De nombreux arguments, issus notamment de la neurophysiologie visuelle, suggèrent que la perception visuelle d'une scène débute par une extraction des différentes fréquences spatiales en suivant une stratégie d'analyse « coarse-to-fine ». L'analyse rapide de l'information grossière en basses fréquences spatiales (BFS) fournirait un aperçu global de la de la scène qui serait, ensuite, affinée par l'analyse plus tardive de l'information fine en hautes fréquences spatiales (HFS). L'objectif de cette thèse est de spécifier les mécanismes neuro-fonctionnels et cognitifs du traitement des fréquences spatiales et des scènes naturelles et leur évolution au cours du vieillissement normal et pathologique. Dans une première étude en IRMf (Expérience 1), nous avons montré la coexistence, au niveau du cortex occipital, d'un traitement rétinotopique et hémisphérique des fréquences spatiales. Par ailleurs, nous avons montré que des régions sélectives aux scènes, au sein du gyrus parahippocampique et du cortex retrosplenial, étaient également impliquées dans le traitement des fréquences spatiales. Dans les études IRMf suivantes (Expériences 2, 3 et 4), nous nous sommes particulièrement intéressés au traitement des fréquences spatiales et à la stratégie d'analyse « coarseto- fine » dans ces régions sélectives. Dans la seconde partie de ces travaux, nous avons montré que la stratégie de catégorisation « coarse-to-fine » observée chez le jeune adulte sain, devenait flexible avec l'âge (Expérience 5). Afin de préciser les interactions rétino-corticales, nous avons étudié les performances de catégorisation de patients atteints de dégénérescence maculaire liée à l'âge, pathologie caractérisée par des lésions de la rétine centrale supposée à l'origine de la voie de traitement des HFS. Nous avons démontré un déficit comportemental (Expériences 6 et 7) du traitement des HFS, associé à une hypoactivité du cortex occipital chez ces patients (Expérience 8). Ces travaux permettent de préciser les mécanismes impliqués dans la perception de scènes. / As suggested by evidence from visual neurophysiology, scene perception could begin by the extraction of different spatial frequencies following a “coarse-to-fine” analysis. The rapid analysis of coarse information in low spatial frequencies (LSF) would provide a global overview of the scene which would then be refined by later analysis of fine information in high spatial frequencies (HSF). The aim of this thesis is to specify the neuro-functional and cognitive mechanisms of spatial frequency and natural scene processing as well as their evolution during normal and pathological aging. In a first fMRI study (Experiment 1), we showed the coexistence of retinotopic and hemispheric processing for spatial frequencies in occipital cortex. In addition, we showed that scene selective regions in the parahippocampal gyrus and retrosplenial cortex were also involved in the processing of spatial frequencies. Therefore, in the following fMRI studies (Experiments 2, 3 and 4), we were particularly interested in spatial frequency processing and "coarse-to-fine" analysis in these selective regions. In the second part of this work, we showed that the “coarse-to-fine” strategy observed in healthy young adults becomes flexible with increasing age (Experiment 5). To clarify the retina-cortex interactions, we studied the categorization performance of patients with age-related macular degeneration. This pathology is characterized by lesions of the central retina, which is thought to be the origin of the visual pathway conveying HSF. We have demonstrated a behavioral deficit (Experiments 6 and 7) of HSF processing linked to hypoactivity of occipital cortex in these patients (Experiment 8). These works clarify the mechanisms involved in scene perception.

La répercussion d'un trouble visuel sur le traitement de scènes naturelles a été abordée selon trois approches : 1) une approche comportementale dans le but d'étudier la perception visuelle en champ central et en champs latéralisés, chez les participants sains et chez les patients hémianopsiques à la suite d'une lésion occipitale unilatérale ; 2) une approche fonctionnelle à l'aide d'une étude en IRMf afin d'évaluer tout d'abord l'incidence de la demande cognitive sur une tâche visuelle, chez les participants sains et chez les patients hémianopsiques, en champ central, puis d'observer l'impact d'une lésion occipitale droite et gauche sur la réorganisation corticale ; 3) enfin, une approche neuropsychologique dans le but d'étudier l'effet d'un entraînement visuel dans le champ aveugle des patients HLH, en utilisant les capacités visuelles inconscientes. Nous avons observé un impact différent sur le traitement visuel en champ central selon la latéralisation de la lésion occipitale (droite ou gauche). L'analyse visuelle est plus perturbée à la suite d'une lésion occipitale droite. Les données acquises en IRMf ont permis également de constater une différence des patterns d'activation selon la latéralisation de la lésion occipitale. Enfin, nous avons observé que l'entrainement dans le champ visuel aveugle des patients HLH, en utilisant les capacités de perception implicite : blindsight, permet d'obtenir une amélioration du champ visuel de manière quantifiable. / Visual processing of natural scenes images was investigated in healthy individuals and patients with homonymous hemianopia (after a unilateral occipital damage) using three methods : 1) behavioral studies where stimuli were presented in the central and lateralized visual fields; 2) fMRI paradigm to assess the cerebral network underlying natural scenes processing in the central visual field and to assess consequences of right or left occipital lesion on brain reorganization ; 3) a neuropsychological study where the efficiency of visual training in the blind visual field of hemianopics patients, using blindsight, was investigated. Results showed that occipital lesion side selectively modulates visual performances and pattern of cortical activation. In patients with right occipital damage, performances were severely altered although both hemlispheres were recruited. Yet, in patients with left brain damage, performances were less degraded and the right hemisphere was recruited whatever the visual task. Finally, we observed that explicit (conscious) visual detection can be restored (at least partly) in the blind visual field by using implicit (unconscious) visual capacities.

Nous étudions l'influence de différents attributs audiovisuels sur l'exploration visuelle de scènes naturelles dynamiques. Nous démontrons que si la façon dont nous explorons une scène dépend avant tout de son contenu visuel, dans certaines situations le son influence significativement les mouvements oculaires. La présence de son assure une meilleure cohérence entre les positions oculaires de différents observateurs, attirant leur attention et donc leur regard vers les mêmes régions. L'effet du son se retrouve tout particulièrement dans les scènes de conversation, où la présence du signal de parole associé augmente le nombre de fixations sur le visage des locuteurs, et donc la cohérence entre les scanpaths. Nous proposons un modèle de saillance audiovisuelle repérant automatiquement le visage des locuteurs afin d'en rehausser la saillance. Ces résultats s'appuient sur les mouvements oculaires de 148 participants enregistrés sur un total de plus de 75 400 frames (125 vidéos) dans 5 conditions expérimentales différentes. / We study the influence of different audiovisual features on the visualexploration of dynamic natural scenes. We show that, whilst the way a person explores a scene primarily relies on its visual content, sound sometimes significantly influences eye movements. Sound assures a better coherence between the eye positions of different observers, attracting their attention and thus their gaze toward the same regions. The effect of sound is particularly strong in conversation scenes, where the related speech signal boosts the number of fixations on speakers' faces, and thus increases the consistency between scanpaths. We propose an audiovisual saliency model able to automatically locate speakers' faces so as to enhance their saliency. These results are based on the eye movements of 148 participants recorded on more than 75,400 frames (125 videos) in 5 different experimental conditions.

Este estudo parte da experiência da pesquisadora como cocriadora e atriz do espetáculo Teatro à La Carte, que tem como principal característica o ator como centro motor da cena sem a utilização de aparatos técnicos no que se refere ao cenário e iluminação. O espetáculo é apresentado em espaços não convencionais ao teatro e com a participação direta do espectador, que escolhe, entre as opções contidas em um “menu” de cenas, o que deseja assistir. Buscou-se então, a partir desta experiência, investigar os vínculos que se estabelecem no trabalho do ator, no que diz respeito ao processo de adaptação que este desenvolve quanto às instabilidades dos diferentes espaços de representação e a relação de convívio com o espectador tal como é proposta pelo filósofo Jorge Dubatti. Sobre a inserção do espetáculo em espaços não convencionais ao teatro, estabeleceu-se a mediação do ator com duas das chamadas leis orgânicas da ação, descritas por Konstantin Stanislávski em seu trabalho teatral: atenção criadora e adaptação. E acerca da relação com o espectador e a proposta de sua participação ativa no espetáculo, refletiu-se a partir da teoria do educador e filósofo Jacques Rancière, sobre a ação de ver que permite a emancipação do espectador; e a teoria do filósofo Jorge Dubatti, entendendo o teatro como acontecimento que gera convívio e poiése. Assim, fez-se a análise reflexiva da relação entre ator/espectador/espaço não convencional ao teatro com base no espetáculo Teatro à La Carte, de forma a problematizar e ampliar os questionamentos realizados como forma de instigar a reflexão sobre o assunto. / This study comes from the experience of the researcher as a co-creator and actress of the spectacle Teatro à La Carte, which has as main feature the actor as the motor center of the scene, without the use of technical devices in relation to scenery and lighting. The show is presented in spaces unconventional to theatre, and with the direct participation of the spectator, who chooses what they feel like watching among the options contained in a "menu" of scenes. Thus, from this experiment, we aimed at investigating the links that are established in the work of the actor, with regards to the process of adaptation he develops, regarding the instabilities of the different spaces of representation and the relation of conviviality with the spectator, as it is proposed by philosopher Jorge Dubatti. On the spectacle’s insertion in spaces unconventional to theatre, it was established the mediation of the actor with two of the so-called organic laws of action, described by Konstantin Stanislávski in his theatrical work: creative attention and adaptation. Now in reference to the relation with the spectator and the proposal of their active participation in the spectacle, it was reflected from the theory of educator and philosopher Jacques Rancière, on the action of seeing that allows the emancipation of the spectator, and the theory of philosopher Jorge Dubatti, understanding theater as an event that generates conviviality and poiése. Thus, there was a reflective analysis of the relationship between the actor/spectator/space unconventional to theater based on the spectacle Teatro à La Carte, in order to problematize and expand the questions carried out as a way to instigate reflection on the subject.

Este estudo parte da experiência da pesquisadora como cocriadora e atriz do espetáculo Teatro à La Carte, que tem como principal característica o ator como centro motor da cena sem a utilização de aparatos técnicos no que se refere ao cenário e iluminação. O espetáculo é apresentado em espaços não convencionais ao teatro e com a participação direta do espectador, que escolhe, entre as opções contidas em um “menu” de cenas, o que deseja assistir. Buscou-se então, a partir desta experiência, investigar os vínculos que se estabelecem no trabalho do ator, no que diz respeito ao processo de adaptação que este desenvolve quanto às instabilidades dos diferentes espaços de representação e a relação de convívio com o espectador tal como é proposta pelo filósofo Jorge Dubatti. Sobre a inserção do espetáculo em espaços não convencionais ao teatro, estabeleceu-se a mediação do ator com duas das chamadas leis orgânicas da ação, descritas por Konstantin Stanislávski em seu trabalho teatral: atenção criadora e adaptação. E acerca da relação com o espectador e a proposta de sua participação ativa no espetáculo, refletiu-se a partir da teoria do educador e filósofo Jacques Rancière, sobre a ação de ver que permite a emancipação do espectador; e a teoria do filósofo Jorge Dubatti, entendendo o teatro como acontecimento que gera convívio e poiése. Assim, fez-se a análise reflexiva da relação entre ator/espectador/espaço não convencional ao teatro com base no espetáculo Teatro à La Carte, de forma a problematizar e ampliar os questionamentos realizados como forma de instigar a reflexão sobre o assunto. / This study comes from the experience of the researcher as a co-creator and actress of the spectacle Teatro à La Carte, which has as main feature the actor as the motor center of the scene, without the use of technical devices in relation to scenery and lighting. The show is presented in spaces unconventional to theatre, and with the direct participation of the spectator, who chooses what they feel like watching among the options contained in a "menu" of scenes. Thus, from this experiment, we aimed at investigating the links that are established in the work of the actor, with regards to the process of adaptation he develops, regarding the instabilities of the different spaces of representation and the relation of conviviality with the spectator, as it is proposed by philosopher Jorge Dubatti. On the spectacle’s insertion in spaces unconventional to theatre, it was established the mediation of the actor with two of the so-called organic laws of action, described by Konstantin Stanislávski in his theatrical work: creative attention and adaptation. Now in reference to the relation with the spectator and the proposal of their active participation in the spectacle, it was reflected from the theory of educator and philosopher Jacques Rancière, on the action of seeing that allows the emancipation of the spectator, and the theory of philosopher Jorge Dubatti, understanding theater as an event that generates conviviality and poiése. Thus, there was a reflective analysis of the relationship between the actor/spectator/space unconventional to theater based on the spectacle Teatro à La Carte, in order to problematize and expand the questions carried out as a way to instigate reflection on the subject.

A pesquisa que serve de base para essa dissertação parte de uma abordagem antropológica sobre os arranjos coletivos e atores sociais ligados ao black metal no Estado de São Paulo, Brasil. Um estilo musical derivado do gênero heavy metal que constitui um conjunto de elementos que dão suporte a um estilo de vida específico. As atividades de trabalho de campo foram desenvolvidas durante dois anos e meio (entre 2012 e 2014) na capital, em sua zona metropolitana e em algumas cidades do interior do Estado, junto aos lugares ocupados e frequentados por esses sujeitos (coletivos ou individuais). O objetivo desse trabalho foi mapear as diferentes formas de sociabilidade construídas por esses atores sociais ligados ao black metal, e assim, elucidar como esses arranjos coletivos e suas categorias nativas podem expressar uma perspectiva específica sobre a urbanidade e suas fronteiras. Para tanto, a categoria nativa cena foi tomada como objeto central da análise, o que permitiu desvendar um sistema de alianças e troca de favores um círculo da dádiva black metal , que alicerçam a construção de noções coletivas de pertencimento, assim como, uma perspectiva específica sobre as segmentações e classificações dos espaços urbanos. Também foram analisadas a sonoridade das composições do estilo, as teorias nativas sobre a música, as performances executadas durante os eventos, assim como as concepções desses atores sociais a respeito do satanismo, da quimbanda (e seus exus) e a oposição às religiões judaico-cristãs. Portanto, a partir da relação de todos esses elementos, foi possível descrever como se desenrola a guerra particular do black metal paulista em defesa da cena e dos valores do estilo. / The research that underpins this dissertation part of an anthropological approach to the collective arrangements and social actors linked to the black metal in the State of São Paulo, Brazil. Black Metal is a musical style derived from the heavy metal genre that is a set of elements that support a specific way of life. The activities of field work were developed during two and a half years (between 2012 and 2014) in the capital, in the metropolitan area and in some cities in the state, in the places frequented by these subjects (collective or individual). The aim of this study was to map the different forms of sociability constructed by these social actors linked to black metal, and thus elucidate how these collective arrangements and their native categories may express a specific perspective on urbanization and its borders. For both, the category native scene was taken as the central object of analysis, allowing unravel a system of alliances and exchanges of favors a circle of giving , that underpin the construction of collective notions of belonging, as well as a specific perspective on segmentation of urban spaces. It were also analyzed the sound of style compositions, native theories about music, performances performed during the events, as well as the conceptions of these social actors concerning Satanism, the Quimbanda (and the exus) and the opposition to Judeo-Christian religions. Therefore, from the relation of all these elements, it was possible to describe the particular war of the black metal of São Paulo in defense of the scene and the values of the style.

This thesis investigates the level of focus a player is displaying while playing a role-playing game. The thesis tries to answer the questions if the level of focus is different while a player is watching an event scene versus during gameplay and if there is a difference in the level of focus displayed by new players versus experience ones. To answer this question a playtest was performed in the role-playing game Final Fantasy XIII and the player’s reaction was recorded and documented. The result suggests that the level of focus a player is displaying is lower during event scenes than during gameplay.

De nombreuses applications de la vision par ordinateur requièrent la détection, la localisation et le suivi de régions ou d’objets d’intérêt dans une image ou une séquence d’images. De nombreux modèles d’attention visuelle, inspirés de la vision humaine, qui détectent de manière automatique les régions d’intérêt dans une image ou une vidéo, ont récemment été développés et utilisés avec succès dans différentes applications. Néanmoins, la plupart des approches existantes sont limitées à l’analyse de scènes statiques et très peu de méthodes exploitent la nature temporelle des séquences d’images.L'objectif principal de ce travail de thèse est donc l'étude de modèles d'attention visuelle pour l'analyse de scènes dynamiques complexes. Une carte de saliance est habituellement obtenue par la fusion d'une carte statitque (saliance spatiale dans une image) d'une part, et d'une carte dynamique (salience temporelle entre une série d'image) d'autre part. Dans notre travail, nous modélisons les changements dynamiques par un opérateur de texture LBP-TOP (Local Binary Patterns) et nous utilisons l'information couleur pour l'aspect spatial.Les deux cartes de saliances sont calculées en utilisant une formulation discriminante inspirée du système visuel humain, et fuionnées de manière appropriée en une carte de saliance spatio-temporelle.De nombreuses expériences avec des bases de données publiques, montrent que notre approche obteint des résulats meilleurs ou comparables avec les approches de la littérature. / Visual saliency is an important research topic in the field of computer vision due to its numerouspossible applications. It helps to focus on regions of interest instead of processingthe whole image or video data. Detecting visual saliency in still images has been widelyaddressed in literature with several formulations. However, visual saliency detection invideos has attracted little attention, and is a more challenging task due to additional temporalinformation. Indeed, a video contains strong spatio-temporal correlation betweenthe regions of consecutive frames, and, furthermore, motion of foreground objects dramaticallychanges the importance of the objects in a scene. The main objective of thethesis is to develop a spatio-temporal saliency method that works well for complex dynamicscenes.A spatio-temporal saliency map is usually obtained by the fusion of a static saliency mapand a dynamic saliency map. In our work, we model the dynamic textures in a dynamicscene with Local Binary Patterns (LBP-TOP) to compute the dynamic saliency map, andwe use color features to compute the static saliency map. Both saliency maps are computedusing a bio-inspired mechanism of Human Visual System (HVS) with a discriminantformulation known as center surround saliency, and are fused in a proper way.The proposed models have been extensively evaluated with diverse publicly availabledatasets which contain several videos of dynamic scenes. The evaluation is performed intwo parts. First, the method in locating interesting foreground objects in complex scene.Secondly, we evaluate our model on the task of predicting human observers fixations.The proposed method is also compared against state-of-the art methods, and the resultsshow that the proposed approach achieves competitive results.In this thesis we also evaluate the performance of different fusion techniques, because fusionplays a critical role in the accuracy of the spatio-temporal saliency map. We evaluatethe performances of different fusion techniques on a large and diverse complex datasetand the results show that a fusion method must be selected depending on the characteristics,in terms of color and motion contrasts, of a sequence. Overall, fusion techniqueswhich take the best of each saliency map (static and dynamic) in the final spatio-temporalmap achieve best results.

There have been lots of new drone applications in recent years. Drones are also often used in the field of national security forces. The aim of this work is to design and implement a tool intended for crowd behavior analysis in drone videodata. This tool ensures identification of suspicious behavior of persons and facilitates its localization. The main benefits include the design of a suitable video stabilization algorithm to stabilize small jitters, as well as trace back of the lost scene. Furthermore, two anomaly detectors were proposed, differing in the method of feature vector extraction and background modeling. Compared to the state of the art approaches, they achieved comparable results, but at the same time they brought the possibility of online data processing.

Comment comprendre ce qui lie la passion musicale au territoire, ou en d’autres termes, ce qui articule la « scène » au « local » ? Le monde du metal constitue un objet de choix pour observer les manifestations de la passion musicale de ses amateurs au travers d’un continuum de pratiques, qui les inscrivent à la fois dans les sphères de la consommation et de la production des scènes locales. Pour attayer ce propos, il s’agit de faire l’étude ethnographique des mécanismes de coordination de la production musicale en région, en s’appuyant sur l’observation de trois scènes locales de musique metal en France. La thèse montre comment l’action collective de ces amateurs est toujours attachée à un territoire, autant qu’aux objets musicaux qui guident leurs pratiques et leurs trajectoires. L’observation des ancrages et des mobilités, à la fois des objets et des humains qui composent ces scènes, démontre ainsi que l’action collective au sein d’un territoire de proximité est toujours pris dans de multiples enchevêtrements d’échelles et de réseaux d’acteurs qui ne peuvent se réduire à l’observation d’un monde musical à huis-clos / A multisited ethnography of three local metal scenes in France. Amateurs practices, networks and territory. How a musical passion can be connected to the territory or, in other words, what links a musical "scene" — in the sense of a local world of art — to its location ? The world of metal inform the manifestations of the musical passion of its fans through a continuum of practices, which are the supports of the sphere of consumption and production of local metal scenes. To reach a better understanding of this local anchoring of the world of metal, we have implemented an ethnographic study of the coordination mechanisms of musical expression and production in the context of local scenes, through the observation of three local metal scenes in France. This ethnographic study shows that the collective agency of music amateurs is always attached to a territory, as well as depending of the musical objects — local and translocation — that guide their practices and their trajectories. The observation of the forms of anchoring and of the mobilities, both of objects and humans, that contribute to the production of these scenes, reminds us that music amateurs always operate within the frame of a local territory. Their collective action is always caught in an entanglements of scales and networks actors, meaning that we cannot reduce the observation of a musical world to practice operated alone and behindclosed doors