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The main interfaces for interaction with computers today are; keyboard, mouse and remote control. In order to interact with the presentation software Power Point, the presenter has to focus either on the computer or the buttons on the remote control. By doing this, the presenter often loses the contact with his audience and his or her flow of speech gets interrupted. This project has researched the possibility of using gestures for interaction with Power Point, by using an appliance that detects gestures. The purpose was that the interaction should be possible to realise by software, which we have done an introductory design of. We have focused on assisting presenters when they use Power Point and other applications when delivering presentation. To collect data and get an understanding of presenters, presentations and gestures we have observed presenters in action, done workshops together with future users and tested some gestures in real life. These are methods inspired from approaches such as ethnographic fieldwork and participatory design. During the whole project we have used video recording to collect and save data. To create an understanding and clear picture of what the future software should include UML-diagrams were used. We have separated gestures in two categories; natural and designed. The natural gestures occur naturally during speech and social interaction, while the designed gestures are gestures that you learn to use and express, often to perform a task. We discovered that it was the designed gestures that are best suited for gestural interaction with computer. Since the designed gestures are close to the natural way of gesturing we see them as easier to learn, remember and also more comfortable to use. We think the designed gestures have the potential to become second nature, therefore they are good to use for interaction with computers. Our research work led us to realise a need for an on/off function, to distinguish the designed gestures from the natural ones. By using a gestural interface during a presentation, the presenters can keep the focus on the audience and the message they want to convey. When gestural interfaces become reality they will introduce a paradigm shift in the way that people interact with computers and information. / Anette Eriksson 0457-12196 Caroline Svensson 0410-24148

Cette thèse en recherche-création est une réflexion sur l’espace du geste-son. La dé- marche artistique de l’auteure, reposant sur six éléments : le corps, le son, le geste, l’image vidéo, l’espace physique et l’espace technologique, a été intégrée dans la conception d’un système de captation de mouvement en vision par ordinateur, le SICMAP (Système In- teractif de Captation du Mouvement en Art Performatif). Cette approche propose une nouvelle pratique performative hybride. Dans un premier temps, l’auteure situe sa démarche artistique en s’appuyant sur les trois piliers de la méthodologie transdisciplinaire : les niveaux de Réalité et de perception (le corps et l’espace-matière), la logique du tiers inclus (l’espace du geste-son) et la com- plexité (éléments du processus de création). Ces concepts transdisciplinaires sont ensuite mis en relation à travers l’analyse d’œuvres arborant un élément commun à la démarche de l’auteure, soit le corps au centre d’un univers sensoriel. L’auteure met ensuite en lumière des éléments relatifs à la pratique scénique susci- tée par cette démarche artistique innovante à travers le corps expressif. Le parcours du performeur-créateur, menant à la conception du SICMAP, est ensuite exposé en passant par une réflexion sur l’« instrument rêvé » et la réalisation de deux interfaces gestuelles pré- paratoires. Sous-entendant une nouvelle gestuelle dans un contexte d’interface sans retour haptique, la typologie du geste instrumental est revisitée dans une approche correspondant au nouveau paradigme de l’espace du geste-son. En réponse à ces recherches, les détails de la mise en œuvre du SICMAP sont ensuite présentés sous l’angle de l’espace technologique et de l’application de l’espace du geste- son. Puis, les compositions réalisées lors du développement du SICMAP sont décrites d’un point de vue artistique et poïétique à travers les éléments fondateurs du processus de création de l’auteure. La conclusion résume les objectifs de cette recherche-création ainsi que les contributions de cette nouvelle pratique performative hybride. / This research-creation thesis is a reflection on the gesture-sound space. The author’s artistic research, based on six elements: body, sound, gesture, video, physical space, and technological space, was integrated in the conception of a motion capture system based on computer vision, the SICMAP (Système Interactif de Captation du Mouvement en Art Performatif – Interactive Motion Capture System For Performative Arts). This approach proposes a new performative hybrid practice. In the first part, the author situates her artistic practice supported by the three pillars of transdisciplinary research methodology: the levels of Reality and perception (the body and space as matter), the logic of the included middle (gesture-sound space) and the com- plexity (elements of the creative process). These transdisciplinary concepts are juxtaposed through the analysis of works bearing a common element to the author’s artistic practice, the body at the center of a sensorial universe. The author then puts forth elements relative to scenic practice arisen by this innovative artistic practice through the expressive body. The path taken by the performer-creator, leading to the conception of the SICMAP, is then explained through a reflection on the “dream instrument” and the realization of two preparatory gestural interfaces. Implying a new gestural in the context of a non-haptic interface that of the free-body gesture, the topology of the instrumental gesture is revisited in response to a new paradigm of the gesture-sound space. In reply to this research, the details of the SICMAP are then presented from the angle of the technological space and then applied to the gesture-sound space. The compositions realized during the development of SICMAP are then presented. These works are discussed from an artistic and poietic point of view through the founding elements of the author’s creative process. The conclusion summarises the objectives of this research-creation as well as the contributions of this new performative hybrid practice.

Les connaissances perceptivo-gestuelles sont difficiles à saisir dans les Systèmes Tutoriels Intelligents. Ces connaissances sont multimodales : elles combinent des connaissances théoriques, ainsi que des connaissances perceptuelles et gestuelles. Leur enregistrement dans les Systèmes Tutoriels Intelligents implique l'utilisation de plusieurs périphériques ou capteurs couvrant les différentes modalités des interactions qui les sous-tendent. Les « traces » de ces interactions –aussi désignées sous le terme "traces d'activité"- constituent la matière première pour la production de services tutoriels couvrant leurs différentes facettes. Les analyses de l'apprentissage ou les services tutoriels privilégiant une facette de ces connaissances au détriment des autres, sont incomplets. Cependant, en raison de la diversité des périphériques, les traces d'activité enregistrées sont hétérogènes et, de ce fait, difficiles à modéliser et à traiter. Mon projet doctoral adresse la problématique de la production de services tutoriels adaptés à ce type de connaissances. Je m'y intéresse tout particulièrement dans le cadre des domaines dits mal-définis. Le cas d'étude de mes recherches est le Système Tutoriel Intelligent TELEOS, un simulateur dédié à la chirurgie orthopédique percutanée. Les propositions formulées se regroupent sous trois volets : (1) la formalisation des séquences d'interactions perceptivo-gestuelles ; (2) l'implémentation d'outils capables de réifier le modèle conceptuel de leur représentation ; (3) la conception et l'implémentation d'outils algorithmiques favorisant l'analyse de ces séquences d'un point de vue didactique. / Perceptual-gestural knowledge is multimodal : they combine theoretical and perceptual and gestural knowledge. It is difficult to capture in Intelligent Tutoring Systems. In fact, its capture in such systems involves the use of multiple devices or sensors covering all the modalities of underlying interactions. The "traces" of these interactions -also referred to as "activity traces"- are the raw material for the production of key tutoring services that consider their multimodal nature. Methods for "learning analytics" and production of "tutoring services" that favor one or another facet over others, are incomplete. However, the use of diverse devices generates heterogeneous activity traces. Those latter are hard to model and treat.My doctoral project addresses the challenge related to the production of tutoring services that are congruent to this type of knowledge. I am specifically interested to this type of knowledge in the context of "ill-defined domains". My research case study is the Intelligent Tutoring System TELEOS, a simulation platform dedicated to percutaneous orthopedic surgery.The contributions of this thesis are threefold : (1) the formalization of perceptual-gestural interactions sequences; (2) the implementation of tools capable of reifying the proposed conceptual model; (3) the conception and implementation of algorithmic tools fostering the analysis of these sequences from a didactic point of view.

Le hasard m’a permis de faire des belles découvertes. La beauté particulière des câbles électriques et leur potentiel plastiques ont ainsi éclairé mon parcours artistique. J’ai fait le choix du câble comme matière première de mon œuvre depuis 1999. Une technique artisanale celle du Crochet, en lien avec la tapisserie contemporaine met l’accent sur l’idée de la connectivité et le tissage des liens sociaux par un seul fil continu sans coupure. Je cherche une transgression de cette pratique au profit d'une compréhension plus large de ce qu’elle représente. Par la répétition gestuelle qui m’a permis de conduire à une forme de ritualisation de ma technique, je passe par une phase de conscience où la perception devient plus aiguisée. Ma pratique est devenue une forme d’existence, d'amélioration et de soulagement pour arriver au constat d’un effet magique qui délivre le corps par une spiritualité. C’est aussi une forme de connectivité, d’échange avec des plasticiens qui ont agrandi mon univers. Par le travail sériel, monochrome (noir) et une analyse épistémologique, je suggère un mé-tissage de certaines disciplines, une forme d’hybridation entre un univers cosmologique, mathématique et physique. Mon corps devient un fil conducteur dessine dans l’espace externe mon intériorité par des vidéos performatives et expressives. Je fais là l’expérience d'une contiguïté issue en réalité de la continuité du fil. Cet espace interne et fusionnel, où je fais l'expérience de mon corps en relation avec le fil continu, revêt souvent une dimension imaginaire, auquel s'ajoute un espace externe, celui de la représentation et de la mise à distance dans le monde physique de mon œuvre. / Chance has allowed me to make beautiful discoveries. The particular beauty of the electric cables and their plastic potential have thus illuminated my artistic career. I made the choice of cable as raw material of my work since 1999. A traditional technique, that of Crochet, in connection with contemporary tapestry emphasizes the idea of connectivity and the weaving of social links by a single continuous thread, an unbroken thread. But I seek a transgression of this practice in favor of a broader understanding of what it represents. By the gestural repetition that allowed me to lead to a form of ritualization of my technique, I go through a phase of consciousness where the perception becomes more acute. My practice has become a form of existence, improvement, and relief to come to the realization of a magical effect, which delivers the body spiritually. It is also a form of connectivity, of exchange with several artists of which I made the collection carefully and which enlarged my universe, then by the serial work, monochrome (black) and an epistemological analysis, I suggest a " miscegenation" of certain disciplines in my work, a form of hybridization between a cosmological universe, mathematical and physical are interlaced. My body becomes a drawing thread in the external space, my interiority by performative and expressive videos. I am experiencing an adjacency that actually comes from the continuity of the thread. This internal and fusional space, where I experience my body in relation to the continuous thread, often takes on an imaginary dimension, to which is added an external space, that of representation and distancing in the physical world of my work.

This thesis examines key concepts from philosophers Nishida Kitaro, Maurice Merleau-Ponty and Fredriche Nietzsche and applies them to elements of Michael Chekhov’s practice of acting. The three philosophers, in different ways, suggest an ‘optimal’ state, beyond a dualistic separation of the fictive from the real and the visible from the invisible, that challenges seemingly unbridgeable dualisms between inner and outer, subject and object, being and becoming and experiencer and experienced. The purpose of this thesis is to analyze and understand these selected ‘optimal’ modes of consciousness in performance and, therefore, open up new ways of thinking about Michael Chekhov’s acting processes; in particular the ‘Psychological Gesture’. The thesis asks the following questions: 1. How can the application of selected philosophical paradigms to the Psychological Gesture through theory and practice further our understanding of Michael Chekhov’s work? 2. How do selected aspects of the fields of phenomenology, post-phenomenology, cognitive sciences, consciousness studies and philosophy of mind, aid in developing an articulation and understanding of an ‘optimal’ state of consciousness as a necessary aspect of the actor’s performance in Michael Chekhov’s work and theatre practice? 3. How can this project develop the way we are able to talk about Michael Chekhov’s work and wider acting processes?

The dissemination of new innovative technology requires feasibility and simplicity. The problem with marker-based augmented reality is similar to glove-based hand gesture recognition: they both require an additional component to function. This thesis investigates the possibility of combining markerless augmented reality together with appearance-based hand gesture recognition by implementing a game with good user experience. The methods employed in this research consist of a game implementation and a pre-study meant for measuring interactive accuracy and precision, and for deciding upon which gestures should be utilized in the game. A test environment was realized in Unity using ARKit and Manomotion SDK. Similarly, the implementation of the game used the same development tools. However, Blender was used for creating the 3D models. The results from 15 testers showed that the pinching gesture was the most favorable one. The game was evaluated with a System Usability Scale (SUS) and received a score of 70.77 among 12 game testers, which indicates that the augmented reality game, which interaction method is solely based on bare-hands, can be quite enjoyable.