Dissertations / Theses on the topic 'Perception and Spatiality'

Drawing on the tenets of cognitive science, particularly Lakoff and Johnson's writing on metaphor, this thesis investigates the ways in which perception is constructed spatially by focusing on contemporary artists' engagement with rehearsal processes and performances where technology asserts control over the boundaries of space, centring specifically on the author's own practice. This interrogation of theatricality includes three practical research projects (performances) and a three-chapter written thesis that explores the theoretical and practical concerns of artistic engagement with an understanding of space. This thesis explores the physicality of experience via cognitive science and positions it within the realm of the artist, addressing the ways in which material practitioners are always engaged in the experience of materiality. In both the written and practical components of this thesis, I interrogate and propose that space is perceived and constructed not only physically but also experientially. One of the key methodologies of this thesis is to locate, articulate and reflect upon the complex interaction between writing and practice: how material practice affects discourse and vice versa. Chapter One investigates heads pace, which is a feature of performance work that takes place largely in the head of an audience member, by using a set of techniques and technologies that subvert physical space - often including headphones worn by audience members. This chapter introduces many of the arguments of the larger thesis and establishes headspace as a viable term by reviewing the neurology of hearing and contemporary writing on sound reception, and through a dissection of four practical works, one of which was created by the author prior to this thesis: Whisper (Petralia, 2007), The Telephone Call (Cardiff, 2001), The Missing Voice (Cardiff, 1999) and Desire Paths (spell#7, 2004). Chapter Two concerns itself with aberrant pixel space, which, in the context of this project, is concerned with the internal architecture of the screen in relation to the external architecture of the stage in performance. Specifically, aberrant pixel space considers performances that use a cinematic and/or televisual frame that creates distinctions between what is in the shot, and what is not, uses the editing techniques of cinema/television, and plays with scale through its use of fragmented live performance and , perfect screen imagery. Aberrant pixel space is explored through the creation of a practice- as research performance work titled Virtuoso (working title) (petralia, 2009), which uses screens that form the boundaries of a space whose logic is defined by the properties of the television landscape. The work of Big Art Group and Gregory Crewdson are positioned alongside Virtuoso (working title) to understand the characteristics of spaces that can be understood via the extended metaphor of the pixel. Chapter Three focuses on telematic rehearsal space, which suggests that processes of artistic creation are not fixed to specific geographical locations but are in fact transitory, existing in the interchange between physical space and the space of communication. Chapter Three specifically considers the use of videoconferencing in rehearsal processes, using three performances including two new pieces created by the author in collaboration with Tiffany Mills Company: the dance- theatre works Tomorrow's Legs and Berries and Bulls, along with the work of other artists including Mabou Mines. The thesis concludes by interrogating the ways in which these three distinct spaces relate, reflecting on the ways in which space is contingent upon experience. Further, the conclusion discusses the ways that this thesis contributes to a new approach for understanding the making and witnessing process of live performance.

This work explores how colour and light can be used as the prime design materials. They are investigated in unison in relation to spatiality. Colour is a way for us to understand and identify what we see, it is primary for how we interpret our surroundings. The aim is to explore colour, light and reflections, by the means of printing and dyeing of translucent materials, as an attempt to challenge the visual perception of the spectator and the experience of how spatiality is perceived. The project investigates how the boundaries of a textile can be questioned, for example where does a pattern begin and end? Does it only belong to the textile or can it transcend to it’s surroundings? The investigational process is experimental and explores combinations of colour and light in translucent materials, coloured through the techniques of heat transfer printing and dyeing. Swatches made are analysed in relation to each other and to light, with a focus on their visual performance. The final design examples discusses the idea of how textile, light and colour can be used to create, define and illuminate spatiality.

This thesis evolves perception as a hypothesis to reframe architectural praxis negotiated through agent-situation interaction. The research questions the geometric principles of architectural ordination to originate the ‘felt_space infrastructure’, a relational system of measurement concerned with the role of perception in mediating sensory space and the cognised environment. The methodological model for this research fuses perception and environmental stimuli, into a consistent generative process that penetrates the inner essence of space, to reveal the visceral parameter. These concepts are applied to develop a ‘coefficient of affordance’ typology, ‘hypervigilant’ tool set, and ‘cognitive_tope’ design methodology. Thus, by extending the architectural platform to consider perception as a design parameter, the thesis interprets the ‘inference schema’ as an instructional model to coordinate the acquisition of spatial reality through tensional and counter-tensional feedback dynamics. Three site-responsive case studies are used to advance the thesis. The first case study is descriptive and develops a typology of situated cognition to extend the ‘granularity’ of perceptual sensitisation (i.e. a fine-grained means of perceiving space). The second project is relational and questions how mapping can coordinate perceptual, cognitive and associative attention, as a ‘multi-webbed vector field’ comprised of attractors and deformations within a viewer-centred gravitational space. The third case study is causal, and demonstrates how a transactional-biased schema can generate, amplify and attenuate perceptual misalignment, thus triggering a visceral niche. The significance of the research is that it progresses generative perception as an additional variable for spatial practice, and promotes transactional methodologies to gain enhanced modes of spatial acuity to extend the repertoire of architectural practice.

The scope of this piece of work is to reflect upon a series of past and recent publications as well as those in progress referring to innovations in architectural education which has already led and/or might lead to major shifts in future practices. This is an opportunity for the author to reflect on concepts and ideas for the future of architecture which is currently undergoing innovative developments by embracing new theories and enduring professional formation according to contemporary trends. This reflective work has been based on publication of research, including ongoing editorial work related to this topic. The author’s ideas and philosophy on human-oriented design and fractal patterns of social life has embraced dynamics of urban developments in modern and future cities. She has succeeded in considering, uniquely interpreting and further developing ideas and theories of established authors, such as Christopher Alexander’s concepts on patterns and principles of design and Nikos Salingaros’ thermodynamic models of the built environment. The author was inspired by teachers and renowned scholars in history, philosophy and practices of architecture; her own teachers’ experiences and their teaching had offered a singular momentum in her personal career path. This long process started when her teachers succeeded in placing urbanism and architecture side by side inside the Faculty of Architecture of Florence back in the 1970s. Hence the author reflects not only on recent publications, but also on others that have been published in the last decade or so. In this report it is evident that materials produced during these years have been essential and invaluable for her later endeavours in learning, teaching and the training of designers and architects in Great Britain and beyond.

Cette recherche, en lien avec mes activités de pianiste, compositrice et chef d’orchestre, porte sur l’élaboration de l’œuvre de jazz symphonique. Le jazz symphonique a représenté un hybride musical et un terrain de recherche autour de l’espace sonore de l'orchestre. Il a été à bien des égards un précurseur dans l’exploration des possibilités pour créer une musique dans laquelle les approches et les préoccupations jazz et savantes entraient dans une dialectique productive. Le geste d’écriture qu'il a privilégié intègre alors la palette instrumentale comme un révélateur fondamental des structures musicales. Le compositeur élabore un processus musical qui permet au matériau de s’exprimer, de déployer ses potentialités expressives et perceptives par l’appréhension de l’espace orchestral. Identifier et comprendre les stratégies d’écoute que le compositeur destine à l’auditeur et la manière dont il potentialise la signification des éléments constitutifs de l’œuvre représentent un des principaux enjeux de la recherche
This research relates to my pursuits as a pianist, composer and conductor, and concerns the development of the art of symphonic jazz. Symphonic jazz has represented a musical hybrid and a field of research around the soundscape of the orchestra. In many ways, it has been a forerunner in exploring the possibilities for creating music in which jazz and scholarly approaches and inquiries had entered into a productive dialectic. Hence the favoured approach to writing now integrates a variety of instruments as a fundamental revealer of musical structures. The composer creates a musical process that allows the material to express itself and spread its expressive and perceptive potential through comprehension of the orchestral space. Identifying and understanding the composer’s listening strategies for the listener, as well as the way he increases the meaning of the elements constituting the work is one of the main subjects of research

Submitted by Maike Costa (maiksebas@gmail.com) on 2016-07-05T11:50:36Z No. of bitstreams: 1 arquivo total.pdf: 1459949 bytes, checksum: 8265ed7ee9fe7c988a0c7970ae31d488 (MD5)
Made available in DSpace on 2016-07-05T11:50:36Z (GMT). No. of bitstreams: 1 arquivo total.pdf: 1459949 bytes, checksum: 8265ed7ee9fe7c988a0c7970ae31d488 (MD5) Previous issue date: 2015-05-08
Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES
This study it constitutes in a dissertation based on a bibliographic background in which was used as the main source the philosophy’s title ‘Phenomenology of Perception’ by Maurice Merleau-Ponty. Its aim is to analyze the concept of one’s own body and its related spatiality discussed in the mentioned work of the philosopher. At first, it is presented an issue concerning what is the concept of body perceived by physiology as a juxtaposed structure. On the other hand, Merleau-Ponty points to a new understanding of the body, not as constituted bodies, but as one’s own body that is able to recognize its very existence as a living subject, as it is situated in space and not just positioned into it. Trailing the sense of spatiality, Merleau-Ponty discusses about it not in the same wayas addressed by Geography, in which it is possible to think of locations, but still as a point in space where the subject can notice his own body, as perceiver subject. It is the experienced world, lived, in which the subject can recognize his own existence. The notion of space can’t be understood as isolated parts, but with modalities that are associated to the subject. Considering these concepts, it explores also other topics such as intentionality and motricity. The first as a tendency of the one’s own body "to go further" because of its intention to do so and the second as an extension of the body to be able to appropriate the phenomena perceived in order to understand them. It also discusses the concept of perceived world in which the perceiver subject perceives the phenomena and the world in perspective. In addition, he is not alone, as there are other perceiver subjects that carry a peculiarity of ‘I myself’ responsible for the redefinition of the world and the phenomena appropriation through perspectives. There is ‘I myself’ in others, but this can’t be broken into, what is known of it is just what is expressed, communicated. Hence, the importance of the language that is present throughout the discussion not only as verbal language, but as body grammar.
O presente estudo constitui-se em uma dissertação de mestrado fundada em um referencial bibliográfico em que foi utilizada como principal fonte a obra Fenomenologia da Percepção do filósofo Maurice Merleau-Ponty. Seu principal objetivo é analisar o conceito de corpo próprio e sua espacialidade discutida na citada obra do filósofo. A princípio, é apresentado um problema que é o conceito de corpo analisado pela fisiologia como uma estrutura justaposta. Em contrapartida, Merleau-Ponty aponta para uma nova compreensão de corpo, não como constituído de órgãos, mas como corpo próprio, ou seja, que é capaz de reconhecer sua própria existência como um sujeito vivo, pois ele é situado no espaço e não apenas posicionado nele. Tomando como fio condutor o sentido de espacialidade, Merleau-Ponty discorre sobre o mesmo não como um espaço abordado pela Geografia, em que é possível pensar em localizações, mas como um espaço de situação em que o sujeito possa perceber o seu próprio corpo, como sujeito perceptivo. É o mundo experimentado, vivido, no qual o sujeito consegue reconhecer sua própria existência. A noção de espaço não pode ser compreendida como partes isoladas, mas como situação, pois o corpo próprio habita o espaço de seu corpo. Considerando estes conceitos, adentra-se também em outros temas como: a intencionalidade e a motricidade. O primeiro como uma tendência do corpo próprio de se “dirigir para”, porque tem a intenção de fazê-lo, e o segundo como uma extensão do corpo de poder se apropriar dos fenômenos percebidos a fim de compreendê-los. Também é discutido neste trabalho o conceito de mundo percebido em que o sujeito perceptivo percebe os fenômenos e o mundo em perspectivas. Além disso, ele não está sozinho, pois existem outros sujeitos que carregam consigo uma particularidade de Eu segundo a qual este é responsável pela ressignificação do mundo e da apropriação dos fenômenos através de perspectivas. Existe o Eu de outrem, mas este não pode ser invadido, o que se sabe dele é apenas o que é expresso, comunicado. Eis a importância da linguagem que se faz presente em toda a discussão não apenas como linguagem verbal, mas como gramática corporal.

The visual system is remarkably efficient at extracting summary statistics from the environment. Yet at any given time, the environment consists of many groups of objects distributed over space. Thus, the challenge for the visual system is to summarize over multiple sets distributed across space. My thesis work investigates the capacity constraints and computational efficiency of ensemble perception, in the context of perceiving multiple spatially intermixed groups of objects. First, in three experiments, participants viewed an array of 1 to 8 intermixed sets of circles. Each set contained four circles in the same colors but with different sizes. Participants estimated the mean size of a probed set. Which set would be probed was either known before onset of the array (pre-cue), or after that (post-cue). Fitting a uniform-normal mixture model to the error distribution, I found participants could reliably estimate mean sizes for maximally four sets (Experiment 1). Importantly, their performance was unlikely to be driven by a subsampling strategy (Experiment 2). Allowing longer exposure to the stimulus array did not increase the capacity, suggesting ensemble perception was limited by an internal resource constraint, rather than an information encoding rate (Experiment 3). Second, in two experiments, I showed that the visual system could hold up to four ensemble representations, or up to four individual items (Experiment 4), and an ensemble representation had an information uncertainty (entropy) level similar to that of an individual representation (Experiment 5). Taken together, ensemble perception provides a compact and efficient way of information processing.
Medicine, Faculty of
Graduate

Thesis (S.M.)--Massachusetts Institute of Technology, Dept. of Mechanical Engineering, 2005.
Includes bibliographical references (p. 86-87).
Using a pin-array type tactile display as a stimulator of the finger pad, a psychophysical study was conducted on the vibrotactile perception. The passive touch with vibratory stimuli in the low frequency could be an alternative of the active touch for the presented stimuli: polygons, round shapes and gratings. As for the effect of frequency on the texture discrimination, the high correct answer proportions corresponded to the most sensitive frequency ranges of each mechanoreceptor. The spatial acuity decreased as the frequency of the stimuli increased when the stimuli presented by the equal number of contactors. As an analogy between color vision and tactile perception, a spatial configuration of the multiple contactors was proposed to deliver the intermediate pitch using the compound waveform defined as a sinusoidal stimulus which was presented by four contactors vibrating with 30Hz and 240Hz. The subjects felt qualitatively different the compound waveform and the pure-tone.
(cont.) When the high frequency component had 3 times the intensity of the other component, the perceived frequency of the compound waveform was about 120Hz which was much lower than the component frequency 240Hz. The experimental results were explained by the hypothesis of a ratio code, neural mechanism signaling the frequency of vibratory stimuli based on the ratio of the one-to-one activated population of mechanoreceptors. In addition, the intensity of the components also affected the overall perceived frequency.
by Minseung Ahn.
S.M.

A l'heure où les réseaux (à la fois techniques et humains) défmissent de nouveaux repères topologiques/topographiques et géographiques du monde contemporain, qu'en est-il de la "pertinence" de nos représentations de l'espace, des lieux, décrivant des organisations centralisées, territoriales ajustant des « calculs» de distance et de proximité périphérique? Qu'advient-il de notre propre relation (au sens phénoménologique, subjectif et existentiel) à l'espace? S'élabore-il une nouvelle spatialité contemporaine des réseaux autorisant des "points" de passage, de rencontre entre deux réalités: celle des lieux géographiés, localisés, situés et celle des lieux reliés, interconnectés, distribués ? Cette thèse se propose d'examiner ces questions dans le cadre de l'étude d'un nouveau système, dispositif de représentation cartographique (développé conjointement à l'apparition de nouveaux paradigmes) : 1'« hypercarte». Il s'agira alors d'en comprendre ses spécificités et particularités « fonctionnelles» - qui la distinguent d'une carte "classique" - d'analyser ses modes d'exploration et de navigation, de parcours, de lecture et de traitement de l'information ainsi que ses arrières plans conceptuels et théoriques et méthodes qui sous-tendent sa réalisation.

Cette étude de recherche géocritique analyse "la Nieta de Fedra" (1929) d'Halma Angelico, La guerre de Troie n'aura pas lieu (1935) de Jean Giraudoux, Antigona (1939) de Salvador Espriu et Jason (1945) d'Elisabeth Porquerol, des pièces théâtrales au sujet mythologique qui mettent en lumière le traitement d'une féminité liée à une spatialité multiple. Le procédé géocritique permet de viser cette étude d'une façon géocentrée, dévoilant le contexte historique des pièces, l'analyse de la féminité, l'ouvrage des auteurs et les différentes transpositions de ces textes sur une scène. L'intertextualité est mise à l'honneur à partir des adaptations scéniques, présentant de plus un caractère conjectural dans les oeuvres où il existe une impossibilité de représenter. Les différents espaces ( narrés, dialogués, didascalies, espace ludique, scénographie, extra-littéraires, etc), permettent d'accorder une procédure fidèle aux idées que les auteurs voulaient véhiculer au moment de l'écriture de leurs pièces. De même à travers l'espace scénique, les différents metteurs en scène traduisent visuellement ces idées. Nous verrons donc que la féminité exposée est le fruit du contexte historique et d'une vision spatiale qui se concentre sur les espaces sédentaires et nomades (Deleuze et Guattari)
This geocritical study analyzes "La Nieta de Fedra" (1929) by Halma Angelico, "La guerre de Troie n'aura pas lieu" (1935) by Jean Giraudoux, "Antigone" (1939) by Salvador Espriu and "Jason" (1945) by Elisabeth Porquerol, all of which are theater plays with mythological themes and which highlight the treatment of feminity in relationship to a multiple spatiality. The geocritical process enables this geocentric study, revealing the historical context of the plays, an analysis of the feminity, the work of these authors, and the different transpositions of these texts on stage. Intertextuality is emphasized through the different stage adaptations, presenting in addition the more speculative nature in the works which are impossible to represent. The different spaces (narrative, dialogued, stage directions, playful space, scenography, extra-literary, etc. ) make it possible to give a fair representation of the ideas that the authors wanted to convey at the time they wrote their plays. Similarly, through the scenic space, the various directors visually translate these ideas. We will sea that the exposed feminity is the result of the historical context and a spatial vision that focuses on sedentary and nomadic spaces (Deleuze and Guattari)

Le monde du divertissement numérique connaît depuis plusieurs années une évolution majeure avec la démocratisation des technologies vidéo 3D. Il est désormais commun de visualiser des vidéos stéréoscopiques sur différents supports : au cinéma, à la télévision, dans les jeux vidéos, etc. L'image 3D a considérablement évolué mais qu'en est-il des technologies de restitution sonore associées ? La plupart du temps, le son qui accompagne la vidéo 3D est basé sur des effets de latéralisation, plus au moins étendus (stéréophonie, systèmes 5.1). Il est pourtant naturel de s'interroger sur le besoin d'introduire des événements sonores en lien avec l'ajout de cette nouvelle dimension visuelle : la profondeur. Plusieurs technologies semblent pouvoir offrir une description sonore 3D de l'espace (technologies binaurales, Ambisonics, Wave Field Synthesis). Le recours à ces technologies pourrait potentiellement améliorer la qualité d'expérience de l'utilisateur, en termes de réalisme tout d'abord grâce à l'amélioration de la cohérence spatiale audio-visuelle, mais aussi en termes de sensation d'immersion. Afin de vérifier cette hypothèse, nous avons mis en place un système de restitution audio-visuelle 3D proposant une présentation visuelle stéréoscopique associée à un rendu sonore spatialisé par Wave Field Synthesis. Trois axes de recherche ont alors été étudiés : 1 / Perception de la distance en présentation unimodale ou bimodale. Dans quelle mesure le système audio-visuel est-il capable de restituer des informations spatiales relatives à la distance, dans le cas d'objets sonores, visuels, ou audio-visuels ? Les expériences menées montrent que la Wave Field Synthesis permet de restituer la distance de sources sonores virtuelles. D'autre part, les objets visuels et audio-visuels sont localisés avec plus de précisions que les objets uniquement sonores. 2 / Intégration multimodale suivant la distance. Comment garantir une perception spatiale audio-visuelle cohérente de stimuli simples ? Nous avons mesuré l'évolution de la fenêtre d'intégration spatiale audio-visuelle suivant la distance, c'est-à-dire les positions des stimuli audio et visuels pour lesquelles la fusion des percepts a lieu. 3 / Qualité d'expérience audio-visuelle 3D. Quel est l'apport du rendu de la profondeur sonore sur la qualité d'expérience audio-visuelle 3D ? Nous avons tout d'abord évalué la qualité d'expérience actuelle, lorsque la présentation de contenus vidéo 3D est associée à une bande son 5.1, diffusée par des systèmes grand public (système 5.1, casque, et barre de son). Nous avons ensuite étudié l'apport du rendu de la profondeur sonore grâce au système audio-visuel proposé (vidéo 3D associée à la Wave Field Synthesis)
The digital entertainment industry is undergoing a major evolution due to the recent spread of stereoscopic-3D videos. It is now possible to experience 3D by watching movies, playing video games, and so on. In this context, video catches most of the attention but what about the accompanying audio rendering? Today, the most often used sound reproduction technologies are based on lateralization effects (stereophony, 5.1 surround systems). Nevertheless, it is quite natural to wonder about the need of introducing a new audio technology adapted to this new visual dimension: the depth. Many alternative technologies seem to be able to render 3D sound environments (binaural technologies, ambisonics, Wave Field Synthesis). Using these technologies could potentially improve users' quality of experience. It could impact the feeling of realism by adding audio-visual spatial congruence, but also the immersion sensation. In order to validate this hypothesis, a 3D audio-visual rendering system is set-up. The visual rendering provides stereoscopic-3D images and is coupled with a Wave Field Synthesis sound rendering. Three research axes are then studied: 1/ Depth perception using unimodal or bimodal presentations. How the audio-visual system is able to render the depth of visual, sound, and audio-visual objects? The conducted experiments show that Wave Field Synthesis can render virtual sound sources perceived at different distances. Moreover, visual and audio-visual objects can be localized with a higher accuracy in comparison to sound objects. 2/ Crossmodal integration in the depth dimension. How to guarantee the perception of congruence when audio-visual stimuli are spatially misaligned? The extent of the integration window was studied at different visual object distances. In other words, according to the visual stimulus position, we studied where sound objects should be placed to provide the perception of a single unified audio-visual stimulus. 3/ 3D audio-visual quality of experience. What is the contribution of sound depth rendering on the 3D audio-visual quality of experience? We first assessed today's quality of experience using sound systems dedicated to the playback of 5.1 soundtracks (5.1 surround system, headphones, soundbar) in combination with 3D videos. Then, we studied the impact of sound depth rendering using the set-up audio-visual system (3D videos and Wave Field Synthesis)

Bilaterally independent (mismatched) hearing aids cannot replicate the natural timing and level cues between ears, and hence, may result in negative consequences for localization and speech perception in spatially-separated noise performance. Five gain reduction patterns were used to evaluate the impact of bilaterally mismatched gain reduction schemes on localization and speech perception performance in noise, compared to an unaltered bilaterally linear time-invariant amplification scheme (reference scheme), in which audibility was optimized. The bilaterally mismatched gain reduction schemes were later matched (synchronized) between ears to explore the possibility of restoring the deteriorated performance due to the mismatched schemes. Sound quality and listening-effort ratings among different gain reduction patterns were assessed, as well as the relationship between self-reported localization ability in daily life and measured localization performance in a laboratory setting. Twenty-four bilateral hearing aid users were enrolled in this study and tested in a virtual environment with insert earphones. The results indicated that bilaterally mismatched gain reduction schemes had a negative impact on localization, compared to the reference scheme; whereas matching gain reduction schemes between ears improved the deteriorated localization performance. In contrast, the use of bilaterally mismatched gain reductions did not negatively impact the speech perception performance in noise. Matching the gain reduction scheme between ears actually resulted in reduced speech perception performance, compared to the mismatched gain reductions. Self-reported localization abilities were not found to be strongly related to the measured localization performance in this study. Finally, these five different gain reduction patterns did not result in significantly different overall sound quality ratings and listening-effort ratings for hearing aid users. However, the use of gain reductions (mismatched or matched) reduced the perceived noise intrusiveness, compared to the use of reference schemes. It is unclear why there was a discrepancy between the results of the localization and speech perception performance in the present study. It is likely that hearing-impaired listeners do not use binaural cues in the localization task in the same manner as in the speech perception task.

I en narratologisk studie granskas spatialitet i skönlitterär prosatext. I texten undersöks några spatiala nivåer som kan länkas till extradiegetisk berättarinstans och "normal" perception kontra drömmar och visioner hos karaktärer inom diegesen. Till den narratologiska studien kopplas undersökningsmodeller hämtade från det som med en paraplyterm kallas kognitiv poetik och som behandlar både den litterära texten och läsarens perception och kognition i läsprocessen. I studien berörs också den fiktiva berättelsen betraktad som "värld" ur ett litteraturteoretiskt och filosofiskt resonemang kring begreppen "actual world", "possible worlds" och "fictional worlds".  Det övergripande syftet är att förklara hur text och läsarkognition samspelar för att skapa mentala, rumsliga "bilder" hos läsaren, bilder som kan skifta mellan olika läsare och som resulterar i den berättelsens "värld" som läsaren upplever. Som grundtexter i avhandlingsarbetet används Eyvind Johnsons Krilonsvit.

Cette thèse porte sur la conception et la réalisation d'une interface de contrôle interactif d'un véhicule semi-autonome, permettant à un utilisateur de le télésuperviser à l'aide d'un dispositif de réalité virtuelle. Pour cela, nous avons conçu une architecture s’appuyant sur la plateforme RTMaps afin de concevoir une application de réalité mixte dédiée à la télésupervision. Sur la base de cette architecture, nous avons d’une part réalisé un simulateur de supervision d’un véhicule semi-autonome. Nous nous sommes d’autre part attaché à placer l’utilisateur dans les conditions de la téléprésence, afin de se rapprocher de la sensation d’être physiquement présent au sein de l’environnement du véhicule. Deux perceptions sensorimotrices ont été étudiées : la vision et le son. L’utilisateur perçoit ainsi de façon immersive la scène distante, à l’aide d’un couplage de la position de la tête de l’utilisateur avec une caméra montée sur une tourelle. Le faible champs visuel de la caméra étant nuisible à la sensation d’immersion, nous avons recalé le flux vidéo avec une modélisation 3d de l’environnement du véhicule complétant ainsi la perception détaillée, mais à faible angle de perception, fournie par la vidéo par une perception plus grossière, mais à grand angle de perception, fournie par le modèle 3d. Enfin, afin d’enrichir la perception visuelle par un contenu sonore spatialisé adapté, nous avons doté la caméra de différentes sortes de microphones, et évalué par une étude psychophysique les différentes configurations résultantes. Nous avons ainsi développé un système de télésupervision, permettant de superviser un véhicule en respectant les contraintes de la téléprésence
This thesis deals with the conception and realisation of an interactive control interface of a semi-autonomous vehicle, allowing a user to telesupervise it with a virtual-reality feedback device. To achieve this goal, we have designed an architecture on top of RTMaps software platform, to design a mixed reality application in a telesupervision purpose. On the base of this architecture, we have realized a supervision simulator of a semi-autonomous vehicle. On the other hand, we have placed the user in the conditions of a telepresence feeling, to be as close as possible to the sensation to be physically present on the remote vehicle site. Two sensory perceptions have been studied: vision and sound. The user perceives the remote scene in an immersive way, as the orientation of the user head is coupled with a turret mounted camera. The poor visual field of the camera being annoying to the sensation of immersion, we have registered the video flow with a 3D model of the vehicle’s environment, thus completing the detailed but not wide perception of the video by a less detailed but wider perception given by the 3d model. At last, to enrich the visual perception by adapted sound data, we have added different kinds of microphones to the camera, and we have evaluated the different configurations by a psychophysic study. Thus, we have developed a telesupervision system, allowing to supervise a vehicle’s path and to respect the telepresence rules

Du bouleversement de la ville par les techniques, et en particulier par les techniques de transports, est nee une spatialite originale. Au debut du siecle, la route traditionnelle est adaptee a l'automobile et des autoroutes sont amenagees. Ces amenagements provoquent une approche de l'espace plus intellectuelle, moins sensible, parfois desorientante. L'experience urbaine contemporaine peut etre decrite a partir de cette experience type. On comprend alors comment a un fait urbain mineur, fonde sur la constitution dans la duree de reperes spatiaux partages de facon intersubjective, a succede un fait urbain majeur, assemblage d'amenagements techniques articules suivant une codification minimale et explicite
The disruption produced by technological development, especially transportation development, created an original space. At the begining of the century, traditionnal roads had to be adapted to the motorcar and motorways are builded. Those equipments cause a spatial experience wich appears more intellectual, less sensitive, sometimes disorientating. On the model of this typical experience, the contemporary urban experience can be described. Then, one understands how a minor urban fact, based on the constitution of spatial marks in a certain length of time and shared by a community, has been followed by a major urban fact, assembly of technical utilities, articulated with minimal and explicite links

Cette thèse, qui s’inscrit dans le domaine de l’acquisition des langues étrangères, a pour objectif de comprendre comment les étudiants chinois, au cours de l’acquisition du français, expriment la référence spatiale (la localisation et le déplacement dans l’espace) lorsqu’ils s’acquittent d’une tâche verbale complexe. Nous avons effectué une étude longitudinale de trois ans, en recueillant des productions orales narratives à trois reprises, auprès de 22 apprenants de la même classe, avec des supports en images : Le Chat et Le Cheval respectivement aux deux premiers cycles, et Frog, where are you ? à chaque cycle. Cette procédure permet non seulement d’observer l’acquisition de la spatialité en français de tous les apprenants à un moment donné, mais aussi de mettre en lumière la progression acquisitionnelle de chaque apprenant dans le temps. Basée sur des analyses aux niveaux phrastique, conceptuel et discursif, nous essaierons de trouver les facteurs qui influencent l’expression de la spatialité en français, et de proposer des solutions pédagogiques en fonction des difficultés identifiées chez les apprenants, en vue d’améliorer l’acquisition de la spatialité dans le contexte de l’enseignement du français en Chine
This thesis intervenes in foreign language acquisition, and has an objective to understand how Chinese students in university learn French space expression. I have thus conducted a three-year research and carried out three corpus collections with 22 Chinese learners from the same class, respectively in the first three years in French learning. The Chinese learners are required to tell a story according to the pictures. In every collection, all learners are assigned to tell the Frog story; in the first two collections the additional Cat and Horse stories are respectively required. From the collected corpus, each learner are fully studied, including the space expressions at specific stages and the progress in three-year period. The analysis based on the data has been carried out in the three levels: the sentence level, the conceptual level and the discursive level. It is aimed to find the factors which influence the space expression in French. Moreover, the thesis provides teaching solutions according to the learning difficulties identified in the corpus

La réalité virtuelle ouvre une fenêtre, voulue transparente, sur un monde virtuel dans lequel sont plongés des participants. Conçus d'abord comme uniquement visuels, les mondes virtuels sont maintenant aussi sonores, grâce aux technologies récentes de rendu sonore spatialisé. Le système innovant proposé et étudié ici se compose de larges panneaux de structure sandwich, servant d'écrans, au revers desquels sont collés des excitateurs électrodynamiques qui les mettent en vibration, créant ainsi un champ acoustique autour des auditeurs. Le rendu visuel 3D est généré par stéréoscopie passive adaptative et le rendu sonore spatialisé par holophonie. L'utilisation d'un panneau comme source sonore étendue pour l'holophonie suppose la compréhension de son comportement vibro-acoustique. L'estimation des non-linéarités dans les systèmes vibrants est abordée à partir d'une méthode proposée par A. Farina en 2000 : cette méthode est justifiée sur le plan théorique et son applicabilité est étendue (séparation des sources de non-linéarité). Une méthode d'estimation des modules d'élasticité et des facteurs d'amortissement pertinents pour la propagation dans le panneau sandwich des ondes de flexion et de cisaillement est aussi développée. Le système est caractérisé expérimentalement grâce à ces deux outils. La perception spatiale, par les modalités audio, visuelle et audio-visuelle, du monde virtuel synthétisé par le dispositif est ensuite abordée. Il est montré que les participants fusionnent avec succès les flux auditif et visuel qui leur sont présentés et perçoivent les rendus auditif et visuel de façon spatialement cohérente. Les caractéristiques de leur perception spatiale de l'espace virtuel sont analysées en fonction des modalités mises en jeu et comparées avec les données de la littérature. Le concept d'ancrage du monde virtuel au dispositif réel qui le crée est en outre proposé : la distance entre le sujet et le panneau semble en effet jouer un rôle pivot dans la loi de compression des distances perçues. Enfin, deux applications de réalité virtuelle basées sur ce système illustrent les nombreuses possibilités offertes par cette nouvelle interface "homme-machine".

No
Our sensory systems face a daily barrage of auditory and visual signals whose arrival times form a wide range of audiovisual asynchronies. These temporal relationships constitute an important metric for the nervous system when surmising which signals originate from common external events. Internal consistency is known to be aided by sensory adaptation: repeated exposure to consistent asynchrony brings perceived arrival times closer to simultaneity. However, given the diverse nature of our audiovisual environment, functionally useful adaptation would need to be constrained to signals that were generated together. In the current study, we investigate the role of two potential constraining factors: spatial and contextual correspondence. By employing an experimental design that allows independent control of both factors, we show that observers are able to simultaneously adapt to two opposing temporal relationships, provided they are segregated in space. No such recalibration was observed when spatial segregation was replaced by contextual stimulus features (in this case, pitch and spatial frequency). These effects provide support for dedicated asynchrony mechanisms that interact with spatially selective mechanisms early in visual and auditory sensory pathways.

Thesis (M. Arch.)--University of Tennessee, Knoxville, 2009.
Title from title page screen (viewed on Mar. 11, 2010). Thesis advisor: William Rudd. Vita. Bailey appendix II.pdf (18364 KB) link located at bottom of [Article summary page]. Includes bibliographical references.

This thesis enquires into the question of the hidden nature of things and reality in the context of David Hume's philosophy. In the context of a Humean approach to reality, it discusses whether the things which we perceive and which are considered to be perceptions can have some sort of non-empirical correlation that lies beneath them and whether it can be called the hidden nature of these things. The first half of the thesis is focused on the philosophy of David Hume. In the second half of the thesis two original considerations about the hidden nature and its characteristics are presented. The thesis starts with three selected theories of substance as presented in A Treatise of Human Nature. The theory of John Locke and the theory of the peripatetics are presented from Hume's critical perspective. Consequently is presented an interpretation called the New Hume. In the context of this interpretation, Hume presumes that there are hidden entities lying beneath empirical reality. Then, there are two considerations focused on the hidden nature of things and its characteristics which are presented. These characteristics are consequently being described in an indirect manner. And finally an original suggestion of how to understand the hidden nature is presented. It has the character of mere...