This thesis proposes a theoretic framework for the analysis of presence research in the context of Pepper’s ghost. Pepper’s ghost as a media platform offers new possibilities for performances, real-time communication and media art. The thesis gives an overview on the 150 year old history, as well as contemporary art creation on Pepper’s ghost with a specific focus on telepresence. Telepresence, a concept that infused academic debate since 1980, discusses the topic of remote communication, perceived presence transmitted through networked environments. This discourse of telepresence revealed shortcomings in current analytical frameworks. This thesis presents a new model for presence in the context of my research. The standard telepresence model (STM) assumes a direct link between three fundamental components of presence and a measurable impact on the audience. Its three pillars are conceptualised as presence co-factors immersion, interactivity and realism, presented individually in the framework of my practice. My research is firmly rooted in the field of media art and considers the effect of presence in the context of Pepper’s ghost. This Victorian parlour trick serves as an interface, an intermediary for the discussion of live streaming experiences. Three case studies present pillars of the standard model, seeking answers to elemental questions of presence research. The hypothesis assumes a positive relationship between presence and its three co-factors. All case studies were developed as media art pieces in the context of Pepper’s ghost. As exemplifiers, they illustrate the concept of presence in respect of my own creative practice. KIMA, a real-time sound representation experience, proposes a form of telepresence that relies exclusively on immersive sound as a medium. Immersion as co-factor of presence is analysed and explored creatively on the Pepper’s ghost canvas. Transmission, the second case study, investigates the effect of physical interaction on presence experiences. An experiment helps to draw inferences in a mixed method approach. The third case study, Aura, discusses variations of realism as presence co factor in the specific context of Pepper’s ghost. The practical example is accompanied by an in-depth meta-analysis of realism factors, specifically focusing on the intricacies of Pepper’s ghost creative production processes. Together, these three case studies help to shed light on new strategies to improve production methods with possible impact on presence in Pepper’s ghost related virtual environments – and beyond.

L’illusionnisme, ou prestidigitation, est magie simulée, mise en scène du surnaturel. Cette thèse dresse un panorama de cette discipline à la Renaissance selon deux généalogies. La première est technique et pratique. Elle se fonde sur la littérature antique des secrets et la magie naturelle, transmises jusqu’aux savants, ingénieurs, artisans, saltimbanques et philosophes naturels renaissants. Elle implique une esthétique spécifique du choc, de la merveille ou de l’attraction. Sa subtilité technique fascine. Basée sur l’ingenium, elle suppose un « double public » de profanes et d’initiés. Elle ouvre à une science spectaculaire, une technique ludique, se révèle un puissant outil pédagogique et un excellent remède à la mélancolie. La seconde généalogie concerne sa réception sociale. La théologie, la démonologie, la littérature et les beaux-arts se sont confrontés au bateleur et en ont fait un marqueur d’illusion. Figure symbolique utilisée par les prédicateurs ou les polémistes, il prend place au cœur des débats sur la nature des actions diaboliques, la puissance du signe ou la transsubstantiation. Faisant du diable le suprême bateleur, la démonologie condamne généralement en retour le « prestigiateur » et ses illusions. A la croisée de ces deux généalogies, Reginald Scot, protestant, démonologue et premier pédagogue de la prestidigitation, en fait l’instrument de la critique sceptique la plus radicale, dédiabolisant les phénomènes surnaturels. Finalement, l’illusionnisme, véritable objet de savoir transverse à tous les champs, permet de jeter un autre regard sur la technique à la Renaissance. / Illusionism, conjuring art or legerdemain, is simulated magic, staging the supernatural. This thesis provides a global picture of this discipline during the Renaissance period, following two genealogies. The first is technical and practical. It is based on the ancient books of secrets and natural magic, transmitted to scholars, engineers, craftsmen, mountebanks and natural philosophers of the Renaissance periode. It involves a specific aesthetic of shock, wonder or attraction. Its technical subtlety fascinates. Based on ingenium, it assumes a "dual public" of laymen and initiates. It opens to spectacular science and playful technique. It is a powerful teaching tool and an excellent remedy for melancholy. The second genealogy deals with its social reception. Theology, demonology, literature, and the fine arts faced the juggler and made it an illusion sign. This symbol is used by preachers or polemists and takes place at the heart of debates on the nature of devil actions, the power of the sign, or transubstantiation reality. Making the devil the supreme juggler, demonology generally condemns in return the praestigiator and his illusions. Merging these two genealogies, Reginald Scot, Protestant, demonologist and first pedagogue of legerdemain, makes it the instrument of the most radical skeptical criticism, de-demonizing supernatural phenomena. Finally, illusionism is a true object of knowledge, transverse to all the fields, giving a new insight on the Renaissance period technique.