Browsing by Author "Jacob, Christian P."

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    Cancelable Biometric System Based on Deep Learning
    (2020-09-24) Sudhakar, Tanuja; Gavrilova, Marina L.; Jacob, Christian P.; Henry, Ryan; Gavrilova, Marina L.
    With the increasing number of cyberattacks, Personal Identification Numbers (PINs), tokens, and passwords have been found to be insufficient for identity protection. Over the past decade, biometric systems have gained high popularity in providing secure mechanisms for user authentication. In this thesis, the safety of biometric data is rendered through the technique of ‘Cancelable Biometrics’. A cancelable biometric system for multi-instance biometrics has been designed with the use of deep learning. A deep learning architecture based on Convolutional Neural Network (CNN) and Multi Layer Perceptron (MLP) is presented to create a novel, accurate, and secure cancelable biometric solution. An implementation of the proposed solution has also been carried out on the cloud platform to provide a ubiquitous cancelable biometric authentication service. A high authentication accuracy, biometric template security and cancelability, fast response times, and cost efficiency are the merits of the presented cancelable biometric system.
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    EvoIsland: An Island-Inspired Spatial User Interface Framework for Interactive Evolutionary Systems
    (2020-11-03) Ivanov, Alexander; Jacob, Christian P.; Willett, Wesley J.; Maurer, Frank; Ruhe, Guenther
    We present EvoIsland, a scalable interactive evolutionary user interface framework inspired by the spatially isolated land masses seen on Earth. Our generalizable interaction system encourages creators to explore a wide range of design possibilities through the combination, separation, and rearrangement of hexagonal tiles. As these tiles are grouped into island-like clusters, localized populations of designs form through an underlying evolutionary system. The interactions that take place within EvoIsland provide content creators with new ways to shape evolutionary populations suited for displaying, assessing, and manipulating systems that produce a wide range of solutions with visual phenotype outputs.
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    Incandescent Edges of the Future: Performance Creation with Virtual, Augmented and Carbon Realities
    (2020-09-08) Kates, Beth; Barton, Bruce; Jacob, Christian P.; Martini, Clem; Leblanc, Jean Rene
    The emerging technologies of Augmented Reality and Virtual Reality provide the potential to change the traditional forms of theatre in unprecedented ways – fundamentally changing methods of designing, making, and performing theatrical storytelling. These emerging technologies offer new modes of audience interactivity and engagement. In the face of a changing world, these digital portals provide means of profound human connection and ways to transcend time, digital space and physical place. These are ways to overcome limitations on our physical movement due to the current pandemic and the restrictions that (can and should) come from the effects of climate change. Through these technologies we expand the practice of collaboration and the nature of human connection. Uninhibited by real-world physics we are liberated from the historical boundaries of storytelling and world building, better able to explore different world-views and expand notions of creation, performance and spectatorship. This thesis is an examination of audience experience, creative collaboration, devised and collective creation in the spaces where it intersects with technology and design. It examines how that space can be kept fluid and creative, and how the combined elements can impact each other. My desire for this fluidity drives my curiosity around what we theatre-makers need to know about VR and AR that will allow for creative collisions. How can we create the conditions necessary for this alchemy, growth and symbiosis to occur? I argue that there are new methods to be found when approaching these emerging tools; that there are practical, tangible ways to begin to adapt our practices to allow for their integration, and that we are at the inception of a new form of performance—another phase of the “theatre that survived the theatre” (Kiesler).