Os paradigmas da criação artística para a CAVE (CAVE Automatic Virtual Environment) ainda estão sendo elaborados pois, no âmbito da Realidade Virtual, é uma tecnologia recente e ainda bastante onerosa, fatores que dificultam sua disseminação. Ainda assim, algumas instituições possuem CAVEs para pesquisas artístico-culturais. Dentre elas, figura o centro de pesquisas Ars Electronica que, em parceria com o artista transmídia Maurice Benayoun, produziu em sua CAVE, cuja visitação é aberta ao público, a premiada obra World Skin. Com o intuito de situar o atual estado da arte das experimentações artísticas em CAVEs, esta obra mereceu análise detalhada de seus processos criativos e metodológicos. Nela, o autor investiga as reações cognitivas dos visitantes e propõe uma nova relação espaçocorporal dentro de um mundo virtual. A potencialidade artística da CAVE é grande e existe interesse dos artistas em explorá-la. As novas pesquisas e avanços tecnológicos apontam perspectivas de um maior acesso a este tipo de ambiente imersivo, consolidando-o como um prolífero suporte artístico. / The paradigms behind artistic creation for CAVE (CAVE Automatic Virtual Environment) are yet to be elaborate, since in the realm of Virtual Reality, this is a recent and expensive technology, which poses barriers to its own spreading. Even so, some institutions do have CAVEs for culture and artistic research. Among them, there\'s the research center Ars Electronica, which, in partnership with transmedia artist Maurice Benayoun, has produced in its CAVE (which is open for public visits), the award-winning work World Skin. With the objective of placing experimental artistic manifestations in CAVEs, this work has been deeply analyzed, concerning its creative processes and methods. The author evaluates the cognitive reactions of the visitors and proposes a new corporal-space relationship in a virtual world. The artistic potential behind a CAVE seems to be huge, and artists are willing to explore it. According to new researches and recent developed technologies, there will be a broader access to this kind of immersive environment, which might become a highly productive platform for artists.

Os paradigmas da criação artística para a CAVE (CAVE Automatic Virtual Environment) ainda estão sendo elaborados pois, no âmbito da Realidade Virtual, é uma tecnologia recente e ainda bastante onerosa, fatores que dificultam sua disseminação. Ainda assim, algumas instituições possuem CAVEs para pesquisas artístico-culturais. Dentre elas, figura o centro de pesquisas Ars Electronica que, em parceria com o artista transmídia Maurice Benayoun, produziu em sua CAVE, cuja visitação é aberta ao público, a premiada obra World Skin. Com o intuito de situar o atual estado da arte das experimentações artísticas em CAVEs, esta obra mereceu análise detalhada de seus processos criativos e metodológicos. Nela, o autor investiga as reações cognitivas dos visitantes e propõe uma nova relação espaçocorporal dentro de um mundo virtual. A potencialidade artística da CAVE é grande e existe interesse dos artistas em explorá-la. As novas pesquisas e avanços tecnológicos apontam perspectivas de um maior acesso a este tipo de ambiente imersivo, consolidando-o como um prolífero suporte artístico. / The paradigms behind artistic creation for CAVE (CAVE Automatic Virtual Environment) are yet to be elaborate, since in the realm of Virtual Reality, this is a recent and expensive technology, which poses barriers to its own spreading. Even so, some institutions do have CAVEs for culture and artistic research. Among them, there\'s the research center Ars Electronica, which, in partnership with transmedia artist Maurice Benayoun, has produced in its CAVE (which is open for public visits), the award-winning work World Skin. With the objective of placing experimental artistic manifestations in CAVEs, this work has been deeply analyzed, concerning its creative processes and methods. The author evaluates the cognitive reactions of the visitors and proposes a new corporal-space relationship in a virtual world. The artistic potential behind a CAVE seems to be huge, and artists are willing to explore it. According to new researches and recent developed technologies, there will be a broader access to this kind of immersive environment, which might become a highly productive platform for artists.

Propolis – Creating and using an immersive 2D honey bee environment to educate children between the ages of 3-10, about the importance of honey bees. This capstone project will showcase this researcher's skills in graphic design, spatial sound, architecture, exhibition design, and character illustration. Within this structure, individuals will be able to observe, determine, and make comparisons between a healthy bee colony and one that is fragile and dying. / Master of Fine Arts / "Honey bees have been on the decline. As of 2016, eight species of bees made it on the United States (U.S.) endangered species list. It reported that the decline of pollinators is due to industrial agriculture, parasites, pathogens, and climate change" (Contributors 2020). The loss of habitat and lack of nectar is due to monocultures and bee-killing pesticides. These are significant threats to honey bees and wild pollinators. There is a need for good, clean food providing for a healthy existence for the honey bee. When bees have proper nutrients, the result is a healthy hive that gives mature bees a better chance to fight off diseases. To showcase the life of a honey bee, this researcher created an immersive environment that simulates a hive structure. The structure, along with the motion graphics and critical takeaway printed pieces, is to help children between the ages of 3-10 understand the importance of honey bees. By comparing healthy and unhealthy bees in their natural habitat in an illustration format, the children could empathize with the honey bees. Hopefully, they will one day change the fate of these amazing creatures. The immersive environment will emulate a spatial audio, 2D character illustration, and animation projected onto a honeycomb structure. Custom seed packets and a brochure will accompany the immersive environment to allow the children to plant a bee-friendly garden and to learn more about the honey bees. This capstone project will showcase the researcher's skills in graphic design, spatial sound, architecture, exhibition design, and character illustration. This structure will allow individuals to observe, determine, and make comparisons between a healthy colony and one that is fragile and dying.

Les données d'aujourd'hui deviennent de plus en plus complexes à cause de la forte croissance de leurs volumes ainsi que leur multidimensionnalité. Il devient donc nécessaire d'explorer des environnements d'affichage qui aillent au-delà du simple affichage de données offert par les moniteurs traditionnels et ce, afin de fournir une plus grande surface d'affichage ainsi que des techniques d'interaction plus performantes pour l'exploration de données. Les environnements correspondants à cette description sont les suivants : Les écrans large ; les environnements multi-écrans (EME) composés de plusieurs écrans hétérogènes spatialement distribués (moniteurs, smartphones, tablettes, table interactive ...) ; les environnements immersifs. Dans ce contexte, l'objectif de ces travaux de thèse est de concevoir et d'évaluer des solutions d'interaction originales, efficaces et adaptées à chacun des trois environnements cités précédemment. Une première contribution de nos travaux consiste en Split-focus : une interface de visualisation et d'interaction qui exploite les facilités offertes par les environnements multi-écrans dans la visualisation de données multidimensionnelles au travers d'une interface overview + multi-detail multi-écrans. Bien que plusieurs techniques d'interaction offrent plus d'une vue détaillée en simultané, le nombre optimal de vues détaillées n'a pas été étudié. Dans ce type d'interface, le nombre de vues détaillées influe grandement sur l'interaction : avoir une seule vue détaillée offre un grand espace d'affichage mais ne permet qu'une exploration séquentielle de la vue d'ensemble?; avoir plusieurs vues détaillées réduit l'espace d'affichage dans chaque vue mais permet une exploration parallèle de la vue d'ensemble. Ce travail explore le bénéfice de diviser la vue détaillée d'une interface overview + detail pour manipuler de larges graphes à travers une étude expérimentale utilisant la technique Split-focus. Split-focus est une interface overview + multi-détails permettant d'avoir une vue d'ensemble sur un grand écran et plusieurs vues détaillées (1,2 ou 4) sur une tablette. [...] / Today's ever-growing data is becoming increasingly complex due to its large volume and high dimensionality: it thus becomes crucial to explore interactive visualization environments that go beyond the traditional desktop in order to provide a larger display area and offer more efficient interaction techniques to manipulate the data. The main environments fitting the aforementioned description are: large displays, i.e. an assembly of displays amounting to a single space; Multi-display Environments (MDEs), i.e. a combination of heterogeneous displays (monitors, smartphones/tablets/wearables, interactive tabletops...) spatially distributed in the environment; and immersive environments, i.e. systems where everything can be used as a display surface, without imposing any bound between displays and immersing the user within the environment. The objective of our work is to design and experiment original and efficient interaction techniques well suited for each of the previously described environments. First, we focused on the interaction with large datasets on large displays. We specifically studied simultaneous interaction with multiple regions of interest of the displayed visualization. We implemented and evaluated an extension of the traditional overview+detail interface to tackle this problem: it consists of an overview+detail interface where the overview is displayed on a large screen and multiple detailed views are displayed on a tactile tablet. The interface allows the user to have up to four detailed views of the visualization at the same time. We studied its usefulness as well as the optimal number of detailed views that can be used efficiently. Second, we designed a novel touch-enabled device, TDome, to facilitate interactions in Multi- display environments. The device is composed of a dome-like base and provides up to 6 degrees of freedom, a touchscreen and a camera that can sense the environment. [...]

La maladie d'Alzheimer (MA) est une maladie cérébrale dégénérative qui entraîne une perte progressive de la mémoire, un déclin cognitif et une détérioration graduelle de la capacité d'une personne à faire face à la complexité et à l'exigence des tâches quotidiennes nécessaires pour vivre en autonomie dans notre société actuelle. Les traitements pharmacologiques actuels peuvent ralentir le processus de dégradation attribué à la maladie, mais ces traitements peuvent également provoquer certains effets secondaires indésirables. L'un des traitements non pharmacologiques qui peut soulager efficacement les symptômes est la thérapie assistée par l'animal (T.A.A.). Mais en raison de certaines limitations telles que le prix des animaux et des problèmes d'hygiène, des animaux virtuels sont utilisés dans ce domaine. Cependant, les animaux virtuels animés, la qualité d'image approximative et le mode d'interaction unidirectionnel des animaux qui attendent passivement les instructions de l’utilisateur, peuvent difficilement stimuler le retour émotionnel entre l'utilisateur et les animaux virtuels, ce qui affaiblit considérablement l'effet thérapeutique. Cette étude vise à explorer l'efficacité de l'utilisation d'animaux virtuels à la place d’animaux vivants et leur impact sur la réduction des émotions négatives chez le patient. Cet objectif a été gardé à l'esprit lors de la conception du projet Zoo Therapy, qui présente un environnement immersif d'animaux virtuels en 3D, où l'impact sur l'émotion du patient est mesuré en temps réel par électroencéphalographie (EEG). Les objets statiques et les animaux virtuels de Zoo Therapy sont tous présentés à l'aide de modèles 3D réels. Les mouvements des animaux, les sons et les systèmes de repérage spécialement développés prennent en charge le comportement interactif simulé des animaux virtuels. De plus, pour que l'expérience d'interaction de l'utilisateur soit plus réelle, Zoo Therapy propose un mécanisme de communication novateur qui met en œuvre une interaction bidirectionnelle homme-machine soutenue par 3 méthodes d'interaction : le menu sur les panneaux, les instructions vocales et le Neurofeedback. La manière la plus directe d'interagir avec l'environnement de réalité virtuelle (RV) est le menu sur les panneaux, c'est-à-dire une interaction en cliquant sur les boutons des panneaux par le contrôleur de RV. Cependant, il était difficile pour certains utilisateurs ayant la MA d'utiliser le contrôleur de RV. Pour accommoder ceux qui ne sont pas bien adaptés ou compatibles avec le contrôleur de RV, un système d'instructions vocales peut être utilisé comme interface. Ce système a été reçu positivement par les 5 participants qui l'ont essayé. Même si l'utilisateur choisit de ne pas interagir activement avec l'animal virtuel dans les deux méthodes ci-dessus, le système de Neurofeedback guidera l'animal pour qu'il interagisse activement avec l'utilisateur en fonction des émotions de ce dernier. Le système de Neurofeedback classique utilise un système de règles pour donner des instructions. Les limites de cette méthode sont la rigidité et l'impossibilité de prendre en compte la relation entre les différentes émotions du participant. Pour résoudre ces problèmes, ce mémoire présente une méthode basée sur l'apprentissage par renforcement (AR) qui donne des instructions à différentes personnes en fonction des différentes émotions. Dans l'expérience de simulation des données émotionnelles synthétiques de la MD, la méthode basée sur l’AR est plus sensible aux changements émotionnels que la méthode basée sur les règles et peut apprendre automatiquement des règles potentielles pour maximiser les émotions positives de l'utilisateur. En raison de l'épidémie de Covid-19, nous n'avons pas été en mesure de mener des expériences à grande échelle. Cependant, un projet de suivi a combiné la thérapie de RV Zoo avec la reconnaissance des gestes et a prouvé son efficacité en évaluant les valeurs d'émotion EEG des participants. / Alzheimer’s disease (AD) is a degenerative brain disease that causes progressive memory loss, cognitive decline, and gradually impairs one’s ability to cope with the complexity and requirement of the daily routine tasks necessary to live in autonomy in our current society. Actual pharmacological treatments can slow down the degradation process attributed to the disease, but such treatments may also cause some undesirable side effects. One of the non-pharmacological treatments that can effectively relieve symptoms is animal-assisted treatment (AAT). But due to some limitations such as animal cost and hygiene issues, virtual animals are used in this field. However, the animated virtual animals, the rough picture quality presentation, and the one-direction interaction mode of animals passively waiting for the user's instructions can hardly stimulate the emotional feedback background between the user and the virtual animals, which greatly weakens the therapeutic effect. This study aims to explore the effectiveness of using virtual animals in place of their living counterpart and their impact on the reduction of negative emotions in the patient. This approach has been implemented in the Zoo Therapy project, which presents an immersive 3D virtual reality animal environment, where the impact on the patient’s emotion is measured in real-time by using electroencephalography (EEG). The static objects and virtual animals in Zoo Therapy are all presented using real 3D models. The specially developed animal movements, sounds, and pathfinding systems support the simulated interactive behavior of virtual animals. In addition, for the user's interaction experience to be more real, the innovation of this approach is also in its communication mechanism as it implements a bidirectional human-computer interaction supported by 3 interaction methods: Menu panel, Speech instruction, and Neurofeedback. The most straightforward way to interact with the VR environment is through Menu panel, i.e., interaction by clicking buttons on panels by the VR controller. However, it was difficult for some AD users to use the VR controller. To accommodate those who are not well suited or compatible with VR controllers, a speech instruction system can be used as an interface, which was received positively by the 5 participants who tried it. Even if the user chooses not to actively interact with the virtual animal in the above two methods, the Neurofeedback system will guide the animal to actively interact with the user according to the user's emotions. The mainstream Neurofeedback system has been using artificial rules to give instructions. The limitation of this method is inflexibility and cannot take into account the relationship between the various emotions of the participant. To solve these problems, this thesis presents a reinforcement learning (RL)-based method that gives instructions to different people based on multiple emotions accordingly. In the synthetic AD emotional data simulation experiment, the RL-based method is more sensitive to emotional changes than the rule-based method and can automatically learn potential rules to maximize the user's positive emotions. Due to the Covid-19 epidemic, we were unable to conduct large-scale experiments. However, a follow-up project combined VR Zoo Therapy with gesture recognition and proved the effectiveness by evaluating participant's EEG emotion values.