Cette recherche de thèse est basée sur l'analyse du trait, dans un sens à la fois physique et spirituel. Un trait lancé est comme un mouvement continu; en peignant le trait, dans ma peinture, je me réfère toujours à la pensée du mouvement persistant de l'univers. L'envie pour moi d'exprimer la force mystérieuse de la nature est ainsi omniprésente dans tous mes travaux plastiques. Je considère que les traits que je peins sont la trace du mouvement; qu'ils sont des empreintes qui éprouvent l'énergie vitale intérieure, la fluidité de la pensée, et le rythme du geste de mon corps. De la peinture abstraite au dessin, du trait à l'image de flux, tout l'objectif de ma démarche artistique est le même: entrevoir la vitalité et la fluidité dans la nature, saisir le mouvement imperceptible et la force perpétuelle dans révolution dynamique de l'univers. Grâce à ma tradition orientale (d'origine taïwanaise) enrichie de ma rencontre avec l'Occident, je propose ici une façon personnelle de tracer le trait ou, plus exactement, de peindre le mouvement et l'aspect rythmé de la nature. À travers ce cheminement au plus près du questionnement concernant le trait, la création, la vie. Cette recherche de thèse suivra un processus qui consiste à soulever les apparences pour pénétrer au cœur de qui l'on est et voir apparaître un horizon nouveau. / The research presented in this thesis is based on the analysis of the line, in a physical as well as a spiritual sense. A drawn line is like a continuous movement: when I paint a line my point of reference is always the persistent movement of the universe. The desire to express the mysterious force of nature is therefore omnipresent in all my works. The lines I paint are the trace of the movement: they are the imprints that reflect the inner vital energy. the fluidity of thought and the rhythm of my bodily gesture. Whether it is from abstract painting to drawing or from the line to the image of flow the goal of my artistic approach is the same: ta catch sight of the vitality and fluidity in nature. to capture the imperceptible movement and the perpetual force in the dynamic evolution of the universe. Thanks to my Oriental tradition (Taïwanese origin) enriched by my encounter with the West, I propose a personal way of tracing the line. or, to be more exact. of painting the movement and the rhythmical aspect of nature. Unfolding the questioning concerning the line creation, life. The research in this thesis follows a process that consists in going beyond appearances to penetrate to the core of who one is and see the emergence of a new horizon.

Abstract: This research is the culmination of a four-year investigation and analysis into the principles of Interaction Design, particularly those that are found to be most suitable when designing and developing interactive navigation systems. The research was undertaken as a Masters degree by project. The project consists of a CD containing an online gallery showcasing works of art and an accompanying exegesis. The exegesis is structured into seven chapters, which consider, analyse and define what the key characteristics of Interaction Design are, where it comes from, and how it improves the quality of interactive multimedia applications. The exegesis includes four case studies that look at how other practitioners in the digital realm have created systems for showcasing narrative or creative content online. I examine alternative artworks and how they have shaped the development of creative media. I investigate what experts in the field define as good Interaction Design and what guidelines and principles they recommend. I show how these guidelines conflict with more creative approaches and how good design and creativity can be merged to be usable and friendly to users. I also look at the history of opponents of guidelines and principles and how their contribution helps make design better. By creating the example gallery I aim to help designers working within the field of ID to understand the principles behind good design in order that they may deliver higher-quality user experiences relevant to the content they are displaying. By creating this gallery I also hope to help artists understand the principles behind good design in order that they may showcase their artworks in ways appropriate to their artwork. By designing and building an example I aim to provide a better understanding of how to construct a feature-rich application in an easy to use and understandable environment.

Thèse (M.A.) -- Université du Québec à Chicoutimi, 2004. / Bibliogr.: f. 95-96 . Document électronique également accessible en format PDF. CaQCU

Artificial light surrounds us in a manifold of shapes. It is mainly utilized for illumination, but also for graphical communication of complex and evolving messages and information, among other things. It can be generated in different ways with incandescent lamps and fluorescent tubes constituting two common examples. Organic solid state light-generation technologies, which boast advantages such as solution processability, thin and flexible form factors, and large versatility, are modern additions to the field. But regardless of the means of generation, whenever light is to be used to communicate information, as signage or displays, it needs to be patterned. Unfortunately patterning is often complicated and expensive from a fabrication point of view, or renders the devices inefficient. To bridge the gap between present technologies and the need for low-cost and low-complexity patterned light emitters, it is important to develop new device architectures and/or fabrication procedures. In this thesis we show that patterned light emission can be attained from solution processable bilayer light-emitting electrochemical cells (LECs), in which the bilayer stack comprises an electrolyte and an organic semiconductor as the first and second layer, respectively. We investigate a subtractive direct-write approach, in which electrolyte is displaced and patterned by the contact motion of a thin stylus, as well as an additive inkjet-patterning technique. Both result in electroluminescent patterns, e.g., light-emitting sketches and microscopic signage with high pixel density. But they can also build macroscopic patterned regions with homogeneous emission depending on the design of electrolyte features. Using an in-operando optical microscopy study we have investigated the operational physics and some limiting factors of the bilayer LECs. More specifically we find that the electrolyte film homogeneity is a key property for high optical quality, and that the emitting region is defined by the location of the interfaces between electrolyte, anode, and organic semiconductor. We observe that the cationic diffusion length is less than one micrometer in our employed organic semiconductors, and rationalize the localized emission by cationic electric double-layer formation at the cathode, and the electronically insulating electrolyte at the anode. To date, the presented luminescent signage devices feature high-resolution patterns, in both pixelated and line-art form, and show great robustness in terms of fabrication and material compatibility. Being LECs, they have the potential for truly low-cost solution processing, which opens up for new applications and implementations. However, these first reports on patterned bilayer LECs leave plenty of room for improvements of the optical and electronic characteristics. For instance, if the optoelectronic properties of the devices were better understood, a rational design of microscopic electrolyte features could provide for both more efficient LECs, and for more homogeneous light emission from the patterned regions.

Poor decision making among clinicians to transferring human immune deficiency virus (HIV) patients into second-line antiretroviral therapy (ART) has led to an increase in morbidity and mortality to people living with HIV (PLHIV). No clear barriers are known for clinicians not switching their patients. This is a descriptive qualitative research aimed to discover obstacles that influence clinicians' decision making to transferring patients into second-line ART despite higher level resistance to first-line ART. The researcher applied a participatory action research framework to solve the identified barriers with clinicians. Using the research questions the researcher explored reasons, perceived barriers and enabling factors for clinicians delay in making decision to transferring HIV patients into second-line ART. In-depth semistructured interviews were conducted with 30 participants. Six thematic areas (a) clinicians' capacity to diagnose treatment failure, (b) laboratory investigations, (c) availability, access, and tolerability to second-line ART, (d) clinicians' perceptions on ARV medicines, (e) clients' readiness for ARV medicines, and (f) adherence and retention to ARV medicines were analysed using STATA. Readiness, adherence and retention to ART, knowledge, competence and experience on ART , lack of viral load testing, and shortage of second-line ART were the common major barriers for clinicians in determining transferring patients into second-line ART. The government of Tanzania should acknowledge and create participation, responsibility, and commitment strategies to reduce the observed barriers. Findings of this study generates knowledge and provide actionable plans to help clinicians easily identify HIV patients who are in need of second-line ART.