Pour construire la paix dans le monde, Tomi Ungerer raconte ses mythes personnels et impersonnels, tel Janus. Durant son enfance, il a été choqué par la Deuxième Guerre mondiale et endoctriné par les nazis : depuis lors, il est comme un témoin de l’Histoire. Dans cette recherche, nous étudions son art provocateur et éveilleur à travers les albums qu’il a réalisés à destination des enfants. L’artiste rebelle s’arme de son « T », sa hache graphique et identitaire, afin de proposer de nouvelles fables face à une société qu’il juge absurde. Dans son racontage-montage, la poétique du « O » est à la fois une forme parfaite et cosmologique, et un rythme infini, répétitif, tourbillonnant. Cette poétique concerne la forme, le mouvement, l’observation, la voix, mais aussi la vacuité que les rythmes du « M » organisent dans de multiples métamorphoses. Il s’agit du rythme de la vie et du vivre ensemble. Son racontage-montage est mécanique, musical et thématique, il est effectué dans un style bref, avec l’humour et le rire, mais aussi profond, avec une voix juste et plurielle que le « I » des identités et de l'Histoire pluralise vocalement. Ainsi, la reprise des lettres de son prénom engagerait la poétique des albums de Tomi Ungerer, celle d’un raconteur double puisqu’ils ne sont pas réservés aux seuls enfants et constituent une œuvre majeure de la littérature. / To spread peace in the world, Tomi Ungerer tells his personal and impersonal myths, such as Janus. During his childhood, he was traumatized by the Second World War and also brainwashed by the Nazis: he has thus witnessed History. In this research, we study his provocative and awakening art through the albums he made for children. The rebellious artist armed himself with his “T”, his graphic and identity ax, in order to oppose his new fable to a society he regards as absurd. In its telling-editing, the poetics of the “O” symbolizes a perfect and cosmological form, but also an infinite repetitive, whirling rhythm. This poetics concerns form, movement, observation, voice, but also depth, with a fair and plural voice the “I” of identities and History vocally pluralizes. Thus, the letters of his first name would reflect the poetics of the picture books of Tomi Ungerer, the double storyteller, since his picture books are not only intended for the children but also constitute a major work of literature. / 세계의 평화를 건설하기 위해, 토미 웅게러는 야누스 신처럼 개인적인 동시에 보편적인 신화를 이야기한다. 어린시절, 그는 제 2차세계대전에 충격을 받았고 나치의 정권 아래 학교 교육을 받는다. 그때부터 그는 역사의 증언자이다. 그러므로 본 연구는 그의 선동 예술과 그가 들려주는 그림책을 분석한다. 강요된 복종을 거부하는 이야기꾼 웅게러는 부조리한 사회를 반대하는 새로운 우화를 이야기 하기 위해 그래픽과 정체성을 나타내는 도끼를 상징하는 그의 이름 Tomi의 이니셜 ‘T’는 예술적 힘을 상징한다. 그는 ‘이야기 합성’ 안에서 완벽하고 우주적인 형태와 영원히 반복적이고 소용돌이같은 리듬으로 ‘O’ 시학을 이야기 한다. 이는 ‘달의 시학’이자 ‘시간의 시학’이다. 이 시학은 형태, 운동( mouvement), 관찰, 목소리, 공(vacuité) 과 동시에 끊임없이 변화(metamorphoses) 를 상징하는 ‘M’의 리듬이다. 이는 삶과 모두가 평화롭게 살기 위한 멜로디와 리듬이다. ‘이야기 합성’은 유머와 웃음의 간결한 문체의 메커니즘과 그림을 통한 음악적, 테마적 오브제들의 함축적 요소들은, 정체성( identité)과 다중적 목소리 이야기의 ‘I’로서 간결함과 다중적인 깊은 의미가 축적되어 있다. 그러므로 작가의 이름을 상징하는 알파벳 문자는 토미 웅게러의 ‘존재적 시학’을 상징하며, 그림책이 단지 어린이 전용이 아닌 문학 전반의 작품성을 구성하는 그림과 글로서의 종합적 예술장르의 가치를 가지며, 그림책 작가는 그래픽언어와 텍스트언어의 경계를 넘나드는 이중(겹)으로 표현하는 이야기꾼이다.

Au lendemain de la défaite de 1967 appelée la naksa, une génération d’intellectuels syriens, égyptiens et libanais s’engagent dans l’écriture et l’illustration pour les enfants. Ce faisant ils se racontent et dessinent leur avenir idéalisé. La création arabe en littérature pour la jeunesse qui se développe dans les années 1970 est profondément animée par le souffle idéologique de son temps. Elle pose les jalons structurels, thématiques et graphiques qui inspirent la production contemporaine. Les auteurs, illustrateurs et éditeurs entendent parler à l’enfant arabe du monde dans lequel il grandit. Ils mènent une réflexion sur les thématiques, sur les niveaux de langue arabe, sur l’image figurative, ses héritages, sa structure et ses codes. Leur quête est littéraire, artistique et identitaire : ils sont les initiateurs d’une renaissance, une nahda pour les enfants. Ces questionnements sont les pierres d’angle de notre recherche. Celle-ci se concentre sur le mouvement avant-gardiste de création arabe en littérature pour la jeunesse des années 1970 à nos jours, elle ambitionne d’en étudier les rouages et les ouvrages, d’observer l’articulation entre l’œuvre, son intention, son mode de production et son message. Il s’agit d’une part d’archiver les mémoires et les histoires collectives et individuelles, d’élucider les héritages et les filiations de ces créateurs, de suivre l’évolution de leurs motivations idéologiques, artistiques, économiques. Il s’agit d’autre part de faire une lecture au plus prés de notre corpus, une étude de l’évolution des thématiques au fil du temps mais aussi une analyse des albums eux-mêmes, dans leur structure linguistique et graphique. / After the defeat of 1967, known as the naksa, a generation of Syrian, Egyptian and Lebanese intellectuals began writing and illustrating children's books. In doing so they gave form to an idealized future. Children's literature that developed in the Arab world during the 1970s was greatly influenced by the ideological climate of the time. It laid the structural, thematic and graphical foundations on which today's work is based. The goal of authors, illustrators and publishers was to produce works for Arab children which described the world in which they were growing up. Their work was centered on themes, on the different levels of Arabic, on the figurative image, its heritage, its structure and its codes and conventions. Their objective was literary, artistic, and a quest for cultural identity. They were the vanguard of a renaissance, a nahda for children.These questions form the basis of this research. It concentrates on the avant-guard movement in children's literature from the 1970s to the present day. It attempts to study the way it worked and what was published, to observe the connections between the work itself, its aims, the way it was produced and its message. The research involves, on the one hand, documenting recollections and stories, both collective and individual, tracing the heritage and interconnections among of those involved, to follow the development of their ideological, artistic and economic motivation. It will also involve a detailed study of illustrated books for children, an examination of the thematic evolution over time, as well as a semiological reading of the books themselves, with reference to their linguistic and graphic structure.

[Truncated abstract] An investigation into the causes of heartwood and essential oil content of Australian plantation sandalwood, Santalum album was undertaken. Genetic diversity of 233 S. album, five S. austrocaledonicum and fifteen S. macgregorii trees growing in the Forest Products Commission arboretum, Kununurra WA, was assessed using nuclear and chloroplast RFLPs. Santalum spicatum was chosen as an out-group. Nuclear genetic diversity of the S. album collection was very low, with observed and expected heterozygosity levels of 0.047. This was lower than the results previously reported in the literature for trees in India, however a different technique was used. Based on allelic patterns, the collection was able to be categorised into 19 genotypes; each representing some shared genetic origin. Some groups were highly redundant with 56 trees being represented, while others were populated by just one tree. The essential oil yield and heartwood contents of trees from these genetic groups were compared. Yields were highly variable both within and between groups of trees which share a common genetic history, suggesting a significant environmental component was contributing to the observed phenotype, despite identical soil and climatic conditions. Ancestral lineages were tested using chloroplast RFLPs, although a lack of shared mutations between species made this difficult. Only one S. album tree originating from Timor was resolved using nuclear RFLPs, with the other trees being grouped with material sourced from India. There was no resolution of Indian S. album from Timorese using chloroplast RFLPs, however one S. album tree grown from Indian seed possessed a single unique mutation. The low genetic diversity of the Australian S. album collection is likely to be a combination of incomplete seed sourcing and highly restricted gene flow during the evolution of the species. Combined with information gathered on the phylogeny of the genus by other researchers, S. album is postulated to have originated from an over-sea dispersal out of northern Australia or Papua New Guinea 3 to 5 million years ago. Essential oil yield and composition was assessed for 100 S. album trees growing in the collection, ranging in age from 8 to 17 years. Oil content of heartwood ranged from 30 mg g-1 to 60 mg g-1, and the transition zone 36 mg g-1 to 90 mg g-1. Sapwood contained almost no sesquiterpene oils. Despite the highly variable total oil yields, the chemical profile of the oil did not vary, suggesting there was limited genetic diversity within this region of the genome. Strong, positive correlations existed between v sesquiterpenoids in the essential oil of S. album. ... These represent the first TPS genes to be isolated from sandalwood and will enable further elucidation of oil biosynthesis genes. This thesis compiles a three-pronged approach to understanding the underlying causes of oil yield variation in S. album. As a species for which so little is known, the research presented here provides a major leap forward for tree improvement, breeding and silviculture. Hence the best of Santalum album research is presented.

Cette thèse se situe dans la cadre de l'organisation semi-automatique d'albums photo et s'intègre dans un cadre applicatif particulier d'un prototype de service développé par la division recherche et développement de France Telecom. Dans ce cadre applicatif, les photos peuvent être partagées entre plusieurs personnes et peuvent êtres commentées vocalement et/ou textuellement par ces déférents utilisateurs. Le processus d'indexation développé dans cette thèse ne se limite pas seulement à l'indexation d'une collection d'images mais traite également leurs commentaires associés ce qui rend ces contenus multimédia. D'autres informations peuvent également être associées aux photos comme les dates et les lieux d'acquisition de l'image (qui sont connus avec une grande précision grâce notamment au développement de moyens de géo-localisation des appareils multimédia) et peuvent êtres exploitées pour l'organisation de la base. Ainsi, le travail envisagé dans le cadre de cette thèse se focalise sur des documents multimédias avec déférentes modalités : image, texte, son et données. L'un des objectifs à atteindre concerne la fusion des informations issues de ces déférentes modalités dans le but d'identifier les personnages figurant dans les images qui permettent ainsi d'indexer les documents. Chacun des documents de la collection est représenté par ses contenus relatifs aux déférents médias mais est aussi considéré dans son contexte. Pour analyser chaque contenu d'un document, nous utilisons des outils d'indexation qui leur sont spécifiques. Le contexte d'une image est exploité à partir de descripteurs déjà calculés sur des documents de la base en exploitant les dates et lieux d'acquisition des images associées. La contribution essentielle de ce travail concerne donc l'indexation de documents multimédia par leur contenu et leur contexte.

Thematischer Katalog der musikalischen Blätter aus dem Schumann-Album in der Sächsischen Landesbibliothek – Staats- und Universitätsbibliothek Dresden (SLUB)

網路相簿社群是本地新興的網路現象，本研究透過參與觀察與深度訪談，針對TaipeiLink和無名小站網路相簿社群進行觀察，旨在探究相簿社群內成員的使用行為、群內互動，以及「容貌」對社群權位分配的影響與效應。 研究發現，使用者最常於網路相簿中從事「觀看」與「發表」兩種行動。使用者透過發表影像╱文字訊息，在網路相簿中建構個人所欲呈現的形象，再經觀看彼此認識，並作為互動基礎。其中，男性關注相簿主的容貌與身材，渴望獲取感官性的愉悅滿足，女性則對圖片細節，諸如打扮、情境、身邊人物多所注意，還會透過觀看連結自身經驗，從中獲取想像式參與的愉悅。 其次，網路相簿社群因人數眾多、連結不均，內部呈現鬆散的互動關係。使用者因此會另覓管道發展出小型群體關係，形成社群內尚有次社群存在，以及次社群內部關係緊密、外部關係疏離的情景。 再者，相簿社群內尚存有權位差異；相簿主的容貌、技能、生活風格與互動意願，都是影響使用者在社群內所能據居位置差異的關鍵。值得注意的是，這些特徵與使用者在實體世界持具的資本相關，因而呈現出「實體資本-->虛擬資本-->虛擬社群內的權位差異」間的轉換關係。權位差異終將助長群內（1）依附之風、（2）反權力行為，與（3）寒蟬效應的出現，最終會導致社群生態發生變化，成員參與行動出現轉變。 網路相簿的興起帶動新的互動方式興起，突顯了「容貌」和實體資本都將成為網路權力的來源。而這種憑藉影像相互認識的行為，雖賦使相簿主更多操控可能，但也使得觀看者可自由詮釋影像，甚至產生與相簿主悖逆的詮釋內容，進而演變為觀看者和相簿主對影像意義的爭奪，為網路相簿社群埋下不定的風險。

CAPES / A pesquisa buscou investigar o Tropicalismo (1967-1968) e analisar de que forma sua linguagem gráfica repercutiu nas capas de disco de 1969 a 1978, ou seja, nos dez anos seguintes ao término oficial do movimento. A dissertação procurou pensar nas características estéticas e culturais presentes nos projetos gráficos, considerando o contexto histórico desses anos, as propostas da canção tropicalista, tal como as influências entre as sonoridades e visualidades do período. Para isso, foram estudadas as capas de disco do Brasil da segunda metade dos anos de 1960, com ênfase na Tropicália. Foram selecionadas dez capas de discos do período posterior, com o intuito de estabelecer comparações e discutir as principais referências. Foi desenvolvida uma análise visual com base na semiótica peirceana - a partir da proposta de Martine de Joly (2006) - de capas de eixos fonográficos diversos de 1969 a 1978, apontando de que maneira construiu-se um diálogo entre o design tropicalista e as peças selecionadas. A partir disso, foi possível verificar que o Tropicalismo teve significativa importância para a criação e implantação de uma nova linguagem visual no design brasileiro e influenciou, em diferentes aspectos, o desenvolvimento de capas de disco da década posterior. / The research sought to investigate the Tropicalismo (1967-1968) and analyse how its graphic language reflected in the album covers from 1969 to 1978, in other words, in the ten years following the official end of the movement. The dissertation attempted to think about the esthetic and cultural characteristics present in graphic projects, considering the historical context of those years, the proposals of the Tropicália’s songs and the influences between sounds and visualities of period. Thus, the research was studied the album covers of Brazil in the second half of the 1960s, with an emphasis on Tropicália. Ten album covers of the period subsequent were selected, to compare and discuss the main references. It was developed a visual analysis based on Peircean semiotic - from the proposed of Martine Joly (2006) - of album covers of different phonograph axes from 1969 to 1978, pointing how was constructed a dialogue between Tropicalismo’s design and the selected pieces. From this, it was possible to verify that the Tropicalismo had significant importance for the creation and implementation of a new visual language in Brazilian design and influenced, in different aspects, the development of album covers in the next decade.

Ce mémoire décrit mes travaux de thèse menés au sein de l'équipe ComSee (Computers that See) rattachée à l'axe ISPR (Image, Systèmes de Perception et Robotique) de l'Institut Pascal. Celle-ci a été financée par la société Vesalis par le biais d'une convention CIFRE avec l'Institut Pascal, subventionnée par l'ANRT (Association Nationale de la Recherche et de la Technologie). Les travaux de thèse s'inscrivent dans le cadre de l'automatisation de la fouille d'archives vidéo intervenant lors d'enquêtes policières. L'application rattachée à cette thèse concerne la création automatique d'un album photo des individus apparaissant sur une séquence de vidéosurveillance. En s'appuyant sur un détecteur de visages, l'objectif est de regrouper par identité les visages détectés sur l'ensemble d'une séquence vidéo. Comme la reconnaissance faciale en environnement non-contrôlé reste difficilement exploitable, les travaux se sont orientés vers le suivi visuel multi-cibles global basé détections. Ce type de suivi est relativement récent. Il fait intervenir un détecteur d'objets et traite la vidéo dans son ensemble (en opposition au traitement séquentiel couramment utilisé). Cette problématique a été représentée par un modèle probabiliste de type Maximum A Posteriori. La recherche de ce maximum fait intervenir un algorithme de circulation de flot sur un graphe, issu de travaux antérieurs. Ceci permet l'obtention d'une solution optimale au problème (défini par l'a posteriori) du regroupement des détections pour le suivi. L'accent a particulièrement été mis sur la représentation de la similarité entre les détections qui s'intègre dans le terme de vraisemblance du modèle. Plusieurs mesures de similarités s'appuyant sur différents indices (temps, position dans l'image, apparence et mouvement local) ont été testées. Une méthode originale d'estimation de ces similarités entre les visages détectés a été développée pour fusionner les différentes informations et s'adapter à la situation rencontrée. Plusieurs expérimentations ont été menées sur des situations complexes, mais réalistes, de scènes de vidéosurveillance. Même si les qualités des albums construits ne satisfont pas encore à une utilisation pratique, le système de regroupement de détections mis en œuvre au cours de cette thèse donne déjà une première solution. Grâce au point de vue partitionnement de données adopté au cours de cette thèse, le suivi multi-cibles développé permet une extension simple à du suivi autre que celui des visages. / This report describes my thesis work conducted within the ComSee (Computers That See) team related to the ISPR axis (ImageS, Perception Systems and Robotics) of Institut Pascal. It was financed by the Vesalis company via a CIFRE (Research Training in Industry Convention) agreement with Institut Pascal and publicly funded by ANRT (National Association of Research and Technology). The thesis was motivated by issues related to automation of video analysis encountered during police investigations. The theoretical research carried out in this thesis is applied to the automatic creation of a photo album summarizing people appearing in a CCTV sequence. Using a face detector, the aim is to group by identity all the faces detected throughout the whole video sequence. As the use of facial recognition techniques in unconstrained environments remains unreliable, we have focused instead on global multi-target tracking based on detections. This type of tracking is relatively recent. It involves an object detector and global processing of the video (as opposed to sequential processing commonly used). This issue has been represented by a Maximum A Posteriori probabilistic model. To find an optimal solution of Maximum A Posteriori formulation, we use a graph-based network flow approach, built upon third-party research. The study concentrates on the definition of inter-detections similarities related to the likelihood term of the model. Multiple similarity metrics based on different clues (time, position in the image, appearance and local movement) were tested. An original method to estimate these similarities was developed to merge these various clues and adjust to the encountered situation. Several experiments were done on challenging but real-world situations which may be gathered from CCTVs. Although the quality of generated albums do not yet satisfy practical use, the detections clustering system developed in this thesis provides a good initial solution. Thanks to the data clustering point of view adopted in this thesis, the proposed detection-based multi-target tracking allows easy transfer to other tracking domains.

No description available.

CAPES / A pesquisa buscou investigar o Tropicalismo (1967-1968) e analisar de que forma sua linguagem gráfica repercutiu nas capas de disco de 1969 a 1978, ou seja, nos dez anos seguintes ao término oficial do movimento. A dissertação procurou pensar nas características estéticas e culturais presentes nos projetos gráficos, considerando o contexto histórico desses anos, as propostas da canção tropicalista, tal como as influências entre as sonoridades e visualidades do período. Para isso, foram estudadas as capas de disco do Brasil da segunda metade dos anos de 1960, com ênfase na Tropicália. Foram selecionadas dez capas de discos do período posterior, com o intuito de estabelecer comparações e discutir as principais referências. Foi desenvolvida uma análise visual com base na semiótica peirceana - a partir da proposta de Martine de Joly (2006) - de capas de eixos fonográficos diversos de 1969 a 1978, apontando de que maneira construiu-se um diálogo entre o design tropicalista e as peças selecionadas. A partir disso, foi possível verificar que o Tropicalismo teve significativa importância para a criação e implantação de uma nova linguagem visual no design brasileiro e influenciou, em diferentes aspectos, o desenvolvimento de capas de disco da década posterior. / The research sought to investigate the Tropicalismo (1967-1968) and analyse how its graphic language reflected in the album covers from 1969 to 1978, in other words, in the ten years following the official end of the movement. The dissertation attempted to think about the esthetic and cultural characteristics present in graphic projects, considering the historical context of those years, the proposals of the Tropicália’s songs and the influences between sounds and visualities of period. Thus, the research was studied the album covers of Brazil in the second half of the 1960s, with an emphasis on Tropicália. Ten album covers of the period subsequent were selected, to compare and discuss the main references. It was developed a visual analysis based on Peircean semiotic - from the proposed of Martine Joly (2006) - of album covers of different phonograph axes from 1969 to 1978, pointing how was constructed a dialogue between Tropicalismo’s design and the selected pieces. From this, it was possible to verify that the Tropicalismo had significant importance for the creation and implementation of a new visual language in Brazilian design and influenced, in different aspects, the development of album covers in the next decade.