Tesi sul tema "Vidéo expérimentale"
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Roux, Ugo. "Communication virale dans la publicité au sein des espaces numériques : Approche critique et expérimentale du phénomène". Thesis, Toulon, 2016. http://www.theses.fr/2016TOUL0003/document.
Our thesis examines the notion of viral communication in digital social spaces both in general and when applied to online video advertisement. Our research revealed a lack of clarity and coherence in its definition and meaning (Beauvisage et al., 2011) that necessited an effort of standardization before planning to pursue our work. Furthermore, our literature review pointed out the complexity of the viral phenomenon and its comprehension. This complexity is due to the number and different factors originating the viral phenomenon (Beauvisage et al., 2011).In order to highlight one of those factors, we make the first hypothesis that the variations in the quality of the definition (high or standard) of a video have an effect over the evaluation of the video (H1). Corollary, we think that the quality of the definition affects this video sharings (H2). More precisely, we think that a video will be more shared if it is watched in high definition rather than in standard definition. In order to meet those hypotheses, we opted for an experimental approach
Roux, Ugo. "Communication virale dans la publicité au sein des espaces numériques : Approche critique et expérimentale du phénomène". Electronic Thesis or Diss., Toulon, 2016. http://www.theses.fr/2016TOUL0003.
Our thesis examines the notion of viral communication in digital social spaces both in general and when applied to online video advertisement. Our research revealed a lack of clarity and coherence in its definition and meaning (Beauvisage et al., 2011) that necessited an effort of standardization before planning to pursue our work. Furthermore, our literature review pointed out the complexity of the viral phenomenon and its comprehension. This complexity is due to the number and different factors originating the viral phenomenon (Beauvisage et al., 2011).In order to highlight one of those factors, we make the first hypothesis that the variations in the quality of the definition (high or standard) of a video have an effect over the evaluation of the video (H1). Corollary, we think that the quality of the definition affects this video sharings (H2). More precisely, we think that a video will be more shared if it is watched in high definition rather than in standard definition. In order to meet those hypotheses, we opted for an experimental approach
Lu, Shuxian. "Modélisation et validation expérimentale de concept de Détection Vidéo Coopérative destiné à un système stéréo anticollision inter-véhicule". Thesis, Paris 11, 2015. http://www.theses.fr/2015PA112154/document.
This thesis was devoted to the development of a new detection method for vehicular collision avoidance system based on trajectory measurement, which could contribute to driver assistance systems.In order to obtain high detection probability, we have chosen the cooperative stereoscopic video solution: the cooperation between vehicles makes it easier and more reliable when they aim to detect each other. There are two participants in the system: the “system carriers" vehicles, or the " followers" are equipped with stereoscopic cameras (two image sensors), who belong to high speed technology families; the "targets" vehicles are equipped with modulated LED lights, with the modulation frequency being already known by the "followers". After space-time filtering, the system detects the signals emitted bymodulated lights sources, which greatly reduces the amount of information to be processed comparing to traditional trajectory calculations methods. The detection of modulated light is achieved by filtering based on digital image processing, which is adapted to the desired modulation frequency. We have proposed three types of filters suitable for detecting the modulation at this frequency and at the same time for rejecting the background as well as possible.In order to be able to evaluate the performances of both detecting signals and rejecting false alarms, we first performed numerical simulations based on the model signals, then calculations on real signals acquired in static and driving experiments. The tested speeds were from 30km/h up to 100km/h, which allowed us to analyze the signals emitted from vehicle lights as well as the behavior of our filters under different angular velocities of the lights (zero, low and high). The result of these experiments showed that our method of filtering could detect LED-type DRL lights up to 140m without any false alarm. This is essential to define more precisely the values of thresholds of such systems. We have also evaluated technologies that are possible to improve system performance in the future, which are not yet ready to be used in industry productions. For example, artificial "retinas" could allow us to integrate analog filters in the chips, and thus to reduce bandwidth of the filters
Monmeyran, Amaury. "Étude expérimentale d’un modèle de biofilm bactérien multi-espèces en vidéo-microscopie : cinétique de formation et interactions entre espèces". Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUS242.
During my PhD work, I characterized the development of a multi-species biofilm in milli-fluidic channels under constant flow of nutrient medium. I first developed the use of a new fluorescent reporter on a single-species Escherichia coli biofilm. I have shown the limitations of classical GFP type reporters on the system and introduced the inducible fluorescence protein FAST to overcome these limitations. With this new tool, I studied the formation of a multi-species biofilm, resulting from a natural biofilm adapted to the laboratory, consisting of Bacillus thuringiensis (Bt), Pseudomonas fluorescens (Pf), Kocuria salsicia (Ks) and Rhodocyclus sp. (R). I characterized the development of this adherent community by video-microscopy of transmitted light and fluorescence, by measuring in real time the kinetics of development of global biomass and fluorescent species within the community. I thus highlighted a succession of phases of growth and recession of the biofilm, then the establishment of stationary state after 30h of growth. I also found that Pf, numerically the dominant species of this community, operates after a few hours a change of niche probably giving him an important advantage. These results led me to formulate the hypothesis that the formation mechanism of this adherent community is largely governed by the equilibrium of O2 in the system. Finally, I have studied the different combinations that can be formed by members of the community in search of existing interactions between bacteria. I was able to show the existence of competitive interactions between Pf and Bt, the parasitism relation of Bt on Ks, as well as that of amensalism of Pf on Ks. We also determined that R develops in a neutral way towards the other species. Our results suggest that these interactions are mainly based on physical interactions and physicochemical regulation
Moreau, Jean-Pierre. "De la perception à la représentation : vers une épistémologie de l'oeuvre interdiscursive : pour une analyse de l'oeuvre vidéomusicale". Thesis, Aix-Marseille, 2018. http://www.theses.fr/2018AIXM0284.
As an emerging art practice, videomusic appears as a work that is fixed upon an electronic support, "combining music and moving image in a unified sensory expression" (Piché). On the one hand the terms "music" and "image" are used here to refer to electroacoustic or experimental music, and to the visual arts (animation, photography), on the other hand.Putting into question the hybridity of this alloy, we propose that there is dialogical relationship to the work (Bakhtine) based on the audio-spectator awareness of time (Husserl), and will show from examples that demonstrate the Videomusic as a "theater of a relational activity that is perpetuated in [her]" (Simondon). The audio-spectator then forms a system with the work, it informs and it becomes a discourse, in a transducing movement (Simondon).Within the discursive videomusic work, notion of identity will no longer apply to the two media but to this rhetorical relationship (Ricœur). Relying on the experience acquired with the Unités Sémiotiques Temporelles (UST), musical analysis tools created by the MIM laboratory, implementing observation, experimentation and refutation, we will then endeavor to develop a method to name, represent and finally analyze this special arrangement of the work
Zara, Henri. "Système d'acquisition vidéo rapide : application à la mécanique des fluides". Saint-Etienne, 1997. http://www.theses.fr/1997STET4012.
Le, Bellu Sophie. "Capitalisation des savoir-faire et des gestes professionnels dans le milieu industriel : mise en place d’une aide numérique au compagnonnage métier dans le secteur de l’énergie". Thesis, Bordeaux 2, 2011. http://www.theses.fr/2011BOR21825/document.
In large industrial companies, the transmission of the embodied in professional practices traditionally takes place as part of a series of training courses given by former operators and of journeyman practices implemented directly on site. This situation will undoubtedly change, because nowadays many companies are facing the problem of a massive departure of operators into retirement. This requires, on the one hand, the preservation of the appropriate professional gestures for the maintenance of aging technical plant, and on the other hand an adaptation of the professional gestures to technological evolution. In the energy sector, Electricité de France (EDF) is also confronted with this issue of the evolution of these journeyman practices. For the company, the situation is rendered more complex as a result of highly variable practices due to the presence of almost one hundred power generation plants with a wide geographic distribution, and with diversified generation methods involving different cultural practices (nuclear, thermal, hydraulic).The present research addresses two objectives:(1) On the theoretical level, we sought to understand, based on field data, the nature of the explicit and implicit transmission and formalization of knowledge underlying the performance of professional gestures. This takes place: - on the one hand, by means of the confrontation of the existing approaches in the different schools, at international level, with the empirical reality; - and, on the other hand, by means of the identification of the gap in the literature as concerns the treatment and modelling of tacit knowledge and embodied know-how as compared to the practical requirements of transmission.(2) On the practical level, we sought to develop an approach to situational learning of embodied know-how by exploring the recourse to digital ethnography tools. This aims:- on the one hand, to perpetuate the knowledge linked to the gestures;- and, on the other hand, to devise a method for the creation of structured, video-based educational supports. This practical phase has afforded the opportunity to test our models on real life cases. The combination of technical, theoretical and methodological tools we applied has led to the design of several products.We designed, and tested on the field, a method for the capture and analysis of professional gestures. This method is based on dual video recordings: an external camera and a subjective camera mounted on the safety helmet of the operator performing the gesture. This recording is coupled to a specific protocol of oral expression whilst performing the gesture.We also modelled, tested and formalised a teaching resource in an educational setting: the Multimedia platform for APprenticeship (MAP). It is based on a decomposition and structuring of the gesture illustrated primarily by annotated video but also by means of functional schematics images, photos, etc. This decomposition results from the analysis of the gesture carried out upstream and based on Russian Activity Theory and Perceived Quality.These two products provide an operational chain intended for the trainers of EDF’s Training Division, for the capture and transmission of the tacit and explicit knowledge involved in professional gestures. The incorporation of the MAP into EDF’s educational system, in real life training sessions, has been very positively evaluated and received by both trainers and trainees. In May 2011 it was decided to launch the industrialization phase of the method and the MAP throughout the company
Chevalier, Fleur. "Formater pour mieux régner : vidéastes et performers à l’épreuve de la télédistribution en France, 1975-1998". Electronic Thesis or Diss., Paris 8, 2020. http://www.theses.fr/2020PA080045.
From the early 1960s, within the context of French television broadcasting, some artists seize opportunities to reach advanced technologies, allowing them to explore the aesthetic potential of the electronic image as well as to lead their own visual research. At the crossroads of experimental or activist cinema, avant-garde movements and kinetic art, all of these marginal practices tend to ignore the norm of the so-called realistic image and the deceptive verisimilitude which rule the audio-visual mainstream. How to find a place within a structure entirely devoted to the distribution of stereotyped products designed to attract the largest segment of TV consumers? How to infiltrate inside the gaps of an industry resolutely hostile to the slightest visual and ideological glitch? The diverse strategies of the artists who chose to work within the field of television broadcasting are highly influenced by the economic mutations that transformed the French audio-visual landscape, from the dismantling of the ORTF to the partial privatization of the TV network. Facing the rigidity of the standards dictated by the mass media, the concept of “détournement” – or “diversion” –quickly appears to be a solution to blend into the audio-visual environment while continuing to shape satirical “counter-images”. The wish to explore the cathode-ray image as a medium is then supplanted by the desire to hack into the media network and its rhetoric. Nevertheless, as soon as the image is regarded as a public space to colonize, it becomes difficult to escape the coercive economy of the entertainment world
Le, Bellu Sophie. "Capitalisation des savoir-faire et des gestes professionnels dans le milieu industriel : mise en place d'une aide numérique au compagnonnage métier dans le secteur de l'énergie". Phd thesis, Université Victor Segalen - Bordeaux II, 2011. http://tel.archives-ouvertes.fr/tel-00630386.
Tajariol, Federico. "Les effets des indices non-verbaux sur les activités de communication à distance : deux études expérimentales sur le dialogue tutoriel". Université Joseph Fourier (Grenoble), 2006. http://www.theses.fr/2006GRE10189.
We studied the effect of non-verbal cues on a video-mediated tutoring dialogue. Firstly, we presented theoretical underpinnings based on H. H. Clark's communication theory and we reviewed experimentations of the role of kinesic cues (facial expressions, body gestures) and ostensive-inferential cues (actions, deictic gestures). Next, we described the coding scheme we had used to analyze the tutoring dialogue during a procedural task and we presented two experimental studies: the aim of the first study was to evaluate the effects of kinetic cues on verbal dependant variables (the tutor's proactive behaviour, the tutor-student's mutual understanding and the intrinsic tutoring speech acts), performance (student's learning score) and subjective impressions (perceived quality of the dialogue). In the second study we evaluated the effects of ostensive-inferential cues on the same dependant variables. The outcomes of study 1 show that the tutor's behaviour is more proactive when kinesic cues are available, whereas study 2 shows that ostensive-inferential cues let the tutor and the student focus on intrinsic learning contents, improving mutual understanding and student's performance
Blanié, Antonia. "Evaluation expérimentale du raisonnement clinique dans le cadre des jeux sérieux pour la formation des professionnels de santé. Comparative value of a simulation by gaming and a traditional teaching method to improve clinical reasoning skills necessary to detect patient deterioration: a randomized study in nursing students Assessing validity evidence for a serious game dedicated to patient clinical deterioration and communication". Thesis, université Paris-Saclay, 2020. http://www.theses.fr/2020UPASS092.
Improvement of clinical reasoning (CR) is a key issue for the future of medicine because it has been established that imperfect reasoning leads to insufficient care results. CR is a complex cognitive process which synthesizes information obtained from the clinical situation, then uses it to make a diagnostic analysis and take a decision on patient management by integrating previous knowledge and experience. Training for this skill is therefore essential. To improve reasoning, knowledge of the mechanisms which build it up is necessary and a review of these mechanisms constitutes the initial part of this thesis.Training of healthcare professionals through simulation is becoming widespread with the objective of "never the first time on a patient". In rapid expansion, the use of serious games (SG) represents an interesting pedagogical tool. A review of the literature on the effectiveness of SG and more particularly in the context of CR is also included in the initial part of this thesis. Thus, SG is effective and may, among other things, target certain skills, including CR. However, most studies dealing with CR by using SG include qualitative assessments or self-assessments of learners or focus only on the outcome (decision making). Therefore, the educational value and modalities of SG in the training of CR of health professionals remain to be further explored.The SG LabForGames Warning was developed in the LabForSIMS simulation center for nursing students and targets detection of patient deterioration and the ensuing communication. The objective of this thesis is to test a learning mode using SG simulation in order to improve CR in healthcare professionals.The first study evaluated the validity of the SG LabForGames Warning according to the Messick’s Framework. This study showed that scores and playing time could not differentiate the level of clinical skills of nurses. However, evidence of validity was obtained for content, response process and internal structure. Although this version of the game cannot therefore be used for summative evaluation of students, our study shows that this SG is well accepted by students and can be used for training within an educational program.A second study evaluated the effectiveness of 2 teaching modalities on learning CR for the detection of clinical patient deterioration by comparing a group of nursing students trained by simulation with LabForGames Warning compared to a group trained by traditional teaching. CR was assessed by script concordance tests immediately and 1 month later. This randomized multicenter study included 146 volunteer nursing students. No significant difference was observed in CR change between simulation training with SG and traditional teaching. However, satisfaction and motivation were better with simulation instruction.In conclusion, we have confirmed the validity of SG LabForGames Warning as an educational tool with formative and not summative aims. Then, although no difference in learning about CR was observed between simulation training with SG and traditional teaching, satisfaction and motivation were better with simulation teaching with the game. Further studies are needed to clarify the modalities and pedagogical strategies of SG in the training of healthcare professionals, such as the place of debriefing and the role of motivation. Moreover, technological developments such as artificial intelligence might transform CR training and the available pedagogical tools in the coming years
Empain, Joanna. "Cartographier, (ra)conter, filmer, juxtaposer : des narratives expérimentales pour l’éducatio". Doctoral thesis, Universitat Autònoma de Barcelona, 2019. http://hdl.handle.net/10803/667182.
El proyecto de investigación doctoral, titulado "Cartografiar, Narrar, Yuxtaponer, Filmar : Narrativas Experimentales para la Educación", propone una reflexión sobre la relación entre arte y educación, y más concretamente sobre cómo las prácticas experimentales de las imágenes en movimiento generan formas de hacer y pensar que pueden contribuir a producir nuevas formas de narrarse a sí mismo y al "otro" y, por tanto, a repensar las relaciones pedagógicas. A partir de un marco teórico feminista que transita los campos de los estudios de cultura visual y las teorías críticas en pedagogía y cine (Rogoff, 2000; Bal, 2002, 2013; Minh-ha, 1992, 1999; Ellsworth, 1997, 2005, 2011), propongo un recorrido que toma como punto de partida mi propia práctica como artista/investigadora/educadora en diálogo con dos artistas de cine/video María Ruido y Manon Labrecque. A través de metodologías basadas en las artes, y en particular la cartografía (Deleuze y Guattari, 1980; Deligny, 1976, 1990) y la investigación basada en el vídeo (Harris, 2016, 2017; Russell, 1999), se generan narrativas experimentales reflexivas sobre la relación entre la práctica artística y la pedagógica, y sobre la forma en que estas dos prácticas se alimentan la una de la otra, pero también se contradicen y, en ocasiones, incluso se sabotean entre sí. Es a partir de esta relación entre teoría y práctica que se construyen espacios alternativos de creación, investigación y aprendizaje.
Le projet de recherche doctorale, intitulé « Cartographier, (Ra)conter, Filmer, Juxtaposer : des Narratives Expérimentales pour l’Éducation » propose une réflexion sur la relation entre art et éducation, et plus concrètement sur comment les pratiques expérimentales de l’image en mouvement génèrent des façons de faire et de penser qui peuvent contribuer à produire de nouvelles façons de se narrer et de narrer « l’autre », et par là même de repenser les relations pédagogiques. À partir d’un cadre théorique féministe qui transite dans les domaines de études de la culture visuelle et des théories critiques en pédagogie et en film (Rogoff, 2000; Bal, 2002, 2013; Minh-ha, 1992, 1999; Ellsworth, 1997, 2005, 2011), je propose un parcours qui prend comme point de départ ma propre pratique comme artiste/chercheuse/éducatrice en dialogue avec deux artistes cinéastes/vidéastes María Ruido et Manon Labrecque. À travers des méthodologies basées sur les arts, et particulièrement la cartographie (Deleuze et Guattari, 1980 ; Deligny, 1976, 1990) et la recherche en vidéo (Harris, 2016, 2017 ; Russell, 1999;), se génèrent des narratives expérimentales réflexives sur la relation entre pratique artistique et pratique pédagogique, et sur comment ses deux pratiques se nourrissent l’une de l’autre, mais aussi se contredisent et des fois même se sabotent. C’est à partir de cette relation entre théorie et pratique que se construisent des espace alternatifs de création, de recherche et d’apprentissage.
The doctoral research project, entitled "Mapping, Narrating, Filming, Juxtaposing: Experimental Narratives for Education", proposes a reflection on the relationship between art and education, and more concretely on how experimental practices based on the moving image, generate ways of doing and thinking that can contribute to produce new ways of narrating oneself and the "other", and thus to rethink pedagogical relationships. Based on a feminist theoretical framework nourished by the visual culture studies and critical theories in pedagogy and film (Rogoff, 2000; Bal, 2002, 2013; Minh-ha, 1992, 1999; Ellsworth, 1997, 2005, 2011), I propose a journey that takes as a starting point my own practice as an artist/researcher/educator in dialogue with two film/video artists Manon Labrecque and María Ruido. Through methodologies based on the arts, and particularly cartography (Deleuze and Guattari, 1980; Deligny, 1976, 1990) and video-based research (Harris, 2016, 2017; Russell, 1999;), reflective experimental narratives are generated on the relationship between artistic and pedagogical practice, and on how these two practices feed on each other, but also contradict each other and sometimes even sabotage each other. It is from this relationship between theory and practice that alternative spaces for creation, research and learning are built.
Quenault, Grégoire. "Reconsidération de l'histoire de l'art vidéo à partir de ses débuts méconnus en France entre 1957 et 1974". Paris 8, 2005. http://www.theses.fr/2005PA083705.
When, in the early 80s, France takes a serious interest in video art, contradictory time lines have already been expressed on the two sides of the Atlantic as to when the inaugural « gestures » for this new art form took place. Americans believe it began in the United States in 1965, whereas Europeans place its birth in Germany in 1963. Surprisingly, French specialists never investigated their own national production, preferring to adopt the reference dates of their foreign counterparts. Firstly, this will be an in depth study of the various American and German artistic events – wich, for the main part, are attibuted to the Korean Nam June Paik. Secondly, an exposé of French Production (maid by, or carried out at the ORTF Research Centre, and by Nicolas Schöffer) will reveal that, far from being inexistent, it is one of the earliest in the history of the electronic medium
Rehmet, Christophe. "Étude théorique et expérimentale d’une torche plasma triphasée à arcs libres associée à un procédé de gazéification de matière organique". Thesis, Paris, ENMP, 2013. http://www.theses.fr/2013ENMP0041/document.
Arc plasma torches are widely used in industrial applications. A 3-phase AC plasma technology with consumable graphite electrodes is under development at PERSEE MINES - ParisTech. This technology noticeably differs from the classical DC plasma torches and aims at overcoming a number of limits of plasma systems in terms of reliability, equipment and operating costs. In order to improve the understanding of the unsteady physical phenomena in such plasma systems, a theoretical and experimental study is conducted under non reactive condition (nitrogen, syngas). Experimental study is based on high speed video camera (100 000 frames per second) and electrical signal analyses. Theoretical analysis is based on 3D unsteady Magneto-Hydro-Dynamic (MHD) model of the arc zone using CFD software Code_Saturne®, by a parametric study based on current, frequency and plasma gas flow rate influence. Two configurations: coplanar and parallel electrodes are studied. These studies highlight the influence of electromagnetic and hydrodynamic phenomena on the arc motion. In coplanar electrode configuration, electrode jets appear to be the dominant parameter on the arc motion, heat transfer and arc ignition. In the parallel electrodes configuration, the motion of the hot channel seems to be the key parameter. Comparison between MHD modeling and experimental results shows a fair correlation, both in accordance with the arc behavior and the electrical waveform
Alkarimeh, Baker. "L'usager et le documentaire interactif : étude expérimentale de l'engagement de l'usager dans un documentaire interactif". Electronic Thesis or Diss., Toulon, 2019. http://www.theses.fr/2019TOUL0001.
In recent years, interactive documentary field has been gradually growing because of great changes in the world of Internet, promising interactive documentary projects, and the increase in academic studies within the field. Nevertheless, relatively little is known about the relationship between user and interactive documentary. The aim of this study was to measure users’ attitudes and actual interaction toward different levels of interactivity manipulated in two designed interactive documentaries. The users’ attitudes were categorized in this study as: narrative engagement, perceived interactivity, perceived involvement, and attitude toward the interactive documentary website. Another purpose of this study was to examine the relationship between users’ actual interaction and their perceptions. To fully understand interactive documentary, the study, therefore, sought to compare interactivity with linearity in terms of narrative engagement and perceived involvement. A sample of 360 participants was randomly divided into three groups and assigned to view three designed documentaries, and to answer the related questionnaire. The study also used software packages to measure and monitor users’ actual behaviors. The findings of this study indicated that there was a significant relationship between the high level of actual interactivity and both perceived interactivity, and attitude toward the interactive documentary website. On the other hand, the findings revealed that there was a positive correlation between perceived interactivity and both perceived involvement and attitude toward the interactive documentary website. However, the study did not find a correlation between perceived interactivity and narrative engagement. Moreover, the findings showed that the participants’ actual interaction was positively correlated with their perceptions, and the participants who viewed the linear documentary were significantly involved with the documentary narrative more than other groups. Discussion, limitation, and future studies were presented in this study
Alkarimeh, Baker. "L'usager et le documentaire interactif : étude expérimentale de l'engagement de l'usager dans un documentaire interactif". Thesis, Toulon, 2019. http://www.theses.fr/2019TOUL0001/document.
In recent years, interactive documentary field has been gradually growing because of great changes in the world of Internet, promising interactive documentary projects, and the increase in academic studies within the field. Nevertheless, relatively little is known about the relationship between user and interactive documentary. The aim of this study was to measure users’ attitudes and actual interaction toward different levels of interactivity manipulated in two designed interactive documentaries. The users’ attitudes were categorized in this study as: narrative engagement, perceived interactivity, perceived involvement, and attitude toward the interactive documentary website. Another purpose of this study was to examine the relationship between users’ actual interaction and their perceptions. To fully understand interactive documentary, the study, therefore, sought to compare interactivity with linearity in terms of narrative engagement and perceived involvement. A sample of 360 participants was randomly divided into three groups and assigned to view three designed documentaries, and to answer the related questionnaire. The study also used software packages to measure and monitor users’ actual behaviors. The findings of this study indicated that there was a significant relationship between the high level of actual interactivity and both perceived interactivity, and attitude toward the interactive documentary website. On the other hand, the findings revealed that there was a positive correlation between perceived interactivity and both perceived involvement and attitude toward the interactive documentary website. However, the study did not find a correlation between perceived interactivity and narrative engagement. Moreover, the findings showed that the participants’ actual interaction was positively correlated with their perceptions, and the participants who viewed the linear documentary were significantly involved with the documentary narrative more than other groups. Discussion, limitation, and future studies were presented in this study
Tajariol, Federico. "Les effets des indices non-verbaux sur les activités de communication à distance. Deux études expérimentale sur le dialogue tutoriel". Phd thesis, 2006. http://tel.archives-ouvertes.fr/tel-00128077.
L'action de communiquer avec autrui ne se limite ni à une simple adéquation de codes verbaux et non-verbaux, ni à un processus de production d'inférences et d'interprétation d'indices contextuels. Les interlocuteurs agissent selon une logique coopérative (Clark, 1996) : cela signifie que les interlocuteurs doivent réciproquement accepter chacune de leurs contributions pendant un échange, afin de pouvoir partager des connaissances ou des faits relatifs à leur activité. Une communication réussie demande que les interlocuteurs co-construisent mutuellement leurs référentiels, s'appuyant sur les indices verbaux et non-verbaux.
Parmi ces derniers, on se doit de distinguer les indices non-verbaux kinésiques (e.g., les expressions faciales, les regards, les gestes du corps, etc.) et les indices non-verbaux ostensifs-inférentiels (e.g. les gestes déictiques, les actions physiques). Nous avançons deux hypothèses de travail principales : A) les indices non-verbaux kinésiques facilitent surtout le processus de communication et favorisent un sentiment de proximité sociale entre les partenaires distants ; B) les indices non-verbaux ostensif-inférentiels facilitent surtout l'intercompréhension et la réalisation de la tâche commune.
Pour vérifier ces hypothèses, nous avons construit une tâche expérimentale dans laquelle un tuteur se doit d'assister deux apprenants distants impliqués dans la réalisation d'un travail pratique (la réalisation d'une page en notation html) et qui ne peuvent pas communiquer entre eux. Dans la première expérimentation (n tutor=12, N étudiants = 48), nous étudions les effets des indices kinésiques, véhiculés par l'image-vidéo montrant les partenaires distants. Les résultats indiquent que les indices kinésiques facilitent le processus de compréhension mutuelle et l'activité de suivi du tuteur, sans pour autant améliorer la qualité du travail des apprenants. Dans la deuxième expérimentation (n tutors = 12, étudiants = 72), nous nous intéressons aux indices ostensifs-inférentiels, véhiculés par l'image-vidéo relative aux actions effectuées par les partenaires distants sur les objets appartenant à leur espace de travail. Les indices ostensifs-inférentiels favorisent la construction des référentiels communs, facilitent le suivi du tuteur et induisent une amélioration du travail des apprenants. Nous discutons les résultats de deux expérimentations et nous avançons des propositions pour la conception des dispositifs consacrés à la communication tutorielle.
Rohbanfard, Hassan. "Observational learning of motor skills : Looking for optimal models". Thèse, 2011. http://hdl.handle.net/1866/8724.
Observation of a model practicing a motor skill has been shown to promote the learning of that skill. However, relatively little is known regarding the attributes of a good model and the conditions of observation that can optimize learning. In the three studies reported in this thesis, we investigated the effects of the model’s skill level, the model’s handedness, the observation perspective, and the medium of presentation on the learning of a sequential, four-segmented timing task. In the first experiment of the first study, we had participants observe a novice, an expert, or a combination of both novice and expert models (i.e., mixed model). The results of the retention/transfer tests revealed that observation of the novice model was not as effective for the learning of the task as observation of the expert and mixed models. Importantly, a mixed schedule of novice and expert observation resulted in more stable movement time and better generalization of the imposed relative timing pattern than observation of either a novice or an expert model. In the second experiment, we wanted to determine whether a certain type of novice performance (highly variable, with or without performance improvement) in a mixed observation schedule results in better learning of the task. No significant differences were revealed with respect to the type of novice model used in a mixed schedule of observation. These results suggest that mixed observation provides an accurate template of what to do (expert observation), which is enhanced when it can be contrasted with the performance of less successful models. In our second study, right-handed participants were asked to observe, from a first-person or a third-person perspective, a right-handed (i.e., same-handed) or left-handed (i.e., opposite-handed) model performing the experimental task. Observation of the same-handed model resulted in better learning of the task than did observation of the opposite-handed model, regardless of the observation perspective. This suggests that the action observation network (AON) is more sensitive to the model’s handedness than to the observer’s viewpoint. Thus, the AON seems to be linked to sensorimotor regions of the brain that simulate motor programming as though the observed movement was performed with one’s own dominant hand. Finally, in the third study, we were interested to determine whether the medium of presentation (live vs. video) affects observational learning and whether this effect would be mediated by the observer’s viewpoint (1st vs. 3rd person). In that regard, participants observed a live model or a video presentation of the model from a first- or third-person perspective. Our results revealed that observation did not differ significantly as a function of the media or the perspective of observation. These results are inconsistent with the predictions of brain imaging studies that show a larger activation of the sensorimotor cortex during live observation compared with video observation and from a first-person compared with the third-person perspective. Taken together, our results indicate that the model’s skill level and handedness are important determinants of observational learning, whereas the observer’s viewpoint and the medium of observation had no significant impact on motor task learning. In addition, our results suggest that the larger activation of AON revealed in brain imaging studies during action observation does not necessarily result in or indicate better learning of the task.
Séguin-Tétreault, Mathieu. "Postures et mutations du plan-séquence fixe, du cinéma des premiers temps à YouTube". Thèse, 2012. http://hdl.handle.net/1866/8504.
Favouring an approach at once genealogical and intertextual, this study explores the practice of the "static sequence shot" (plan-séquence caméra fixe) in cinema. It offers an overview of its significant moments in film history. It tries to show how its use since the 70's can be seen as a reappraisal of early cinema technique, and can also find strong echos in the works of experimental filmmakers, in particular structural filmmaking. For Andy Warhol, the static sequence shot was both a rediscovery and an enchantment of early cinema. In Jeanne Dielman Chantal Akerman's static shots extended Bazinian Modernism into the New York Avant-garde. Since the 80's, with the advent of video surveillance, the static sequence shot becomes associated with a carceral apparatus, posing ethical and aesthetic issues (voyeurism, degree zero mechanisms, etc.). These issues are at the core of the documentary films News from Home and Délits flagrants. Today, we can witness that the static sequence shot has become increasingly important and almost dominant in certain branches of auteur cinema as well as in contemporary popular media culture (web films, T.V. series, etc.) This master's thesis thus claims it allows us to analyse current as well as early practices of cinema, from the Lumière' s factory to YouTube.
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