La valeur esthétique des paysages et des espèces est un élément central de la conservation de la biodiversité, puisqu’elle fait intervenir les dimensions affectives et émotionnelles de notre rapport à la nature. Le lien entre biodiversité et perception esthétique demeure cependant peu étudié dans le cadre des services écosystémiques.Suite à un premier travail de synthèse ayant permis de poser les bases conceptuelles et méthodologiques de l’esthétique des paysages, trois études menées sur des systèmes sous-marins à différentes échelles ont permis de mieux comprendre et de quantifier le lien entre les différentes facettes de la biodiversité et la perception esthétique.Les résultats ont permis de mettre en évidence que la nature du lien entre biodiversité et préférences esthétique est dépendante de l’échelle de perception : à une échelle multi-spécifique, la biodiversité et la composition en espèces ont un effet positif sur les préférences esthétiques, tandis que les préférences à l’échelle spécifiques sont déconnectées du fonctionnement écologique des écosystèmes.Ces résultats confirment l’importance de la valeur esthétique dans notre perception de la biodiversité, qui pourrait avoir des conséquences majeures sur la façon dont nous protégeons notre environnement. L’approche fonctionnaliste de l’expérience esthétique est proposée et décrite afin de promouvoir une perception esthétique basée sur la compréhension et la reconnaissance des processus écologiques. Des pistes d’éducation à la biodiversité basée sur une expérience esthétique engagée sont également proposées afin de reconnecter les besoins écologiques et les préférences esthétiques. / The aesthetic value of landscapes and species is a central element for the conservation of biodiversity, since it involves the emotional and emotional dimensions of our relationship to nature. However, the links between biodiversity and aesthetic perception remains poorly studied and recognized within the ecosystem services framework.Following a first critical review, that described the conceptual and methodological bases of landscape aesthetics, three studies on underwater systems at different scales have been computed in order to better understand the link between the different facets of biodiversity and aesthetic perception.The results revealed that the link between biodiversity and aesthetic preferences is dependent on the scale of perception: at a multi-specific scale, biodiversity and species composition have a positive effect on aesthetic preferences, while preferences at a specific scale are disconnected to the ecological functioning of ecosystems.These results confirm the importance of aesthetic value in our perception of biodiversity, which could have major consequences in the way we protect our environment. The aesthetic experience based on the understanding of ecological functioning is proposed and described in order to promote an aesthetic perception relevant to ecological processes. Education to biodiversity based on engaged aesthetic is also proposed, in order to reconnect ecological needs and aesthetic preferences.

Thesis (Ph. D.)--Washington State University, May 2009. / Title from PDF title page (viewed on Apr. 21, 2010). "Department of Psychology." Includes bibliographical references (p. 39-43).

In gymnastics, the performance is evaluated by a subjective rating, whereby one of the biggest problems is the validity and reliability of judgment. The process of observing and evaluating complex motor skills such as those found in gymnastics is located in the cyclical interaction between perception and action, raising the key question, how the quantifiable movement execution is related to the perceived movement quality. Therefore, the thesis aimed at a first step to kinematically analyze selected prototypical gymnastics skills to investigate at a second step the underlying perceptual-cognitive mechanism when observing and evaluating those skills. In the analysis of kinematics, it was focused on the classification and structuring of temporal-spatial continuous kinematic movement patterns and their relationship to the perceived movement quality. In the investigation of the perceptual-cognitive mechanism, it was focused on how skill kinematics are related to the perceived movement quality. Furthermore, the gaze pattern was evaluated and examined during the observation. Five consecutive studies were conducted to achieve those objectives. It was shown that complex gymnastics skills can be kinematically structured into prototypical movement patterns, which differ concerning certain variant and invariant kinematic characteristics. The results of a model-based approach to predict perceived movement quality out of the kinematics of gymnastics skills showed a significant relationship between the predicted score and the true score. Overall, the models worked best for the vault skill, which was the shortest skill with the least spatial variability. Out of all models, the neural network approach showed the best results. Furthermore, it was found, that the similarity of the kinematics of gymnastics skills did not correlate with the similarity of the perceived movement quality. During the evaluation, the gaze pattern was influenced by the manipulation of the amount of non-kinematic information. This was especially the case for the last skill. Expertise seemingly influenced the perceptual-cognitive mechanism partially, but no clear pattern was visible. The results provided first insights on how gymnastics performances and the resulting judgment scores are related. The complexity of gymnastics skills and additionally, the similarity of the performance level in high elite sport is increasing. This challenge as well as the fast development of technologies leads to the occurrence of computer-based judging systems. Their reliability and validity, but also their challenges and opportunities in artistic gymnastics should be further investigated.

Background  In the realm of contemporary marketing the implementation of AI Chatbots has emerged as a pivotal subject shaping brand perception and satisfaction in micro-businesses. As businesses increasingly integrate artificial intelligence into their customer service operations, understanding the implications of AI chatbot implementation on brand perception and satisfaction in micro-businesses becomes paramount. Purpose  The purpose of this paper is to gain a further understanding of how AI Chatbots affects brand perception and satisfaction in micro-businesses. The answer to this research question will not only contribute to resolving the identified gap but also offer actionable insights and recommendations for micro-business owners and managers. Method  A qualitative research approach has been selected. The approach entails employing AI Chatbots in three different micro-businesses and conducting interviews with three potential clients of each micro-business. Conclusion  The study demonstrates that AI Chatbots significantly influence brand perception and brand satisfaction in micro-businesses, enhancing the brand image by presenting a modern and friendly persona. However, their impact on brand satisfaction varies across different types of businesses; low-effort businesses see noticeable improvements while high-effort ones, like plastic surgery services, do not experience substantial gains due to already high expectations.

Le corps du spectateur est au centre d’une antinomie récurrente dans les théories de l’art, l’œuvre doit d’abord émouvoir l’esprit et, dans la relation qu’elle établit avec son observateur, le corps n’est qu’un intermédiaire qui ne doit pas être trop sollicité. Cependant, certaines œuvres semblent remettre en cause cette relation et altérer le statut du spectateur en cherchant à surprendre l’esprit pour émouvoir le corps. Définir le cinéma comme paradigme d’un dispositif d’immersion fictionnel s’inscrivant dans une chronologie en dehors de toute spécificité historique, permet alors de considérer autrement la position de face à face entre l’œuvre projetée et son spectateur en les incluant dans la structure même du dispositif. L’œuvre projetée apparaît comme variable d’un système clos, lui-même laboratoire de l’exercice de la perception humaine dont les conditions sensationnelles expérimentales rejoignent les conditions réelles dans certains cas particuliers. L’étude de trois sensations distinctes isole certains cas spécifiques et conduit à l’établissement et à l’observation des différentes altérations que subit le statut du spectateur dont le corps est également partie prenante de la réception de l’œuvre.De l’analyse du vertige, défini comme sensation complexe, émerge la filiation du paradigme exploré ainsi que la possibilité de contourner cette dichotomie cartésienne. Les larmes et leur dualité, le rire et la tristesse, redéfinies comme symbole d’un complexe de sensations, attirent l’attention sur la possibilité d’une double appréhension d’une œuvre d’art, l’une psychologique, l’autre physiologique. Enfin le dégoût, une sensation simple, pose le cas limite dans lequel l’esprit du spectateur est piégé et où seul son corps lui permet d’appréhender ce monde qui le submerge. / The spectator’s body is at the centre of a recurring antinomy in the theories of Art, the work must first move the mind and, in its relation with its observer,the body which is a mere medium not to be too much appealed to.However,some works of Art seem to challenge this relation and alter the spectator’s status by trying to surprise the mind to move the body. Defining cinema as the paradigm of a fictional immersion device, inscribed in a chronology outside any historical specificity,makes it possible to consider differently the face to face position between the projected work and its spectator by including them within the structure of the same device. The projected work looks like the variable of a closed system which is itself a laboratory for the exercise of human perception whose experimental conditions come close to real-life conditions in some particular cases. The study of three distinct sensations isolates some specific cases and leads to establish and observe different alterations undergone by the spectator’s status whose body is also part and parcel of the reception of the work.From the analysis of vertigo,defined as a complex sensation , the relation of the explored paradigm rises as well as the ability to get round that cartesian dichotomy.Tears and their duality,laughter and sadness,redefined as a symbol of complex sensations draw attention to a potential double apprehension of a work of Art, both psychologically physiologically.Lastly, disgust, a simple sensation,sets a borderline case in which the spectator’s mind is trapped and where only his body enables him to grasp the world he is submerged in.

VIKOVÁ, Tereza. The Uses of Public Space in Connection to Visual Art and Art Education [Dissertation]. Prague, 2019. Charles University, Faculty of Education, Art Education Department. 98 pages (Attachments on CD: 1 text, 2 image attachments) The subject matter of the master's thesis is the use of public space. Namely a way of use when the user, on the basis of self-awareness in the common space, feels and assumes responsibility for this space. The author is particularly interested in the moment of focus, which may (or may not) result in action and become a change. In this context, the so called gentle action phenomenon is being mentioned. That is, an individual's actions emanating from within the system itself, which is usually characterized by subtle action with a deeper, more far-reaching effect. The author's central ideas are applied in a thematic series consisting of a combination of a didactic and an artistic part. Together, they create a coherent whole. The author shows her own approach to the problem (in relation to fine art and art education) based on the extraction of a public space element from its everyday environment, its temporary appropriation and restitution. Particular topics reveal the aspects of private and public and outline the ways in which the user relates to his or her...