Depuis les vingt dernières années, l'industrie a développé plusieurs produits commerciaux dotés de capacités auditives et visuelles. La grand majorité de ces produits est composée d'un caméscope et d'un microphone embarqué (téléphones portables, tablettes, etc). D'autres, comme la Kinect, sont équipés de capteurs de profondeur et/ou de petits réseaux de microphones. On trouve également des téléphones portables dotés d'un système de vision stéréo. En même temps, plusieurs systèmes orientés recherche sont apparus (par exemple, le robot humanoïde NAO). Du fait que ces systèmes sont compacts, leurs capteurs sont positionnés près les uns des autres. En conséquence, ils ne peuvent pas capturer la scène complète, mais qu'un point de vue très particulier de l'interaction sociale en cours. On appelle cela "Analyse Égocentrique de Scènes Audio-Visuelles''.Cette thèse contribue à cette thématique de plusieurs façons. D'abord, en fournissant une base de données publique qui cible des applications comme la reconnaissance d'actions et de gestes, localisation et suivi d'interlocuteurs, analyse du tour de parole, localisation de sources auditives, etc. Cette base a été utilisé en dedans et en dehors de cette thèse. Nous avons aussi travaillé le problème de la détection d'événements audio-visuels. Nous avons montré comme la confiance en une des modalités (issue de la vision en l'occurrence), peut être modélisée pour biaiser la méthode, en donnant lieu à un algorithme d'espérance-maximisation visuellement supervisé. Ensuite, nous avons modifié l'approche pour cibler la détection audio-visuelle d'interlocuteurs en utilisant le robot humanoïde NAO. En parallèle aux travaux en détection audio-visuelle d'interlocuteurs, nous avons développé une nouvelle approche pour la reconnaissance audio-visuelle de commandes. Nous avons évalué la qualité de plusieurs indices et classeurs, et confirmé que l'utilisation des données auditives et visuelles favorise la reconnaissance, en comparaison aux méthodes qui n'utilisent que l'audio ou que la vidéo. Plus tard, nous avons cherché la meilleure méthode pour des ensembles d'entraînement minuscules (5-10 observations par catégorie). Il s'agit d'un problème intéressant, car les systèmes réels ont besoin de s'adapter très rapidement et d'apprendre de nouvelles commandes. Ces systèmes doivent être opérationnels avec très peu d'échantillons pour l'usage publique. Pour finir, nous avons contribué au champ de la localisation de sources sonores, dans le cas particulier des réseaux coplanaires de microphones. C'est une problématique importante, car la géométrie du réseau est arbitraire et inconnue. En conséquence, cela ouvre la voie pour travailler avec des réseaux de microphones dynamiques, qui peuvent adapter leur géométrie pour mieux répondre à certaines tâches. De plus, la conception des produits commerciaux peut être contrainte de façon que les réseaux linéaires ou circulaires ne sont pas bien adaptés. / Along the past two decades, the industry has developed several commercial products with audio-visual sensing capabilities. Most of them consists on a videocamera with an embedded microphone (mobile phones, tablets, etc). Other, such as Kinect, include depth sensors and/or small microphone arrays. Also, there are some mobile phones equipped with a stereo camera pair. At the same time, many research-oriented systems became available (e.g., humanoid robots such as NAO). Since all these systems are small in volume, their sensors are close to each other. Therefore, they are not able to capture de global scene, but one point of view of the ongoing social interplay. We refer to this as "Egocentric Audio-Visual Scene Analysis''.This thesis contributes to this field in several aspects. Firstly, by providing a publicly available data set targeting applications such as action/gesture recognition, speaker localization, tracking and diarisation, sound source localization, dialogue modelling, etc. This work has been used later on inside and outside the thesis. We also investigated the problem of AV event detection. We showed how the trust on one of the modalities (visual to be precise) can be modeled and used to bias the method, leading to a visually-supervised EM algorithm (ViSEM). Afterwards we modified the approach to target audio-visual speaker detection yielding to an on-line method working in the humanoid robot NAO. In parallel to the work on audio-visual speaker detection, we developed a new approach for audio-visual command recognition. We explored different features and classifiers and confirmed that the use of audio-visual data increases the performance when compared to auditory-only and to video-only classifiers. Later, we sought for the best method using tiny training sets (5-10 samples per class). This is interesting because real systems need to adapt and learn new commands from the user. Such systems need to be operational with a few examples for the general public usage. Finally, we contributed to the field of sound source localization, in the particular case of non-coplanar microphone arrays. This is interesting because the geometry of the microphone can be any. Consequently, this opens the door to dynamic microphone arrays that would adapt their geometry to fit some particular tasks. Also, because the design of commercial systems may be subject to certain constraints for which circular or linear arrays are not suited.

The problem of this study was to determine the extent to which instructors perceived visual media as being valuable in achieving their classroom objectives in predominantly black, state-supported colleges and universities in the State of Louisiana. Questionnaires were mailed to 165 college and university instructors in colleges of education in predominantly black state-supported universities in Louisiana. Of the 165 questionnaires mailed, 139 were returned. All participants used in the study were teaching at least one course in education during the time the questionnaire was administered. The study is descriptive. The data were collected by means of a questionnaire, and analyzed by percentages, means, and standard deviations. One-way analysis of variance was used to test the differences in attitudes among the faculty members in the study. The level of significance was set at .05.

A videotape playback treatment was investigated in the present study with regard to its effects on acceptance of responsibility for conflict in distressed couples. Three major hypotheses were tested. The first hypothesis that subjects given videotape playback of their pretherapy sessions would show a significant increase in self-attribution was supported.The second hypothesis that subjects who received videotape playback of their pretherapy sessions would show a significant increase in the frequency of self-attributional statements was also supported. Results of the present study did not support the final hypothesis that following a significant increase in self-attribution. It was concluded that videotape playback may provide an effective means of facilitating acceptance of responsibility for conflict in distressed couples. The implication for practitioners is that videotape playback could accelerate the marital therapy process through facilitation of the acceptance of responsibility.

Depuis quelques années, un intérêt grandissant pour les interactions homme-robot (HRI), avec pour but de développer des robots pouvant interagir (ou plus généralement communiquer) avec des personnes de manière naturelle. Cela requiert aux robots d'avoir la capacité non seulement de comprendre une conversation et signaux non verbaux associés à la communication (e.g. le regard et les expressions du visage), mais aussi la capacité de comprendre les dynamiques des interactions sociales, e.g. détecter et identifier les personnes présentes, où sont-elles, les suivre au cours de la conversation, savoir qui est le locuteur, à qui parle t-il, mais aussi qui regarde qui, etc. Tout cela nécessite aux robots d’avoir des capacités de perception multimodales pour détecter et intégrer de manière significative les informations provenant de leurs multiples canaux sensoriels. Dans cette thèse, nous nous concentrons sur les entrées sensorielles audio-visuelles du robot composées de microphones (multiples) et de caméras vidéo. Dans cette thèse nous nous concentrons sur trois tâches associés à la perception des robots, à savoir : (P1) localisation de plusieurs locuteurs, (P2) localisation et suivi de plusieurs personnes, et (P3) journalisation de locuteur. La majorité des travaux existants sur le traitement du signal et de la vision par ordinateur abordent ces problèmes en utilisant uniquement soit des signaux audio ou des informations visuelles. Cependant, dans cette thèse, nous prévoyons de les aborder à travers la fusion des informations audio et visuelles recueillies par deux microphones et une caméra vidéo. Notre objectif est d'exploiter la nature complémentaire des modalités auditive et visuelle dans l'espoir d'améliorer de manière significatives la robustesse et la performance par rapport aux systèmes utilisant une seule modalité. De plus, les trois problèmes sont abordés en considérant des scénarios d'interaction Homme-Robot difficiles comme, par exemple, un robot engagé dans une interaction avec un nombre variable de participants, qui peuvent parler en même temps et qui peuvent se déplacer autour de la scène et tourner la tête / faire face aux autres participants plutôt qu’au robot. / In recent years, there has been a growing interest in human-robot interaction (HRI), with the aim to enable robots to naturally interact and communicate with humans. Natural interaction implies that robots not only need to understand speech and non-verbal communication cues such as body gesture, gaze, or facial expressions, but they also need to understand the dynamics of the social interplay, e.g., find people in the environment, distinguish between different people, track them through the physical space, parse their actions and activity, estimate their engagement, identify who is speaking, who speaks to whom, etc. All these necessitate the robots to have multimodal perception skills to meaningfully detect and integrate information from their multiple sensory channels. In this thesis, we focus on the robot's audio-visual sensory inputs consisting of the (multiple) microphones and video cameras. Among the different addressable perception tasks, in this thesis we explore three, namely; (P1) multiple speakers localization, (P2) multiple-person location tracking, and (P3) speaker diarization. The majority of existing works in signal processing and computer vision address these problems by utilizing audio signals alone, or visual information only. However, in this thesis, we plan to address them via fusion of the audio and visual information gathered by two microphones and one video camera. Our goal is to exploit the complimentary nature of the audio and visual modalities with a hope of attaining significant improvements on robustness and performance over systems that use a single modality. Moreover, the three problems are addressed considering challenging HRI scenarios such as, eg a robot engaged in a multi-party interaction with varying number of participants, which may speak at the same time as well as may move around the scene and turn their heads/faces towards the other participants rather than facing the robot.

Made available in DSpace on 2014-06-11T19:24:06Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-03-23Bitstream added on 2014-06-13T20:28:07Z : No. of bitstreams: 1 pando_ra_me_bauru.pdf: 1232045 bytes, checksum: 47bf57c7307388b317f73f748ac6702b (MD5) / Apresenta-se a possibilidade de criação de núcleos de produção audiovisual com conteúdos informativos que correlacionem, entre outros, arte, meio ambiente e tecnologia. Nesse contexto, a televisão digital e a internet surgem como suporte na cadeia produtiva de conteúdos realizados a partir de dispositivos móveis. Tal realidade conta com o incentivo, dentre outros, do Centro Nacional de Excelência em Produção de Conteúdos Digitais Interativos e Interoperáveis, coordenado pelo Ministério de Ciência e Tecnologia (MCT). As tecnologias de informação e comunicação (TICs) podem reestabelecer às produções midiáticas a vocação de fonte cultural formadora na vida dos indivíduos, principalmente jovens. Neste sentido, os meios de comunicação interativos prometem reduzir as fronteiras da desigualdade de acesso, fortalecendo a democratização de informações, o compartilhamento de saberes e práticas cidadãs / This paper presents the possibility of creating audiovisual production cores with informative and educative contents which correlate art, environment and technology, among others. In this context, digital television and internet appear as support to the production chain of contents generated from mobile internet devices. Such reality is encouraged, among others, by the Centro Nacional de Excelência em Produção de Conteúdos Digitais interativos e interoperáveis, coordinated by the Ministério de Ciência e Tecnologia (MCT). The information and communication technologies (ICT) can re-establish to the media productions the vocation of cultural source in one's life, especially the young. So, interactive communication means promise to reduce the bordes of access inequality, building up information democratization, knowledge sharing and civic practices

Thesis submitted in fulfilment of the requirements for the degree Master of Technology: Electrical Engineering in the Faculty of Engineering at the Cape Peninsula University of Technology, 2012 / People are spending more time being entertained at home now than ever before. It is currently common to find a home entertainment console containing an LCD or Plasma television, DVD player and surround sound amplifier in many homes. The number of home entertainment devices is increasing, yet our understanding of the effect that they have on power quality is incomplete. This study determines the power consumption of home entertainment equipment as well as the effect that such devices have on harmonic distortion levels. A methodology is developed for the measurement of the power consumption of home entertainment equipment including television sets, DVD players and home theatre. The results are compared to the Energy Star standard to determine if the power consumption of these devices is within the limits imposed. The methodology presented consists of three parts, performing measurements, generating results and comparison to energy and harmonic standards. The developed methodology includes steps for mathematically combining the measured voltage and current waveforms of individual devices. The goal is to determine total current and voltage waveforms for a combination of devices. The methodology also describes how to analyze the resultant synthesized waveforms so as to determine the power consumption at each harmonic. The levels of current harmonics for individual devices and groups of devices are determined and then compared to the EN6100-3-2 standard to ascertain if they are within the limits imposed. The power consumption and current harmonics of each combination as well as individual devices were analysed. Using the developed methodology, four case studies were conducted, grouping different home entertainment devices together. It was found that the power consumption of LCD television sets are below the limits imposed by the Energy Star standard while for Plasma based televisions it was above these limits. Current harmonic levels for CRT based televisions were found to be above the limits imposed by the EN6100-3-2 standard while those for LCD and Plasma based televisions the levels were below the limits. The research concludes that the current harmonics of new LCD and Plasma based televisions does not pose any concern for power quality.

Thesis (MTech (Graphic Design))--Cape Peninsula University of Technology, 2012. / University graduates entering the graphic design, advertising and publishing industries do so with the hand and digital illustration knowledge and skills that they acquired during their time of study. As a result of the ever-changing developments in technology, the parameters of hand-generated illustration within the visual communications industry have increasingly progressed toward digitally generated artwork. This thesis investigates the alignment or nonalignment between illustration teaching and learning practices in higher education and professional practice in the visual communications industry, with a view to identifying the gaps, and their causes, in the knowledge and skills of graduates entering the workplace. The study uses the lens of Activity Theory (Enqestrorn, 1987) to investigate practices in higher education and industry sites. Both the higher education and workplace investigation was guided by the research questions: 1) What comprises an activity system in the training of illustrators in higher education? 2) What comprises an activity system in professional illustrators' practice? and 3) How can the higher education and professional activity systems be aligned for their mutual benefit? The comparative study uses both quantitative questionnaire data and qualitative data derived from interviews conducted in both higher education and workplace sites, including the analysis of samples of illustration at both sites. The research reveals areas where there is both alignment and non-alignment and recommendations are made with a view to ensuring that illustration programmes in higher education are aligned as closely as possible to the needs of the workplace. The contribution made by this research is both theoretical and practical. The theoretical knowledge framework that has been developed outlines academics' and practitioners' of illustration theorising of current trends in both hand and digital illustration curricula in higher education and current trends and needs of digital and hand illustration in the visual communication industry. In broad terms, there is alignment with regard to technical skills and the tools used across both sites, while there is non-alignment with regard to knowledge of and preparation for the workplace and self employment, for example, time management, interpersonal skills and the acceptance of critique. The practical contribution is in the form of recommendations to curricula, which when applied should better prepare graduates with the practical and skills required of illustrators in the unpredictable, demanding world of work, which they encounter on leaving their academic institutions.

Orientador: Letícia Passos Affini / Banca: Marcos Américo / Banca: Paulo César da Silva Teles / Resumo: As transformações na publicidade e na propaganda estão ocorrendo devido ao avanço das Tecnologias de Informação e Comunicação (TICs), proporcionando quebra de paradigmas modificando o modo de como assistimos à televisão, e isso, consequentemente, afeta o modelo de negócio deste meio que será alterado, pois o conceito de grade televisiva não será prioridade, sendo assim, os blocos de intervalos comerciais perdem seu principal motivo, e a televisão a fim de manter os anunciantes como patrocinadores da TV está levando os comerciais para dentro do programa. Essas transformações no modelo de negócio analógico, que traz a publicidade nos intervalos comerciais e a pluralidade de novos caminhos que a televisão digital possibilita, levam-nos a pensar sobre as direções que a publicidade irá tomar, isso porque a partir do momento que o telespectador tem a possibilidade de escapar do comercial, a publicidade e a propaganda terão de pensar uma nova forma de chamar a atenção, atrair e conquistar o telespectador, porque o atual modelo de negócio não comportará as novas possibilidades da televisão digital, buscando nova forma de patrocínio e financiamento. A fim de explorar a relação, publicidade e público no novo modelo de nogócio, encontramos o advertainment que, segundo palavras de Walter Longo, promove a "sinergia entre emoção e informação, integração de marcas e produtos no ambiente editorial dos veículos de comunicação" (LONGO). Isso se faz necessário, porque com a implantação do Sistema Brasileiro de Televisão Digital Terrestre (SBTVD-T), os telespectadores serão participativos, definindo e assistindo ao que desejam, na hora e local em que desejam com a nova plataforma. É nessa conjuntura que surgem as preocupações das agências de publicidade e propaganda, ao perceberem que o telespectador pode simplesmente não assistir a um determinado comercial, ou mesmo ignorar todo o bloco de publicidade / Abstract: The transformations are occurring due to advance of Information and Communication Technologies and providing breaking paradigms, modifying the way we watch television, and this therefore affects the business model of the media which will be changed, because the TV grid concept won't be a priority, so the advertising spaces lose their main reason, and in order to keep adversitisers as sponsors, the TV manages are bringing the commercials into the shows. These changes in the analog business model that brings advertisement in commercial breaks and a plurality of new ways that digital television provides, leads us to think about the directions that the advertisements will take. From that moment the viewer has the possibility to scape from the commercial, advertising and propaganda have to think a new way to draw attention, attract and capture the viewer, because the current business model does not contain the new possibilities of digital television, trying new form of sponsorship and funding. In order to explore the relation between advertisement and public in a new business model, we found the advertainment which in Walter Longo's words the advertainment promotes "synergy between emotion and information, brands and products integration in the editorial environment of the media". (LONGO). It is necessary because with the implementation of the Brazilian System of Digital Terrestrial Television (SBTVD-T) viewers will be participatory, setting and watching what, when and where they want with the new plataform. It appears at this conjuncture the concerns about advertisers and advertising, when it is realized that the viewer cannot simply watch a particular commercial, or even ignore the entire commercial break / Mestre

Submitted by Luciana Ferreira (lucgeral@gmail.com) on 2018-11-14T11:32:29Z No. of bitstreams: 2 Tese - Marcelo Henrique da Costa - 2018.pdf: 66772581 bytes, checksum: 6e3be65c0347be056e27a91eba8220a2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2018-11-14T12:57:50Z (GMT) No. of bitstreams: 2 Tese - Marcelo Henrique da Costa - 2018.pdf: 66772581 bytes, checksum: 6e3be65c0347be056e27a91eba8220a2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-11-14T12:57:50Z (GMT). No. of bitstreams: 2 Tese - Marcelo Henrique da Costa - 2018.pdf: 66772581 bytes, checksum: 6e3be65c0347be056e27a91eba8220a2 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2018-07-02 / Fundação de Amparo à Pesquisa do Estado de Goiás - FAPEG / Cinema and education have always flirted. Although they are consolidated fields, with each flirt new points of view are constituted from the experiences and the knowledge constructed from this approach. The "Olhares Móveis" comes from an extensionist action in which workshops of audiovisual realization with mobile devices were with adolescents, students of the Colégio Estadual Pedro Gomes in the district of Campinas, city of Goiânia, state of Goiás, Brazil. The project encapsulated the proposal to instigate reflections on the digital universe and the "new" digital media for capturing, editing and distributing images and sounds, providing practical activities in which students could experience the process of production and construction of meaning and meaning by manipulating the elements of the cinematographic language, using their cellular telephone handsets. The proposed activities allowed the students to develop critical thinking about the images and, above all, the images produced by them. Based on this experience, the present thesis discusses the possibilities of subversion of the support from the practice of producing audiovisual narratives in a school environment, trying to establish connections about the context of technical images for pedagogical purposes and the emergence of these images in an approach perspective pedagogical. / O cinema e a educação sempre flertaram. Embora sejam campos consolidados, a cada flerte novos pontos de vista são constituídos a partir das experiências e dos conhecimentos construídos a partir dessa aproximação. O “Olhares Móveis” surge de uma ação extensionista em que oficinas de realização audiovisual com aparatos móveis foram com adolescentes, alunos do Colégio Estadual Pedro Gomes no bairro de Campinas, cidade de Goiânia, estado de Goiás, Brasil. O projeto encampou a proposta de instigar reflexões sobre o universo digital e os “novos” suportes digitais de captação, edição e distribuição de imagens e sons, proporcionando atividades práticas nas quais os alunos pudessem experimentar e experienciar o processo de produção e construção de sentido e significação por meio do manuseio dos elementos da linguagem cinematográfica, utilizando seus aparelhos de telefone celular. As atividades propostas possibilitou aos estudantes o desenvolvimento do pensamento crítico acerca das imagens e, sobretudo, sobre as imagens produzidas por eles mesmos. Partindo dessa experiência a presente tese discute as possibilidades de subversão do suporte a partir da prática de produção de narrativas audiovisuais em ambiente escolar, procurando estabelecer conexões acerca do contexto de produção de imagens técnicas com intuito pedagógico e a emergência dessas imagens em uma perspectiva de abordagem pedagógica.

A identificação e a exploração de alguns dos elementos fundamentais da linguagem audiovisual, ainda em seus primórdios, permitem sugerir que esses mesmos traços estejam presentes no chamado modo cultural ocidental de produção telejornalística da atualidade. É provável que, a partir do cinema mudo, certos padrões imagéticos tenham sido criados e que, nos anos 30, quando finalmente houve a possibilidade técnica de se fazer um filme, sincronizá-lo com uma banda sonora e exibi-lo para grandes platéias, elas tenham se cristalizado como estruturas audiovisuais, as quais permanecem, em sua essência, na produção dos programas jornalísticos do início deste século. A análise de uma obra cinematográfica do período áureo dos anos 30, quando a narrativa fílmica já tinha consolidado o uso do som e da imagem como matérias-primas de sua linguagem o western No Tempo das Diligências (Stagecoach, 1939) , servirá como base para a pesquisa realizada posteriormente com o telejornal Fox News Live, do canal de televisão Fox News Channel; isto possibilitará a verificação das construções audiovisuais do cinema e sua conseqüente permanência como estruturas sonoro-imagéticas na televisão, portanto, estruturas discursivas inconscientes. / The identification and exploitation of some of the audio-visual languages fundamental elements, by studying its origins, will allow us to suggest that these same remains are still present in the so-called Western cultural mode of news production nowadays. Probably, since the silent motion pictures, some visual imagery have been created and, therefore, in the 1930s, when finally there were technical possibilities to film a motion-picture, synchronize it with a sound stripe and exhibit it to large audiences, these patterns have been consolidated as audio-visual structures, which still endure, in essence, in news programming production at the beginning of this century. The analysis of a movie from 1930s golden period, when the filmic narrative had already solidified the use of sounds and images as commodities of its own language the western Stagecoach(1939) , it will function as a basis for the research carried out, later on, with Fox News Live, which is broadcasted by Fox News Channel; this investigation will permit the verification of some audio-visual constructions in cinema, besides its resulting permanence as sound-imagery structures in television, consequently, unconscious structures of discourse.