Corps et âme en mouvement. Expression et signification du mouvement dans la peinture de vases en Grèce ancienne (VIe-IVe s. av. J.-C.). Ivresse, possession divine et mort.

Thèse réalisée en cotutelle avec l'université de Franche-Comté, école doctorale Langage, espace, temps et société.

De l’anthropos : se savoir humain, entre foi et savoir

Cotutelle de thèse réalisée en littérature comparée (option épistémologie) avec l'Université de Montréal sous la direction de Terry Cochran et en philosophie avec Paris X (Nanterre) sous la direction d'Alain Milon.

Teaching an Old Robot New Tricks: Learning Novel Tasks via Interaction with People and Things

As AI has begun to reach out beyond its symbolic, objectivist roots into the embodied, experientialist realm, many projects are exploring different aspects of creating machines which interact with and respond to the world as humans do. Techniques for visual processing, object recognition, emotional response, gesture production and recognition, etc., are necessary components of a complete humanoid robot. However, most projects invariably concentrate on developing a few of these individual components, neglecting the issue of how all of these pieces would eventually fit together. The focus of the work in this dissertation is on creating a framework into which such specific competencies can be embedded, in a way that they can interact with each other and build layers of new functionality. To be of any practical value, such a framework must satisfy the real-world constraints of functioning in real-time with noisy sensors and actuators. The humanoid robot Cog provides an unapologetically adequate platform from which to take on such a challenge. This work makes three contributions to embodied AI. First, it offers a general-purpose architecture for developing behavior-based systems distributed over networks of PC's. Second, it provides a motor-control system that simulates several biological features which impact the development of motor behavior. Third, it develops a framework for a system which enables a robot to learn new behaviors via interacting with itself and the outside world. A few basic functional modules are built into this framework, enough to demonstrate the robot learning some very simple behaviors taught by a human trainer. A primary motivation for this project is the notion that it is practically impossible to build an "intelligent" machine unless it is designed partly to build itself. This work is a proof-of-concept of such an approach to integrating multiple perceptual and motor systems into a complete learning agent.

Análisis de la política exterior chilena como estrategia de inserción al mercado latinoamericano: estudio de caso Mercosur

Es un análisis de la política exterior chilena desde la época dictatorial de Augusto Pinochet hasta la década de los noventas, donde bajo la asesoría de Milton Fridman y la ejecución de los llamados “Chicago Boys” se implanto un modelo económico Neo-liberal, que saco a Chile de la inclemente crisis económica, social y política que vivía por esos días, generando la denominación de “Milagro Chileno”. Esta política exterior fue tan exitosa que se convirtió en política de Estado y fue la que gesto el éxito económico que es el Estado chileno hoy en día; el inicio de todo esto se dio mirando a sus vecinos, insertándose al MERCOSUR.

Incidencia del retorno de Francia al Comando Militar Integrado de la OTAN en sus relaciones con Estados Unidos en el periodo 2007-2011

Esta monografía hace uso de la Teoría del Realismo Político para establecer la incidencia del retorno de Francia al Comando Militar Integrado de la OTAN en sus relaciones con Estados Unidos en el periodo 2007-2011. La decisión del entonces Presidente Nicolás Sarkozy de reintegrar a Francia al Comando Militar Integrado de la OTAN, marcó una reevaluación estratégica de Francia a través del acercamiento con Estados Unidos como parte de un nuevo enfoque respecto al rol de Francia en el sistema internacional. El reintegro tuvo un impacto significativo en las relaciones franco-americanas: la normalización de Francia en la OTAN fue de gran interés para ambos Estados en la medida en que actuó a favor de sus necesidades estratégicas, siendo también un gesto político que recompuso las maltrechas relaciones tras la crisis de la Guerra de Iraq en el año 2003.

Preservar e desenvolver em museologia, contributo para o estudo do objecto e do processo museológico

Este trabalho procurou uma resposta para a aparente contradição entre os actos de preservar e de desenvolver no trabalho museológico. E desejava, com essa resposta, obter uma compreensão mais profunda sobre a Museologia. Utilizando a metodologia de investigação “Grounded Theory” (Glaser & Strauss, 1967; Ellen, 1992; Mark, 1996; Marshall & Rossman, 1999) adoptou a definição de museu dos Estatutos do ICOM (2001) como ponto de partida conceptual para o desenrolar da pesquisa. A - Com o esforço necessário à obtenção da resposta inicial o trabalho pôde alcançar os seguintes resultados: i) Discerniu as fases e a racionalidade do processo museológico, através do qual os objectos adquirem a “identidade patrimonial”. ii) Formulou o conceito de “objecto museológico” numa acepção distinta do de Património ou de “objecto patrimonial”, permitindo confirmar que a contradição formulada na hipótese inicial só poderia desaparecer, ou ser conciliada, num paradigma de trabalho museológico concebido como um acto de comunicação. iii) Propôs, em consequência, um diferente Programa para a orientação do trabalho museológico, demonstrando que garantiria ao património uma maior perenidade e transmissibilidade, sendo ainda capaz de incluir o património referente à materialidade, à iconicidade, à oralidade e à gestualidade dos objectos. iv) Propôs um Léxico de Conceitos capaz de justificar essas novas propostas. v) Sugeriu um índice de desenvolvimento museal (IDM = Σ ƒξ [IP.ID.IC] / CT.CR) para ser possível avaliar e quantificar o trabalho museológico. B – Para o objectivo de uma compreensão mais profunda da Museologia o trabalho alcançaria os seguintes resultados: vi) Verificou a necessidade de se dominarem competências de Gestão, para o trabalho museológico não se restringir apenas a um tipo de colecções ou de património. vii) Sugeriu, para ser possível continuar a investigar a Museologia como um novo ramo ou disciplina do saber, a necessidade estratégica de a ligar ao estudo mais vasto da Memória, apontando dois caminhos: Por um lado, considerar a herança filogenética dos “modos de guardar informações” entre os diferentes organismos e sistemas (Lecointre & Le Guyader, 2001). Por outro lado, considerar os constrangimentos ocorridos durante a ontogenia e a maturação individual que obrigam a ter em consideração, no processamento da memória e do património (codificação, armazenamento, evocação e recuperação, esquecimento), a biologia molecular da cognição (Squire & Kandel, 2002).

Communicating eye gaze across a distance without rooting participants to the spot

Eye gaze is an important conversational resource that until now could only be supported across a distance if people were rooted to the spot. We introduce EyeCVE, the worldpsilas first tele-presence system that allows people in different physical locations to not only see what each other are doing but follow each otherpsilas eyes, even when walking about. Projected into each space are avatar representations of remote participants, that reproduce not only body, head and hand movements, but also those of the eyes. Spatial and temporal alignment of remote spaces allows the focus of gaze as well as activity and gesture to be used as a resource for non-verbal communication. The temporal challenge met was to reproduce eye movements quick enough and often enough to interpret their focus during a multi-way interaction, along with communicating other verbal and non-verbal language. The spatial challenge met was to maintain communicational eye gaze while allowing free movement of participants within a virtually shared common frame of reference. This paper reports on the technical and especially temporal characteristics of the system.

Using objects to coordinate design activity in interaction

The coordination of design is a multi-faceted problem in construction. In design interactions in particular the real-time coordination of design activity is a persistent concern. The use of objects to coordinate the activity of design is studied as this happens in interactions between an architect and a building user group, in a setting where maintaining awareness of the design situation is important. An account of ways in which this was accomplished and how design activity is coordinated through interactional practices is provided. The empirical analyses examine design interaction from an ethnomethodological/conversation analysis (EM/CA) informed perspective to examine: ways in which mutual orientation to design issues are accomplished, how objects can provide a resource for the recognition of the activities of others and ways in which objects might be observable as momentarily intelligible. Subtle interactional practices involving talk, gesture and gaze were some of the small ways in which mutual orientation to the design actions of others became observable. The production of actions sequentially, in response to another's action, marked the real-time coordination of design moves in this setting. The relevance of accounts of micro-interaction to develop understanding of design activity and how it is coordinated are considered.

Spectacle/gender/history: the case of Gone with the Wind

The essay asserts that, since pioneering work in the 1970s and 80s (in Screen in particular), the study of classical Hollywood cinema has failed adequately to acknowledge and understand the role of spectacle therein. This essay outlines theoretical but, even more, practical understandings of particular kinds of spectacle; they are susceptible to the practice of close analysis. Seeking to discuss spectacle in precise terms and in particular contexts, I define two kinds of spectacle associated with the historical film: ‘the decor of history’ and ‘the spectacular vista’. The example of Gone with the Wind illustrates the interrelationship between these two kinds of spectacle and their associations with particular ideas of femininity and masculinity. This gendering of spectacle is related to ‘the historical gaze’, a performative gesture that exemplifies the wider rhetoric of historical films, in their seeking to address the historical knowledge of the film spectator and to uphold a vision of history as being driven by powerful men, aware of their own destiny. Over the course of the three famous hilltop scenes in Gone with the Wind, one can plot Scarlett O'Hara's increased access to this kind of foresight and fortitude coded as ‘masculine’. This character arc can also be traced through Scarlett's shifting place within the film's use of spectacle: she begins the film wholly preoccupied with the domestic world of lavish parties and beautiful gowns; however, after her encounter with cataclysmic history visualized as a vast, terrible spectacle (the fall of Atlanta), Scarlett assumes the role occupied by her broken and emasculated father.

Suck. Swallow. Breathe.

Video, Dur: 7 min, HD DVC Pro 2009 Based on the principle of assembling a series of improvised acts, the performance is driven by a concern for the image, sound and gesture and the staging of both contemplative and active human presences. Featuring a woman and child duo the video performs the élan vital within a fairytale scenery.

Watching the words: drama and poems

Some poems are inherently dramatic due to their narrative content or the events, characters, places and emotions that are their subject. Others have the potential for dramatisation because of some aural or visual quality of their poetic form. However, if dramatising poems is to be meaningful and effective children need to be taught something about the art form of drama rather than just being left to their own devices. This chapter explores the learning potential of considering the printed text of a poem as a notation of sound, movement, gesture and use of space. The chapter recognises a progression from simple nursery rhymes to the sophisticated use of poetic language in different types of literature that is mirrored in the journey from infants’ clapping games to the dramatic juxtaposition of aural and visual images in theatre and the performing arts.

Speech-like and non-speech lip kinematics and coordination in aphasia

Background and aims: In addition to the well-known linguistic processing impairments in aphasia, oro-motor skills and articulatory implementation of speech segments are reported to be compromised to some degree in most types of aphasia. This study aimed to identify differences in the characteristics and coordination of lip movements in the production of a bilabial closure gesture between speech-like and nonspeech tasks in individuals with aphasia and healthy control subjects. Method and procedure: Upper and lower lip movement data were collected for a speech-like and a nonspeech task using an AG 100 EMMA system from five individuals with aphasia and five age and gender matched control subjects. Each task was produced at two rate conditions (normal and fast), and in a familiar and a less-familiar manner. Single articulator kinematic parameters (peak velocity, amplitude, duration, and cyclic spatio-temporal index) and multi-articulator coordination indices (average relative phase and variability of relative phase) were measured to characterize lip movements. Outcome and results: The results showed that when the two lips had similar task goals (bilabial closure) in speech-like versus nonspeech task, kinematic and coordination characteristics were not found to be different. However, when changes in rate were imposed on the bilabial gesture, only speech-like task showed functional adaptations, indicated by a greater decrease in amplitude and duration at fast rates. In terms of group differences, individuals with aphasia showed smaller amplitudes and longer movement durations for upper lip, higher spatio-temporal variability for both lips, and higher variability in lip coordination than the control speakers. Rate was an important factor in distinguishing the two groups, and individuals with aphasia were limited in implementing the rate changes. Conclusion and implications: The findings support the notion of subtle but robust differences in motor control characteristics between individuals with aphasia and the control participants, even in the context of producing bilabial closing gestures for a relatively simple speech-like task. The findings also highlight the functional differences between speech-like and nonspeech tasks, despite a common movement coordination goal for bilabial closure.

A utopia no Cinema Brasileiro: matrizes, nostalgia, distopias

This book studies the ressurgence of the utopian gesture in Brazilian Cinema from the mid-1990s onwards, as well as its variations and negations. The analysis identifies trajectories of rise and fall, which reflect oscillations in the political scenario, and includes a retrospective look at utopian traditions of the Brazilian cinematic past, in turn derived from the nation's foundational myths. At the same time, it considers the ways in which recent Brazilian film production transcends Cinema Novo's national project to interacts with modern, postmodern and commercial cinemas of the world, thus benefiting from and contributing to a new transnational cinematic aesthetics.

Spiral jetty, thirty seven years later: the cinematic time of James Benning

This article considers cinematic time in James Benning’s film, casting a glance (2007), in relation to its subject, Robert Smithson’s 1970 earthwork Spiral Jetty, and his film of the same name. The radicalism of Smithson’s thinking on time has been widely acknowledged, and his influence continues to pervade contemporary artistic practice. The relationship of Benning’s films with this legacy may appear somewhat oblique, given their apparent phenomenological rendition of ‘real time’. However, closer examination of Benning’s formal strategies reveals a more complex temporal construction, characterized by uncertain intervals that interrupt the folding of cinematic time into the flow of consciousness. Smithson’s film uses cinematic analogy to gesture towards vast reaches of geological time; Benning’s film creates a simulated timescale to evoke the short history of the earthwork itself. Smithson’s embrace of the entropic was a counter-cultural stance at the end of the1960s, but under the shadow of ecological disaster, this orientation has come to appear melancholy and romantic rather than radical. Benning’s film returns the jetty to anthropic time, but raises questions about the ways we inhabit time. His practice of working with ‘borrowed time’ is particularly suited to the cultural and historical moment of his later work.