There still remains many challenges in creating an effective and efficient cloud gaming operation able to handle the new release games of today. There are also many existing paths to creating a cloud gaming architecture. In this paper some of the different approaches, that are beyond that of just remote rendering, are analysed giving insight into the operational approach of each technology. Currently there is a growing number of initiatives in cloud game architectures that vary in significant ways. Although there are many varying technologies, with a lot of promises, the ultimate goal of a cloud game engine is something unique to what has been before. It really is about providing a modular and scalable approach but within a controllable and sandbox like environment.
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Offering games in the cloud is something being realised by many operations, but still there are diverse challenges in conducting this successfully. Currently it is expected that graduating game development students will have at least one published game and a chance to experience the release phase and post-production aspects of game development. This led to the inspiration for a project to create the first University cloud games channel in an effort to stop our game development history being lost due to reasons such as storage media failure, along with providing an avenue for students to experience game release, operation and community management. A study evaluated various technologies and requirements from stake-holders. The criteria created was then used to identify the best approach to undertake and implement. The results includes the selection and development of the University games channel using an asset streaming solution in partnership with Uiomik. along with the supporting processes for games to be delivered to the platform. This solution makes use of specialised offline asset compression combined with asset streaming prediction. The game requires no installation and the performance of the caching of the game required to start playing was profiled and found to perform at an average of 29 percent of the total game size for our student games, that was then compared to the results of industry games that performed on average at 4 percent.
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Managing and supporting the collaboration between different actors is key in any organizational context, whether of a hierarchical or a networked nature. In the networked context of ecosystems of service providers and other stakeholders, BPM is faced with different challenges than in a conventional hierarchical model, based on up front consolidation and consensus on the process flows used in collaboration. In networked ecosystems of potential business partners, designing collaboration upfront is not feasible. Coalitions are formed situationally, and sometimes even ad-hoc. This paper presents a number of challenges for conventional BPM in such environments, and explores how declarative process management technology could address them, indicating topics for further research.
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Small and Medium Enterprises (SME) comprise 99% of the European-economy, though, most research and implementation methods concerning Business Process Management Systems (BPMS) focus on large enterprises. We create a BPMS implementation method that is suitable for SMEs. Based on three existing BPMS implementation methods and by incorporating differentiators of SMEs and large enterprises a BPMS implementation method is constructed. The constructed method is validated through a series of interviews with BPMS implementation experts. Experts agree with the constructed method though discussion arise on a more detailed level of activities in the method.
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The Internet is changing the way we organize work. It is shifting the requirements for what we call the “schedule push” and the hierarchical organization that it implies, and therefore it is removing the type of control that is conventionally used to match resources to tasks, and customer demand to supplies and services. Organizational hierarchies have become too expensive to sustain, and in many cases their style of coordination is simply no longer necessary. The cost complexity of the industrial complex starts to outweigh the benefits, and the Internet is making it redundant. The question I put forward in this Article, after a short description of how I envision “the change,” is what new requirements should be met by software in order to meet the requirements of the networked economy. Business will develop from Business-to-Consumer (B2C) to Consumer-to- Business (C2B) to People-to-People (P2P), customers more and more taking control over business activities, overhead being replaced by customer focus. This is also a new reality for the software world.
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The growing sophistication, frequency and severity of cyberattacks targeting all sectors highlight their inevitability and the impossibility of completely protecting the integrity of critical computer systems. In this context, cyber-resilience offers an attractive alternative to the existing cybersecurity paradigm. We define cyber-resilience as the capacity to withstand, recover from and adapt to the external shocks caused by cyber-risks. This article seeks to provide a broader organizational understanding of cyber-resilience and the tensions associated with its implementation. We apply Weick's (1995) sensemaking framework to examine four foundational tensions of cyber-resilience: a definitional tension, an environmental tension, an internal tension, and a regulatory tension. We then document how these tensions are embedded in cyber-resilience practices at the preparatory, response and adaptive stages. We rely on qualitative data from a sample of 58 cybersecurity professionals to uncover these tensions and how they reverberate across cyber-resilience practices.
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The advent of information and communication technologies (ICTs) has had and is having a major impact on Indonesian cultural resource management, and on the safeguarding methods of its tangible and intangible cultural heritages. Despite varied levels and visible gaps between rural and urban regions in terms of technology usage, innovative initiatives have been created, which correspond to the needs and expectations of a technology-savvy public. As a starting point, a number of public institutions dealing with tangible cultural heritage (e.g. museums, palaces, temples, World Heritage Sites (WHS) do use innovative digital tools in order to communicate to various audiences, as well as to enrich visitors' experience, especially taking into consideration young generations. This paper will firstly examine the role of ICTs in intangible cultural heritage (ICH) (e.g. Batik, Wayang puppet theatre, etc.); secondly, the authors will explain how ICTs can help to communicate and promote the values, history, and significances of ICH products, both for locals and tourists, with the goal of raising awareness on cultural identity. However, the knowledge of ICH still requires contacts with its own communities and is vulnerable, as it can be exposed to excessive cultural commoditization through e-platforms. This study aims at giving an overview and some examples of digital interventions for cultural heritage communication implemented by various stakeholders in Indonesia. In addition, this paper analyses to what extent a participatory approach engaging local communities, academics, private sectors, NGOs and the government, can ensure higher levels of effectiveness and efficiency, hence supporting the conservation of UNESCO tangible/ICH in Indonesia. This paper aims at: (1) presenting the development of digital heritage platforms in Indonesia; (2) providing a grid of analysis of digital heritage knowledge platforms dedicated to UNESCO tangible and ICH in forms of websites and mobile apps.
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Adversarial thinking is essential when dealing with cyber incidents and for finding security vulnerabilities. Capture the Flag (CTF) competitions are used all around the world to stimulate adversarial thinking. Jeopardy-style CTFs, given their challenge-and-answer based nature, are used more and more in cybersecurity education as a fun and engaging way to inspire students. Just like traditional written exams, Jeopardy-style CTFs can be used as summative assessment. Did a student provide the correct answer, yes or no. Did the participant in the CTF competition solve the challenge, yes or no. This research project provides a framework for measuring the learning outcomes of a Jeopardy-style CTF and applies this framework to two CTF events as case studies. During these case studies, participants were tested on their knowledge and skills in the field of cybersecurity and queried on their attitude towards CTF education. Results show that the main difference between traditional written exam and a Jeopardy-style CTF is the way in which questions a re formulated. CTF education is stated to be challenging and fun because questions are formulated as puzzles that need to be solved in a gamified and competitive environment. Just like traditional written exams, no additional insight into why the participant thinks the correct answer is the correct answer has been observed or if the participant really did learn anything new by participating. Given that the main difference between a traditional written exam and a Jeopardy-style CTF is the way in which questions are formulated, learning outcomes can be measured in the same way. We can ask ourselves how many participants solved which challenge and to which measurable statements about “knowledge, skill and attitude” in the field of cybersecurity each challenge is related. However, when mapping the descriptions of the quiz-questions and challenges from the two CTF events as case studies to the NICE framework on Knowledge, Skills and Abilities in cybersecurity, the NICE framework did not provide us with detailed measurable statements that could be used in education. Where the descriptions of the quiz-questions and challenges were specific, the learning outcomes of the NICE framework are only formulated in a quite general matter. Finally, some evidence for Csíkszentmihályi’s theory of Flow has been observed. Following the theory of Flow, a person can become fully immersed in performing a task, also known as “being in the zone” if the “challenge level” of the task is in line with the person’s “skill level”. The persons mental state towards a task will be different depending on the challenge level of the task and required skill level for completing it. Results show that participants state that some challenges were difficult and fun, where other challenges were easy and boring. As a result of this9 project, a guide / checklist is provided for those intending to use CTF in education.
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The report from Inholland University is dedicated to the impacts of data-driven practices on non-journalistic media production and creative industries. It explores trends, showcases advancements, and highlights opportunities and threats in this dynamic landscape. Examining various stakeholders' perspectives provides actionable insights for navigating challenges and leveraging opportunities. Through curated showcases and analyses, the report underscores the transformative potential of data-driven work while addressing concerns such as copyright issues and AI's role in replacing human artists. The findings culminate in a comprehensive overview that guides informed decision-making in the creative industry.
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This publication gives an account of the Public Annotation of Cultural Heritage research project (PACE) conducted at the Crossmedialab. The project was carried out between 1 January 2008 and 31 December 2009, and was funded by the Ministry of Education, Culture, and Science. Three members of the Dutch Association of Science Centres (Vereniging Science Centra) actively participated in the execution of the project: the Utrecht University Museum, the National Museum of Natural History (Naturalis), and Museon. In addition, two more knowledge institutes participated: Novay and the Utrecht University of Applied Sciences. BMC Consultancy and Manage¬ment also took part in the project. This broad consortium has enabled us to base the project on both knowledge and experience from a practical and scientific perspective. The purpose of the PACE project was to examine the ways in which social tagging could be deployed as a tool to enrich collections, improve their acces¬sibility and to increase visitor group involvement. The museums’ guiding question for the project was: ‘When is it useful to deploy social tagging as a tool for the benefit of museums and what kind of effect can be expected from such deployment?’ For the Crossmedialab the PACE project presented a unique opportunity to conduct concrete research into the highly interesting phenomenon of social tagging with parties and experts in the field.
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