Reproduction de : Thèse d'Etat : mathématique : Grenoble 1 : 1986. / Titre provenant de l'écran-titre. Bibliogr. p. 243-261.

Reproduction de : Thèse de doctorat : Informatique : Grenoble, INPG : 1990. / Titre provenant de l'écran-titre. Bibliogr. p. 144-153.

Reproduction de : Thèse de doctorat : Histoire : Lyon 2 : 2002. / Thèse : 2002LYO20031. Titre provenant de l'écran-titre. Bibliogr.

Thesis (M.A.) in Theatre--University of Maine, 2002. / Includes vita. Includes bibliographical references (leaves 60-62).

Working memory, or the ability to maintain and manipulate information such that it can be used to guide behavior, is known to be severely capacity limited, in most circumstances, to about 3-4 objects. Both infants and adults have the ability to surpass these limits by encoding to-be-remembered items in groups or collections, exploiting statistical regularities or conceptual information to devise more efficient coding schema. Despite progress made toward understanding continuities in working memory, little is known about how changes over development interact with the ability to employ maximally efficient mnemonic data structures. Paper 1 demonstrates that although adults can encode at most three mutually exclusive collections that accrue sequentially over time, they can circumvent this limit when items overlap in features (e.g. red and blue circles and triangles) and statistical regularities are introduced among collections defined by a single visual feature (e.g. most red items are triangular and not circular). Adults' performance suggests they are able to encode items from intersecting collections hierarchically and exploit statistical regularities among collections to reconstruct the numerosities of up to six collections in parallel, exemplifying how efficient coding can radically enhance working memory. Paper 2 demonstrates that young preschoolers can also represent three mutually exclusive collections that accrue in an intermixed fashion over time. Results show that the ability to surpass this capacity limit by hierarchically reorganizing collections and exploiting statistical regularities among them develops between the ages of three and seven. These results are discussed in the context of executive function development. Paper 3 provides evidence that computations of average size and orientation rely on qualitatively different processes with distinct developmental trajectories. Experiment 1 demonstrates that while the presence of additional identical elements in an array detrimentally impacts 6-month-olds' representations of element size, it improves the precision with which infants represent orientation. Experiment 2 demonstrates that performance is not affected when infants' attention is cued to a single item within arrays. These results are discussed in the context of the development of controlled attention. / Psychology

Echoes is an interactive composition for amplified chamber ensemble and computer. The entire research that led to this piece was based on the exploration of the evolution of the sound produced initially by the acoustic instruments and then interpreted by the computer. Why "Echoes"? / As a sonic phenomenon the echo has several fairly distinct dimensions. These are commonly understood to include the following: the repetition of a sound by reflection of sound waves from a surface; any repetition or imitation of words, style or ideas; the sympathetic sound response; and, in music, a soft repetition of a phrase. Note that these standard definitions include the figurative dimensions, as in the 'imitation of style or ideas.' This is no coincidence, since I am very much intrigued by the idea of a computer first imitating the actual instrument and then expanding that instrument's possibilities far beyond its timbre.

The Crying Wave is a twenty minute music composition for an amplified ensemble of fifteen instruments combined with a prerecorded electroacoustic audio component and live signal processing. The composition explores the use of fundamental electroacoustic music techniques such as additive, subtractive, and granular synthesis as models for the creation and manipulation of materials and structure in both the instrumental and electroacoustic aspects of the work. Two series of harmonies underlie the piece and serve as both harmonic and melodic resources. Procedures including additive/subtractive durations, palindrome and canon, the Fibonacci series, and antiphonal alternation of instrumental groups are used throughout the composition to provide structural coherence. The MIDI data processing software Max is employed to control a number of aspects of the work during performance, including playback of prerecorded electroacoustic audio segments on compact disc, changes of effects algorithms for digital signal processing modules, and the generation of a click track for synchronization. The following dissertation presents an analysis of the work in terms of the aforementioned concepts and techniques.

Thesis (Ph. D.)--University of Florida, 2006. / Title from title page of source document. Document formatted into pages; contains 168 pages. Includes vita. Includes bibliographical references.

Thèses (M.Sc.)--Université de Sherbrooke (Canada), 2001. / Titre de l'écran-titre (visionné le 20 juin 2006). Publié aussi en version papier.

Thesis (D.M.A.)--University of Oklahoma, 1992. / Includes bibliographical references (leaves 110-120).