Cette recherche-création cherche à comprendre la relation particulière qu'une artiste entretient avec la composition sonore, la lutherie numérique et la médiation culturelle au sein d'une démarche unique dédiée à la création d'œuvres didactiques pour publics non-initiés : « La couleur du son » et « Art martial sonore ». Pour ce faire, ce mémoire présente d'abord une étude sur chacune de ses disciplines, puis offre une réflexion sur les façons de les faire coexister. Sont ensuite étudiées différentes créations originales s'inscrivant dans ces trois disciplines. Chacune de ces créations se concentre principalement sur une discipline et tisse autour de cette dernière des liens avec les deux autres dans une démarche unifiée. / This research-creation project aims to understand the specific relationship of an artist wanting to work on sound composition, digital lutherie and cultural mediation in a unique creative process dedicated to the creation of didactic art projects for non-initiated publics : "La couleur du son" and "Art martial sonore". To do so, this master's thesis first presents a study for each of the field, one at a time, before presenting a reflexion on how they can coexist. Are then studied different original art projects containing each of the three field of works, created specifically for this research-creation. Each of those creations concentrates mainly on one of the three fields of work and connect the other two to it in a way that seeks to be as uniform as possible.

L’objectif de cette thèse est d’étudier d’une part le problème de sonification d’image et de le solutionner à travers de nouveaux modèles de correspondance entre domaines visuel et sonore. D’autre part d’étudier le problème de la classification de son et de le résoudre avec des méthodes ayant fait leurs preuves dans le domaine de la reconnaissance d’image. La sonification d’image est la traduction de données d’image (forme, couleur, texture, objet) en sons. Il est utilisé dans les domaines de l’assistance visuelle et de l’accessibilité des images pour les personnes malvoyantes. En raison de sa complexité, un système de sonification d’image qui traduit correctement les données d’image en son de manière intuitive n’est pas facile à concevoir. Notre première contribution est de proposer un nouveau système de sonification d’image de bas-niveau qui utilise une approche hiérarchique basée sur les caractéristiques visuelles. Il traduit, à l’aide de notes musicales, la plupart des propriétés d’une image (couleur, gradient, contour, texture, région) vers le domaine audio, de manière très prévisible et donc est facilement ensuite décodable par l’être humain. Notre deuxième contribution est une application Android de sonification de haut niveau qui est complémentaire à notre première contribution car elle implémente la traduction des objets et du contenu sémantique de l’image. Il propose également une base de données pour la sonification d’image. Finalement dans le domaine de l’audio, notre dernière contribution généralise le motif binaire local (LBP) à 1D et le combine avec des descripteurs audio pour faire de la classification de sons environnementaux. La méthode proposée surpasse les résultats des méthodes qui utilisent des algorithmes d’apprentissage automatique classiques et est plus rapide que toutes les méthodes de réseau neuronal convolutif. Il représente un meilleur choix lorsqu’il y a une rareté des données ou une puissance de calcul minimale. / The objective of this thesis is to study on the one hand the problem of image sonification and to solve it through new models of mapping between visual and sound domains. On the other hand, to study the problem of sound classification and to solve it with methods which have proven track record in the field of image recognition. Image sonification is the translation of image data (shape, color, texture, objects) into sounds. It is used in vision assistance and image accessibility domains for visual impaired people. Due to its complexity, an image sonification system that properly conveys the image data to sound in an intuitive way is not easy to design. Our first contribution is to propose a new low-level image sonification system which uses an hierarchical visual feature-based approach to translate, usingmusical notes, most of the properties of an image (color, gradient, edge, texture, region) to the audio domain, in a very predictable way in which is then easily decodable by the human being. Our second contribution is a high-level sonification Android application which is complementary to our first contribution because it implements the translation to the audio domain of the objects and the semantic content of an image. It also proposes a dataset for an image sonification. Finally, in the audio domain, our third contribution generalizes the Local Binary Pattern (LBP) to 1D and combines it with audio features for an environmental sound classification task. The proposed method outperforms the results of methods that uses handcrafted features with classical machine learning algorithms and is faster than any convolutional neural network methods. It represents a better choice when there is data scarcity or minimal computing power.

This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of ‘movement as content’ beyond the electronic connection. Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical human’s psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout. The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.