This study analyzes the users&rsquo / expectations from automobile interface in terms of their subjective assessments and middle class automotive design. The factors that affect the users&rsquo / impressions in both physical and psychological manner are presented. The importance of subjective users&rsquo / expectations and the issue of usability, which is handled from the traditional definition through the pleasure in use context, are discussed. The correlations between the physical appearance and psychological and behavioral responses are examined since the aesthetic properties affect the consumer satisfaction in both physically and psychologically. Automobile interface is identified under the considerations of user expectations. Factors that affect the drivers&rsquo / perception of interior and the decision making process are mentioned regarding with physical and psychological expectations of users. The case study is performed to clarify design criteria of the dashboards that belong to middle class segment under the consideration of Turkish drivers&rsquo / subjective evaluations. The study provides the chance of understanding the consumers&rsquo / attitudes toward the instrument panel elements through their design properties. This study examines and proposes Turkish users&rsquo / preferences and tastes in terms of physical and psychological expectations in the field of automobile interior design. It also provides techniques and results about users&rsquo / subjective evaluations that could be taken into account while designing an automobile belongs to a specific car segment with visual and functional properties of dashboard.

Ces dernières années la diffusion vidéo "de salon" a connu trois transitions majeures : la compression vidéo aévolué de la norme MPEG2 à la norme h.264, les écrans à tube cathodique ont disparu du marché des téléviseurs quiest actuellement dominé par les écrans à cristaux liquides (LCD) et pour nir le format haute-définition (1280x720pixels ou 1920x1080) supplante de plus en plus le format SD (576x720). Ces évolutions ont modifié l'importancedes différents types de défauts de compression pour la perception de la qualité d'une vidéo. Les défauts majeursde compression vidéo sont désormais le ou et les défauts temporels. Le terme défaut temporel regroupe ici lavariation temporelle de défauts spatiaux comme l'effet de bloc et des défauts spécifiquement temporels comme lebruit de moustique.Nous nous sommes tout d'abord focalisés sur la correction du bruit de moustique. Le correcteur que nousproposons, le TVIF, est adapté aux trois caractéristiques de ce défaut : faible amplitude par rapport au contenulocal, proximité des contours et variation temporelle. Nous avons évalué l'efficacité de notre correcteur avec desmétriques objectives mais, celles-ci ne permettant pas de conclure sur les performances de notre ltre, nousavons organisé une expérience subjective de qualité. Les données recueillies lors de cette expérience indiquentque les observateurs perçoivent notre filtre comme une amélioration et que la version spatio-temporelle de notrecorrecteur est préférée à sa version spatiale. Reboucler sur les évaluations objectives nous permet de conclure queles métriques objectives ne mesurent pas adéquatement la correction du bruit de moustique, ni l'apport de lacorrection spatio-temporelle par rapport à la correction spatiale.Nous avons ensuite organisé une expérience couplant évaluation de qualité (globale et temporelle) et enregistrementsdes positions oculaires des observateurs. Cette expérience nous permet de spécifier plusieurs pointsutiles pour réaliser une métrique objective de qualité temporelle. Par exemple, le défaut le plus gênant pour laperception de la qualité globale est la variation d'effet de bloc, qui doit donc être la priorité d'une métrique dequalité temporelle. L'analyse des mouvements oculaires des observateurs en tâche libre, tâche de qualité globaleet tâche de qualité temporelle montre, entre autres, que la qualité de la vidéo diffusée n'a pas d'influence visiblesur les endroits regardés par les participants mais influence fortement la durée des fixations. / Home video has gone through three major transitions within the past years: from the MPEG2 videocompression norm to the h.264 one, from cathode ray tube screens to liquid crystal display screens andfrom standard definition (576x720) to High-Definition (1280x720 or 1920x1080). Those changes havemodified the importance of each type of compression artifacts for quality assessment, relatively to oneanother. The two main compression artifacts are currently blur and temporal defects, including under thisterm temporal variations of spatial defects and artifacts specifically temporal such as mosquito noise.We first focused on filtering mosquito noise and presented the TVIF, a corrector adapted to this noise:small amplitude compared to the nearest edge, proximity to edges and variation through time. We firsttried to use objective quality metrics to assess the performance of our corrector. As it proved to beinconclusive, we set up a subjective experiment which showed that observers perceived our corrector asan enhancement and that they preferred the spatio-temporal correction to the spatial one. Going backover objective evaluations with the subjective ones showed that the metrics we used correctly assessneither the correction nor the gain in quality of the spatio-temporal correction over the spatial one.We then set up an experiment combining quality evaluation (both global and temporal) and recordings ofeye movements. The aim of this experiment is to specify some key points for designing an objectivetemporal quality metric. One example is that observers found that temporal variations of blocking effectare the most annoying defect global quality and, as such, should be the main focus of a temporal qualitymetric. Analysis of eye-movements of observers during free task, global quality task and temporal qualitytask shows, among other things, that quality has no visible influence on the places observers watch buthighly influences the duration of fixations. The evolutions over time of all the oculomotor parameters(saccades speed, fixation locations and durations) are similar for the three tasks during the first 1 or 2seconds of the videos and that the differences between tasks appear later on. It seems that the task toassess video quality plays a role afterwards on the deployment of visual attention.

All’interno del quadro teorico del Capability Approach ‘agency’ viene definito come ciò che permette agli individui di raggiungere i propri obiettivi. Quando il concetto di ‘agency’ viene studiato attraverso misure soggettive, insorge il problema delle preferenze adattive. Lo scopo di questa Tesi è di testare una metodologia che possa catturare la percezione individuale di ‘agency’ nelle diverse dimensioni che compongono la nostra vita, limitando i problemi di misurazione dovuti delle preferenze adattive. Per questo fine, ci affidiamo al ‘Relative Autonomy Index’. Inoltre, utilizziamo la metodologia di ‘Achoring Vignette’ per aumentare la comparabilità tra le percezioni dei singoli individui. Nella prima parte, indaghiamo se il nostro metodo effettivamente riduce l’incomparabilità individuale attraverso uno studio pilota. I risultati dimostrano come il nostro metodo sia in grado di catturare differenze nel comportamento di risposta. Nella seconda parte, sulla base di una seconda raccolta di dati, applichiamo la nostra metodologia al fine di indagare l'impatto dei Gruppi di Acquisto Solidale sul livello di autonomia di un gruppo di produttori italiani. I nostri risultati indicano che il coinvolgimento con i Gruppi di Acquisto Solidale evita la riduzione dell'autonomia percepita dai quei produttori che non sono coinvolti con i Gruppi di Acquisto Solidale. / Within the Capability Approach, agency is one of the components that enable individuals to be empowered. When subjective measures are applied to the study of agency, the problem of ‘adaptive preferences’ arises. The aim of this thesis is to test a methodology that captures the individual perception of agency, while taking into account the bias coming from adaptive preferences. We rely on the Relative Autonomy Index to capture the individual’s agency in several dimensions. In addition, in order to increase the comparability between the individual’s perceptions, we employ the Anchoring Vignette methodology. We investigate whether our methodology reduces the individual incomparability through a pilot study. The results of this preliminary exercises show that our methodology is able to capture dissimilarities in response behaviours. Through a second data collection, we apply our methodology in order to investigate the impact that the commercial relationship between Solidarity Purchasing Group and Italian producers has on the latter. Our findings suggest that the involvement in the Solidarity Purchasing Group has a mainly positive impact on producers’ level of autonomy, which remains at lower levels for producers that did not develop a relationship with the Solidarity Purchasing Group.

L'objectif de ce travail est de proposer une solution de reconnaissance de l'impact émotionnel des images en se basant sur les techniques utilisées en recherche d'images par le contenu. Nous partons des résultats intéressants de cette architecture pour la tester sur une tâche plus complexe. La tâche consiste à classifier les images en fonction de leurs émotions que nous avons définies "Négative", "Neutre" et "Positive". Les émotions sont liées aussi bien au contenu des images, qu'à notre vécu. On ne pourrait donc pas proposer un système de reconnaissance des émotions performant universel. Nous ne sommes pas sensible aux mêmes choses toute notre vie : certaines différences apparaissent avec l'âge et aussi en fonction du genre. Nous essaierons de nous affranchir de ces inconstances en ayant une évaluation des bases d'images la plus hétérogène possible. Notre première contribution va dans ce sens : nous proposons une base de 350 images très largement évaluée. Durant nos travaux, nous avons étudié l'apport de la saillance visuelle aussi bien pendant les expérimentations subjectives que pendant la classification des images. Les descripteurs, que nous avons choisis, ont été évalués dans leur majorité sur une base consacrée à la recherche d'images par le contenu afin de ne sélectionner que les plus pertinents. Notre approche qui tire les avantages d'une architecture bien codifiée, conduit à des résultats très intéressants aussi bien sur la base que nous avons construite que sur la base IAPS, qui sert de référence dans l'analyse de l'impact émotionnel des images. / The goal of this work is to propose an efficient approach for emotional impact recognition based on CBIR techniques (descriptors, image representation). The main idea relies in classifying images according to their emotion which can be "Negative", "Neutral" or "Positive". Emotion is related to the image content and also to the personnal feelings. To achieve our goal we firstly need a correct assessed image database. Our first contribution is about this aspect. We proposed a set of 350 diversifed images rated by people around the world. Added to our choice to use CBIR methods, we studied the impact of visual saliency for the subjective evaluations and interest region segmentation for classification. The results are really interesting and prove that the CBIR methods are usefull for emotion recognition. The chosen desciptors are complementary and their performance are consistent on the database we have built and on IAPS, reference database for the analysis of the image emotional impact.