed to a stream before. Only 5.5% donates much (over $ 10) and often. According to the answers only 56.1% have donated or subscribed to a stream before. We must take into account that 75.6% are young people under 24 years old and may not have an income, hence it is difficult to donate despite the fact that they want. Although many are donating very small sums, there are people who donate incredibly large sums which a streamer can almost fall into a state of shock. There was a number of different factors that motivated people to donate their money to streamers. The three most prominent factors were “Entertaining streamer” a streamer who engages the audience and makes them laugh, “I play the same game” the viewers recognize the game and play it during their own time and “I want to learn something” the viewers want to improve their own skills and learn something new. More than half the people who responded would be willing to spend atleast 10$ a month on Twitch related material. Most of the people who answered were men and around 1525 years. Benefits i.e getting something in return for a donation had a much lower impact towards motivating people than expected.

Live customer service has been used by many e-commerce brands as a method to gain consumers personal information. Previous research has found that live service agents have a positive influence on consumer perceived service quality and trust. This research aims to examine if certain type of live customer service generate better website and brand perceptions from the consumer and ultimately help in gaining consumer personal information. Results of this experimental design show that avatar selection and exposure did not significantly differ for service quality, trust, attitudes, purchase intention, and likelihood of disclosing personal information. It was also found that customers have a significant likelihood of selecting agents of the same gender. / text

<p>The ever increasing demand for video content directed the focus of researchfrom traditional server-based schemes to peer-to-peer systems for videodelivery. In such systems, video data is delivered to the users by utilizing theresources of the users themselves, leading to a potentially scalable solution.Users connect to each other, forming a p2p overlay network on top of theInternet and exchange the video segments among themselves. The performanceof a p2p system is characterized by its capability to deliver the videocontent to all peers without errors and with the smallest possible delay. Thisconstitutes a challenge since peers dynamically join and leave the overlay andalso contribute different amounts of resources to the system.The contribution of this thesis lies in two areas. The first area is theperformance evaluation of the most prominent p2p streaming architectures.We study the streaming quality in multiple-tree-based systems. We derivemodels to evaluate the stability of a multiple tree overlay in dynamic scenariosand the efficiency of the data distribution over the multiple trees. Then, westudy the data propagation in mesh-based overlays. We develop a generalframework for the evaluation of forwarding algorithms in such overlays anduse this framework to evaluate the performance of four different algorithms.The second area of the thesis is a study of streaming in heterogeneous p2poverlays. The streaming quality depends on the aggregate resources that peerscontribute to the system: low average contribution leads to low streamingquality. Therefore, maintaining high streaming quality requires mechanismsthat either prohibit non-contributing peers or encourage contribution. In thisthesis we investigate both approaches. For the former, we derive a model tocapture the evolution of available capacity in an overlay and propose simpleadmission control mechanisms to avoid capacity drainage. For the latter, inour last work, we propose a novel incentive mechanism that maximizes thestreaming quality in an overlay by encouraging highly contributing peers tooffer more of their resources.</p> / QC 20100506

A key aspect of cloud computing is the promise of infinite, scalable resources, and that cloud services should scale up and down on demand. This thesis investigates methods for dynamic resource allocation and management of services in cloud datacenters, introducing new approaches as well as improvements to established technologies.Virtualization is a key technology for cloud computing as it allows several operating system instances to run on the same Physical Machine, PM, and cloud services normally consists of a number of Virtual Machines, VMs, that are hosted on PMs. In this thesis, a novel virtualization approach is presented. Instead of running each PM isolated, resources from multiple PMs in the datacenter are disaggregated and exposed to the VMs as pools of CPU, I/O and memory resources. VMs are provisioned by using the right amount of resources from each pool, thereby enabling both larger VMs than any single PM can host as well as VMs with tailor-made specifications for their application. Another important aspect of virtualization is live migration of VMs, which is the concept moving VMs between PMs without interruption in service. Live migration allows for better PM utilization and is also useful for administrative purposes. In the thesis, two improvements to the standard live migration algorithm are presented, delta compression and page transfer reordering. The improvements can reduce migration downtime, i.e., the time that the VM is unavailable, as well as the total migration time. Postcopy migration, where the VM is resumed on the destination before the memory content is transferred is also studied. Both userspace and in-kernel postcopy algorithms are evaluated in an in-depth study of live migration principles and performance.Efficient mapping of VMs onto PMs is a key problem for cloud providers as PM utilization directly impacts revenue. When services are accepted into a datacenter, a decision is made on which PM should host the service VMs. This thesis presents a general approach for service scheduling that allows for the same scheduling software to be used across multiple cloud architectures. A number of scheduling algorithms to optimize objectives like revenue or utilization are also studied. Finally, an approach for continuous datacenter consolidation is presented. As VM workloads fluctuate and server availability varies any initial mapping is bound to become suboptimal over time. The continuous datacenter consolidation approach adjusts this VM-to-PM mapping during operation based on combinations of management actions, like suspending/resuming PMs, live migrating VMs, and suspending/resuming VMs. Proof-of-concept software and a set of algorithms that allows cloud providers to continuously optimize their server resources are presented in the thesis.

This thesis looks at the ways in which performance can integrate participants and local context into the development of new devised work. This practice-led research is based on a methodology that grew out of three performance case studies completed in diverse international settings with a varied range of participants. The case studies are: Napoli Scorticata completed in 2007 in Naples, Italy; Youth Visions, completed in 2008 in Northeastern Ghana, West Africa; Triangulated City, completed in 2009 in Beirut, Lebanon. Within these diverse contexts the research questions the role of authorship when working in socially engaged practice, focusing on how practitioners can shift the focus from the artist to the body politic. Merging social engagement with a site-responsive approach, the research proposes that the artistic medium is the social system and as such argues that the modes of employment require a focus of appreciation on the generative process, context and product combined. The research is presented in two parts. Part I is an interactive DVD with images of the development process and final presentations as well as a video of each performance work. Part II is a written thesis that explores the modes of engagement, outlines the methods of development and structures a general working methodology that can be referenced by other performance practitioners. The thesis proposes Applied Live Art as a term to describe practices that include a hybrid of time-based media options, which include a social component as their primary focus. The research outcomes conclude with an analysis of place making and its importance when working with both site and society.

The molecular cloning and subsequent engineering of the green fluorescent protein (GFP) of the jellyfish Aequoria victoria allowed a novel approach to the investigation of cell signalling. GFP and its mutants can now not only be used to target specific organelles in living cells but also function as a basis for a variety of sensors for biologically important ions and molecular interactions. GFP-based Ca2+- sensors have been successfully used for studies in mammalian and plant cells. In filamentous fungi, however, they have not yet been reported to work. Since only little is known about calcium signalling in filamentous fungi, this project aimed to improve existing GFP-based Ca2+- sensors by exchanging the original fluorophores for improved versions and expressing those in the filamentous fungus Aspergillus niger. During this project, the donor and acceptor fluorophores of 3 existing Ca2+-FRETprobes based on cameleons and troponin C-sensors, have been changed, 2 novel positive FRET controls have been designed and these , as well as donor and acceptor fluorophores alone, have been expressed in the filamentous fungus Aspergillus niger. The probes were assessed using different imaging techniques, such as conventional confocal laser scanning microscopy (CLSM), fluorescence lifetime imaging microscopy (FLIM) and spectral imaging using a Leica TSC SP5 confocal and IRIS, a novel spectral imaging device designed at Heriot Watt University. Problems were encountered that prevented FRET analysis using CLSM and IRIS. These were due mainly to the difference in expression level of the constructs and the distribution of the emission bandpasses of the IRIS system. Analysis of the spectral data obtained on the Leica confocal system and analysis of the FLIM results, however, revealed significant differences between the donor only and the positive FRET controls. Spectra of the positive FRET controls and the Ca2+-sensitive probes showed emission peaks of both the donor and the acceptor fluorophores upon excitation of the donor fluorophore alone while analysis of the FLIM results revealed an additional decay component in the positive FRET controls. Both results are very strong indicators that we can detect FRET in living hyphae of Aspergillus niger transformed with the probes designed during this project.

Det börjar med en ensam sinuston som försiktigt velar fram och tillbaka från en kvartston till en annan. Gradvis läggs fler toner till som vandrar uppåt i register, allt i bestämd numerisk ordning. Först en oktav, sedan en kvint, för att till slut vridas och vändas på vid den lilla och stora tersen. Ett område i övertonsserien som så mycket musik har baserats på genom tiderna. Ett rent spektrum blommar ut, en slags klanglig ouvertyr. Ett musikaliskt rum öppnas upp, och ljudets resa från en färg till en annan sätts i rörelse.  Följande text kan i sin helhet ses som en tidslinje att följa: från mitt första stycke komponerat under min masterutbildning till mitt sista, och hur mitt arbetssätt från föregående stycken har anpassats och modifierats för att fungera i en ny situation: musikdramatisk komposition. Mina två verk Penumbra och Umbral loops, som jag presenterar först i denna text, var under kompositionsprocessen präglade av en mycket specifik metodik, som jag utvecklade efterhand. Denna metodik är baserad på övertonsserien och styr harmonisk gestaltning. Medan dessa verk skrevs öppnades nya kompositionstekniker och gestaltningsmöjligheter plötsligt upp sig för mig, och jag kände att jag äntligen hade hittat ett uttryck som passade mig. När jag sedan skulle komponera kammaroperan Aquilegia ville jag pröva på att sätta detta arbetssätt i en helt ny situation: att skriva dramatisk musik. Jag ville kombinera de kompositionstekniker och gestaltningar som jag tidigare hade utvecklat och nu använda dem för att komponera opera, en kompositionsform som kräver tydliga förändringar för att helheten ska fungera. Var detta möjligt? Eller var mitt föregående arbetssätt dömt till att enbart existera inom ett specifikt medium? Vad jag hoppas att denna text kan ge läsaren är en inblick i olika kompositionstekniker och estetiska möjligheter. Jag vill visa på att de verktyg som jag tidigare hade tagit till mig faktiskt kan existera och ha en bärande roll i musiken, oberoende vilket medium de används inom. Texten handlar om skillnaden mellan att komponera konsertant och dramatisk musik, och hur jag själv har försökt att knyta de båda samman med ett och samma ord: klang. <img src="file:///page3image20416" />

The problem addressed in this study is the need for efficient and economic methods to train naive college students to operate microcomputers as a necessary step in their acquisition of computer proficiency. Two methods of training were compared. These were training by live demonstration and training by videotape. These methods were considered economically viable because each could be presented in a classroom and neither required a one-to-one student-to-computer or student-to-tutor ratio. Four sections of an introductory computer science class were used in the study. Two classes were presented each treatment. The effectiveness of the presentations was measured by means of a written quiz administered immediately after the presentation and by the number of microcomputer system operation tasks successfully completed during an individual laboratory session. The computer anxiety level of each participant was measured prior to the presentation to determine if anxiety was a factor in finding the best training method. When scores of naive users who saw the videotape were compared with the scores of naive users who saw the live demonstration, no significant differences were found. However, when novice users (those who had some previous experience with operating or programming a microcomputer) were included, the group that saw the videotape scored significantly higher on the written quiz than the group that saw the live demonstration. A two by two analysis of variance showed no significant interactions between anxiety and treatment. User satisfaction was found to be significantly higher for the videotape group than for the live demonstration group. This study concluded with the recommendation that the Computer Science Department of North Texas State University utilize videotapes to train students in introductory classes to use a microcomputer system. This recommendation was based on the superior test results for naive and novice users who saw the videotape, the user satisfaction scores and inherent advantages of videotapes over live demonstrations.

La recherche interroge le statut d'une production singulière apparue dans l'art contemporain des années 1990 autour du thème de l'habiter. Notre hypothèse est que cette production constitue un « projet d'habiter », formule suggérant qu'une attitude semblable rassemble ces artistes dans la volonté de s'approprier le champ de l'habiter selon une vision et des intentions directement connectées à la réalité. L'habiter est entendu dans le cadre de la recherche comme le rapport qualifié de l'homme à son lieu de résidence, que cette qualification relève d'un système, d'un courant architectural, d'un mode de vie, d'une échelle intime ou territoriale. La démonstration de l'existence d'une démarche de projet relative à l'habiter part de la description et l'analyse des actions artistiques selon deux catégories correspondant aux deux premières parties de l'étude : une stratégie de mise en vue et manipulations des propriétés de l'habiter dans ses aspects formels et spatiaux et une stratégie liée à la dimension culturelle de l'habiter. La dernière partie ouvre sur une définition du projet en explicitant la manière dont les oeuvres se situent par rapport à la réalité au travers des méthodes et savoirs convoqués. Au-delà du caractère singulier de cette production qui participe à la reconfiguration du rapport à l'art de l'architecte, une problématique majeure se dégage : celle de la limite de l'espace domestique. Ces artistes plébiscitent le maintien du rôle social de l'architecture par l'intermédiaire de l'habitation selon un rapport à la matérialité et la terre affirmée comme par les opportunités qu'offrent les nouvelles technologies, deux versants de notre réalité quotidienne / This Research questions the issues of an artistic production that emerged in the 1990s, focused on the representation of domestic architectures. The hypothesis is that this production is a "living project", formula suggesting that a same attitude brings together some artists in the will of ownership of the field of inhabit, according to a vision and intentions connected to reality inhabit is understood in this research as the qualified relationship between man and his residence, that this classification depends on a system, an architectural movement, a way of life, an intimate or territorial scale. The existence of a project approach related to the dwell is demonstrated on the basis of the description and analysis of artistic actions, divided in two categories – corresponding to the first two parts of the study : a setting and manipulation strategy of living properties in its formal and spatial aspects, and a strategy related to the cultural dimension of living. The third and final part opens on a definition of the project by explaining how the works are compared to reality through called methods and knowledge. Beyond the singular nature of this production, involved in the reconfiguration of the relationship between art and architects, a major problem emerges : that of the limit of domestic space. These artists plebiscite maintaining the social role of architecture through the dwelling according to its connexion to materiality and to earth as well as the opportunities offered by technology, two aspects of our daily life

Endometrios förekommer hos tio procent av kvinnorna i reproduktiv ålder och karakteriseras av att livmoderslemhinnan felaktigt växer utanför livmodern. Det är vanligt att det tar lång tid att få en diagnos och det påverkar kvinnorna både emotionellt och fysiskt. Sjukdomen är kronisk och trots att det finns många olika behandlingsformer är symtomen ofta svåra att bli av med. Att leva med endometrios är en subjektiv upplevelse och det är därför viktigt att sjuksköterskan ger individanpassad och adekvat vård. Kvinnornas situation behöver beaktas för att kunna lindra deras lidande. Syftet var att belysa kvinnors upplevelse av att leva med endometrios. Metoden för studien har varit en litteraturöversikt. Skillnader och likheter jämfördes i de tio resultatartiklarna. Artiklarna har varit av både kvantitativ och kvalitativ design och inhämtades från databaserna PubMed, Cinahl Complete och Academic Search Complete. Ur resultatet framkom fyra teman. Det första temat var Kvinnors välbefinnande med två subteman; Fysik välbefinnande och Psykiskt välbefinnande. Det andra temat var Ekonomiska svårigheter med följande subteman; Sjukfrånvaro och Arbete. Det tredje temat var Förlust av femininitet med två subteman; Sexuell hälsa och Infertilitet. Det fjärde och sista temat var Socialt med kommande två subteman; Relationer till närstående och Betydelsen av stöd. Upplevelsen av att leva med endometrios var förenat med otillräcklig hjälp mot smärta. Hälso- och sjukvården har ett ansvar att ta kvinnans upplevelse på allvar och se till varje unik situation. Det styrks även av Jean Watsons “Human caring science nursing paradigm” där sjuksköterskan behöver arbeta utifrån ett helhetsperspektiv. / Endometriosis occurs in ten percent of the women in reproductive age and is characterized by the endometrium incorrectly grows outside the uterus. It normally takes a long time to get a diagnose which affects the women both emotionally and physically. The disease is chronic and although there are many different therapies the symptoms are often difficult to get rid of. Living with endometriosis is a subjective experience and it is therefore important that the nurse provides personalized and adequate care. The women's situation needs to be considered to alleviate their suffering. The aim was to illuminate the women's experience of living with Endometriosis. The method of the study has been a literature review. Differences and similarities were compared in the ten results articles. The articles have been of both quantitative and qualitative design and were collected from databases PubMed, Cinahl Complete and Academic Search Complete. Four results emerged from the result. The first theme was Women's well-being with two subtemens; Physical well-being and mental well-being. The second theme was Economic difficulties with the following subtemes; Sick leave and work. The third theme was Loss of femininity with two subtemens; Sexual Health and Infertility. The fourth and last theme was Social with upcoming two subtemens; Relationships with related parties and the importance of support. The experience of living with endometriosis was associated with insufficient help against pain. Healthcare is responsible for taking the women's experience seriously and see to every unique situation. It is also reinforced by Jean Watson's "human caring science nursing paradigm" where the nurse needs to work from an overall perspective.