Tempêtes. Composition audiovisuelle.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU ).

Le poids de l’oiseau sur la vitre ; suivi de L’hétérogénéité graphique dans Blankets de Craig Thompson

Le mémoire original s'accompagnait en annexe du livre-objet Le poids de l'oiseau sur la vitre.

Verbaliser l’indicible : une étude de l’expérience de la «vibe» dans la scène underground-house de Montréal

Ce mémoire propose une analyse du discours et de l’expérience corporelle des adeptes de la scène musicale électronique underground-house de Montréal. Il cherche à contribuer au champ des études sur les formations culturelles expressives contemporaines sur deux axes. Sur le plan méthodologique, cette recherche illustre la portée de l’entretien d’explicitation lorsqu’il s’agit d’accompagner la mise en mots d’impressions sensorielles, d’émotions, de pensées ou d’actions. Combinée à une démarche immersive de longue haleine sur le terrain, cette méthode innovante développée par le chercheur Pierre Vermersch (1994) s’avère ici un outil rigoureux donnant accès à la mémoire incarnée des sujets, laquelle regorge d’informations d’une étonnante précision. Sur le plan ethnographique, cette étude s’intéresse aux nouveaux espaces de solidarité et d’expression balisant l’expérience des Québécois de parents haïtiens issus des classes moyenne et moyenne élevée. Les résultats de cette recherche démontrent, en premier lieu, que l’expérience de la « vibe », expression idiomatique largement utilisée par les acteurs, constitue la clé de voûte maintenant la cohésion entre les représentations, les croyances et les activités corporelles des participants. En deuxième lieu, la scène underground-house se présenterait comme l’expression d’une nouvelle contre-culture en établissant une distance critique avec, d’une part, la « culture hip hop » commerciale et sa représentation médiatique « ghettoïsée » et, d’autre part, l’espace culturel dominant en promouvant une expérience de corps et d’esprit subversive. Cet espace de transmission et de communion inédit propose des modèles de sociabilités nouveaux qui contribuent de manière inusuelle au dialogue interculturel urbain montréalais.

De la réception filmique à la participation ludique : prolégomènes d’une étude sur l’énonciation vidéoludique

Ce mémoire étudie la dynamique communicationnelle et interactionnelle entre un joueur et un système de jeu par l’entremise des théories de l’énonciation et de la cognition. Par une analyse des jeux vidéo d’horreur en perspective à la première personne, il s’agit de conceptualiser une spirale heuristique de l’énonciation à partir des principes théoriques du Cycle Magique (Arsenault et Perron, 2009). Le propos se focalise sur la manière dont le joueur expérimente et traite les propositions ludiques et les propositions ludodiégétiques. L’intérêt est d’observer comment la valeur réflexive des marques de jeu et des marques de jouabilité sert à départager des relations d’attribution entre des formulations énonciatives (textuelles, verbales, visuelles, sonores ou procédurales) et des agents énonciatifs. Cette recherche rend compte, d’une part, de la gestion cognitive des faits énonciatifs et, d’autre part, de la modulation de leurs valeurs d’immédiateté-hypermédiateté et de leurs rapports de liaison/déliaison avec les agents énonciatifs. Il est expliqué que cette activité cognitive du joueur dirige la schématisation d’attitudes interactionnelles servant à structurer la signification – ludique ou narrative – des propositions ludiques générées au cours de l’activité de jeu. L’analyse cible des processus de mise en phase performative et de mise en phase méta-systémique ludique permettant la détermination de vecteurs d’immersion. En fonction du caractère d’opacité ou de transparence des vecteurs, il est question d’indiquer comment la posture d’expérience du joueur oscille entre un continuum immersif qui polarise une expérience systémique et une expérience diégétisée.

Plan de Empresa Virtual Gnosis

El presente Business Plan se ha diseñado con el ánimo de crear la empresa Virtual Gnosis. Dicha empresa operará en el sector de la informática y la industria de software, dentro de la prestación de Servicios de TI. La empresa se centrará en la gestión de la información y el conocimiento del talento humano de las organizaciones, a través de la creación de AVAI (Ambientes Virtuales de Aprendizaje Inmersivo). El mercado objetivo son las instituciones educativas y los conglomerados de PYMES. A continuación se exponen con detalle los aspectos de operaciones, marketing, financieros y administrativos de la empresa propuesta.

Cue combination for 3D location judgements

Cue combination rules have often been applied to the perception of surface shape but not to judgements of object location. Here, we used immersive virtual reality to explore the relationship between different cues to distance. Participants viewed a virtual scene and judged the change in distance of an object presented in two intervals, where the scene changed in size between intervals (by a factor of between 0.25 and 4). We measured thresholds for detecting a change in object distance when there were only 'physical' (stereo and motion parallax) or 'texture-based' cues (independent of the scale of the scene) and used these to predict biases in a distance matching task. Under a range of conditions, in which the viewing distance and position of the tarte relative to other objects was varied, the ration of 'physical' to 'texture-based' thresholds was a good predictor of biases in the distance matching task. The cue combination approach, which successfully accounts for our data, relies on quite different principles from those underlying geometric reconstruction.

View-based approaches to spatial representation in human vision

In an immersive virtual environment, observers fail to notice the expansion of a room around them and consequently make gross errors when comparing the size of objects. This result is difficult to explain if the visual system continuously generates a 3-D model of the scene based on known baseline information from interocular separation or proprioception as the observer walks. An alternative is that observers use view-based methods to guide their actions and to represent the spatial layout of the scene. In this case, they may have an expectation of the images they will receive but be insensitive to the rate at which images arrive as they walk. We describe the way in which the eye movement strategy of animals simplifies motion processing if their goal is to move towards a desired image and discuss dorsal and ventral stream processing of moving images in that context. Although many questions about view-based approaches to scene representation remain unanswered, the solutions are likely to be highly relevant to understanding biological 3-D vision.

How soccer players head the ball: a test of optic acceleration cancellation theory with virtual reality

We measured the movements of soccer players heading a football in a fully immersive virtual reality environment. In mid-flight the ball’s trajectory was altered from its normal quasi-parabolic path to a linear one, producing a jump in the rate of change of the angle of elevation of gaze (α) from player to ball. One reaction time later the players adjusted their speed so that the rate of change of α increased when it had been reduced and reduced it when it had been increased. Since the result of the player’s movement was to regain a value of the rate of change close to that before the disturbance, the data suggest that the players have an expectation of, and memory for, the pattern that the rate of change of α will follow during the flight. The results support the general claim that players intercepting balls use servo control strategies and are consistent with the particular claim of Optic Acceleration Cancellation theory that the servo strategy is to allow α to increase at a steadily decreasing rate.

Stereo and motion parallax cues in human 3D vision: can they vanish without a trace?

In an immersive virtual reality environment, subjects fail to notice when a scene expands or contracts around them, despite correct and consistent information from binocular stereopsis and motion parallax, resulting in gross failures of size constancy (A. Glennerster, L. Tcheang, S. J. Gilson, A. W. Fitzgibbon, & A. J. Parker, 2006). We determined whether the integration of stereopsis/motion parallax cues with texture-based cues could be modified through feedback. Subjects compared the size of two objects, each visible when the room was of a different size. As the subject walked, the room expanded or contracted, although subjects failed to notice any change. Subjects were given feedback about the accuracy of their size judgments, where the “correct” size setting was defined either by texture-based cues or (in a separate experiment) by stereo/motion parallax cues. Because of feedback, observers were able to adjust responses such that fewer errors were made. For texture-based feedback, the pattern of responses was consistent with observers weighting texture cues more heavily. However, for stereo/motion parallax feedback, performance in many conditions became worse such that, paradoxically, biases moved away from the point reinforced by the feedback. This can be explained by assuming that subjects remap the relationship between stereo/motion parallax cues and perceived size or that they develop strategies to change their criterion for a size match on different trials. In either case, subjects appear not to have direct access to stereo/motion parallax cues.

Humans ignore motion and stereo cues in favor of a fictional stable world

As we move through the world, our eyes acquire a sequence of images. The information from this sequence is sufficient to determine the structure of a three-dimensional scene, up to a scale factor determined by the distance that the eyes have moved [1, 2]. Previous evidence shows that the human visual system accounts for the distance the observer has walked [3,4] and the separation of the eyes [5-8] when judging the scale, shape, and distance of objects. However, in an immersive virtual-reality environment, observers failed to notice when a scene expanded or contracted, despite having consistent information about scale from both distance walked and binocular vision. This failure led to large errors in judging the size of objects. The pattern of errors cannot be explained by assuming a visual reconstruction of the scene with an incorrect estimate of interocular separation or distance walked. Instead, it is consistent with a Bayesian model of cue integration in which the efficacy of motion and disparity cues is greater at near viewing distances. Our results imply that observers are more willing to adjust their estimate of interocular separation or distance walked than to accept that the scene has changed in size.

Quantitative analysis of accuracy of an inertial/acoustic 6DOF tracking system in motion

An increasing number of neuroscience experiments are using virtual reality to provide a more immersive and less artificial experimental environment. This is particularly useful to navigation and three-dimensional scene perception experiments. Such experiments require accurate real-time tracking of the observer's head in order to render the virtual scene. Here, we present data on the accuracy of a commonly used six degrees of freedom tracker (Intersense IS900) when it is moved in ways typical of virtual reality applications. We compared the reported location of the tracker with its location computed by an optical tracking method. When the tracker was stationary, the root mean square error in spatial accuracy was 0.64 mm. However, we found that errors increased over ten-fold (up to 17 mm) when the tracker moved at speeds common in virtual reality applications. We demonstrate that the errors we report here are predominantly due to inaccuracies of the IS900 system rather than the optical tracking against which it was compared. (c) 2006 Elsevier B.V. All rights reserved.

A decade of research and development in disability, virtual reality and associated technologies: review of ICDVRAT 1996−2006

The International Conference (series) on Disability, Virtual Reality and Associated Technologies (ICDVRAT) this year held its sixth biennial conference, celebrating ten years of research and development in this field. A total of 220 papers have been presented at the first six conferences, addressing potential, development, exploration and examination of how these technologies can be applied in disabilities research and practice. The research community is broad and multi-disciplined, comprising a variety of scientific and medical researchers, rehabilitation therapists, educators and practitioners. Likewise, technologies, their applications and target user populations are also broad, ranging from sensors positioned on real world objects to fully immersive interactive simulated environments. A common factor is the desire to identify what the technologies have to offer and how they can provide added value to existing methods of assessment, rehabilitation and support for individuals with disabilities. This paper presents a brief review of the first decade of research and development in the ICDVRAT community, defining technologies, applications and target user populations served.

Eye gaze in virtual environments: evaluating the need and initial work on implementation

For efficient collaboration between participants, eye gaze is seen as being critical for interaction. Video conferencing either does not attempt to support eye gaze (e.g. AcessGrid) or only approximates it in round table conditions (e.g. life size telepresence). Immersive collaborative virtual environments represent remote participants through avatars that follow their tracked movements. By additionally tracking people's eyes and representing their movement on their avatars, the line of gaze can be faithfully reproduced, as opposed to approximated. This paper presents the results of initial work that tested if the focus of gaze could be more accurately gauged if tracked eye movement was added to that of the head of an avatar observed in an immersive VE. An experiment was conducted to assess the difference between user's abilities to judge what objects an avatar is looking at with only head movements being displayed, while the eyes remained static, and with eye gaze and head movement information being displayed. The results from the experiment show that eye gaze is of vital importance to the subjects correctly identifying what a person is looking at in an immersive virtual environment. This is followed by a description of the work that is now being undertaken following the positive results from the experiment. We discuss the integration of an eye tracker more suitable for immersive mobile use and the software and techniques that were developed to integrate the user's real-world eye movements into calibrated eye gaze in an immersive virtual world. This is to be used in the creation of an immersive collaborative virtual environment supporting eye gaze and its ongoing experiments. Copyright (C) 2009 John Wiley & Sons, Ltd.

Hardware development of the Yorick series of active vision systems

This paper presents a review of the design and development of the Yorick series of active stereo camera platforms and their integration into real-time closed loop active vision systems, whose applications span surveillance, navigation of autonomously guided vehicles (AGVs), and inspection tasks for teleoperation, including immersive visual telepresence. The mechatronic approach adopted for the design of the first system, including head/eye platform, local controller, vision engine, gaze controller and system integration, proved to be very successful. The design team comprised researchers with experience in parallel computing, robot control, mechanical design and machine vision. The success of the project has generated sufficient interest to sanction a number of revisions of the original head design, including the design of a lightweight compact head for use on a robot arm, and the further development of a robot head to look specifically at increasing visual resolution for visual telepresence. The controller and vision processing engines have also been upgraded, to include the control of robot heads on mobile platforms and control of vergence through tracking of an operator's eye movement. This paper details the hardware development of the different active vision/telepresence systems.