T-toincorporates factors in cultural protocols and game design thinking. The hybrid model of the participatory co-creation model was formulated in the study that had been rolled out in two rural primary schools in West Borneo. These schools are located in remote villages, away from urban amenities, and technological affordances and resources are limited. There are more than twenty culturally-diversed indigenous tribes in Borneo. Although it is a known fact that indigenous cultures, including those in Borneo, have many cultural protocols and distinctive custom practices, it is still a challenge for researchers who work with such communities to understand, adhere to and follow the cultural protocols. The model looks at incorporating gameplay and culture protocols to drive community engagement. Since play is universal, the creation of a trustworthy partnership between the community and researchers was established through the use of play during the engagement process. Narratives captured in the study represented reflection, problem solving and creativity in the interactions with the indigenous communities, based on the developed-to- .

This paper presents the formulated ‘play‑to‑engage’ model for indigenous community engagement that incorporates factors in cultural protocols and game design thinking. The hybrid model of the participatory co‑creation model was formulated in the study that had been rolled out in two rural primary schools in West Borneo. These schools are located in remote villages, away from urban amenities, and technological affordances and resources are limited. There are more than twenty culturally‑diversed indigenous tribes in Borneo. Although it is a known fact that indigenous cultures, including those in Borneo, have many cultural protocols and distinctive custom practices, it is still a challenge for researchers who work with such communities to understand, adhere to and follow the cultural protocols. The model looks at incorporating gameplay and culture protocols to drive community engagement. Since play is universal, the creation of a trustworthy partnership between the community and researchers was established through the use of play during the engagement process. Narratives captured in the study represented reflection, problem solving and creativity in the interactions with the indigenous communities, based on the developed indicators of the ‘play‑to‑engage’ model.

-This paper presents a method to generate fill-in clues and answers for building automatically a crossword. Answers are capitalised words present in an input sentence and clues are segments of the dependency syntactic structure of that sentence. The pairs (Clue, ANSWER) are extracted from a collection of raw sentences related to the history of Sarawak. This work is at its early stage, and thus the proposed method that generates automatically fill-in clues, was tested on a small set of sentences and the obtained results are promising. Near 53% of the generated fill-in clues are considered correct. The major contribution of this work is the innovative strategy used to read the result of a pre-order depth-first search applied on a dependency graph to generate the clues. The clues and answers generator is implemented in Python.

-The procedure for counting colonies is often performed manually and the process is lengthy and tedious.

Decorative plaited mat is one of the many examples of rich plait work often seen on Borneo handicraft products. The plaited mats are decorated with simple and complex motif designs; each has its own special meaning and taboos. The motif designs are used as a reflection of environment and the traditional beliefs in the Iban community. In line with efforts from UNESCO’s and Sarawak Government’s, digitization, and the use of IR4.0 technologies to preserve and promote this cultural heritage is encouraged. Towards this end goal, we present a novel image dataset containing 10 Iban plaited mat motif classes. The plaited mat motifs are made of diagonal and symmetrical shapes, as well as geometric and non-geometric patterns. Classification’s accuracy using scale-invariant feature transform (SIFT) features was evaluated against 6 common image deformations: zoom+rotation, viewpoint, image blur, JPEG compression, scale and illumination, across multiple threshold values. Varying degrees of each deformation were applied to a digitally cleaned (and cropped) image of each mat motif class. We used RANSAC to remove outliers from the noisy SIFT matching result. The optimal threshold value is 2.0e-2 with a reported 100.0% matching accuracy for the scale change and zoom+rotation set.

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Abstract-Facial expression synthesis is a process of generating new face shapes from a given face and still retain the distinct facial characteristics of the initial face. The generated facial expressions can be used to improve the performance of existing face identification systems, or to enhance human recognition. Earlier work on synthesizing face shapes used 2D face images. Only recently, the work moved to using 3D face shapes given the availability and improvement in 3D scanner technologies. The advantage of 3D faces over 2D image data is that 3D face holds more geometric shape data and is invariant to poses and illumination. This paper aims to give an overview of the methods used for 3D facial expression synthesis. We present an overview of 3D face expression synthesis, its applications and benefits and then we review some of the most resent 3D face expression synthesis approaches.