Dissertationen zum Thema „Perception de la profondeur – Peinture“
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Turpin, Olivier. „La ligne, l’onde, le pli dans la couleur“. Electronic Thesis or Diss., Paris 8, 2021. http://www.theses.fr/2021PA080040.
Der volle Inhalt der QuelleThis thesis focuses a body of paintings and wall paintings initiated in 2014 and continuing to the present day. It was a pivotal year when I went from figurative painting to abstract painting based on the drawing of an endless line that never intersects. The purpose of this research is to analyze this ‘line being’ that replaced the figure, organizing itself in colored waves, folds, overlays and twists. If chance secretly directs the drawing of the line on the canvas or in situ, it acts in respecting opposing forces and notions, such as emptiness and fullness, background and form, appearance and disappearance, form and formlessness. The line is thus a pictorial version of the twisting Möbius ribbon that places the front and back on the same side. It is by this principle that it becomes dynamic and generates a cosmogony within which the wave and the fold move before bursting into color. The proliferation of the biomorphic line has given rise to creative phases that constitute my field of investigation. A painting is an “X-ray of action”. How did the line change into a wave? How does the line, by means of hollowing out and “alternate overlapping,” continue its path and open up possibilities of forms and voids? How does the sliding of paint create the illusion of movement through transparency and depth? Finally, how did the dripping gesture in painting emerge as the “being” that would become color?
Barbet, Isabelle. „Traitement des informations de profondeur représentées sur des images bidimensionnelles chez le babouin“. Aix-Marseille 1, 2003. http://www.theses.fr/2003AIX11001.
Der volle Inhalt der QuelleDeschenes, François. „Estimation simultanée et coopérative d'indices visuels de profondeur pour la perception tridimensionnelle“. Paris, ENMP, 2002. http://www.theses.fr/2002ENMP1078.
Der volle Inhalt der QuelleFrichtel, Myriam. „L'utilisation des indices de perspective et de gradients de texture à partir d'un support bidimensionnel chez les bébés de 4-5 mois“. Paris 5, 2007. http://www.theses.fr/2007PA05H043.
Der volle Inhalt der QuelleWe are wondering whether infants may perceive the depth representation and more particularly the perspective at a two dimensional display. The passage from a three dimensional perception to a two dimensional representation witch may be a difficulty for infants. Six experiments are carried out. During these experiments, perspective situations are animated and shown to 4 and 5-month-old infants on a screen in a dynamic way. Their capacities of using perspective cues alone or combined with texture gradient cues are tested. Visual data are recorded: the looking time data and the gaze directions during the animation in using an eye-tracking-system. The habituation/reaction-to-strange-event paradigm is also used. Results indicate that 4 and 5-month-old infants can already perceive the representation of the perspective situation on a 2D display and yet the increasing number of visual cues can make their perception easier. Results and various methods are discussed in connection with theories
Hadhri, Tesnim. „Single view depth estimation from train images“. Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/70388.
Der volle Inhalt der QuelleDepth prediction is the task of computing the distance of different points in the scene from the camera. Knowing how far away a given object is from the camera would make it possible to understand its spatial representation. Early methods have used stereo pairs of images to extract depth. To have a stereo pair of images, we need a calibrated pair of cameras. However, it is simpler to have a single image as no calibration or synchronization is needed. For this reason, learning-based methods, which estimate depth from monocular images, have been introduced. Early solutions of learning-based problems have used ground truth depth for training, usually acquired from sensors such as Kinect or Lidar. Acquiring depth ground truth is expensive and difficult which is why self-supervised methods, which do not acquire such ground truth for fine-tuning, has appeared and have shown promising results for single image depth estimation. In this work, we propose to estimate depth maps for images taken from the train driver viewpoint. To do so, we propose to use geometry constraints and rails standard parameters to extract the depth map inside the rails, to provide it as a supervisory signal to the network. To this end, we first gathered a train sequences dataset and determined their focal lengths to compute the depth map inside the rails. Then we used this dataset and the computed focal lengths to finetune an existing model “Monodepth2” trained previously on the Kitti dataset. We show that the ground truth depth map provided to the network solves the problem of depth of the rail tracks which otherwise appear as standing objects in front of the camera. It also improves the results of depth estimation of train sequences.
Limozin-Long, Pascale. „Vision stéréoscopique appliquée à la robotique“. Nice, 1986. http://www.theses.fr/1986NICE4052.
Der volle Inhalt der QuelleIlahi, Zouhaier. „Proust et la profondeur. L'écriture des paysages“. Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030056.
Der volle Inhalt der QuelleThis thesis studies the role of the writing in unveiling to what extent the notion of depeth of landscapes is present in the works of Marcel Proust stretching from the college years until In search of lost time. The novelistic writing is underpinned by a dynamic of appearance of the depth of natural and musical landscapes that actually have developments in the interval of the visible and the invisible, the audible and the inaudible. Actually, Proust uses the expression of the interval to expose the limitations of the romanticism thought which perpetuates the mystic philosophy of art, the tautological Realism founded on the description of surfaces as well as the hermetic symbolist poetry which reproduce the Platonism. Therefore, Proust contests the foundations of Platonism stretching until the modern French idealism. The expression of subjectivity also allows Proust to emphasize the decline of rationalism on the decline at the turn of the XX th century that witnesses the rise of the unconscious and the involuntary. Indeed, the deepening of the landscapes, reel and things has founded the subjective realism of Proust. The interval of sensible and intelligible situates the novel in the border of the artistic (Monet, Whistler, Giotto, Beethoven, Wagner, Chopin, Schumann) and the philosophical (Schelling, Schopenhauer, Séailles). The writing of landscapes depth is certainly integrated into the quest of the continuity and develop a knowledge established on the category of the relation, a way to interiority and abyss. Undeniably Proust is a writer and a thinker of the depth
Desmerges, Jean-Claude. „Il y a ce que voit la veste du 15 octobre. . . Ou la "toile au travail"“. Valenciennes, 1998. https://ged.uphf.fr/nuxeo/site/esupversions/709a4400-1f39-4cfa-879e-8dfd844682fc.
Der volle Inhalt der QuelleThe object of this thesis is to show a certain behavior towards the work and not to explain it really, to bring up to date (in the log) the uncontrollable of the reactions of a just "welltried" painting act. I also dared to paint the impossibility of painting the whole, the nothingness, the almost nothingness, the original point from where "this" appears suddenly. So we can have a look on the concrete conditions of the production not only of one painting but of a complete series made simultaneously in one day, one night. We can think about the small paintings of the 15th of october : do they draw the portrait of a jacket or of the vision ? What are those images? Do they imitate a model? How is there an effect of the vision? And for whom? Does everything stand in the optical distance between the seen thing and the thing we can see in those paintings as optical things? Are we in a (classical) plan of projection? Is there something else, an other distance ? Distance not thought in an optical or esthetical way but which tries to change the vision: by accepting the "deceptions of my vision", i would accept the notion of mistake. The distances will be poietic. There will be no need to be in the right point of view to see. On the contrary. I will look for the "bad see", the vision from the shadows, the almost non-being of the jacket. Will the eye see or will it see itself? The auto-polemic can really start with these questions in mind (in the mind of the painter in question). In the moments of vision, when everything will become black (or white, or grey), in the very blindness of the painting, the painter (the one who doesn't know that he is a painter) will give himself an I "unpower" in the way that, to exist, he has to be separate from himself
Guenin, Jean-Michel. „Le numérique "un médium" entre peinture et architecture“. Paris 8, 2005. http://www.theses.fr/2005PA082544.
Der volle Inhalt der QuelleMental structuring of space – a projection into space of man's own image – has evolved along ages according to civilizations. Changes can only be brought about through changes in mental concepts. Throughout ages, from Lascaux to the twentieth century, space structure in paintings has influenced spatial concepts in architecture. Electronics send architecture a challenge because they define the real world in terms of medias and simulation and valorize appearance instead of existence, things that are seen instead of things that exist. We cannot speak of what exists as we did before, we rather have another way of seeing things. Computers make us react more quickly and in shorter times. It is now possible to observe 3D patterns that could never have been checked so quickly before. New technologies have become essential in my artistic approach since I discovered them. They allowed me to realize a dream: to bring creation and technique closer together
Guay, Isabelle. „L'influence de la distance entre marqueurs statiques sur les jugements temporels“. Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2000. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp03/MQ55857.pdf.
Der volle Inhalt der QuelleMontalembert, Marie de. „Perception de la 3D et estimation du temps chez les patients cérébro-lésés“. Paris 5, 2010. https://hal.archives-ouvertes.fr/tel-01392605.
Der volle Inhalt der QuellePhysiological and neuropsychological studies in humans have helped to account, in part, for the essential role played by the temporo-parietal junction in cognition. The aim of this thesis is to combine the psychophysical methodology to the data from brain damaged patients in 3D perception tasks on the one hand and, in temporal estimation on the other hand. The first three studies are performed on patients with parietal brain damage and aim to explore how they perceive some monocular depth cues. The final study is part of the problem of time perception with the same type of patients but also with schizophrenic patients, who often present a disorder of temporal estimation. The results of these studies confirm the predominant role of the parietal cortex in the integration of depth cues (for different levels of treatment - basic, for the linear perspective, and more complex with the abstraction of the light source position for the shadow). Moreover, our last study allows us to account for the involvement of this brain region during a temporal task. Finally, we present arguments in favor of a trouble for disengaging attention in neglect patients both for spatial and temporal tasks. This dual methodological approach used in this thesis strengthens and provides new evidence for understanding the role of the parietal cortex in depth perception, specifically for certain clues, and for the estimated duration of twoj events
Casado, Richard. „Une peinture volumique diaphane“. Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0293.
Der volle Inhalt der QuelleAbstract. The subject of this visual arts dissertation is to study "the motion of the status of the image", a contemporary image through a painting of research. This study goes through the paradigm of the Benjaminian aura and its application related to the notion of matrix (platonic chôra) in particular light condition (diaphanous). A formless form, that of a « diaphanous chôra », as a transparent volumetry of the painting is deduced and aggregates around a volume reformulating its percept. This is how the analysis studies the properties of a substrate that has become biface for the visual artist and the viewer where color incorporates the singular luminous retention of a frame. The study leads to a plastic finding, that of a hybrid cathartic device requiring a synthesis : the percolation of the film painted by the look where complex plans (canvases) are explored. The conclusion then turns on the evolution of the painting medium in the direction of this substrate to the reformulated aura throughout the "postmodern" field
Cord, Matthieu. „Analyse d'images aériennes haute résolution : détection et modélisation du bâti en zone urbaine“. Cergy-Pontoise, 1998. http://biblioweb.u-cergy.fr/theses/98CERG0054.pdf.
Der volle Inhalt der QuelleAkhras, Yveline. „Regard aveugle, regard multiple dans la peinture“. Paris 1, 2009. http://www.theses.fr/2009PA010714.
Der volle Inhalt der QuelleDevisme, Céline. „Etude de l'influence des disparités horizontales et verticales sur la perception de la profondeur en champ visuel périphérique“. Phd thesis, Université Pierre et Marie Curie - Paris VI, 2008. http://tel.archives-ouvertes.fr/tel-00276430.
Der volle Inhalt der QuelleBenzougar, Abdeljabar. „Perception de la profondeur en stéréovision monoculaire par exploitation du flou optique : approche basée sur les moments spatiaux“. Poitiers, 1997. http://www.theses.fr/1997POIT2301.
Der volle Inhalt der QuelleBenyoucef, Rayane. „Contribution à la cinématique à partir du mouvement : approches basées sur des observateurs non linéaires“. Electronic Thesis or Diss., université Paris-Saclay, 2021. http://www.theses.fr/2021UPASG091.
Der volle Inhalt der QuelleThis manuscript outlines the various scientific contributions during this thesis, with the objective of solving the problem of the 3D reconstructure Structure from Motion (SfM) through the synthesis of dynamic models and observation algorithms for thereconstruction of unmeasured variables. Undoubtedly, vision sensors are the most important source providing rich information about the environment and that's where the scene structure estimation begins to find professional uses. There has been significant interest in recovering the 3D structure of a scene from 2D pixels considering a sequence of images. Several solutions have been proposed in the literature for this issue. The objective of the classic “structure from motion (SfM)” problem is to estimate the Euclidean coordinates of tracked feature points attached to an object (i.e., 3-D structure) provided the relative motion between the camera and the object is known. It isthoroughly addressed in literature that the camera translational motion has a strong effect on the performance of 3D structure estimation. For eye-in-hand cameras carried by robot manipulators fixed to the ground, it is straightforward to measure linear velocity. However when dealing with cameras riding on mobile robots, some practical issues may occur. In this context, particular attention has been devoted to estimating the camera linear velocities. Hence another objective of this thesis is to find strategies to develop deterministic nonlinear observers to address the SfM problem and obtain a reliable estimation of the unknown time-varying linear velocities used as input of the estimator scheme which is an implicit requirement for most of active vision. The techniques used are based on Takagi-Sugeno models and Lyapunov-based analysis. In the first part, a solution for the SfM problem is presented, where the main purpose is to identify the 3D structure of a tracked feature point observed by a moving calibrated camera assuming a precise knowledge of the camera linear and angular velocities. Then this work is extended to investigate the depth reconstruction considering a partially calibratedcamera. In the second part, the thesis focuses on identifying the 3D structure of a tracked feature point and the camera linear velocity. At first, the strategy presented aims to recover the 3D information and partial estimate of the camera linear velocity. Then, the thesis introduces the structure estimation and full estimation of the camera linear velocity, where the proposed observer only requires the camera angular velocity and the corresponding linear and angular accelerations. The performance of eachobserver is highlighted using a series of simulations with several scenarios and experimental tests
Kerdreux, Erwan. „Peinture, "aller et retour" : prolongation de problématiques picturales par l'usage du volume“. Paris 1, 1994. http://www.theses.fr/1994PA010678.
Der volle Inhalt der Quelle"Forward and backward" perspectives on painting : extending pictorial considerations through the use of volume. The research presented herein provides the opportunity to introduce disturbances into the author's experience with the plastic arts. His painting is then taken to a heretofore unknown dimension : the dimension of volume. This text recognizes the alteration that takes place when resorting to such a use of volume. Over a very short period of time, this volumetric phase assumes a theoretical significance. The artist quickly realizes that volume, and more precisely the technique of folding, constitutes a state through which the painting rediscovers its fundamental meaning. The artistic richness of the whole experience resides in transporting the painting into some otherness in order to more closely resemble a hypothetical identity. The resultant form reveals, in time, something about the act of painting. Within the overall experiment, the folding sequence symbolizes the physical exchange between the painter and his work
Zhu, Ying. „Etude psychophysique de la vision en relief humaine en télévision stéréo“. Lyon, INSA, 1992. http://www.theses.fr/1992ISAL0106.
Der volle Inhalt der QuelleThis thesis is concerned with the stud of certain hurnan stereo vision cues. Particularly relevant ta depth perception in a dynamic 3d (three-dimensional) stereoscopic TV and with t he understanding of human stereoscopic visual processes using local spectral models. We have studied different types of stereo acuity all the retinal meridian in both central and eccentric eye positions, in physiological and pathological subjects. Accomdation and convergence, the two essentiel depth perception cues in 3D Tvs, have benn investigated in detail, allowing ta get insight into the way the human visual system behaves in arder to resolve the conflict between accommodation and convergence. The quality problem of depth perception in the presence of geometrical distortions was also addressed. Within this framework. Two types of geornetrical distortions have been distinguished, and their affect the visual comfort and binocular disparity sensitivity bas been detailed in various situations. Finally, in arder ta get an insight into the stereo informatian processing and coding processes, we have studied the influence of the monocular images' local spectral content on human stereo vision by employing a 2D (two-dimensional) space/spatial-frequency model based on using the 2D Wigner-Vill distribution, and the 2D discrets cosine transformation
Aissaoui, Amel. „Reconnaissance bimodale de visages par fusion de caractéristiques visuelles et de profondeur“. Thesis, Lille 1, 2014. http://www.theses.fr/2014LIL10030/document.
Der volle Inhalt der QuelleThis work lies in the domain of face recognition. The objective is to automatically decide about a person identity by analyzing his/her facial features. We introduce a 2D-3D bimodal approach that combines visual and depth features in order to provide better recognition accuracy and robustness than classical monomodal approaches. First, a 3D acquisition method dedicated to faces, based onstereoscopic reconstruction, is proposed. It is based on an active shape model to take into account the topology of the face. Then, a novel descriptor named DLBP (Depth Local Binary Patterns) is defined in order to characterize the depth information. This descriptor extends to the depth images the traditional LBP originally used for texture description. Finally, a two-stage fusion strategy isproposed, that combines the modalities using both early and late fusions. The experiments conducted with different public datasets, as well as with a new dataset elaborated specifically for the evaluation purposes, allowed to validate the contributions introduced throughout this work. In particular, results have shown the quality of the data obtained using the reconstruction method, and also a gain in precision obtained by using the DLBP descriptor and the two-stage fusion
Pardossi, Sarno Béatrice. „L'intemporel du visible : écriture et peinture face à l'énigme de la continuité“. Nice, 1999. http://www.theses.fr/1999NICE2006.
Der volle Inhalt der QuelleDaisy, Maxime. „Inpainting basé motif d’images et de vidéos appliqué aux données stéréoscopiques avec carte de profondeur“. Caen, 2015. https://hal.archives-ouvertes.fr/tel-01257756.
Der volle Inhalt der QuelleWe focus on the study and the enhancement of greedy pattern-based image processing algorithms for the specific purpose of inpainting, i. E. , the automatic completion of missing data in digital images and videos. We first review the state of the art methods in this field and analyze the important steps of prominent greedy algorithms in the literature. Then, we propose a set of changes that significantly enhance the global geometric coherence of images reconstructed with this kind of algorithms. We also focus on the reduction of the visual bloc artifacts classically appearing in the reconstruction results. For this purpose, we define a tensor-inspired formalism for fast anisotropic patch blending, guided by the geometry of the local image structures and by the automatic detection of the artifact locations. We illustrate the improvement of the visual quality brought by our contributions with many examples, and show that we are generic enough to perform similar adaptations to other existing pattern-based inpainting algorithms. Finally, we extend and apply our reconstruction algorithms to stereoscopic image and video data, synthesized with respect to new virtual camera viewpoints. We incorporate the estimated depth information (available from the original stereo pairs) in our inpainting and patch blending formalisms to propose a visually satisfactory solution to the non-trivial problem of automatic disocclusion of real resynthesized stereoscopic scenes
Amhamdi, Larbi. „La perception esthétique dans l'art pictural au Maroc“. Paris 1, 2005. http://www.theses.fr/2005PA010600.
Der volle Inhalt der QuelleJovánovics, Tamás. „Invasion et évasion : la peinture aux confins de la bi- et la tridimensionalité“. Aix-Marseille 1, 2004. http://www.theses.fr/2004AIX10029.
Der volle Inhalt der QuelleCoatleven-Brun, Angélique. „La peinture prise aux Lettres : ou comment définir une troisième structure visuelle en art“. Phd thesis, Université Michel de Montaigne - Bordeaux III, 2012. http://tel.archives-ouvertes.fr/tel-00748596.
Der volle Inhalt der QuelleLi, Wanjing. „Développement d'un système stéréoscopique adaptatif à l'aide de lumière structurée“. Dijon, 2009. http://www.theses.fr/2009DIJOS026.
Der volle Inhalt der QuelleIn the context of the 3D reconstruction of scenes by using active vision system, we propos two approaches of Regions Of Interest (ROI) localization in the scene. Once integrated in a commercial 3D scanner as pre-processing process, each approach would be capable to indicate the zones of scanning. In this way, the reconstruction time would be largely reduced, and the obtained point cloud would be much less important, whereas almost all pertinent date would be conserved. The first approach called “passive” is based on the 2D information of the scene. It consists in localizing, in the scene observed, the objects of specific type. This approach was developed under the assumption that the target objects have the shape of a tube. Firstly, several image processing tools are applied to determine contours of the tubes in the images; and finally, the scanning zones are determined in the space of the projector. This approach can be eventually generalized to apply to other types of forms. The second approach called “active” is based on the 3D information extracted from the scene by an iterative process. The process begins by a regular point pattern; based on the estimation of local surface curvature around each reconstructed 3D point, a new pattern is generated in order to project more points, during the next iteration, in the zones with strong curvature; as soon as the iterative process stops, the ROI can be determined in the space of the projector. The major advantage of this approach is that no constraint is necessary on the form of the ROI
Im Zusammenhang mit der 3D Rekonstruktion von Objekten mittels aktiver Projektion werden zwei Ansätze zur Detektion wichtiger Oberflächenbereiche für die Punktbestimmung vorgestellt. Die beiden Ansätze wurden mittels eines aktiven Stereosystems entwickelt. Im Falle einer Integration in kommerzielle 3D Scanner (Lasersystem, Projektionssystem) erlauben beide Ansätze den Messbereich im Sinne einer Vorverarbeitung auf die morphologisch relevanten Bereiche zu beschränken. Dementsprechend wird die Messzeit deutlich verkürzt, die Punktwolke erheblich verkleinert und trotzdem alles Wichtige erhalten. Der erste Ansatz basiert auf 2D-Daten des zu messendem Feldes. Dabei sind in diesen Daten die Messobjekte zu lokalisieren. Derzeit ist dieser Ansatz unter der Annahme realisiert, dass zu erfassende Objekte eine zylindrische Form haben. Die Wahl der Zylindergeometrie erfolgte dabei stellvertretend für andere denkbare Geometrien, auf die das Vorgehen einfach übertragen werden kann. Der zweite Ansatz fußt auf 3D-Daten, die in einem iterativen Prozess aus dem Messfeld gewonnen werden. Zunächst wird ein reguläres Muster auf das Objekt projiziert und mittels Stereotriangulation eine entsprechende 3D-Punktwolke erzeugt. In der Punktwolke wird für jeden Punkt die Oberflächenkrümmung im Raum ermittelt und in der Nachbarschaft von Punkten mit starker Krümmung ein neues, dichteres Muster projiziert. Der iterative Prozess ist beendet, sobald die verbleibenden Krümmungen unterhalb eines Grenzwertes liegen. Diese Methode eignet sie sich für die Digitalisierung von Innenbereichen in Gebäuden, über die man keinerlei a prioi- Information über die zu findenden Objekte besitzt
Hilaire, Maryline. „La place et la perception de l'école hollandaise dans le Musée français et le Musée royal /“. Nogent-sur-Marne (36 bd Gambetta, 94130) : M. Hilaire, 2002. http://catalogue.bnf.fr/ark:/12148/cb39076947n.
Der volle Inhalt der QuelleVienne, Cyril. „Comprendre et optimiser la qualité de l'expérience en perception 3D“. Phd thesis, Université René Descartes - Paris V, 2013. http://tel.archives-ouvertes.fr/tel-00818263.
Der volle Inhalt der QuellePauplin, Olivier. „Application de techniques d'évolution artificielle à la stéréovision en robotique mobile autonome“. Paris 5, 2007. http://www.theses.fr/2007PA05S015.
Der volle Inhalt der QuelleThe "Fly Algorithm" is an evolutionary algorithm used for stereo reconstruction It gives a rough description of the visible surfaces of the objects in a 3D scene, from a couple of stereo To fmprove the efficiency and precision of the algorithm so as to apply its output to autonomous mobile robotics, several ways of improvement are examined and^ evaluated (fitness function, genetic operators, self-adaptivity etc. ). Three categories of applications are then explored. Firstly, a way to build a map of the environment of a mobile robot from he successive frames processed by the algorithm. A second type of application relies on the consideration of a speed given to each considered 3D points, and aims to determine the speeds of the objects of the scene. Finally, and application to automated driving (stop and obstacle avoidance) is presented on an electrical vehicle (Cycab)
Ragi, Camille. „N. O. I. S. I. V. : un système pour l'expérimentation en vision passive tridimensionnelle par ordinateur“. Toulouse, INPT, 1989. http://www.theses.fr/1989INPT011H.
Der volle Inhalt der QuelleGagnon, Lucie. „En quête de chemins illusoires : genèse et présentation d'une peinture multilemmée“. Master's thesis, Université Laval, 2021. http://hdl.handle.net/20.500.11794/69596.
Der volle Inhalt der QuelleThis master' thesis presents En quête de chemins illusoires (Towards Illusory Paths), a diptych which is also a bas-relief following its unique hanging. It tries to express the idea of energy and abundance that characterizes the visual illusions from which I paint and invites to get away with a collection of complicated, full of life, composite and open interpretation narratives. En quête de chemins illusoires is, first of all, two very large canvas paintings made in a distinctive way, multilemma. Between figuration and abstraction, its originality consists in the abandonment of any formal intention, that is to say without prior choice of subjects or any conscious search of narrative. The multilemmé way also involves a three-dimensional presentation that differs from a single hanging. Thus, the swelling and draping effects created by irregular padding complete the work and give it volume. This manipulation also adds to the blurring of the painted shapes and their entanglement. The ambition behind En quête de chemins illusoires is threefold. It is driven in the first place by the desire to lengthen perceptual activity, to ensure that the first glance to the work will turn into a generous and longer halt. Consequently, it also aims at encouraging the phenomenon of attention which leads to a complication of the interpretation. Finally, it seeks to generate an illusion of movement from the effects induced by prolonged fixation, namely the displacement and deformation of the elements that surround the areas under gaze. Like the fluxus artist's works of the last century, En quête de chemins illusoires wants to suppress the idea of a finite work, by putting forward the importance of its interpretation.
Choi, Massart Young-Ju. „Perception et expression de la couleur dans l'art pictural moderne“. Paris 1, 2012. http://www.theses.fr/2012PA010718.
Der volle Inhalt der QuelleDupouey, Paul Muller Frank. „Le temps chez Patinir, le paradoxe du paysage classique“. S. l. : Nancy 2, 2008. http://cyberdoc.univ-nancy2.fr.
Der volle Inhalt der QuelleGorla, Tommaso. „Orienting the Uncertain : Visual Ambiguity in Painting and Picture Writing“. Thesis, Paris, EHESS, 2019. http://www.theses.fr/2019EHES0054.
Der volle Inhalt der QuelleThis research investigates deliberate use of visual ambiguity in art as a potential tool for orienting the beholder’s response and enhancing image-affect. By investigating case-studies from Renaissance art, and comparing them with further modern examples as well as ethnographic cases, the aim of this thesis is to show the prerogatives of ambiguity as an inference-producing device, capable of generating processes of abduction that will not only engage the beholder further in their dialogue with the image, but will also direct thought along precise paths, whose affective charge relies precisely in their fluctuating and unsettled nature. Between art history and cognitive anthropology, this research also tries to explore the ways in which such devices for thought-orientation find a potential stability according to the specific regime of gaze in which they are situated
Neveu, Pascaline. „L'impact des dispositifs de visualisation en relief sur les composantes oculomotrices d’accommodation et de vergence“. Paris 8, 2012. http://octaviana.fr/document/181522632#?c=0&m=0&s=0&cv=0.
Der volle Inhalt der QuelleDevelopment of the stereoscopic devices gives rise to new oculomotor problems. During exposure to these devices, oculomotor's behaviour differs from that during natural vision. Accommodation (A), allowing to obtain a clear image of the object looked at, becomes in conflict with vergence, allowing to align the eyes on the virtual object. The involvement of Human and how the oculomotor system is able to deal with this oculomotor conflict are under-exploited and little known. This thesis examines the impact of the A/V conflict on the oculomotor system through three studies. A first methodological study determines the impact of different types of measurements on the evaluation of oculomotor parameters. Several oculomotor parameters were assessed using various a laboratory and clinical method. The results show that the repeatability of the tests and the agreement between methods greatly vary. Two studies were then conducted to identify and understand the changes caused by A/V conflict generated by stereoscopy and hyper relief. The paradigm used was a pre-post exposure paradigm on several oculomotor parameters especially involved in stereoscopic viewing. The study on hyper relief, creating a partial conflict between the A and V components, shows that the oculomotor system is able to globally adapt. The study on the stereoscopic viewing, creating a total dissociation between the A and V components, shows the existence of an oculomotor adaptation highly dependent on the stimulation and encourages further understanding of this process. The work helps to clarify the knowledge of the oculomotor system in the specific context of A/V conflict and begins the understanding of the impact of stereoscopic displays on the oculomotor system
Jantet, Vincent. „Layered depth images for multi-view coding“. Rennes 1, 2012. https://tel.archives-ouvertes.fr/tel-00758301v2.
Der volle Inhalt der QuelleCette thèse présente un système de traitement des vidéos multi-vues plus profondeur(MVD), en utilisant le concept d'images multi-couches (LDI). Plusieurs contributions sont proposées,à la fois dans le domaine de la synthèse de vues à partir de cartes de profondeur et dans le domaine de la construction et de la compression des LDI. La méthode de synthèse de vues proposée est basée sur une nouvelle technique de projection (JPF). La projection JPF prend en entrée des données de type image plus profondeur et synthétise un nouveau point de vue quelconque ; elle est conçue pour détecter et remplir les fissures et les petits découvrements pendant la projection. Une mesure de confiance sur les pixels est introduite afin d'éviter les artéfacts fantômes au niveau des contours. Cette projection JPF est utilisée d'une part avec une technique de ré-alignement de textures lors de l'interpolation de vues intermédiaires, et d'autre part avec une nouvelle méthode de synthèse de textures lors de l'extrapolation de vues virtuelles. Afin d'encoder efficacement les séquences de LDI, un schéma de compression multi-vues (MVC/AVC) est adapté pour exploiter à la fois les redondances temporelles et inter-couche. Une construction incrémentale des LDI est proposée, qui réduit le taux de remplissage des couches additionnelles. L'efficacité de la compression est améliorée par une réorganisation des couches par objet, assurant ainsi une meilleure cohérence spatiale. Deux méthodes de rendus ont finalement proposées : la première utilise la projection JPF alors que la seconde utilise des maillages 3D pour un affichage temps réel sur un écran multiscopiques
Rowley, Neville. „Pittura di luce. La manière claire dans la peinture du Quattrocento“. Thesis, Paris 4, 2010. http://www.theses.fr/2010PA040197/document.
Der volle Inhalt der QuelleThis thesis starts from an 1990 Florentine exhibition called “Pittura di luce” which intended to identify a trend in the mid-15th-century Florentine painting. This “painting of light” is not only, as was said at the time, a “coloured style” led by Fra Angelico and Domenico Veneziano, but it should be extended to a more “white manner”, from Masaccio to the first works of Andrea del Verrocchio, in the early 1470s. The technical and symbolical meanings of this style are to be studied as they reinforce the sense and the coherence of a trend publicly sustained by the Medici. The major aim of the “pittura di luce” is to make “emerge” religious paintings from the darkness of the churches (I). The study of the vast but also discontinuous geographical development of this “bright style” amplifies the hypotheses of the Florentine case: as much as a modern way of painting, it has very often a more archaic connotation of divine light. Piero della Francesca is surely the major figure of this ambivalent development (II). He is also one of the most significant examples of the way in which the “pittura di luce” was forgotten, and then rediscovered during the 19th and 20th centuries, thanks to art historians and artists, but also to the changes of the conditions of vision of the works of art. In this sense, the “pittura di luce” is an important chapter of the history of look, that we propose to compare with other rediscoveries of similar “paintings of apparition” (III)
Decorniquet, Sylvie. „"L'énergie de l'espace" : André du Bouchet. : Reprendre à la peinture son bien“. Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA128/document.
Der volle Inhalt der QuelleThe specificity of André du Bouchet's work lies in its intimate connection with the fine arts and artists. His writing commits poetry - the way painting does - to understanding the riddle of invisibility by inventing its own spatial disposition. The page of a book is treated like a surface which disposing terms together according to specific orientations gives the medium the energy exerted by that spatialisation of elements, on top of a tension displayed by the interweaving of word meaning. Three lines of research are thus treated in succession : Layout, Vision and Medium. Each lexical and syntactic operation aims at opening up the notions which give a limit to meaning, and to emphasise mobility. in this manner, André du Bouchet, intends to come close to the techniques that painters apply in order to express their vision of the worl, but also the escape from reality which they confront themselves to. Pondering on the way we look at the world and then - conversely - on the way the world appears to the eye, he shapes that "speechless language ... dazzlingly painting" which gives a glimpse of an unfamiliar reality. His thinking in terms of volume explains his conception of a multi-layer medium ; its substitutes the space-time coordinates of space geometry for intensive qualities linked to a kinaesthetic apprehension of the world. He brings into being a form of energetics of space and thus introduces a conception of man's place in the world as movement and constant flow
Gautier, Josselin. „Un modèle d'attention visuelle dynamique pour conditions 2D et 3D ; codage de cartes de profondeur et synthèse basée inpainting pour les vidéos multi-vues“. Phd thesis, Université Rennes 1, 2012. http://tel.archives-ouvertes.fr/tel-00758112.
Der volle Inhalt der QuelleCantu, Alma. „Proposition de modes de visualisation et d'interaction innovants pour les grandes masses de données et/ou les données structurées complexes en prenant en compte les limitations perceptives des utilisateurs“. Thesis, Ecole nationale supérieure Mines-Télécom Atlantique Bretagne Pays de la Loire, 2018. http://www.theses.fr/2018IMTA0068/document.
Der volle Inhalt der QuelleAs a result of the improvement of data capture and storage, recent years have seen the amount of data to be processed increase dramatically. Many studies, ranging from automatic processing to information visualization, have been performed, but some areas are still too specific to take advantage of. This is the case of ELectromagnetic INTelligence(ELINT). This domain does not only deal with a huge amount of data but also has to handle complex data and usage as well as populations of users with less and less experience. In this thesis we focus on the use of existing and new technologies applied to visualization to propose solutions to the combination of issues such as huge amount and complex data. We begin by presenting an analysis of the ELINT field which made it possible to extract the issues that it must faces. Then, we focus on the visual solutions handling the combinations of such issues but the existing work do not contain directly such solutions. Therefore, we focus on the description of visual issues and propose a characterization of these issues. This characterization allows us to describe the existing representations and to build a recommendation tool based on how the existing work solves the issues. Finally, we focus on identifying new metaphors to complete the existing work and propose an immersive representation to solve the issues of ELINT. These contributions make it possible to analyze and use the existing and deepen the use of immersive representations for the visualization of information
Vienne, Cyril. „Understanding and Improving the Quality of Experience in 3D media perception : Accommodation/Vergence conflict in Stereopsis“. Thesis, Paris 5, 2013. http://www.theses.fr/2013PA05H102/document.
Der volle Inhalt der QuelleStereoscopic 3-Dimensional (S3D) technology has recently received growing attraction,potentially because it provides a more informative and more immersive visual experience.Indeed, the viewer may extract the binocular disparities displayed between the left and theright views, more efficiently retrieve the depth of the observed visual scene, and thus, givevisual content another dimension. However, while the additional value of depth is ratherappreciated, a number of problems have been raised that impact the Quality of Experience(QoE) in S3D representations. The objective of this thesis is to investigate the main factorsaffecting QoE in stereopsis in order to provide guidelines towards the improvement andfurther use of stereoscopic systems. Three main aspects of QoE in S3D are addressed: (1) thesources and causes of visual fatigue, (2) the perceptual distortions arising in S3D and, (3) theimprovement of S3D QoE through content adaptation. To study visual fatigue in S3D,vergence eye movements were measured both in S3D display and in dual-screen display thatenables the presentation of matched disparity and defocus stimuli. The effect of stereopsis onvergence movements was studied so as to test whether vergence tracking can be used asindicator of visual fatigue. The next topic investigated the consistency in stereoscopic 3Dshape perception as a function of vergence distance and accommodation distance. The role ofthe pupil size and the depth of focus in S3D were evaluated by manipulating the pupilaperture with two controlled lighting conditions. Finally, the improvement of 3D shapeperception is addressed through content adaptation according to individual perceptionthresholds measurement for motion-in-depth stimuli
Brazey, Denis. „Reconnaissance de formes et suivi de mouvements en 4D temps-réel : Restauration de cartes de profondeur“. Thesis, Rouen, INSA, 2014. http://www.theses.fr/2014ISAM0019.
Der volle Inhalt der QuelleIn this dissertation, we are interested in several issues related to 3D data processing. The first one concerns people detection and tracking in depth map sequences. We propose an improvement of an existing method based on a segmentation stage followed by a tracking module. The second issue is head detection and modelling in 3D point clouds. In order to do this, we adopt a probabilistic approach based on a new spherical mixture model. The last considered application deals with the restoration of deteriorated depth maps. To solve this problem, we propose to use a surface approximation method based on interpolation Dm-splines with scale transforms to approximate and restore the image. Presented results illustrate the efficiency of the developed algorithms
Chirol, Jean-Loup. „Les motifs de perception visuelle de l'espace en profondeur des images animees planes au cinema et a la television, leur variation suivant la technique de diffusion de l'image“. Paris 1, 1988. http://www.theses.fr/1988PA010561.
Der volle Inhalt der QuelleChirol, Jean-Loup. „Les Motifs de perception visuelle de l'espace en profondeur des images animées planes au cinéma et à la télévision, leur variation suivant la technique de diffusion de l'image“. Lille 3 : ANRT, 1989. http://catalogue.bnf.fr/ark:/12148/cb376127438.
Der volle Inhalt der QuelleDupouey, Paul. „Le temps chez Patinir, le paradoxe du paysage classique“. Phd thesis, Université Nancy II, 2008. http://tel.archives-ouvertes.fr/tel-00467565.
Der volle Inhalt der QuelleIatsun, Iana. „Understanding binocular perception for the estimation of visual fatigue, visual attention and quality of experience for stereoscopic content“. Thesis, Poitiers, 2014. http://www.theses.fr/2014POIT2304.
Der volle Inhalt der QuelleThe advent of stereoscopic 3D (S3D) technology has generated as much enthusiasm as that generated by the introduction of color television. However, unlike color 2D television, S3D is far from being a natural viewing process since it relies on fooling thebrain by giving disparities that do not exist in reality. Therefore, this unnatural viewing may generate visual fatigue and alter the quality of Experience (QoE) of a user, not to mention some little-known physiological and cognitive phenomena. This thesis tackles the investigation of the binocular perception from three different but linked angles: 1- visual fatigue/discomfort, 2- visual attention and, 3- QoE. First, we proposed a fullycontrolled psychophysical paradigm in order to measure/estimate the visual discomfort and study the existing link with the most important visual characteristics obtained by eye-tracking. Thus, we demonstrated that visual fatigue accumulation caused by watching S3D content is significantly higher than accumulation caused by 2D watching. We also proposed a model of visual fatigue prediction based on our findings and intrinsic video features. The obtained model allows predicting visual fatigue accumulation from watching an S3D sequence. Another fundamental exploration has been conducted to study the impact of disparity on color perception. Therefore, subjective experiments with simple stimuli that have mainly binocular cues, showed that disparity plays almost no role in color discrimination. This important conclusion confirms the fact that 3D perception relies not only on binocular cues but also onmonocular cues. The second part of thesis focused on studying the binocular visual attention and proposing models allowing to predict saliency maps for a S3D scene. The idea lies in the use of temporal and spatial features in addition to the possibility of accurately predict depth from a single 2D view. Therefore, the proposed model including an optimized fusion step showed very good performance in comparison to eye-tracking experiments. Finally, the binocular properties of the human visual systemsuch as binocular fusion and rivalry have been exploited together with the visual saliency for the design of an objective quality metric. The latter accounts for the level of impairments in addition to the gap between both views. The proposed metric has been tested on publicly available datasets, and its results show a good correlation with human judgment
Peláez, Ana María. „Le toucher du visuel /“. Thèse, Chicoutimi : Université du Québec à Chicoutimi, 2005. http://theses.uqac.ca.
Der volle Inhalt der QuelleFan, Yu. „Quality assessment of stereoscopic 3D content based on binocular perception“. Thesis, Poitiers, 2019. http://www.theses.fr/2019POIT2266.
Der volle Inhalt der QuelleThe great advance of stereoscopic/3D technologies leads to a remarkable growth of 3D content in various applications thanks to a realistic and immersive experience. However, these technologies also brought some technical challenges and issues, regarding quality assessment and compression due to the complex processes of the binocular vision. Aiming to evaluate and optimize the performance of 3D imaging systems with respect to their storage capacity and quality of experience (QoE), this thesis focuses on two main parts: 1- spatial visibility thresholds of the human visual system (HVS) and 2- stereoscopic image quality assessment (SIQA). It is well-known that the HVS cannot detect the changes in a compressed image if these changes are lower than the just noticeable different (JND) threshold. Therefore, an extensive study based on objective and subjective analysis has been conducted on existing 3D-JND models. In addition, a new 3D-JND model has been proposed based on psychophysical experiments aiming to measure the effect of binocular disparity and spatial masking on the visual thresholds. In the second part, we explored new approaches for SIQA from two different perspectives. First, we developed a reference-based model accounting for both monocular and cyclopean quality. Then, we proposed a new blind quality metric relying on local contrast statistics combination of the stereopair. Both models considered the binocular fusion and binocular rivalry behaviors of the HVS in order to accurately simulate the human judgment of 3D quality
Palli, Thazha Vyshakh. „Using context-cues and interaction for traffic-agent trajectory prediction“. Electronic Thesis or Diss., Institut polytechnique de Paris, 2022. http://www.theses.fr/2022IPPAE001.
Der volle Inhalt der QuelleAutonomous vehicle navigation in urban areas involves interactions with the different road-users or traffic-agents like cars, bicycles, and pedestrians, sharing the same road network. The ability of autonomous vehicle to observe, understand and predict the behaviour of these traffic-agents is very important to gain a good situation understanding prior to deciding what manoeuvre to follow. While this is achieved to various degrees of success using model-based or data-driven methods, human drivers remain much more efficient at this task, instinctively inferring different agent motions even in previously unseen and challenging situations. Moreover, context plays a very important role that enables us humans to understand what is being perceived and make finer predictions. The need to increase situational awareness of autonomous vehicles, as well as for safety related driving assistance functions, stimulates our goal to exploit contextual information to predict the future trajectories of the observed traffic-agents in different conditions.Over the past years, machine learning has proven to be efficient at solving a wide variety of problems, particularly those associated to machine perception. This thesis therefore focuses on developing machine learning models to exploit contextual information in order to observe and learn the trajectories of different interacting traffic-agents as perceived from an autonomous vehicle. While most models proposed in the past rely on a single sensor and model-based techniques, the current approaches often rely on the use of multiple sensors and process their outputs using different machine learning methods. The approach proposed in this thesis follows these trends by combining information from different sensors to predict the trajectories of the observed traffic-agents using machine learning, as well as integrating contextual information and interactions into the prediction process.The thesis gradually builds a machine learning architecture based on a theoretical formulation and experimentation. Our approach is based on an LSTM encoder-decoder model that accepts data from different inputs. Trajectory observations from 3D LiDAR point-cloud data and semantic information from map-masks are used. Map masks represent areas where the traffic-agents can operate or not, in a binary manner. The information on pedestrian attention to oncoming vehicles obtained from camera images is also exploited to enrich the sequence prediction system. The goal is to feed the model with context-cues and semantic information to enhance the prediction of the traffic-agent trajectories, by knowing whether or not the agents are aware of the presence of the subject vehicle and including knowledge on areas where they are likely to navigate. Moreover, interactions of the autonomous vehicle with traffic-agents often govern its behaviour as the vehicle navigates. A mechanism to incorporate this information to the machine learning model is also developed as an interaction-aware trajectory prediction system enhanced by context-cues.Machine learning architectures are built using datasets acquired from the perception sensors of a vehicle navigating in the expected workspace. As datasets play an important role in solving machine learning problems, available annotated datasets for autonomous navigation were reviewed according to their availability of sensor data and contextual information. Experiments were performed for our models to learn, and gradually build the resulting architecture. Their performance are demonstrated using the well-known NuScenes dataset acquired in urban settings. The performance of the proposed approach were compared with model and data-driven approaches, demonstrating that the incorporation of multiple contextual information and agent interactions provides a substantial performance increase
Lee, Jiyeon. „Typologie et analytique des espaces dans la peinture européenne de la Renaissance“. Thesis, Strasbourg, 2014. http://www.theses.fr/2014STRAG003/document.
Der volle Inhalt der QuelleThe aim of this study is to examine how the artists of the Renaissance, known as the humanists, have proposed some news interpretations of the vision of the world when the recent discoveries oh the cosmology have happened, and equally how much the suggestive force of images go hand in hand with the conceptions of the universe, which is moreover considered by E. Panofsky, historically and logically as the primary work of art and the prototype of all. It is therefore important to reconstitute, in terms of a certain speculative prism, the fluctuations of the spatial configuration in artistic picture of the European Renaissance