La version intégrale de ce mémoire est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (www.bib.umontreal.ca/MU). / Ce mémoire de maîtrise parle de la démarche derrière la composition de trois pièces électroacoustiques. Ladite démarche consiste principalement à tenter d'établir un rapport geste-son clair en musique électronique. Une critique est formulée à l'égard des moyens de production électroacoustiques : les outils disponibles ne permettent pas l'utilisation de gestes expressifs. Un réel rapport geste-son permettrait de retrouver le côté ludique du jeu instrumental et d'établir un lien plus intime avec le public lors des concerts. Il est suggéré que l'utilisation d'interfaces mieux adaptées à l'expression musicale pourrait être une solution à ce problème. S'ensuit un survol critique d'un éventail d'interfaces. Cette critique sert de base au design de l'éponge, l'interface qui sera utilisée pour la performance de deux des trois pièces composées dans le cadre de ce mémoire. Les questions de l'expressivité et de la virtuosité dans un tel contexte sont abordées. L'éponge est décrite en détail : construction et stratégies de captations. Les trois pièces composées dans le cadre de ce mémoire sont ensuite présentées. Le discours musical, les matériaux, la structure, la spatialisation et le mapping sont discutés individuellement pour chacune des pièces. / This master's thesis is about the creative process that lead to the composition of three electroacoustic pieces. The main objective of that process was to establish a clear connection between gesture and sound. A critique of the means of production in electroacoustic music is formulated. It is argued that the tools available do not allow the use of expressive gestures. A clear link between gesture and sound would help to restore the playfulness that exists when playing an instrument as well as to strengthen the connection with the audience during concerts. It is suggested that using interfaces better adapted to musical expression could be a mean to reach that goal. Afterward, a few interfaces are reviewed and criticized. The conclusions drawn from those reviews are used as the bases for the design of the sponge, the interface used for the performance of two of the three pieces attached to this thesis. The questions of expressivity and virtuosity in such a context are addressed. The sponge is described in details : construction and sensing techniques. The three compositions are then presented. Musical discourse, sounds used, structure, spatialization and mapping are all discussed individually for each work.

La version intégrale de cette thèse est disponible uniquement pour consultation individuelle à la Bibliothèque de musique de l’Université de Montréal (http://www.bib.umontreal.ca/MU). / Cette thèse a pour objet l’étude interdisciplinaire et systématique de l’expression du timbre au piano par les pianistes de haut niveau, dans le contexte de l’interprétation et la pratique musicales. En premier lieu sont exposées la problématique générale et les différentes définitions et perspectives sur le timbre au piano, selon les points de vue scientifiques et musicaux. Suite à la présentation de la conception du timbre au piano telle qu’établie par les pianistes dans les traités pédagogiques, la perception et la verbalisation du timbre au piano sont examinées à l’aide de méthodes scientifiques expérimentales et quantitatives. Les mots dont usent les pianistes pour décrire et parler de différentes nuances de timbre sont étudiés de façon quantitative, en fonction de leurs relations sémantiques, et une carte sémantique des descripteurs de timbre communs est dressée. Dans deux différentes études, la perception du timbre au piano par les pianistes de haut niveau est examinée. Les résultats suggèrent que les pianistes peuvent identifier et nommer les nuances de timbre contrôlées par l’interprète dans des enregistrements audio, de façon consistante et convergente entre production et perception. Enfin, la production et le contrôle gestuel du timbre au piano en interprétation musicale est explorée à l’aide du système d’enregistrement d’interprétation Bösendorfer CEUS. La PianoTouch toolbox, développée spécialement sous MATLAB afin d’extraire des descripteurs d’interprétation à partir de données de clavier et pédales à haute résolution, est présentée puis mise en œuvre pour étudier la production expressive du timbre au piano par le toucher et le geste au sein d’interprétations par quatre pianistes exprimant cinq nuances de timbre et enregistrées avec le système CEUS. Les espaces et portraits gestuels des nuances de timbre ainsi obtenus présentent différents degrés d’intensité, attaque, équilibre entre les mains, articulation et usage des pédales. Ces résultats représentent des stratégies communément employées pour l’expression de chaque nuance de timbre en interprétation au piano. / This dissertation presents an interdisciplinary, systematic study of the expression of piano timbre by advanced-level pianists in the context of musical performance and practice. To begin, general issues and aims are introduced, as well as differing definitions and perspectives on piano timbre from scientific and musical points of view. After the conception of piano timbre is presented as documented by pianists in pedagogical treatises, the perception and verbalisation of piano timbre is investigated with experimental and quantitative scientific methods. The words that pianists use to describe and talk about different timbral nuances are studied quantitatively, according to their semantic relationships, and a semantic map of common piano timbre descriptors is drawn out. In two separate studies, the perception of piano timbre by highly skilled pianists is investigated. Results suggest that advanced pianists can identify and label performer-controlled timbral nuances in audio recordings with consistency and agreement from production to perception. Finally, the production and gestural control of piano timbre in musical performance is explored using the Bösendorfer CEUS piano performance recording system. The PianoTouch toolbox, specifically developed in MATLAB for extracting performance features from high-resolution keyboard and pedalling data, is presented and used to study the expressive production of piano timbre through touch and gesture in CEUS-recorded performances by four pianists in five timbral nuances. Gestural spaces and portraits of the timbral nuances are obtained with differing patterns in intensity, attack, balance between hands, articulation and pedalling. The data represents common strategies used for the expression of each timbral nuance in piano performance.

The intention of my thesis Hopscotch by Cortázar - a game in many games was to analyze the novel in its ludic dimension. I tried to see the game as a multiplicative element and, at the same time, as an element that provides unit to the work. Therefore, I use as an interpretative instrument the semantic gesture of Jan Mukařovský. However, I do not intend to utilize this term in his whole meaning, I wanted to study the multiplicity and unit of the game, exploring some of the aspects of the semantic gesture. Despite the game has dynamic features, it also has two concrete forms in the novel. Hopscotch is many games, but especially is two: esthetic and moral game. When I speak about the esthetic game, I refer to the formal aspects of the novel. I tried to study the esthetic game in its multiplicative dimension, as well as an element that creates unit in the dynamics of the novel. Therefore, I my research went through the formal aspects of the work. I observed the problem of the name, genre, structure and the relations between characters, readers and the author. On one hand, the novel is presented, thanks to the game, as an open, infinite book. The ludic element also provides to the author an instrument to play with the structure of the novel, creating infinite possibilities of lecture. At the third...

L’objectif de cette étude est de caractériser les gestes, les pratiques et les rituels entourant la mort des enfants dans les provinces romaines d’Afrique Proconsulaire, de Numidie et de Maurétanie césarienne aux trois premiers siècles de notre ère. La documentation disponible provient de nombreuses publications de nécropoles, plus ou moins bien documentées en fonction de la date des fouilles, et de la nécropole de Pupput (Hammamet) qui offre pour la première fois un corpus suffisamment important pour être statistiquement crédible. En raison de leur disparité, les données sont présentées sous différents catalogues mais elles sont en revanche analysées simultanément lorsqu’elles renseignaient la même séquence des funérailles. Il a été opté d’étudier dans un premier temps la gestion des corps, de l’emplacement de la sépulture à sa fermeture, puis dans un second temps, les rituels réalisés dans et autour de la sépulture. Le postulat de départ est que les différentes pratiques funéraires adoptées par les familles responsables de l’enterrement de leurs enfants dépendaient d’un certain nombre de facteurs. Parmi eux, l’âge des enfants qui déterminait en grande partie le statut du défunt a été mis en évidence. D’après les données archéo-anthropologiques étudiées, les âges de 6 mois, 3 ans et 7 ans marquaient des étapes importantes dans la socialisation de l’enfant dans sa famille et la société africaine. / The aim of this study is to characterize the gestures, practices and rituals about the children’s death in the Roman provinces of Africa Proconsularis, Numidia and Mauretania cesarean in the first three centuries AD. The available documentation is divided between numerous publications of cemeteries, more or less well documented depending on the date of excavation, and unpublished literature of the necropolis of Pupput (Hammamet), which provides for the first time a corpus large enough to be statistically credible. Because of their differences, the data are presented in various catalogs but analyzed simultaneously when associated to the same funeral sequence. At first, it was decided to study how corpses were managed from the localization of burial to its closure, then in a second time, the rituals performed in and around the grave. The initial postulate is that different burial practices adopted by families in charge of the funeral of their children depended on a number of factors. Among them, the children's age that determined the status of the deceased has been identified. According to archaeological and anthropological data studied, the ages of 6 months, 3 years and 7 years marked important steps in the socialization of the child in his family and the African society.

This study documents and analyses the first established record of taxi hand signs and their respective destinations in South Africa. It demonstrates how taxi hand signification developed into a useful language over time, out of a desperate need for transport amongst black, multi-cultural and multi-lingual people living in South Africa. Its central objective is to recognise taxi hand signs as metaphors for processes of history in pre- and post-apartheid South Africa. This is a study that crosses disciplinary boundaries and marries fine art, anthropology and philosophy in exploring new meanings and understandings of taxi hand signs. In this way, it demonstrates the extent to which art informs other disciplines in extraordinary ways, adding to the value of inter-disciplinary research. The research indicates that taxi signs are part of an evolving, well-functioning, gestural language for sighted commuters. It goes further to probe the question of how blind commuters might have access to the signs, thereby enhancing their independence and movement. The study responds to this question through the design of a new, tactile shape-language of taxi hand signs for blind people. Qualitative research techniques were employed throughout the three phases of the research, namely: preliminary research, research design, and social and fine art responses. The methodologies utilised in the phases were sampling, semistructured interviews and participant observation. These were each employed at specific times to meet specific needs of different phases. I, along with some coresearchers, applied these in taxi ranks, taxi associations and on the streets of Gauteng. The methods used attest to the fact that when new knowledge was sought with key informants in the taxi industry, the different methodologies could be used to verify and corroborate the informants’ information, which in turn become the keystones of knowledge distribution in the thesis. With limited documentation on the emergence of taxi hand signs in the industry, the informants furnished unexplored background information, which I have interpreted in my artworks, films, books, stamps, maps and the blind shape-language. 16 The anthropological research also probed the function of signification through literary criticism. This involved an investigation of the components of the process of signification into its constituent parts in order to conceptualise and contextualise taxi hand signing and its particular relations and narrative content within the greater field of gestural signification. The response of art and artists to anthropological, historical and current approaches was also explored, again to provide context to my art that evolved out of the research. These involved conceptual and graphic art interpretations probing movement, time, space and signification, which led to an art exhibition at the Wits Art Museum (henceforth referred to as WAM) from 12 June to 14 July 2013. Taxi hand signs are continually evolving as new destinations and narratives arise. Together with the art responses document, this thesis records and promotes the established body of the current taxi hand signs, destinations and narratives, for both sighted and blind people, by providing written, visual and sensory evidence of a cultural phenomenon that was previously uncharted.

O objetivo deste trabalho é tornar possível a inserção de um robô humanoide para auxiliar pacientes em sessões de fisioterapia. Um sistema robótico é proposto que utiliza um robô humanoide, denominado NAO, visando analisar os movimentos feitos pelos pacientes e corrigi-los se necessário, além de motivá-los durante uma sessão de fisioterapia. O sistema desenvolvido permite que o robô, em primeiro lugar, aprenda um exercício correto de fisioterapia observando sua execução por um fisioterapeuta; em segundo lugar, que ele demonstre o exercício para que um paciente possa imitá-lo; e, finalmente, corrija erros cometidos pelo paciente durante a execução do exercício. O exercício correto é capturado por um sensor Kinect e dividido em uma sequência de estados em dimensão espaço-temporal usando k-means clustering. Estes estados então formam uma máquina de estados finitos para verificar se os movimentos do paciente estão corretos. A transição de um estado para o próximo corresponde a movimentos parciais que compõem o movimento aprendido, e acontece somente quando o robô observa o mesmo movimento parcial executado corretamente pelo paciente; caso contrário o robô sugere uma correção e pede que o paciente tente novamente. O sistema foi testado com vários pacientes em tratamento fisioterapêutico para problemas motores. Os resultados obtidos, em termos de precisão e recuperação para cada movimento, mostraram-se muito promissores. Além disso, o estado emocional dos pacientes foi também avaliado por meio de um questionário aplicado antes e depois do tratamento e durante o tratamento com um software de reconhecimento facial de emoções e os resultados indicam um impacto emocional bastante positivo e que pode vir a auxiliar pacientes durante tratamento fisioterapêuticos. / This dissertation develops a robotic system to guide patients through physiotherapy sessions. The proposed system uses the humanoid robot NAO, and it analyses patients movements to guide, correct, and motivate them during a session. Firstly, the system learns a correct physiotherapy exercise by observing a physiotherapist perform it; secondly, it demonstrates the exercise so that the patient can reproduce it; and finally, it corrects any mistakes that the patient might make during the exercise. The correct exercise is captured via Kinect sensor and divided into a sequence of states in spatial-temporal dimension using k-means clustering. Those states compose a finite state machine that is used to verify whether the patients movements are correct. The transition from one state to the next corresponds to partial movements that compose the learned exercise. If the patient executes the partial movement incorrectly, the system suggests a correction and returns to the same state, asking that the patient try again. The system was tested with multiple patients undergoing physiotherapeutic treatment for motor impairments. Based on the results obtained, the system achieved high precision and recall across all partial movements. The emotional impact of treatment on patients was also measured, via before and after questionnaires and via a software that recognizes emotions from video taken during treatment, showing a positive impact that could help motivate physiotherapy patients, improving their motivation and recovery.

Essa pesquisa inicia-se pela consideração na literatura da área, de ensino de física, sobre as perspectivas dadas a algumas formas de representações, no contexto da construção do conhecimento científico, realizada no campo dos especialistas e nas pesquisas que relatam a sala de aula. As representações visuais distinguíveis nesta pesquisa são as esboçadas pelos alunos, as que se notam na simulação computacional e as gestuais: os gestos além das representações gestuais icônicas possibilitam mediações com outras representações empregadas em aula, por isso, serão considerados os gestos dêiticos, os movimentos ergóticos e epistêmicos; outra forma observada de mediação para a construção de conhecimento serão as analogias empregadas. Entre as hipóteses desta pesquisa está, que a sala de aula em que se propicia um ensino, onde mais se evidencia tanto a construção de conhecimento, quanto um caráter multimodal de representações será aquela cuja metodologia empregada é de \"ensino por investigação\". Em face disso, definem-se as características desse ensino, desde suas concepções históricas iniciais quando compreendidas como a aplicação do método científico, com problema, hipóteses, teste das hipóteses e conclusão, até as concepções contemporâneas em que se consideram aspectos da natureza da ciência, além da argumentação, a multimodalidade e as relações CTS. Para a representação verbal, expressando tanto o conhecimento construído quanto as reflexões sobre o processo de construção, considerou-se se a fala dos alunos se enquadra no padrão hipotético-dedutivo apresentado por Lawson (2002; 2004). Os dados para a realização desta pesquisa provêm da observação e de materiais produzidos em sala de aula bem como das transcrições do registro audiovisual dessas aulas. Categorizadas as representações e classificadas quanto à sua posição junto a elementos dos padrões de argumentação hipotético-dedutivo, apresentar-se-á uma solução para o problema \"Como múltiplas representações atuam na construção do conhecimento científico em sala de aula.\" Múltiplas representações e interações foram usadas principalmente na proposição da hipótese e no planejamento e execução dos testes; o emprego de atividade favorecendo o uso de várias representações não qualifica um ensino como investigativo; se colocado à disposição, os alunos utilizam em suas atividades, principalmente nas construções de conhecimento; as transições entre as formas de mediação e de representações obedecem a um padrão de continuidade e de uniformidade. / This research begins by considering the literature in the field of physical education on prospects given to some forms of representations in the context of construction of scientific knowledge, carried out in the field and experts in research that reports the classroom. The distinguishable visual representations in this research are the pictorial outlined by the students, the visually represented in computer simulation and sign iconic representations; gestures beyond the iconic gestural representation possible mediations with other representations used in class, so they are considered the deictic gestures, ergot and epistemic movements; other form of mediation for the construction of knowledge will be the use of analogies. Among the hypotheses of this research is that the classroom that provides an education, where the evidence of both the construction of knowledge, as a multimodal character representations will be the one whose methodology is \"learning by inquiry\". So let\'s define the characteristics of this teaching, from their initial historical conceptions when understood as the application of the scientific method, problem, hypothesis, testing of hypotheses and conclusion, to contemporary conceptions that also consider aspects of science nature beyond argument, multimodality and CTS relations. For verbal representation, expressing both knowledge built as reflections on the construction process, we consider how the speech of students falls within the hypothetical-deductive pattern presented by Lawson (2002 and 2004). Data for this survey out of observation and materials produced in the classroom, in addition to transcripts of audio-visual record of these classes. Categorized representations and classified according to their position along the elements of the hypothetical-deductive reasoning patterns, we present a solution to the problem \"How multiple representations work in the construction of scientific knowledge in the classroom\".

L'intégration de systèmes robotiques au sein du bloc opératoire a modifié le déroulement de certaines interventions, laissant ainsi place à des pratiques favorisant le bénéfice médical rendu au patient en dépit des aspects conventionnels. Dans ce cadre, de récentes études de la Haute Autorité de Santé ont mis en avant les effets indésirables graves intervenant au cours des procédures chirurgicales robotisées. Ces erreurs, majoritairement dues aux compétences techniques du praticien, remettent ainsi en cause la formation et les techniques d'apprentissage pour la chirurgie robotisée. Bien que l'utilisation abondante de simulateurs facilite cet apprentissage au travers différents types d'entraînement, le retour fourni à l'opérateur reste succinct et ne lui permet pas de progresser dans de bonnes conditions. De ce fait, nous souhaitons améliorer les conditions d'entraînement en chirurgie laparoscopique robotisée. Les objectifs de cette thèse sont doubles. En premier lieu, ils visent le développement d'une méthode pour la segmentation et la reconnaissance des gestes chirurgicaux durant l'entraînement en se basant sur une approche non-supervisée. Utilisant les données cinématiques des instruments chirurgicaux, nous sommes capables de reconnaître les gestes réalisés par l'opérateur à hauteur de 82%. Cette méthode est alors une première étape pour l'évaluation de compétences basée sur la gestuelle et non sur l'ensemble de la tâche d'entraînement. D'autre part, nous souhaitons rendre l'entraînement en chirurgie robotisée plus accessible et moins coûteux. De ce fait, nous avons également étudié l'utilisation d'une nouvelle interface homme-machine sans contact pour la commande des robots chirurgicaux. Dans ces travaux, cette interface a été couplée au Raven-II, un robot de téléopération dédié à la recherche en robotique chirurgicale. Nous avons alors évalué les performances du système au travers différentes études, concluant ainsi à la possibilité de téléopérer un robot chirurgical avec ce type de dispositif. Il est donc envisageable d'utiliser ce type d'interface pour l'entraînement sur simulateur afin de réduire le coût de la formation, mais également d'améliorer l'accès et l'acquisition des compétences techniques spécifiques à la chirurgie robotisée. / Integration of robotic systems in the operating room changed the way that surgeries are performed. It modifies practices to improve medical benefits for the patient but also brought non-traditional aspects that can lead to serious undesirable effects. Recent studies from the French authorities for hygiene and medical care highlight that these undesirable effects mainly come from the surgeon's technical skills, which question surgical robotic training and teaching. To overcome this issue, surgical simulators help to train practitioner through different training tasks and provide feedback to the operator. However the feedback is partial and do not help the surgeon to understand gestural mistakes. Thus, we want to improve the surgical robotic training conditions. The objective of this work is twofold. First, we developed a new method for segmentation and recognition of surgical gestures during training sessions based on an unsupervised approach. From surgical tools kinematic data, we are able to achieve gesture recognition at 82%. This method is a first step to evaluate technical skills based on gestures and not on the global execution of the task as it is done nowadays. The second objective is to provide easier access to surgical training and make it cheaper. To do so, we studied a new contactless human-machine interface to control surgical robots. In this work, the interface is plugged to a Raven-II robot dedicated to surgical robotics research. Then, we evaluated performance of such system through multiple studies, concluding that this interface can be used to control surgical robots. In the end, one can consider to use this contactless interface for surgical training with a simulator. It can reduce the training cost and also improve the access for novice surgeons to technical skills training dedicated to surgical robotics.

" We designed an interactive 3D user interface system to perform object modeling in virtual environments. Expanding on existing 3D user interface techniques, we integrate low-cost human gesture recognition that endows the user with powerful abilities to perform complex virtual object modeling tasks in an immersive game setting. Much research has been done to explore the possibilities of developing biosensors for Virtual Reality (VR) use. In the game industry, even though full body interaction techniques are involved in modern game consoles, most of the utilizations, in terms of game control, are still simple. In this project, we extended the use of motion tracking and gesture recognition techniques to create a new 3D UI system to support immersive gaming. We set a goal for the usability, which is virtual object modeling, and finally developed a game application to test its performance. "

The ultra-wideband (UWB) technology has a vast unlicensed frequency spectrum, which can support precise indoor positioning in orders of centimeters. The features of UWB signals can be utilized for variety of applications. In this project first we present an empirical channel models to analyze the localization accuracy of the UWB technology for interactive electronic gaming (Ping-Pong) in Line-of-Sight (LOS) and Obstructed LOS (OLOS) scenarios. Then we introduce a new concept that we refer to as micro-gesture detection to handle the more refined motions of the hand, such as rotation, while one antenna is held by the user using features of UWB signal. We use four specific features of the UWB signals: time of arrival, power of the first peak, total power, and the Root-Mean Square (RMS) of the delay spread, for this purpose. As the hand rotates the position of the antenna in the hand and the external antenna changes from LOS to OLOS. We demonstrate that features of the UWB signals are more useful than the RSS signal of the Wi-Fi to detect this class of micro-gestures. We foresee this micro-gesture detection capabilities become helpful for the people with limited ability or visually impaired for implementation of simplified sign language to communication with electronic devices located away from a person. We compare gesture detection using multiple features of the UWB signal with traditional gesture detection using the received signal strength (RSS) of the Wi-Fi signal.