This study examines how Augmented Reality (AR) visualizations can impact the collective interaction of users. This research will focus on a multiphase experience with a buildup of different levels of Virtual Reality through the use of panoramas and 3D models. The experience was created using a participatory method with multiple tests and iterations to better create an evaluable product. The result if this experiment shows that the impact AR has on users is extensive. A properly framed character can even change a pair of two users into a group of three.

As China has celebrated its economic boom over the past decades, scientific research within the R&D sector of industry has become an active arena for Science and Technology Studies (STS) in understanding how science contributes to social change in China. Two themes are central in this sociological work: the study of secular change in China, in particular, change in its biotech industries exemplified by work in the BGI (formerly known as Beijing Genomics Institute); the investigation of interdisciplinarity in that context. This research sheds new light on explanatory practice in interdisciplinary research (IDR) strategy as patterns of interaction in the social process of scientific knowledge production, and its contribution also includes bridging the sociology of scientific knowledge production and research policy studies. In this thesis, I examine a number of topics at three interrelated levels of analysis. First, it explores the theoretical development of the academic discipline and the notion of interdisciplinarity, with a focus on the balance of normative and descriptive approaches in understanding their social functionality as embodied by what I name as Paradiscipline (the initial stage of IDR project). The second level investigates closely how IDR patterns emerge and evolve in the sequencing-based industrial R&D practice in the case of the BGI. Social, cultural, and institutional factors directing and conditioning collective actions by status groups within interaction network are carefully weighed against the context that scientific expertise speak to power in China's social setting. The last level is dedicated to yield more pervasive implications including the organizational structure of interaction and modelling of scientific research, via comparative analysis of traditional S&T management and governing 'Big Science'. It further addresses the issues around on-site governance of China's biotechnology industry R&D, at both management practice and policy making levels, on the basis of social embedment.

À l'instar d'œuvres telles que Kinoautomat de Radúz Činčera, SAM - Sound Activated Mobile d'Edward Ihnatowicz et Glowflow de Myron Krueger, des artistes ont développé, dès les années 1960, des installations artistiques engageant des situations d'interaction collective co-localisée inédites, c'est-à-dire impliquant plusieurs voire de nombreux spectateurs interagissant dans le même lieu via et avec un dispositif informatique. Le nombre de ces travaux ne cesse d'augmenter depuis le début du 21ème siècle, profitant des nouvelles opportunités offertes par les avancées dans les technologies de vision par ordinateur en temps réel et par l'avènement de l'informatique ubiquitaire marquée par la multiplication et l'interopérabilité des appareils informatiques mobiles. Si les expériences en la matière sont de plus en plus fréquentes, elles n'ont jusqu'à ce jour fait l'objet d'aucune analyse structurée et, encore moins, de propositions d'outils et de méthodes de conception dédiés. Comment, aujourd'hui, concevoir de tels dispositifs artistiques interactifs dont la complexité intrinsèque implique des questions aussi bien de l'ordre technique, social, cognitif qu'esthétique ? Cette thèse met à contribution des travaux antérieurs dans les domaines de l'interaction homme-machine (IHM), du travail coopératif assisté par ordinateur (TCAO) et des arts interactifs dans le but d'accroître notre connaissance quant aux défis auxquels sont confrontés à la fois les artistes et les participants de telles installations et, au-delà, les concepteurs de ces dispositifs en devenir. Un ensemble d'outils et de lignes directrices sont proposés pour la conception de systèmes d'interaction collective co-localisée pour les installations d'art numérique. Est d'abord développé un système de classification centré sur les aspects les plus décisifs permettant l'émergence d'une expérience collective. Deux approches différentes sont ensuite explorées pour trouver les bases d'un langage de modélisation graphique pour l'analyse et la conception de tels dispositifs. S'appuyant sur les réseaux de Petri, la deuxième approche permet de modéliser aussi bien les ressources spatiales et matérielles d'une installation, que les interactions homme-machine, humain(s)-humain(s) et humain(s)-machine(s)-humain(s). Les investigations menées pour cette recherche ont nécessité de mettre un accent particulier sur les conditions - qu'elles soient spatiales, matérielles ou humaines - qui affectent la capacité pour les participants de telles installations de co-construire une expérience esthétique commune en l'absence d'orchestration ou d'un objectif pré-annoncé à atteindre. Si cette approche singulière concerne en premier lieu les arts interactifs, elle peut revêtir également un caractère pertinent pour d'autres communautés de recherche, y compris et en premier lieu, celle de l'IHM, ainsi que celles du TCAO, des Nouvelles interfaces pour l'expression musicale (NIME), du design d'interaction ou encore de la culture, en particulier de la muséographie. / With works such as Kinoautomat by Radúz Činčera, SAM - Sound Activated Mobile by Edward Ihnatowicz, and Glowflow by Myron Krueger, artists have deployed, as early as the 1960s, art installations engaging novel situations of collective co-located interaction, i.e involving multiple or even many spectators interacting in the same place via and with a digital apparatus. The number of those works has continued to increase since the beginning of the 21st century, taking advantage of the new opportunities offered by advances in real-time computer vision technologies and the advent of ubiquitous computing marked by the multiplication and interoperability of mobile computing devices. While experiences in this area are more and more frequent, they have not yet been the subject of structured analysis and, even less, of proposals for dedicated tools and design methods. How can we, nowadays, conceive such interactive art installations whose intrinsic complexity involves questions of the technical, social, cognitive and aesthetic order? This dissertation draws on previous work in the fields of human-computer interaction (HCI), computer-supported cooperative work (CSCW), and interactive arts research with the aim of increasing our knowledge of the challenges faced both by art practitioners and participants in such collective interactive installations, and, beyond, the designers of apparatus in a promising future. A set of tools and guidelines are proposed when designing collective co-located interactions for digital art installations. First a classification system is developed centered on the most decisive aspects that allow the emergence of a collective experience. Two distinct approaches are then explored to find the bases of a graphical modeling language for the design and analysis of such apparatus. Build on top of Petri nets, the second approach supports modeling the spatial and material resources of an installation, as well as the human-machine, human-human and human-machine-human interactions. The investigations conducted for this research have required laying particular emphasis on the conditions - whether spatial, material, or human - which affect the ability for participants to co-construct a common aesthetic experience in the absence of orchestration or a preannounced goal to be achieved. While this singular approach primarily concerns interactive arts, it may be relevant to a wide range of research communities, including, and foremost, that of HCI, as well as CSCW, New Interfaces for Musical Expression (NIME), interaction design, and even culture, museography in particular.