L’intégration des systèmes mécatroniques est la source première de leur complexité de conception. Trois principaux types d’intégration sont en cause : l’intégration multi-domaine qui vise à intégrer en synergie la mécanique, l’électronique, l’informatique et l’automatique ; l’intégration multi-niveau prenant en compte les interfaces entre les différents niveaux d’abstraction du système et l’intégration physique dont l’objectif est d’agencer un maximum de composants dans un volume de plus en plus limité. L’objectif de cette thèse est de proposer un moyen d’évaluer cette intégration dans la conception des systèmes mécatroniques, le plus tôt possible dans le cycle de conception. En effet, la phase de préconception génère de nombreuses architectures qui vont être échangées, analysées, discutées et modifiées, avant d’être évaluées en vue de sélectionner les plus pertinentes au regard du cahier des charges à respecter. Dès lors, les concepteurs ont besoin de moyens et d’outils performants pour comparer les différentes architectures candidates, justifier et tracer leurs choix de conception et ainsi réduire la durée de la phase de décisions. S’appuyant sur les modèles générés par le processus d’ingénierie système basée sur les modèles (MBSE), les métriques que nous avons développées visent à évaluer et comparer quantitativement le degré d’intégration des architectures mécatroniques pour faciliter le choix du concept à retenir. Les objectifs adressés par ces métriques sont l’intégration multi-niveau, multi-domaine et physique, ainsi que le degré d’innovation et la mise-en-œuvre d’un projet de conception des systèmes mécatroniques. Ces métriques ont été implémentées en SysML et expérimentées dans un logiciel de CAO (CATIA) pour le choix d’architectures de deux systèmes mécatroniques, à savoir : le moteur-roue et le moteur hybride. Finalement, une méthode de génération de métriques personnalisées a été établie pour répondre au besoin industriel de prendre en compte les spécificités relatives à la culture, l’organisation, la stratégie de chaque entreprise et à l’expérience de leurs concepteurs. / The integration of mechatronic systems is the main source of their design complexity. Three key types of integration are at stake: multi-domain integration which is intended to synergistically integrate mechanics, electronics, information technology and automation; multi-level integration taking into account the interfaces between the different system abstraction levels, and finally physical integration that aims at embedding a large number of components in an increasingly limited volume. The purpose of our approach is to propose a means of assessing this integration degree in mechatronic systems design, as early as possible in the design cycle. The predesign phase indeed generates numerous architectures that will be shared, analyzed, debated and revised before being assessed in order to select the most relevant one according to the specifications to be met. Designers then require means and effective tools to compare alternative architectures, to justify and trace their design choices and thus facilitate decision-making trade-offs. Based on Model-Based Systems Engineering (MBSE), the metrics we developed aim at evaluating and quantitatively comparing the integration degree of mechatronic architectures, in order to provide systems architects an efficient support to opt for the concept to be selected. The objectives addressed by these metrics are multi-level, multi-domain and physical integrations, as well as the innovation degree and finally the design project implementation of mechatronic systems. These metrics have been implemented in SysML and experimented with a CAD tool (CATIA) on different architectures of two mechatronic systems: a wheel hub motor and a hybrid powertrain. Finally, a method to generate customized metrics has been established to meet industrial needs, by taking into account specificities relating to the culture, organization, strategy of each company and their designers’ knowledge and feedbacks.

<p>How does haptic feedback during human-virtual character interaction affect participant physiological responses in virtual reality? In this between-subjects study, haptic feedback and non-haptic feedback conditions in which virtual characters bump into the participant who is immersed in a virtual environment are compared. A questionnaire was developed to determine the influence of haptic feedback on presence, embodiment, positive and negative affect, interaction with virtual characters, and haptic feedback realism, among other more exploratory concepts. These exploratory variables include engagement, flow, comfort with virtual characters, comfort with virtual characters’ appearance, realism of virtual character interaction, realism of haptic feedback, and virtual reality sickness. Physiological data was collected using galvanic skin response (GSR) to investigate the influence of haptic feedback on physiological arousal during human-virtual character interaction. Five conditions were developed (no haptic feedback, full and half intensity, incorrect position, and delayed timing). Significant differences were found in embodiment, realism of virtual character interaction, haptic feedback realism, and GSR amplitude after the first interaction with the virtual character. These results may inform future virtual reality studies that investigate haptic feedback during human-virtual character interaction and/or arousal via GSR data, as well as advise studies that seek to correlate self-report responses with physiological data. </p>

Les travaux entrepris dans le cadre de cette thèse de doctorat portent sur l'impact de différentes modalités perceptives et graphiques pouvant affecter l'expérience utilisateur en environnement virtuel immersif. Le positionnement de nos recherches s'inscrit dans un contexte où une majorité d’applications de réalité virtuelle reposent sur une reconduction de la vision à la première personne induisant un transfert naturel de nos mécanismes perceptifs. Cependant, il est fréquent que ces applications recourent à une représentation partielle, voire omettent l'intégration d'entités visuelles figurant la présence de l'utilisateur et limitant dès lors l'induction d'un sentiment d'incarnation au sein de l'environnement virtuel.Dans ce contexte, notre étude contribue à étendre les connaissances concernant l'influence du point de vue et de la fidélité visuelle des avatars sur l'expérience utilisateur. Sur un plan théorique, nos travaux proposent une articulation des notions de présence et d'incarnation au travers d'un méta-modèle reposant sur des intrications identifiées entre ces concepts lors de notre revue de littérature. Sur un plan expérimental, les trois études menées dans le cadre de nos recherches permettent d'identifier plusieurs facteurs impactant les sentiments de présence et d'incarnation, le comportement des utilisateurs ainsi que les performances en ce qui concerne la navigation et les interactions. Notre première expérimentation démontre la possibilité d'avoir recours au point de vue à la troisième personne en réalité virtuelle tout en conservant un sentiment d'incarnation élevé. Nos résultats permettent également d'identifier les potentialités octroyées par les points de vue à la première et à la troisième personne en matière de perception, de navigation et d'interaction. Nous avons conduit par la suite des études portant sur la fidélité visuelle qui démontrent l'impact positif de la similarité entre l'apparence des utilisateurs et celle de leur avatar sur l'évaluation de l'attractivité des modèles et sur le processus de sélection de personnages. Enfin, les résultats de notre troisième expérimentation démontrent l'impact positif de la véracité des avatars sur le sentiment d'incarnation, ainsi que son effet sur l'expérience subjective et le comportement des utilisateurs en environnement virtuel immersif. / The work undertaken in this doctoral thesis focuses on the impact of different perceptual and graphical modalities that can affect user experience in immersive virtual environment. Our research takes position in a context where a majority of virtual reality applications are based on a first-person perspective leading to a natural transfer of our perceptual mechanisms. However, these applications often use partial representation or even omit the integration of visual entities representing the presence of the user and thus limiting the induction of a sense of embodiment within the virtual environment.In this context, our study contributes to expanding the knowledge concerning the influence of perspective and avatar visual fidelity on user experience. On a theoretical level, our work proposes an articulation of the notions of presence and embodiment through a meta-model based on intrications identified between these concepts during our literature review. On an experimental level, the three studies conducted as part of our research make it possible to identify several factors impacting the sense of presence and embodiment, user behavior and performance in terms of navigation and interaction. Our first experiment demonstrates the possibility of using a third-person perspective in virtual reality while maintaining a high sense of embodiment. Our results also make it possible to identify the potentialities enabled by first- and third-person in terms of perception, navigation and interaction. Afterward, we conducted studies on visual fidelity that demonstrate the positive impact of the similarity between users' appearance and that of their avatar on the evaluation of models' attractiveness and on the character selection process. Finally, the results of our third experiment demonstrate the positive impact of avatars' truthfulness on the sense of embodiment, as well as its effect on the subjective experience and behavior of users in immersive virtual environment.

Trata-se de uma pesquisa que tem como eixo a relação entre o rito e o mito: A corporeidade existente nesta interseção e sua relação com o teatro. A partir da aquisição do conhecimento, do estudo e da prática das danças ritualísticas e da mitologia das divindades (minkisi), enquanto figuras arquetípicas do Camdomblé Angolano surge uma corporeidade para ser explorada pelo ator/performer na e para cena. Esta investigação se insere na Antropologia da Performance, valendo-se dos estudos de Schechner e Turner sobre a restauração do comportamento, por meio da transmissão, manipulação e transformação do rito e do mito em processo artístico e também na Antropologia da Corporeidade com a abordagem de Thomas Csordas sobre o corpo que é o sujeito da cultura e não apensas objeto desta. Da experiência dos corpos-fictícios surgidos das divindades emerge o Ator-Sacrário, como receptáculo desta cultura. A pesquisa foi realizada na prática com um grupo de atores amadores e profissionais, de modo consciente e sem transe religioso, onde se tem o registro do desenvolvimento de potências eficientes na e para improvisação a partir desta corporeidade adquirida. / This is a reserch that has as its axis the relationship between the rite and mith: the existent embodiment in this intersection and its relationship with the theater. From the acquisition of knowledge, study and practice of ritualistic dances and mythology of deities (minkisi) as archetipal figures from Candomble of Angola arises embodiment to be exploited by actor/performer in and for scene. This research is inserted into Anthropology of Performance, drawing upon studies by Schechner na Turner on the restoration of behavior through the transmission, manipulation and transformation of the rite and mith in the artistic process and also in Anthropology of Embodiment with Thomas Csorda´s approach on the body which is the subject of the culture and not only the object of this culture. From the experience of bodies-fictitious arisen from deities emerges the Actor-Sacrarium, as a receptacle of this culture. The research was carried out in practice with a group of Professional and amateur actors, in a conscious way and without religious trance, in which it was obtained the development Record of efficient potencies in and for improvising from this acquired embodiment.

Few verifiable first-hand accounts of the lives of past sex workers exist. What, then, were their daily lives like? Can archaeology assist us in understanding the daily lived experiences of sex workers, brothel managers, and visitors to the brothel? Despite excellent research in this subject, archaeologists have yet to adequately address the daily lived experiences within sites of prostitution. Using artifacts collected from the privy feature of the 27/29 Endicott Street house lot in Boston’s North End neighborhood, this dissertation examines the relationships among embodiment (or the exterior and interior experiences of the body), sensual experience, and identity through analysis of “assemblages of practice,” or artifacts used together to accomplish specific projects in everyday life (e.g., personal grooming, presentation of self, dining, place-making). Employing theories of embodiment and an archaeology of the senses, my study of the Endicott Street collection contributes a new methodological and theoretical framework for studying the archaeology of prostitution across time, space, and culture. Through the analysis of household artifacts such as teawares and lighting, geographic location in the city, and historical crime reports, I determined that the brothel environment was constructed both to avoid police notice and to provide an atmosphere of genteel anonymity to its customers. Likewise, the embodied experiences of women working here were as much a part of the brothel’s economy as were services offered in addition to sex. Artifact and documentary evidence suggests that the closing of the brothel and the filling of the brothel privy appear to signify the end of financial prosperity at the property. Ultimately, this dissertation finds that the practice of nineteenth-century sex work involved a careful construction of fantasy for brothel customers, and that this fantasy had the potential to provide financial stability and security for the madam of the establishment, if not for the women working as prostitutes.

Trata-se de uma pesquisa que tem como eixo a relação entre o rito e o mito: A corporeidade existente nesta interseção e sua relação com o teatro. A partir da aquisição do conhecimento, do estudo e da prática das danças ritualísticas e da mitologia das divindades (minkisi), enquanto figuras arquetípicas do Camdomblé Angolano surge uma corporeidade para ser explorada pelo ator/performer na e para cena. Esta investigação se insere na Antropologia da Performance, valendo-se dos estudos de Schechner e Turner sobre a restauração do comportamento, por meio da transmissão, manipulação e transformação do rito e do mito em processo artístico e também na Antropologia da Corporeidade com a abordagem de Thomas Csordas sobre o corpo que é o sujeito da cultura e não apensas objeto desta. Da experiência dos corpos-fictícios surgidos das divindades emerge o Ator-Sacrário, como receptáculo desta cultura. A pesquisa foi realizada na prática com um grupo de atores amadores e profissionais, de modo consciente e sem transe religioso, onde se tem o registro do desenvolvimento de potências eficientes na e para improvisação a partir desta corporeidade adquirida. / This is a reserch that has as its axis the relationship between the rite and mith: the existent embodiment in this intersection and its relationship with the theater. From the acquisition of knowledge, study and practice of ritualistic dances and mythology of deities (minkisi) as archetipal figures from Candomble of Angola arises embodiment to be exploited by actor/performer in and for scene. This research is inserted into Anthropology of Performance, drawing upon studies by Schechner na Turner on the restoration of behavior through the transmission, manipulation and transformation of the rite and mith in the artistic process and also in Anthropology of Embodiment with Thomas Csorda´s approach on the body which is the subject of the culture and not only the object of this culture. From the experience of bodies-fictitious arisen from deities emerges the Actor-Sacrarium, as a receptacle of this culture. The research was carried out in practice with a group of Professional and amateur actors, in a conscious way and without religious trance, in which it was obtained the development Record of efficient potencies in and for improvising from this acquired embodiment.

Medically Unexplained Symptoms (MUS) are bodily symptoms for which no organic cause has been identified, and which result in significant levels of psychological distress and functional impairment. MUS are thought to be highly prevalent in primary care settings, and have considerable costs to society. Despite evidence of overlapping psychological and physical presentations, MUS are not well understood or treated in culture that predominantly views the body through the lenses of dualism and mechanistic reductionism. An alternative 'interactive' view of the body as playing a more dynamic role is elaborated through George Kelly's (1955) Personal Construct Psychology. The author draws upon Lin & Payne's (2014) 'frozen construing' theory, and empirical literature on relationships between identity and MUS, to suggest that for people with MUS, the symptomatic body is distressing because the person is struggling to integrate its meaning with their identity. It is hypothesized that embodied processes, that may actually protect the self (and others who share a construct system with that person) from events which threaten to dramatically alter how the self is construed, are difficult to understand because of their preverbal nature. Hence symptoms, and the body itself, are dissociated from the person's more elaborated verbal self-constructions. Several hypotheses relating to this suggestion were tested using a modified form of the repertory grid technique that was designed to explore construct systems of both mind and body, for self and others. Twenty participants with MUS, recruited from the community, completed the repertory grid interviews and measures of depression, anxiety and symptom severity, which were correlated with relevant repertory grid indices to test hypotheses. Findings indicated that symptom constructs, contrary to expectations, were well integrated into participants' construct systems. The alleviation of psychological distress was significantly associated with increased perceived distance between the self in general and the self when symptoms are worst (a relationship which appeared to be independent of severity of symptoms), providing evidence of a process of dissociation that protected the current self from assimilating the undesirable characteristics that were associated with the symptom. The way in which the self when symptoms are worst is construed appeared to influence levels of distress, with more predictive power than several other indices. The study also found evidence for some participants of hypothesized relationships between desired aspects of the current self and symptoms, that would imply that symptom disappearance would actually threaten a desirable aspect of how the self is construed. Content analysis of these constructs revealed (as predicted) that such desirable aspects of self tended to relate to being responsible and sensitive to the needs of others, and were elaborated through bodily constructs in a way that suggested that they were not well integrated with the primary ways that these participants made sense of their identity. For these particular participants, discrepancies between the ideals that they had for themselves, and how they would like to be seen by others, were associated with increased depression. Several participants were identified whose constructions of self and others were dominated by constructs relating to both mental and physical strength and weakness. These participants appeared to be struggling to find coherent meaning for themselves as the result of symptoms, which were regarded as invalidating a pre-symptom construal of themselves as being 'strong'. There seemed to be a continuum of being a 'body for others' on the one hand, a previously 'strong person' on the other, and a person who is 'strong for others' in the middle. Implications for clinical practice are discussed. Although the findings of the current study are limited by a small sample size, it appears that exploring the meaning of the body in the construction of self helps to elaborate the meaning of the body and symptoms in a verbal, expressible form. This process is likely to be helpful to those who struggle to find meanings for their symptoms both in their own construct systems and in a society that objectifies the body.

La grande distribution affiche une politique anti-gaspillage et a ainsi proposé dès 2014des Fruits et Légumes (F&Ls) « moches » [109] à la vente. Mais ces ventes sont temporaires et locales,et ont des effets peu étudiés sur le comportement des consommateurs. Nous proposons ici d'étudier si un magasin virtuel immersif (dans lequel nous contrôlons les F&Ls) peut être utilisé pour étudier le comportement des consommateurs confronté à des F&Ls « moches ». Afin d'avoir assez de F&Ls pour remplir le magasin virtuel, nous avons généré des F&Ls d'apparences variables de manière semi-procédurale comme suit :(1) nous générons le maillage avec des Cylindres Généralisés (CGs) [6] ; puis (2) gêneront les couleurs avec un système de particule.Nous avons réalisé 2 études comparatives (resp.N=142 et N=196). L'une portant sur le comportement consommateur lorsque les F&Ls sont plus ou moins anormaux (8F&Ls séparés en 4 groupes : sans déformation,légèrement déformés, déformés et fortement déformés). Ces différences n'avaient pas d'incidences sur le comportement. L'autre portait sur le comportement consommateur lorsque l'environnement est plus ou moins immersif (8 F&Ls sans déformation et 8 F&Ls déformés, séparés en 3groupes : magasin laboratoire, magasin virtuel non immersif et magasin virtuel immersif). Il existe des différences entre ces environnements sur le comportement. Enfin, nous avons étudié si la représentation virtuelle du consommateur avait un effet lors de l'achat des produits (incluant, mais ne se limitant pas aux F&Ls) nous avons donc réalisé une étude (N=29) avec 2 groupes : avatar obèse et avatar non-obèse. Il existe des différences localisées entre ces représentations sur le comportement consommateur. / The retail sector has an anti-waste policyand has therefore offered “ugly” FaVs (Fruits and Vegetables) for sale as early as 2014 [109]. But these sales remain temporary and local and have little studied effects on consumer behavior. We propose here to study if an immersive virtual store (in which we control the FaVs) can be used to study consumer behavior confronted to “ugly” FaVs To have enough “ugly” FaVs to fill the virtual store, we developed a method capable of generatings emiprocedural FaVs. To do so we: (1) generate the mesh with Generalized Cylinders (GCs) [6]; then (2) generate the colors with a particle system.We conducted 2 comparative studies (N=142 andN=196 respectively). The first study focused on consumer behavior when the FaVs are abnormal (8 FaVs separated into 4groups: no deformation, slightly deformed, deformed and strongly deformed). These differences had no impact on consumer behavior. The other study focused on consumer behavior when the environment is more or less immersive (8 FaVs without deformation and 8 FaVs with deformation, separated into 3 groups: laboratory store, non immersive virtual store and immersive virtual store).There are differences between these environments on consumer behavior. Finally, we studied if the virtual representation of the consumer had an impact during the purchase of products (including, but not limited to, FaVs). To do so we carried out a third consumer study (N=29) (2groups: obese avatar and non-obese avatar). There are very localized differences between these representations on consumer behavior.

Estuda a mediunidade de incorporação entre médiuns de Umbanda em sua dimensão psicossocial, a partir da teoria de papéis proposta por Hjalmar Sundén. Os Ss são 12 médiuns de incorporação, entre 16 e 61 anos de idade, 11 do sexo feminino e 1 do sexo masculino, do Templo Espírita de Umbanda Xangô Agodô, situado na cidade de São Paulo. Os médiuns passam por entrevistas semi-dirigidas e são observados durante rituais de incorporação. Com o objetivo de reconhecer a cultura do grupo ao qual pertencem, realizam-se, ainda, entrevistas informais com pessoas não médiuns que também participam regularmente das atividades do referido templo. Apresenta um modelo interpretativo interdisciplinar da mediunidade de incorporação, considerando: a) a importância da dimensão grupal ampla, da dimensão social dos grupos e da dimensão individual, e da relação entre estas dimensões para a compreensão da mediunidade de incorporação; b) a importância da linguagem, em sentido amplo, como meio de interação social necessário para a existência e manutenção da mediunidade de incorporação; c) o processo de construção tanto social quanto individual da mediunidade de incorporação; d) o processo de adoção e assumição de papéis por parte dos médiuns de incorporação; e) a função social da mediunidade de incorporação; e f) os possíveis ganhos psicológicos por parte dos médiuns de incorporação. Conclui que a mediunidade de incorporação pode , ser compreendida como um papel social complexo em queestão em jogo tanto elementos sociais quanto individuais em que as entidades incorporadas são consideradas como constructos psicossociais e, assim, os médiuns são, ao mesmo tempo, seus intérpretes e coautores / This dissertation analyses the psychosocial dimension of mediumship related to the embodiment of spirits, from the point of view of Hjalmar Sundén\'s Role Theory. The subjects studied were 12 Umbanda mediums, 11 of whom were female and 1 male, between 16 and 61 years-of-age, all participants of the Spiritist Temple of Umbanda Xangô Agodô, in São Paulo, SP, Brazil. The mediums were submitted to semioriented interviews and were observed during the rituals in which they claimed to incorporate spirits. In order to examine cultural aspects of their social group, other subjects who were not mediums but who participated regularly in the activities of that temple were informally interviewed. An interdisciplinary interpretative model of \"incorporative\" mediumship is presented which considers the following points: (a) the importante of the wider group dimension, the social dimension of small groups, of the individual dimension, and of the relationships established between these dimensions to an understond of \"incorporative\" mediumship; (b) the importante of language - considered in its broadest sense - as a way of social interaction which is necessary to the existente and maintenance of \"incorporative\" mediumship; (c) the process of social and individual construcion of \"incorporative\" mediumship; (d) the process of roletaking and role-adopting by \"embodiment\" mediums; (e) the social function of \"incorporative\" mediumship; and (f) the possible psychological benefitsobtained by \"incorporative\" mediums from their mediumship. It is concluded that mediumship which includes the embodiment of \"spirits\" can be understood as a complex social role that is comprised of both social and individual elements. The \"incorporated\" entities are considered to be psychosocial consctructs, therefore the mediums are, at the same time, their interpreters and their co-authors

A dissertação é o resultado do entrecruzamento de três categorias artísticas: dança, artes plásticas e literatura. Ela tem início através do embate com a performance Outdoor Piece, do artista plástico Tehching Hsieh, feita idealizável quando comparada à questão do movimento bem como a outros artistas e obras literárias. Sempre a partir da proposta feita ao movimento impulso a pesquisa propõe a aceitação do ceticismo em relação à abrangência da linguagem artística, declinando o declínio do conceito Dança. O impulso é pensado como palavra de movimento, transitória e trivial, que recepciona as imagens do mundo. Enquanto ação andarilha, propõe o estado de trânsito como argumento para a arte e sua história. Através da vivência de seu experimento a arte encontra a condição anacrônica, revelando a tolerância da artisticidade para com as imagens do mundo e com a própria história da arte; o impulso apresenta o ordinário como condição artística. / The dissertation is the result of the intersection between three different artistic categories: dance, visual arts and literature. It originates from the confrontation with the performance Outdoor Piece, by the visual artist Tehching Hsieh, which was made ideal when compared to the movement issues as well as to other artists and artworks. Always stemming from the proposal of movement as impulse, the research sustains the argument of skepticism in relation to the art languages as a possibility of the survival of Dance as a concept. The impulse can be thought of as a trivial and transitory word movement used to translate the images of the world. The wanderer attitude is the argument presented to art and art history when they can reveal themselves more tolerant to the world and historical images and more anachronous. The impulse presents the ordinary as an art condition.