Notre implication personnelle dans le design de projets de multimédias culturels nous a conduits à nous intéresser plus particulièrement aux architectures multimédias, qui constituent le sujet de cet ouvrage. Le terme «architectures multimédia» décrit trois axes différents: les architectures spatiales, les architectures du contenu et les architectures de programmation et de navigation interactive. Des analogies et des relations peuvent être établies entre l’organisation spatiale et la structure programmatique du projet architectural et les propriétés correspondantes d’une œuvre multimédia. L’accent est mise sur les multimédias culturels de la période 1990-2005 dans le but de découvrir des éléments innovants dans la conception de l’interface graphique et interactive. Ces innovations, qui constituent des programmes artistiques nouveaux, ont contribué à faire progressivement émerger un nouveau langage propre à l’espace numérique multimédia. Un nouvel habitus de la production artistique s’est développé sur l’héritage des vieux moyens d’expression et sur l’assimilation des nouveaux médias. / Through our personal involvement in the design of cultural multimedia projects we have developed a special interest in multimedia architectures, which are the subject of this text. The term “multimedia architectures” denotes three different axes: spatial architecture of screens and interfaces, architecture of the content organisation and the architecture of programming and navigation design. Analogies and relations can be established between the spatial organization and the program structure of the architectural project and the corresponding properties of a multimedia work. The cultural multimedia of the period 1990-2005 have been analysed with the aim of discovering innovative elements in the design of the graphical and interactive interface. These innovations represent new artistic programs and have contributed to the gradual emergence of a new language, specific to the digital space of interactive multimedia. A new habitus of artistic production has developed on the legacy of the old means of expression and on the assimilation of new media.

Shader programming is important for realistic material and global illumination real-time rendering, especially in 3D industrial fields nowadays, more and more customers of Visual Components Oy, a Finnish 3D software company have been found to be no longer only content with the correct simulation result, but also the result of realistic real-time rendering. This thesis project will provide a deep research on real world material classification, property definition and global illumination techniques in industrial fields. On the other hand, the Shader program for different materials and global illumination techniques are also created according to the classification and definition in this thesis work. Moreover, an external rendering tool Redway3D is evaluated as the reference and regarded as the considerable solution in the future development work.

The primary concern of this work is real-time fluid simulation on modern programmable graphics hardware. It starts by introducing fundamental fluid simulation principles with focus on Smoothed particle hydrodynamics technique. The following discussion then provides a brief introduction to OpenCL as well as contemporary GPU hardware and outlines their programming specifics in comparison with CPUs. Finally, the last two chapters of this work, detail the problem analysis and its implementation.

This work deals with design and implementation of simple demonstration aplication for simulation of a water flow on irregular terrain. The work examines essential building blocks of the simulation. It also suggests approaches that can be used to optimize and/or extend used method.

This thesis deals with the development of benchmark application for the OpenGL ES 3.0 devices using the realistic real-time rendering of 3D scenes. The first part covers the history and new features of the OpenGL ES 3.0 graphics library. Next part briefly describes selected algorithms for the realistic real-time rendering of 3D scenes which can be implemented using the new features of the discussed library. The design of benchmark application is covered next, including the design of online result database containing detailed device specifications. The last part covers implementation on Android and Windows platforms and the testing on mobile devices after publishing the application on Google Play. Finally, the results and possibilites of further development are discussed.

The aim of this thesis was to implement a software that would be able to render, simulate and record a scene with walking pedestrians in real-time, with emphasis on rendering level of realism. The output of the application could serve as an input test data for people counting systems or similar systems for video recognition. The problem was divided into three major subproblems: character animation, artificial intelligence for character movement and advanced rendering techniques. The character animation problem is solved by the skeletal animation of the model. To achieve the characters moving in a scene autonomously path finding(A* algorithm) and group behaviors(steering behaviors) were implemented. Realism in a scene is added by implemented methods such as normal-mapping, variance shadow-mapping, deffered rendering, skydome, lens flare effect and screen space ambient occlusion. Optimaliaztion of the rendering was implemented using octree data structure for space partitioning. Rendering stage of a scene can be easily parametrized through implemented GUI. Implemented application provides the user with easy way of setting a scene with walking pedestrians, setting its visualization and to record the result.

Le nuage de points 3D est la donnée obtenue par la majorité des méthodes de numérisation surfacique actuelles. Nous nous intéressons ainsi dans cette thèse à l'utilisation de nuages de points comme unique représentation explicite de surface. Cette thèse présente deux contributions en traitements basés points. La première contribution proposée est une nouvelle méthode de rendu de nuages de points bruts et massifs par opérateurs pyramidaux en espace image. Cette nouvelle méthode s'applique aussi bien à des nuages de points d'objets scannés, que de scènes complexes. La succession d'opérateurs en espace image permet alors de reconstruire en temps réel une surface et d'en estimer des normales, ce qui permet par la suite d'en obtenir un rendu par ombrage. De plus, l'utilisation d'opérateurs pyramidaux en espace image permet d'atteindre des fréquences d'affichage plus élevées d'un ordre de grandeur que l'état de l'art .La deuxième contribution présentée est une nouvelle méthode de simulation numérique en mécanique des fluides en volumes immergés par reconstruction implicite étendue. La méthode proposée se base sur une nouvelle définition de surface implicite par moindres carrés glissants étendue à partir d'un nuage de points. Cette surface est alors utilisée pour définir les conditions aux limites d'un solveur Navier-Stokes par éléments finis en volumes immergés, qui est utilisé pour simuler un écoulement fluide autour de l'objet représenté par le nuage de points. Le solveur est interfacé à un mailleur adaptatif anisotrope qui permet de capturer simultanément la géométrie du nuage de points et l'écoulement à chaque pas de temps de la simulation. / Most surface 3D scanning techniques produce 3D point clouds. This thesis tackles the problem of using points as only explicit surface representation. It presents two contributions in point-based processing. The first contribution is a new raw and massive point cloud screen-space rendering algorithm. This new method can be applied to a wide variety of data from small objects to complex scenes. A sequence of screen-space pyramidal operators is used to reconstruct in real-time a surface and estimate its normals, which are later used to perform deferred shading. In addition, the use of pyramidal operators allows to achieve framerate one order of magnitude higher than state of the art methods. The second proposed contribution is a new immersed boundary computational fluid dynamics method by extended implicit surface reconstruction. The proposed method is based on a new implicit surface definition from a point cloud by extended moving least squares. This surface is then used to define the boundary conditions of a finite-elements immersed boundary transient Navier-Stokes solver, which is used to compute flows around the object sampled by the point cloud. The solver is interfaced with an anisotropic and adaptive meshing algorithm which refines the computational grid around both the geometry defined by point cloud and the flow at each timestep of the simulation.

Aiming to make an intervention in both emerging Slow Cinema and classical Trauma Cinema scholarship, this thesis demonstrates the ways in which the post-trauma cinema of Filipino filmmaker Lav Diaz merges aesthetics of cinematic slowness with narratives of post-trauma in his films Melancholia (2008), Death in the Land of Encantos (2007) and Florentina Hubaldo, CTE (2012). Diaz has been repeatedly considered as representative of what Jonathan Romney termed in 2004 “Slow Cinema”. The director uses cinematic slowness for an alternative approach to an on-screen representation of post-trauma. Contrary to popular trauma cinema, Diaz’s portrait of individual and collective trauma focuses not on the instantenaeity but on the duration of trauma. In considering trauma as a condition and not as an event, Diaz challenges the standard aesthetical techniques used in contemporary Trauma Cinema, as highlighted by Janet Walker (2001, 2005), Susannah Radstone (2001), Roger Luckhurst (2008) and others. Diaz’s films focus instead on trauma’s latency period, the depletion of a survivor’s resources, and a character’s slow psychological breakdown. Slow Cinema scholarship has so far focused largely on the films’ aesthetics and their alleged opposition to mainstream cinema. Little work has been done in connecting the films’ form to their content. Furthermore, Trauma Cinema scholarship, as trauma films themselves, has been based on the immediate and most radical signs of post-trauma, which are characterised by instantaneity; flashbacks, sudden fears of death and sensorial overstimulation. Following Lutz Koepnick’s argument that slowness offers “intriguing perspectives” (Koepnick, 2014: 191) on how trauma can be represented in art, this thesis seeks to consider the equally important aspects of trauma duration, trauma’s latency period and the slow development of characteristic symptoms. With the present work, I expand on current notions of Trauma Cinema, which places emphasis on speed and the unpredictability of intrusive memories. Furthermore, I aim to broaden the area of Slow Cinema studies, which has so far been largely focused on the films’ respective aesthetics, by bridging form and content of the films under investigation. Rather than seeing Diaz’s slow films in isolation as a phenomenon of Slow Cinema, I seek to connect them to the existing scholarship of Trauma Cinema studies, thereby opening up a reading of his films.