Doctor of Philosophy (Ph.D.), University of Dayton, 2021, Engineering

Time-domain back projection (BP) is a widely known method used in Synthetic Aperture Radar (SAR) image formation. Despite its advantages over other image formation algorithms, the BP method is hindered due to its computational complexity and its requirement of higher number of operations and processing power. Recently, Field Programmable Gate Array (FPGA) devices have been used for BP acceleration mainly due to their parallel processing capabilities, reconfigurability, scalability, and low power requirement. This dissertation presents a new SAR BP algorithm that is tested on a CPU to test the acceleration and functionality and compared with a traditional floating-point based SAR BP algorithm. It is shown that fixed-point based BP algorithm is faster than traditional algorithm and it maintains a high output image quality. The proposed BP algorithm process images with 15.69% speedup on average, while maintaining high quality image outputs. Recently, Intel introduced the Arria 10 FPGA which is the industry's first FPGA that includes single-precision hardened Floating-Point Units (FPUs) on DSP blocks. With the advent of hardened floating-point, FPGA designers have largely abandoned fixed-point processing. Therefore, a series of arithmetic tests are created to evaluate whether fixed-point processing is obsolete considering the FPGA performance. A performance metric is developed to calculate the FPGA performance in terms of logic utilization and kernel speed. All programs are tested with Intel Stratix V FPGA which does not have hardened FPUs and Intel Arria 10 FPGA for comparison. The performance metric indicates that, on average, there is a 20.18% performance increase when Stratix V processes fixed-point operations and 27.17% performance increase when Arria 10 processes fixed-point operations. Even with hardened FPUs, it is shown that the Arria 10 FPGA exhibits a significant logic reduction when processing fixed-point operations. The results clearly indicate that t (open full item for complete abstract)

Committee: Eric Balster Ph.D. (Advisor); Tarek Taha Ph.D. (Committee Member); Russell Hardie Ph.D. (Committee Member); Muhammad Islam Ph.D. (Committee Member) Subjects: Electrical Engineering

MFA, Kent State University, 2012, College of the Arts / School of Theatre and Dance

Ragtime, the musical (book by Terrence McNally, music by Stephen Flaherty and lyrics by Lynn Ahrens) for my Thesis project allowed me the opportunity to design in the large proscenium setting of E. Turner Stump Theatre. Particular challenges for this show included the devising of a unit set, the effective use of the fly space, the relationship of scenic design with the music, and the capturing of the specific architecture of the historical time period in order to visually support the stories. Since Ragtime is close to an opera and so much of the story and passing of time is sung in the song, I used a series of carefully researched and designed images as projections on various surfaces of the stage unit. The majority of the audience at KSU is largely students who are several generations removed from this time period. My job was to make the historic elements come alive visually with minimal changes in scenery. I researched turn of the 20th century architecture and specifically local Ohio architectural vernaculars to find the design elements that met these criteria.

Committee: Raynette Smith (Advisor); Eric van Baars (Committee Member); Yuko Kurahashi (Committee Member) Subjects: Theater

BFA, Kent State University, 2020, College of the Arts / School of Theatre and Dance

Even though there are no records of optical illusions being studied until Epicharmus' work in the 5th century B.C., evidence of their application in art can be traced back to the cave paintings of the Paleolithic Era. It is impossible to assign a specific date to the creation of illusions because they are not merely inventions, but a reflection of geometric forms seen in nature. This paper begins with an analysis of different optical illusions based on Richard Gregory's research. It then looks at how illusions have been used in performance in the past, how projections can support commonly used optical illusion methods, and how we can use projections to incorporate interactivity into live performance. The aforementioned information is then used to help inform decisions regarding the application of projections to a choreographed dance piece. In this section, several different projection surface options are also discussed. Being able to use projections as a medium and output allows for many new paths of artistic exploration, but along with this opportunity comes the need to determine how the technology can have the most meaningful impact.

Committee: Nicholas Drashner (Advisor); Tippey Brett (Committee Member); Honesty Tamara (Committee Member); King Gregory (Committee Member) Subjects: Dance; Design; Fine Arts; Performing Arts; Psychology; Theater

Doctor of Philosophy, The Ohio State University, 2005, Industrial and Systems Engineering

Perspective plays a central role for controlling views into virtual and remote environments. The choice of point of observation and view direction from a point of observation result in usable or unusable views onto activities on a stage. Perspective-taking is observing activities on a stage from a location - perspective always includes a point of observation. Perspective-taking is cognitive work that is of interest for designers to support practitioners in obtaining meaningful views. Indicating point of observation location for perspective views, and providing systems for view control that implement the principles of ecological optics are a promising design direction to improve the control and coordination of views into virtual and remote environments. Coordinating perspective-taking effectively in these settings is the prerequisite to engage in monitoring and controlling tasks at a distance. This text examines the principles of perspective-taking that enable shifting between views and the coordination of multiple views. A framework for the setting and control of views is introduced as a new model for perspective-taking. In its essence, the model illustrates how in-scene views in coordination with distant overviews, also known as long shots, form the basis for acquiring understanding of activities on a stage that is explored from the in-scene view of a remote or virtual camera. This model forms the framework for a three-dimensional view control interface concept. The findings help designers identify required views to be provided in the design of spatial control interfaces to support perspective-taking by practitioners. Better view control should result in better interpretation of spatial scenes – a prerequisite for more effective intervention into activities on remote stages. The proposed improved view control architecture is the result of the implementation of conditions for ecological observations into the setting and display of views at a distance into remote and (open full item for complete abstract)

Committee: David Woods (Advisor) Subjects: