Personnage de fiction

Résumé

vignette|droite|upright=1.0|Alice, personnage de fiction emblématique de l'œuvre de Lewis Carroll. Un personnage de fiction est un être imaginaire issu d'une œuvre de fiction. La création et le développement des personnages sont appelés représentation, peinture ou traitement des personnages. Origine vignette|droite|upright=1.0|An actress with a mask, peinture d'Eva Gonzalès. Il correspond à une personne, persona, identité ou entité dont la création tire son origine dans un travail ou un rôle d'œuvre de fiction. Les personnages peuvent être non seulement des êtres humains mais également des entités extraterrestres telles qu'elles sont perçues dans la culture populaire, des êtres humanoïdes, des androïdes, des robots, des intelligences artificielles, des divinités, des humains génétiquement modifiés, des animaux (voir anthropomorphisme) réels ou imaginaires, ou, plus rarement, des objets inanimés (liste non exhaustive). En latin, persona est le terme employé pour désigner l

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The objective of this course is to present the main models, formalisms and algorithms necessary for the development of applications in the field of natural language information processing. The concepts introduced during the lectures will be applied during practical sessions.

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Character-level Chinese-English Translation through ASCII Encoding

Mi Xue Tan

Character-level Neural Machine Translation(NMT) models have recently achieved impressive results on many language pairs. They mainly do well for Indo-European language pairs, where the languages share the same writing system. However, for translating between Chinese and English, the gap between the two different writing systems poses a ma-jor challenge because of a lack of systematic correspondence between the individual linguistic units.In this paper, we enable character-level NMT for Chinese, by breaking down Chinese characters into linguistic units similar to that of Indo-European languages. We use the Wubi encoding scheme, which preserves the original shape and semantic in-formation of the characters, while also being reversible. We show promising results from training Wubi-based models on the character-and subword-level with recurrent as well as convolutional models.

Association for Computational Linguistics2018

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Virtual Reality (VR) has nowadays become a very useful tool for therapists in the treatment of phobias. Indeed, it allows the simulation of scenarios which are difficult to reproduce in real life. It also allows for a situation to be repeated as much as one wants. Moreover, it allows for a complete control over the situation. The simulation can be stopped if the patient cannot handle it. It can also be tweaked for gradual exposure. Virtual Reality Exposure Therapy (VRET) has proven to be efficient in the context of phobias such as acrophobia or the fear of flying. Social phobia, however, are much harder to deal with. Indeed, as humans, we are experts in human representations and behaviors; it makes it much harder to obtain credible and immersive environments. In this thesis, we describe a set of tools and applications which we have developed to be used in VRET of social phobia and agoraphobia with crowds. We first describe how we create different scenarios for VRET of social phobia. We then expose the application we have developed which allows for elaborate interactions between a user and virtual characters. In particular, we have designed and implemented a software which allows for virtual characters to change behavior depending on the user's eye contact behavior. It allows them to seem interested when being looked at and distracted when not. We then describe the model we have implemented to simulate gaze attention behaviors for crowds of virtual characters. This consists of a method that automatically detects where and when each virtual character in a crowd should look. Secondly, it consists of a dedicated gaze Inverse Kinematics (IK) solver in order for the virtual characters to satisfy the constraints defined by the automatically detected points to be looked at. This allows for the characters to perform the looking motion in a natural and human like way. We then describe the architecture we have developed to combine the work we have done in the domain of social phobia and this model of attention behaviors for crowd characters. We thus use our model of looking behaviors to allow for crowd characters to look at each other. We also use eye-tracking and optical motion capture to determine where a user is looking in a CAVE environment. The virtual characters then respond by either looking at the user, looking at what the user is looking at, or looking at other characters in the crowd. We thus obtain an immersive and interactive environment for VRET in the domain of agoraphobia with crowds. The third part of this thesis describes various experiments we have conducted in order to validate our applications. Our first study consists of using VR in a head-mounted display (HMD) for the treatment of social phobia. In this study, we also use eye-tracking in order to analyze eye contact avoidance behaviors before and after therapy. We then discuss the use of eye-tracking as a tool to help assess and diagnose social phobia. Since eye contact avoidance behaviors are frequent in people suffering from such phobias, eye-tracking can certainly be a helpful tool. We describe an experiment in which we tested eye-tracking as a diagnosis and assessment tool on a phobic population and on a control group. We also describe an experiment to evaluate the potential of our proposed interaction loop in the context of social phobia. Finally, we describe the experiment we have conducted to evaluate our application in the context of agoraphobia with crowds.

EPFL2009

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Gaze Behaviors for Virtual Crowd Characters

Helena Stephanie Grillon Le Gallennec, Jonathan Maim, Daniel Thalmann, Barbara Yersin

Nowadays, crowds of virtual characters are used in many domains such as neurosciences, psychology, and computer sciences. Since as human beings, we are natural experts in human being representation and movement, it makes it that much harder to correctly model and animate virtual characters. This becomes even more challenging when considering crowds of virtual characters. Indeed, in addition to the representation and animation, there is the mandatory trade-off between rich, realistic behaviors and computational costs. In this paper, we present a crowd engine, to which we introduce and extra layer which allows its characters to produce gaze behaviors. We thus enhance crowd realism by allowing the characters composing it to be aware of their environment and other characters and/or a user.

Springer-Verlag New York, Ms Ingrid Cunningham, 175 Fifth Ave, New York, Ny 10010 Usa2009

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EPFL2009