Phenomenon called Web 2.0 was described in this work, including its origins and following criticism. Changes that it brought were described using its applications and used technologies. Library 2.0 concept was introduced and either its advantages and disadvantages were evaluated. Contemporary situation concerning Web 2.0 technologies usage in libraries and their catalogues was described. Oportunity to use libraries data was accented and possible ways of getting them were explored. Simple uniform interface was created and demonstrated.

This study explored the possible impact to a game’s responsiveness and to players’ preferences by using a physically inspired model (real-time pitch and amplitude modulation) as a means of efficiently achieving responsive variation for melee weapon sound effects in a game using the in-engine audio features. A play test was created were 24 participants (12 with audio engineering backgrounds, 12 without), all with prior gaming experience, played through a game level where they would audition a non-variational implementation of a sword’s sound effects and a variational implementation with the same sound samples being modulated in real-time. The participants did not know what they were auditioning, and in a form filled out after the play test they assessed the differences in the level parts’ responsiveness and their preference. From this form no significant benefit or drawback was found to the game’s responsiveness, and no significance was found to the participants’ preference toward either sound effect implementation. The study’s conclusions are that these physically inspired models could be used as a mean of implementation for melee weapon sound effects if the sounds used or the game setting would suit this approach, or if this would be the artistic wish of the game developers.

In this thesis we investigate two potential applications of machine learning in the context of X-ray imaging and spectroscopy of biological samples, particularly such using X-ray free electron lasers (XFEL). We first investigate the possibility of using an emission spectrum, recorded from a sample after being probed by an incident X-ray, as a diagnostic tool. We produced a training dataset of simulated emission spectra, where the incident X-ray energy and fluence was varied as well as the sample density. The simulations were implemented using Cretin which is a radiation transfer code which model the behaviour of plasma. We then trained a dense neural network to predict the three above named features given an emission spectrum. The dependency between input and output is inherently non-linear, making neural networks a suitable method for these predictions. Our results show a mean prediction error of below 6% of the entire range of all three features. If a similar tool was to be implemented in real life XFEL experiments, it could provide useful information in the data analysis pipeline.   As a second focus of this thesis we aim to produce an application to be used by researchers in XFEL experiments. Given a set of input parameters, including the incident X-ray energy and fluence along with atomic content and density of the sample, our application generates an emission spectrum for the user. The application is based on a neural network trained on Cretin simulations. When evaluated by comparing the final model to simulations, our model was found to have a mean absolute percentage prediction error of 1.77%. In addition to this we include similar models that generate the time development of the electron temperature and mean ionization of the sample, since these properties are highly associated with the emission processes of plasma. We did this by training dense neural networks on a dataset consisting of simulations of the corresponding property. Finally we integrated our models in a graphical user interface web application, accessible via the QR code. With this approach, the desired data can be plotted in real-time in a user-friendly manner, without having to run complicated and time-consuming simulations. Our model is focused on biological samples and could be used as a reference tool in structural biology.

"Technology has been a key element in the changing creative possibilities available to filmmakers, but deep down the questions of staging, point of view, pace, suspense, time and psychology faced by filmmakers as they walk onto the set in the morning have remained remarkably consistent". Cousins, 2004, s13. Sättet att göra film på har ständigt förändrats och fortsätter att förändras men som citatet syftar till så verkar inställningen till film stå sig lika genom tiderna. I grund och botten handlar det om att berätta en historia som berör publiken. En historia berättad utifrån filmskaparnas olika stilar. Tack vare teknikutvecklingen har många effekter i film, både digitala och fysiska blivit möjliga och vem vet vad den tekniska, och kanske framförallt den digitala utvecklingen, kommer att leda till för effekter i film i framtiden? Vi är trots allt bara i början av den digitala eran. Samtidigt som det nya introduceras kanske de gamla beprövade fysiska effekterna etsar sig fast som klassiska och erkända arbetsmetoder. Vad vi behandlar i den här uppsatsen är hur digitala och fysiska tekniker att skapa effekter används och nyttjas i den svenska filmbranschen. Hur ser beslutsfattare i branschen på effekter som filmskapande och varför ser användandet ut som det gör idag? Vi har också undersökt vad det är som styr användandet av effekter inom filmskapande utifrån ekonomiska, tekniska och konstnärliga överväganden. Vi har samlat in information genom kvalitativa, djupgående intervjuer med tre produktionsbolagsföreträdare och tre finansiärer. Vi har även samlat in information kring begreppen fysiska effekter och digitala effekter bland sex stycken filmarbetare som aktivt arbetar med effektskapande på olika sätt. Det har visat sig att det råder meningsskiljaktigheter när det kommer till definition av begreppen kring digitala effekter och fysiska effekter mellan de bolagsföreträdare och finansiärer vi har intervjuat och de aktiva effektmakare som vi har bett definiera begreppen. För att underlätta framtida kommunikation kommer vi i den här uppsatsen definiera dessa begrepp utifrån våra resultat. Våra resultat tyder på att det finns en vilja inom filmbranschen att arbeta med effekter inom film men att det samtidigt saknas resurser och kompetens idag. Samtidigt tycker vi oss utläsa en okunskap kring effekter vilket ställer till det för dem som vill arbeta med effekter. Exempelvis gällande Guldbaggegalan, där kategorin "Bästa Visuella Effekter" togs bort efter bara några år efter införandet för att det ansågs vara för svårt att utläsa vad som var effekter och inte i en film. Utifrån det vi kan utläsa från våra resultat finner vi det motsägelsefullt att vilja utveckla branschen och arbetet med effekter och samtidigt inte utveckla kunnandet kring det, när man istället för att plocka bort en kategori på grund av okunskap istället borde lära sig mer om det. / "Technology has been a key element in the changing creative possibilities available to filmmakers, but deep down the questions of staging, point of view, pace, suspense, time and psychology faced by filmmakers as they walk onto the set in the morning have remained remarkably consistent." Cousins, 2004, s13. The way of filmmaking has always been changing and it continues to change but as the quote leads up to it seems like the attitude stays the same. It is essentially about telling a story, which affects the audience. To tell a story with the different approaches the creators favors. Thanks to the technical development, many of these effects, both physical and digital have become practicable and who knows what the technique and digital progress will lead to in the future of filmmaking. After all, we are only in the beginning of the digital era. In the same time, the old and proven effect making techniques might inculcate as both classic and recognizable working methods. In this essay, we will talk about how the techniques of digital and practical effects are being used in the Swedish film industry. What does the decision makers in the business think about using effects in filmmaking and why are effects being used the way they are in todays film industry? We also wanted to examine what regulates he use of effects based on economical, technical and artistic considerations. We have collected our data from interviews with three representatives from production companies and three film financiers. We have also collected information considering the definitions of visual effects and special effects from six filmmakers who that works with effect making on a daily basis. It has become apparent that there are some confusion considering the definitions of the concepts of visual effects and special effects between the producers and financiers and the filmmakers. In order to ease future communication, we will in this essay define these concepts out of our results. Our result suggests that there is a will in the Swedish film industry to work with effects in filmmaking but in the same time parts of the industry lacks of resources and capability. Simultaneously, we can note that the ignorance around the concept of effects causes communication problems for digital artists and prop makers. For instance, on the Swedish film gala "Guldbaggegalan" they added a new category only a few years back and this year they took it away because of the problems of recognizing what's visual effects and what's not. It is interesting that there is an interest in developing effects in filmmaking and at the same time takes away the award. Instead of taking it away, they should focus on educating people about effects.

This Thesis deals with analysis of the possiblity of password breakthrough for common compression formats and password extraction from self-extraction archives used for malicious software. Structure of compression programs, ciphers and connection between cipher and archives is described. Common and specialized attacks on archives and ciphers are described. Structure of self-extracting archives and password location is used to create extractor of passwords in self-extracting archives.

Earcons are commonly used by sound designers in order to support visual cues in a game andto make a gaming experience more enjoyable. This study covers two earcons’ attributes: rhythm and timbre. Rhythm and timbre attributes were chosen according to the earcon sounddesign guidelines from the previous studies. An experiment in a form of a video game was conducted in order to research whether one of the conditions can increase a players’performance. A subject had to choose the correct key to the door in order to go to the next location. There were 3 different locations and there were totally 5 different own-designed earcons: 1 incorrect earcon in the both conditions and 2 different correct earcons in each condition. 20 subjects with various gaming experience from the Luleå University of Technology participated in the experiment. The subjects were randomly divided into two groups with different conditions: rhythm and timbre. The amount of wrong trials and completion time were analyzed for each condition and the results were given with the help of Mann-Whitney U-test and t-test calculations. The results of U-test showed that there was a significant difference between two groups in terms of the wrong trials amount. Group with rhythm condition showed better performance in terms of the wrong trials amount. The t-test showed a significant difference between the two groups in terms of completion time. Group with timbre condition showed better timing performance, although considering the analysis it did not increase their performance in terms of making correct choices. Further research might be recommended on comparing various earcon attributes in different ecologically valid scenarios.

Investigations of soft matter using ultrashort high intensity pulses have been made possible through the advent of X-ray free-electrons lasers. The last decade has seen the development of a new type of protein crystallography where femtosecond dynamics can be studied, and single particle imaging with atomic resolution is on the horizon. The pulses are so intense that any sample quickly turns into a plasma. This thesis studies the ultrafast transition from soft matter to warm dense matter, and the implications for structural determination of proteins.                    We use non-thermal plasma simulations to predict ultrafast structural and electron dynamics. Changes in atomic form factors due to the electronic state, and displacement as a function of temperature, are used to predict Bragg signal intensity in protein nanocrystals. The damage processes started by the pulse will gate the diffracted signal within the pulse duration, suggesting that long pulses are useful to study protein structure. This illustrates diffraction-before-destruction in crystallography. The effect from a varying temporal photon distribution within a pulse is also investigated. A well-defined initial front determines the quality of the diffracted signal. At lower intensities, the temporal shape of the X-ray pulse will affect the overall signal strength; at high intensities the signal level will be strongly dependent on the resolution. Water is routinely used to deliver biological samples into the X-ray beam. Structural dynamics in water exposed to intense X-rays were investigated with simulations and experiments. Using pulses of different duration, we found that non-thermal heating will affect the water structure on a time scale longer than 25 fs but shorter than 75 fs. Modeling suggests that a loss of long-range coordination of the solvation shells accounts for the observed decrease in scattering signal. The feasibility of using X-ray emission from plasma as an indicator for hits in serial diffraction experiments is studied. Specific line emission from sulfur at high X-ray energies is suitable for distinguishing spectral features from proteins, compared to emission from delivery liquids. We find that plasma emission continues long after the femtosecond pulse has ended, suggesting that spectrum-during-destruction could reveal information complementary to diffraction.