In order to produce an Interactive MultiMedia Application (IMMA), the developer of that application needs a set of tools for such tasks as capturing, modifying, editing, sequencing, synchronizing, archiving, versioning, and backing up. The heart of this set of tools is an Integrator which can be used by the developer to assemble various multimedia objects into an IMMA and provide the end-user with ways of interacting with that IMMA. This work focuses on that essential tool - the multimedia Integrator. The Integrator uses a graphical interface that exploits a notation like that of a musical score. The IMMA produced by the Integrator is inherently parallel and includes elements required to define the asynchronous nature of applications, along with a standard set of multimedia objects. The timing and synchronization representation used by the Integrator is based on the model presented by the HyTime standard group. We also have explored the representation of our objects and their attributes according to the Multimedia Hypermedia Expert Group (MHEG) standard model as defined by the MHEG committee. This work formalizes the design of the Integrator and its constructs using the HyTime Draft International Standard (ISO/IEC DIS 10744). Multimedia application objects and their attributes are described, timing and synchronization aspects of the Integrator and some examples of IMMAs are explained, and several of these examples using the HyTime document structuring language are given. / Master of Science

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Despite the American Academy of Pediatrics’ (2016) recommendation to limit screen exposure in the early years, toddlers’ screen use exceeds these guidelines (Rideout & Robb, 2020). Given the significant role of parental media use in children’s exposure to screens (Domoff et al., 2020; Lauricella et al., 2015), it is important to understand the factors that contribute to parental screen use. Digital technologies have been posited as tools for emotion regulation (Wadley et al., 2020), suggesting that parental emotion regulation may serve as a significant determinant of parental media use. Prior studies have shown the association between emotion regulation strategies and different types of screen use, including non-interactive and interactive media (Extremera et al., 2019; Rozgonjuk & Elhai, 2021). It has also been suggested that the role of emotion regulations strategies may differ by personality traits (Gross & John, 2003). However, limited research to date examined these associations with the focus on parents of toddlers. Therefore, the purpose of this study is to examine the association between parents’ emotion regulation strategies on their screen use and the moderating role of personality traits in this association. This study used secondary data collected from an online survey of 296 mothers of children between 18 to 36 months in the United States. Linear regression models were fitted to examine the association between emotion regulation strategies and parental screen use, with a focus on two specific regulation strategies and interactive and non-interactive screen use. They were founded that cognitive reappraisal was not related either non-interactive and interactive screen uses and that expressive suppression was only associated with non-interactive screen use. Cognitive reappraisal was related to agreeableness and expressive suppression was related to extraversion. No moderator roles of agreeableness on the association between cognitive reappraisal and both types of screen use and extraversion on the association between expressive suppression and both types of screen use were found. Future research is needed to test the possible biases resulting from the self-report technique, understand the causation between emotion regulation strategies and screen use, and include the context of screen media for deeper understanding. / Toddlers use screens, like smartphones and tablets, more than recommended by American Academy of Pediatrics (2016), and understanding why may help to support children’s healthy developmental outcomes. How much parents use screens is related to how much children use screens (Lauricella et al., 2015), making it valuable to examine parents' screen use. Screens may help individuals learn to control or regulate their emotions (Wadley et al., 2020), suggesting that parental emotion regulation may be one reason that parents use screens. Prior studies have shown that emotion regulation is related to different types of screen use, including non-interactive (e.g., video viewing) and interactive media (e.g., playing video games; Extremera et al., 2019; Rozgonjuk & Elhai, 2021). I examined two strategies of emotion regulation: cognitive reappraisal, which is reinterpreting the situation that cause emotions, and expressive suppression, which is hiding and inhibiting emotions. It has also been suggested that the role of emotion regulations strategies may differ by personality traits (Gross & John, 2003). However, limited research to date examined these associations with the focus on parents of toddlers. The current study examined how maternal cognitive reappraisal and expressive suppression related to both non-interactive and interactive screen use and moderating role of personality traits on these relations. Mothers of toddlers (N = 296; M_age = 31.8 years) completed surveys for this study. Findings showed that cognitive reappraisal was not related to either non-interactive or interactive screen use, although it was related to agreeableness and that expressive suppression was related to non-interactive screen use and extraversion. Associations between these two emotion regulation strategies and both types of screen use were not moderated by personality characteristics. Further explanation is needed to examine the context of screen media and the causal links between emotion regulation strategies and screen use.

TITLE: Use of illustration in Russian language teaching. ABSTRACT: The aim of the thesis is the illustration, using the principle of clarity in the teaching of foreign languages and an analysis of interactive textbook for Russian Raduga po-novomu 1 in comparison with its printed form. The basis of the work creates the monitoring of progress of the concept of clarity, the using of visual aids and different teaching methods from J. A. Comenius to the present, when we have a modern education technique at the disposal, which allows the application of the principle of illustration in all its forms. The survey questionnaire form is designed to measure the level of popularity of modern teaching techniques for visual teaching. KEYWORDS: Illustration, principle of clarity, visual teaching, teaching method, motivation, interactive teaching, interactive board, interactive textbook.

Notre implication personnelle dans le design de projets de multimédias culturels nous a conduits à nous intéresser plus particulièrement aux architectures multimédias, qui constituent le sujet de cet ouvrage. Le terme «architectures multimédia» décrit trois axes différents: les architectures spatiales, les architectures du contenu et les architectures de programmation et de navigation interactive. Des analogies et des relations peuvent être établies entre l’organisation spatiale et la structure programmatique du projet architectural et les propriétés correspondantes d’une œuvre multimédia. L’accent est mise sur les multimédias culturels de la période 1990-2005 dans le but de découvrir des éléments innovants dans la conception de l’interface graphique et interactive. Ces innovations, qui constituent des programmes artistiques nouveaux, ont contribué à faire progressivement émerger un nouveau langage propre à l’espace numérique multimédia. Un nouvel habitus de la production artistique s’est développé sur l’héritage des vieux moyens d’expression et sur l’assimilation des nouveaux médias. / Through our personal involvement in the design of cultural multimedia projects we have developed a special interest in multimedia architectures, which are the subject of this text. The term “multimedia architectures” denotes three different axes: spatial architecture of screens and interfaces, architecture of the content organisation and the architecture of programming and navigation design. Analogies and relations can be established between the spatial organization and the program structure of the architectural project and the corresponding properties of a multimedia work. The cultural multimedia of the period 1990-2005 have been analysed with the aim of discovering innovative elements in the design of the graphical and interactive interface. These innovations represent new artistic programs and have contributed to the gradual emergence of a new language, specific to the digital space of interactive multimedia. A new habitus of artistic production has developed on the legacy of the old means of expression and on the assimilation of new media.

This thesis describes the addition of novel Geometric Guides to a generative Computer-Aided Design (CAD) application that supports early-stage concept generation. The application generates and evolves abstract 3D shapes, used to inspire the form of new product concepts. It was previously a conventional Interactive Evolutionary system where users selected shapes from evolving populations. However, design industry users wanted more control over the shapes, for example by allowing the system to influence the proportions of evolving forms. The solution researched, developed, integrated and tested is a more cooperative human-machine system combining classic user interaction with innovative geometric analysis. In the literature review, different types of Interactive Evolutionary Computation (IEC), Pose Normalisation (PN), Shape Comparison, and Minimum-Volume Bounding Box approaches are compared, with some of these technologies identified as applicable for this research. Using its Application Programming Interface, add-ins for the Siemens NX CAD system have been developed and integrated with an existing Interactive Evolutionary CAD system. These add-ins allow users to create a Geometric Guide (GG) at the start of a shape exploration session. Before evolving shapes can be compared with the GG, they must be aligned and scaled (known as Pose Normalisation in the literature). Computationally-efficient PN has been achieved using geometric functions such as Bounding Box for translation and scaling, and Principle Axes for the orientation. A shape comparison algorithm has been developed that is based on the principle of non-intersecting volumes. This algorithm is also implemented with standard, readily available geometric functions, is conceptually simple, accessible to other researchers and also offers appropriate efficacy. Objective geometric testing showed that the PN and Shape Comparison methods developed are suitable for this guiding application and can be efficiently adapted to enhance an Interactive Evolutionary Design system. System performance with different population sizes was examined to indicate how best to use the new guiding capabilities to assist users in evolutionary shape searching. This was backed up by participant testing research into two user interaction strategies. A Large Background Population (LBP) approach where the GG is used to select a sub-set of shapes to show to the user was shown to be the most effective. The inclusion of Geometric Guides has taken the research from the existing aesthetic focused tool to a system capable of application to a wider range of engineering design problems. This system supports earlier design processes and ideation in conceptual design and allows a designer to experiment with ideas freely to interactively explore populations of evolving solutions. The design approach has been further improved, and expanded beyond the previous quite limited scope of form exploration.

In mainstream media and entertainment, holography is often misrepresented as single perspective non-stereoscopic imagery suggesting three-dimensionality. Traditional holographic artists, however, utilize a laser setup to record and reconstruct wavefronts to describe a scene in multi-perspective natural parallax vision ("auto-stereoscopic"). Although these approaches are mutually exclusive in practice, they share a similar goal of staging three-dimensional (3D) imagery for a window-like viewing experience. This thesis presents a non-waveform digital computer approach for recording, reconstructing, and experiencing holographic visualizations in a cinematic context. By recording 3D information from a scene using the structured light method, a custom computer program performs stereoscopic reconstruction in real-time during presentation. Artists and computer users could then use a hardware device, such as the Microsoft Kinect, to explore the holographic cinematic form interactively.

La thèse porte sur la segmentation spatio-temporelle et interactive d'images cardiaquesdynamiques. Elle s'inscrit dans le projet ANR 3DSTRAIN du programme"Technologies pour la Santé et l'Autonomie" qui a pour objectif d'estimer de façoncomplète, dense et sur plusieurs modalités d'imagerie 3D+t (telles que l'imageriepar résonance magnétique (IRM), la tomographie par émission monophotonique(TEMP) et l'échocardiographie) l'indice de déformation du muscle cardiaque : lestrain. L'estimation du strain nécessite une étape de segmentation qui doit être laplus précise possible pour fournir une bonne évaluation de cet indice. Nos travauxse sont orientés sur deux axes principaux : (1) le développement d'un modèle desegmentation conforme à la morphologie du muscle cardiaque et (2) la possibilitéde corriger interactivement et intuitivement le résultat de la segmentation obtenuegrâce à ce modèle. / This thesis focuses on the spatio-temporal and interactive segmentation of dynamiccardiac images. It is a part of the ANR 3DSTRAIN project of program "Technologiesfor Health and Autonomy" which aims to estimate full, dense and on several3D+t imaging modalities (such as Magnetic Resonance Imaging (MRI), Single PhotonEmission Computed Tomography (SPECT) and echocardiography) the indexof deformation of the heart muscle : the strain. The strain estimation requires asegmentation step which must be as precise as possible to provide a good estimationof this index. Our work was focused on two main areas : (1) the development of asegmentation model conforms to the shape of the heart muscle and (2) the abilityto interactively and intuitively correct the segmentation's result obtained with thismodel.

The aim of this work is to explain the importance of using interactive whiteboards in the teaching of physics.' Comparisons of interactive whiteboards, sold in the Czech market and comparison of suitable software for teaching physics at the interactive whiteboard. Apprising with the history of the interactive whiteboard and point on its accomplishments or negatives of its implementation in the teaching of physics. Finally, create electronic content to use in teaching physics at the interactive whiteboard and its verification in practice.

In response to ideological issues that have emerged the last two decades from feminism, multiculturalism and postmodernism, the introductory art history survey is undergoing major revisions not only in structure and content, but also in instructional methodology. Art history professionals and art educators alike are questioning whether pedagogical methods traditionally employed in the survey are adequate for meeting the goals of visual literacy and development of critical and analytical skills. The purpose of this study was to investigate the effectiveness of supplemental study resources for art history survey students, specifically an interactive multimedia (IM) computer program designed to help students acquire and retain a deeper understanding of works of art. Two research questions were asked: Is IM a more effective instructional format than traditional slide study on achievement measures? Will use of IM impact students' levels of understanding and strengthen and direct their choice of search strategies?