Networking multiple "smart" displays together is an affordable way of creating large high-resolution display systems. In this work I propose a new structure and data distribution paradigm for displays of this nature. I model my work on the peer-to-peer style of content distribution, as opposed to the traditional client-server model for this kind of system. In taking a peer-to-peer approach, I present a low-cost and scalable system without the inherent constraints imposed by the client-server model. I present a new class of applications specifically designed for this peer-to-peer style of display system, and provide an easy-to-use framework for developers to use in creating this type of system. / Graduate / 0984

Networking multiple "smart" displays together is an affordable way of creating large high-resolution display systems. In this work I propose a new structure and data distribution paradigm for displays of this nature. I model my work on the peer-to-peer style of content distribution, as opposed to the traditional client-server model for this kind of system. In taking a peer-to-peer approach, I present a low-cost and scalable system without the inherent constraints imposed by the client-server model. I present a new class of applications specifically designed for this peer-to-peer style of display system, and provide an easy-to-use framework for developers to use in creating this type of system. / Graduate / 0984

Thesis (M.Phil.)--Hong Kong University of Science and Technology, 2008. / Includes bibliographical references (leaves 119-121). Also available in electronic version.

Thesis (M.Eng.). / Written for the Dept. of Electrical and Computer Engineering. Title from title page of PDF (viewed 2008/05/13). Includes bibliographical references.

Thesis (Ph.D.). / Written for the Dept. of Electrical and Computer Engineering. Title from title page of PDF (viewed 2008/03/12). Includes bibliographical references.

As machine learning becomes an increasingly relevant field being incorporated into everyday life, so does the need for consistently high performing models. With these high expectations, along with potentially restrictive data sets, it is crucial to be able to use techniques for machine learning that increase the likelihood of success. Robust Principal Component Analysis (RPCA) not only extracts anomalous data, but also finds correlations among the given features in a data set, in which these correlations can themselves be used as features. By taking a novel approach to utilizing the output from RPCA, we address how our method effects the performance of such models. We take into account the efficiency of our approach, and use projectors to enable our method to have a 99.79% faster run time. We apply our method primarily to cyber security data sets, though we also investigate the effects on data sets from other fields (e.g. medical).

Call number: LD2668 .T4 1965 H39 / Master of Science

This thesis maps the existence, extent and diverse applications of the magic lantern in the Australasian colonies and brings to light a cultural practice that had remained largely invisible in histories of photography, cinema, and popular culture in nineteenth century Australasia. The thesis demonstrates that the magic lantern was popular as entertainment on both a private, domestic and a public scale. It traces its widespread adoption in two broad institutional contexts, the educational and the religious, and shows how this wide-ranging practice and consumption was supported by developing social and commercial infrastructure in the colonies and a network of touring lanternists. It argues that the magic lantern located the Australasian colonial culture within a global one centred around the consumption of visual technology and an international exchange of images. Colonial audiences were not, however, merely the passive recipients of a globalised imagery or culture. They were active contributors to it, constructing their own meanings in response to imported images. The thesis argues that, while the magic lantern functioned to affirm a sense of imperial identity in both colonisers and the colonised, it was adapted locally to the creation of colonial, intercolonial and regional identities, as an alternative to a dominant Eurocentric mass-mediated world view. Colonial practitioners applied this powerful medium to the generation of images at a local level that reveal an enthusiasm for colonial events and stories, a sense of place, and a celebration of local identity on the big screen.

This thesis maps the existence, extent and diverse applications of the magic lantern in the Australasian colonies and brings to light a cultural practice that had remained largely invisible in histories of photography, cinema, and popular culture in nineteenth century Australasia. The thesis demonstrates that the magic lantern was popular as entertainment on both a private, domestic and a public scale. It traces its widespread adoption in two broad institutional contexts, the educational and the religious, and shows how this wide-ranging practice and consumption was supported by developing social and commercial infrastructure in the colonies and a network of touring lanternists. It argues that the magic lantern located the Australasian colonial culture within a global one centred around the consumption of visual technology and an international exchange of images. Colonial audiences were not, however, merely the passive recipients of a globalised imagery or culture. They were active contributors to it, constructing their own meanings in response to imported images. The thesis argues that, while the magic lantern functioned to affirm a sense of imperial identity in both colonisers and the colonised, it was adapted locally to the creation of colonial, intercolonial and regional identities, as an alternative to a dominant Eurocentric mass-mediated world view. Colonial practitioners applied this powerful medium to the generation of images at a local level that reveal an enthusiasm for colonial events and stories, a sense of place, and a celebration of local identity on the big screen.

Calibrating multiple projectors to create a distortion free environment is required in many fields e.g. simulators and the calibration may be done in a series different ways. This report will cover an automatic single camera projector calibration algorithm.The algorithm handles multiple projectors and can handle projectors covering bigger field of view than a camera by supporting image stitching. A proof of concept blending algorithm is also presented. The algorithm includes a new developed interpolation method building on spline surfaces and an orientation calculation algorithm that calculates the orientation difference between two camera views. Using the algorithm to calibrate, gives pixel accuracy of less than 1 camera pixel after interpolation and the relation between two views are calculated accurately. The images created using the algorithm is distortion free and close to seamless. The algorithm is limited to a controlled projector environment and calibrates the projectors for a single viewpoint. Furthermore, the camera needs to be calibrated positioned in the sweet spot although it can be arbitrary rotated.