1 SUMMARY I Description II General and specific objectives III

Transcription

The Immersive Bestiary – Le Bestiaire immersif
U.I.M. Research
Samuelle Ducrocq-Henry
The Immersive Bestiary
“The Tower of Beasts”
An immersive exploration without equal, poetic, beautiful and humourous all at once, into the heart of a universe
populated by fascinating creatures from folklores that have marked the horizons and the ages…
SUMMARY
I
II
III
IV
V
Description
General and specific objectives
Creature origins and territories of reference
Description and general criteria for a Bestiary creature
General scripting principles for the CD-ROM
VI Navigational principles and central metaphor
1- The animated exploratory interface: cartography of an evolving ecosystem
2- The animated index/thematic interface
3- Examples of navigation
VII Research partners and co-creator students
1- Production teams
2- Instructions for collaborative production between professors and students
3- Specific scripting instructions for students and co-creators of the Bestiary
Example of an interactive module: Melusina’s story
4- Canadian production team
VIII Financing
1- Bursaries and subsidies
2- Other methods of financing
IX Fall production schedule – Winter 2005/2006
X The creatures of the immersive Bestiary
XI Graphic chart (points to remember)
XII Miscellaneous
Conclusion
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“Who knows? Who knows if the turtle is not a rock that, with the force of dreams, manages to
move forward...”
Guy Marchands, québécois poet; excerpt from « Bestiaire »
I Description
This CD-ROM of interactive and immersive art introduces a universe beyond the usual, born from the
imaginations of students and researchers of about 10 universities around the world, presented in an explorational
and poetical way, where fabulous creatures from different countries reflect the folklores of each country.
II General and specific objectives
The bestiary is an international co-production created within the context of the International University of
Multimedia, and includes institutions from China, Brazil, Madagascar, France and Ile de la Réunion, and of
course, Canada. This is an interuniversity project unique in its field, mobilising the talents and passions of a
significant team of participants from all over the world.
The bestiary, as its name indicates, constitutes a collection of work bearing witness to extraordinary creatures
inspired by legend, gathered with a view to starting a rare and valuable collection.
Some modules are imbued with cryptozoology, this pseudo-science dedicated to fabulous creatures, as scientific
as it is serious, while other modules reveal a narrative fiction woven together as accurately as possible from
legends.
An exploration meant to truly keep a reader busy for hours, the goal of this bestiary is, first and foremost, to be
an authentic audiovisual and poetic multimedia masterpiece, taking into account not only the undeniable cultural
richness from numerous worldwide folklores, but also taking a specific interest in the creator (illustrators,
authors, directors) and their search for inspiration. The audio environment will aid in the user’s complete
immersion in this world of discovery, a feast for the ears, as well as the eyes.
Otherwise, this international research project and creative endeavour is of a totally unique type and is the
largest university co-production of its type currently being undertaken.
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The knowledge of and ability to keep up with current working practices and multimedia approaches unique to
each country (because numerous methods of project management may be revealed), aim to reflect all at once, a
common vision of the way to understand the creation of media, facilitated by UIM.
Therefore, in permitting the students and researchers of about 10 undergraduate educational institutions to work
together, the project also allows participants to better understand and practice knowledge and expertise specific
to each institution, connected by a common theme.
In so doing, the Bestiary offers a unique opportunity for openness and learning as much in regards to format (to
understand how others work and produce, with a view to adapting themselves to that) as well as in the basics (in
order to learn different countries’ different scripting approaches used to present the legends) with total liberty
and responsibility regarding the (re)presentation of their folklore.
Finally, we aim to enter the immersive bestiary in the next competition for the Moebius Prize for Multimedia
[Prix Moebius du multimédia] held in Montreal, in 2006. This will permit, if the work should be chosen, the
better promotion and recognition of UIM’s educational and research contribution. It would also be the first
multicultural project whose “paternity” does not originate from one single country. This is especially relevant in
a highly competitive sector of professional production. If the project isn’t chosen at this stage (the deadlines
being very tight), at least it might be submitted to other festivals and media arts competitions, and certainly, we
hope, prepared for eventual commercialization.
III Creature origins and territories of reference
The Bestiary project (as open as it is continually evolving) is designed to keep growing over time, with the
addition of new creatures, via new UIM university partnerships.
Therefore, possible new UIM member universities would allow not only the extension of the International
University of Multimedia, but would extend the reach of this project, by the richness of their multicultural
offerings (new folklores and creatures from these new countries).
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IV Description and general criteria of a Bestiary creature
Each creature in the Bestiary (called a Beast), must absolutely have a legendary character, recognized by an oral
historical tradition and connected to a specific region of the globe, (however closely- or distantly-related to
different folklores that exist, even on the same continent) of UIM member countries.
We’re sorry to have to make such drastic boundaries, but we need to have a specific and limited list of creature
types, so as not to drown in all the possibilities given the time constraints prior to the 2006 Moebius Prize, which
currently constitutes the deadline for the production of a prototype.
The creatures may not be simple hominids, no matter their popularity. One student humourously introduced the
project to a class by saying: “Santa Claus, the tooth fairy, ogres, dwarves and witches are not admissible.”
Conversely, the Bestiary will be an inventory of all hybrid creatures, whether they are semi-human (Jack
O’Lantern) half-animal (the centaur) or whether they belong with the legendary hybrids (the Sphinx). We will
not exclude the mythical, totally supernatural creatures (dragons, gargoyles, etc.).
We will avoid as much as possible creatures that are linked to religious beliefs of the great ages and civilisations,
unless those beliefs are firmly anchored in a folklore linked to a very specific story, geographic population or
territory (in order to not recreate the entire egyptian, roman, and greek bestiary).
Finally, creatures born from the fertile imaginations of some of the great writers (Verne, Tolkien, etc.) must also
be set aside for the moment in order to make the production of the CD-ROM possible within a year.
V General scripting principles for the CD-ROM
Aims:
The user of this poetic-artistic CD-ROM undertakes a journey, as entertaining as it is instructive, throughout the
whole of the multicultural content: an introductory and explorative journey into the heart of the utopic world of
Beasts.
This fantastical universe, imagined by students the world over, sees legendary creatures from every time and
place living together, having given life to the myths of civilisations in every corner of the world.
In looking at a detailed map of this living bestiary, the user will encounter an imaginary and fabulous world
where mythical creatures from every known horizon (from the chimera to the gargoyle, Wendigo Sasquatch and
the Mandragore) evolve and interact freely by means of artificial intelligence scripting.
The two types of navigation, exploratory or indexed, offer a metaphorical and living bestiary, as spectacular as it
is fun to discover.
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These interfaces, strongly inspired by the Persian illuminations and the Book of Hours, aim to make
this production a truly pictoral, iconographic and interactive masterpiece.
The two navigational access points to the Bestiary - exploratory and indexed - both of them intuitive,
instructional and entertaining in terms of user interaction, will present a range of creatures to look at
in a random or customized and organized way. Each type of access will allow the user to meet each of
the creatures over the course of an interactive module, within its own context, with its own habits and
mysteries, which can be discovered by experimentation with the cursor and the user's imagination, in
order to unearth all the secrets the bestiary holds.
Throughout the entire length of the exploration, the user will be bothered by a mischievous,
uncontrollable and indestructible little fly, who will seize the cursor and wake up, tease or harrass the
creatures of the Bestiary, and who in turn, will constantly want to be rid of it. The behaviour of this
hyperactive insect will therefore inject touches of humour (appropriate to the comical situations that
sometimes arise between species) into the exploration of the Bestiary.
Technical details:
The resolution of your Interface will be 1024 pixels x 768 pixels. It will be done in the software
Director, which can include flash content in it. It should consist in a file .exe with all the sounds and
musics included within too, but in a linked external cast to optimise the weight of the file (.exe) during
its loading. The maximum size of the projector file (.exe) will be 70 Mb.
VI Navigational principles and central metaphor
The Bestiary is, first and foremost, a cartography of the utopic world where creatures from every
horizon coexist, and who have taken refuge in an adapted version of the Tower of Babel legend, now
become the Tower of Beasts. The choice of such a mythical metaphor is backed up by the famous
passage of the Bible dedicated to the Tower of Babel, that becomes, according to the writings, the
shelter of snakes, birds and other animals seeking refuge after the the abandonment of the
construction site by humans.
Getting to know the bestiary will therefore be a matter of exploring the various regions of the
cartography of this parallel world (in random discovery mode) as much as discovering the various
shelters and refuges the creatures have found in the Tower of Beasts, by continent and habitat type
(within the thematic indexed search mode).
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1- The animated exploratory interface: cartography of an evolving ecosystem.
The first means of discovering these creatures is random at the same time as it is exploratory – it consists of
watching creatures pop up randomly as they move about their world (from a moving, detailed and aerial map
view) animated as the creatures go about their activities according to the time of day and their habits.
2- The animated index/thematic interface
The other method of discovering these creatures is to go to their common home, there where all have
established their homes or stone lairs, and where they find their eternal refuge: the Tower of Beasts.
Derived from the famous Tower of Babel and become for this occasion the Tower of Beasts, once it has
been delivered to the animal creatures, as stipulated by the Bible, it should, according to legend,
shelter birds, snakes and other creatures after the withdrawal and flight of humans. The Tower of
Beasts is also a powerful and functional visual metaphor, serving as a search engine for the thematical
and geographic indexation of creatures (by continent and country, as well as by habitat type [aquatic,
subterreanean, forest-dwelling, aerial, etc.]).
3- Examples of navigation
The aerial map for example, will offer, by way of an artificial intelligence based on the time machine
and the length of the user's Bestiary experience, an aerial view of the random evolution of creatures in
their world.
The user can, for example, observe the world at five in the morning (Beast time) and see satyrs,
werewolves, wendigos and gargoyles coming home to rest, whereas the Centaurs, the chimeras, or the
Chupacabra will wake and find food when the hours suit, according to the seasons, climates and laws
of this otherworldly place (notably the user’s time machine, where 10 minutes corresponds to 4 hours
of a Beast Day). In this way, the user will never have the same experience twice with the same
creature, as presented according to the time laws of the world in random ways, in order that they may
experience mysterious and different meetings, each time they use the program.
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VII Research partners and co-creator students
Given that the project is co-produced by undergraduate university student teams from about 10
different universities, brought together under the aegis of the UIM, the idea is to let each member
university participate by inviting them to contribute creatures from their own country and continent
to the Bestiary.
Many creatures taken from Aboriginal legend in Canada will stand beside those of Brazil and Aztec,
Inca and Mayan legend, and those of the Indian Ocean and Madagascar and Ile de la Réunion, will
evolve beside those of China and Eurasia, with enough room for those of France and its close
European neighbours. Several researcher-professors have already indicated their interest in being
associated with this project and putting together a research team:
- Edith Puiglambert (France): Edilamb@aol.com
- Gilles Methel (France): methel@univ-tlse2.fr
- Rodolphe Séraphine (Ile de la Réunion): rodolphe.seraphine@wanadoo.fr
If you wish to join the team, thank you in advance for contacting us and sending us your contact
information. We hope many people will join so that the project can be as wide-ranging as possible!
1- Production teams
The Bestiary, a university coproduction based on international collaboration, is a creative research project unique
in its field. Join us and become co-creator of this inclusive world!
Call to partners researcher-professors and students of all UIM member universities for the
Fall/Winter of 2005-06.
Each UIM member university is invited to actively collaborate on or participate in the Bestiary project,
via the concrete involvement of one of the researcher-professors, who wishes to see the Bestiary
evolve within a transcontinental, multicultural and ethusiastic working atmosphere. It is up to the
professor to get a few students (interested in being co-creators of the work) from their university
together, and to supervise them (with respect to project information and follow-up) for meeting
deadlines and instructions. The students (but professors are also invited to do this!) must conceive of
and create one of the interactive modules, dedicated to a fabulous creature from their country. The
scripting will – and indeed must – always be varied in terms of interactive concepts, but the graphic
style must be followed as closely as possible (according to the graphic chart and examples supplied by
Canada.)
Therefore we call on the universities of France, Ile de la Réunion, Brazil, China and Madagascar to
actively participate in the project so that it may see the light of day, by permitting some of their
students to play the role of primary co-creators, by way of:
a) a provided production schedule, punctuated by periods of creation: brainstorming, scripting,
technical planning and prototyping of interactive modules for new creatures from their country (one,
at least, from each student participant): October 2005 to April 2006.
b) an intensive collaboration phase with various participating professors, researchers and students,
selected within the framework of the 2006 summer school, held between May 1st and 13th at Ile de la
Réunion, on the theme of the collaborative multimedia production of the Bestiary.
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This interuniversity education will, over the course of almost two weeks, alternate theoretical lectures
relating to production (in the morning) and practical workshops on the questions discussed earlier, in
the afternoon. In addition, this coming together of participating teams (whether they are complete or
not) will allow the finalization of the integrational phase of each graphic module, as well as the
essentials related to navigation, of the scripting and production of main summaries and interfaces,
(permitting access to each graphic module) that will have been established during the year.
2- Instructions for collaborative production between professors and students
Each professor may work jointly on the project (In its general format, as within the specific interactive
modules developed by students) but should be aware that there may be several universities in the
same country, working on the project via their own folklores (as several member universities exist in
China and in France) and that there are no limits to the number of possible participants.
It will be up to each university to inform the other and to get informed, as to the choice of creatures of
each participant and the instructions for the project. The weekly student workload should be
anticipated to be as much as two hours per week, from September to April, with periods of more
intense work in March, May and June.
Concretely speaking, each student should find one or two creatures from their country, or close
neighbour-countries that are creatures not entirely human (fantastical or animal, hybrids with a realworld geographical basis as the starting point for their legend – refer to Section IV of this document
for their description. This means: no ogres, dwarves, witches, and other legendary human figures;
only supernatural creatures.
That done, the student will then need to script the module and its scenario, its environments, the
audio-visual atmosphere, interactivity and the graphical universe, allowing the user to encounter the
creature in its natural environment (to be created from the student's imagination) on one main
interactive screen page. The user must also be allowed to discover fragments of the creature's legend
by way of an exploratory and poetical interaction. Only a short written text will be accessible and left
for the user to discover (hidden somewhere in the module, but first and foremost, placed in context)
which summarizes the legend as a complement to the visual and interactive discovery of the creature,
based more on atmosphere and lived experience, than on a didactical or encyclopedic approach.
A specific bestiary font (elsewhere entitled “Bestiary”) for this text, was created this summer in
Canada (see below).
This complementary information will be presented in a style that borrows from illuminated
manuscripts, with this typography, or another that resembles it, comprising of an animated drop-cap
letter.
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The student will create a typewritten script of the module, which will be the subject of exchanges with
other groups of students from other universities (email distribution list to be established – thank you
for sending us the participant contact information for this purpose) in view of getting feedback and
enrichments from all involved. Then a technical outline will be created (storyboard, a simple
representation of the screen with clickable zones and primary zones of action) and provided for the
illustration of possible interactions with the creature. Finally, a prototype of the creature will be
created, in the form of a module made using (preferably) Director or Flash – academic versions to be
determined, created in approximately the required graphic and production style prior to finalizing it
and submitting, at the end of January – February at latest, the finalized module.
It should be noted that, in order to ensure the continuity of the audiovisual content, it may be that the
graphic style of the module will be reworked with regard to certain details (in the most minor of
ways, we hope!) by the Canadian team in the final phase of integration for a good sense of graphical
continuity. But the main scripting, the visual as much as possible (so that we might also avoid an
overload of work) and all interactivity will be true to the prototypes provided by the students in other
co-producing countries. Please consult the graphic chart provided in this document (Section XI) for
some guidelines.
3- Specific scripting instructions for students and co-creators of the Bestiary.
One or more examples of interactive modules started in Canada during the summer of 2005
will be provided to you over the course of the fall (beginning of November at the latest) in order to
illustrate both the artistic direction in terms of the audio-visual aesthetic of the project, which must
necessarily be consistent as well as rigourously similar in terms of the way the material is dealt with
and the main interactive sites of exploration - which must always be varied to create a curiosity and
renewed attraction for each new creature and module.
In terms of the starting scenario for each module, a definite narrative thread must be followed by each
of the students working on the project. They must begin their module by keeping in mind the fact that
when the user arrives within this module, their cursor will be represented by a fly, and that they will
access the world of the creatures by way of a window in the Tower of Beasts, leading directly to the
creature's natural environment (which may be the edge of a lake, the bottom of the sea or the
mountain heights) without any difficulty whatsoever.
The fly will be introduced at the start, as you might see a fly who landed on your computer screen,
flying over the surface of the module in an aerial view (as soon as possible we will need to provide
you with graphics, animations and movement scripts for the fly, so you can integrate them into your
modules).
Certainly, the fly (because we know the reputation of bothersome, tiresome table flies for making people
and animals crazy) after having spent some time overwhelmed, disoriented or swallowed, will always win out in
the end, whether it is spat out or gets up from some kind of fatal blow.
The user’s cursor will be overtaken by the fly fairly often against the user’s will, until all the mysteries and
possible interactions with the creature are exhausted, in order that the user might continue navigating to the other
creatures within the main navigation interface (via the Tower or the Map).
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The exploration might therefore be surrealist, poetical, humorous or adventurous in nature (offering problems to
solve) allowing the user to better understand or know the creature and its history.
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Example of an interactive module: Melusina’s Story
Example of scenario only, for the moment. The interactive module, (in the form of an executable file (.exe) –
created in Director, will be sent to you as an example, in November).
This will give you an idea of the first step you will need to take to create your creature.
Interactive module: the fairy-serpent Melusina
(legend and scripting of the fairy-serpent, Melusina’s module).
Legend: Summary of research on the creature
“Melusina’s origins are royal. Her mother, the fairy Pressyne, charmed her father Elynas, the king of Scotland,
and made him promise before their marriage to never see her during her pregnancy. Elynas, forgetting his
promise, broke it. Pressyne had therefore to seek refuge with her three daughters, Melusina, Melior, et
Palatine, on the Forgotten Island (Island of Avalon).
When the daughters grew up they, using their fairy powers, decided to imprison their father in the magic
Northumberland Mountain. To Pressyne this seeemed too severe a punishment, who cast a spell on her
daughters.
She said to Melusina: "Every Saturday you will be a serpent from the waist down. But if you find a man who
wants you for a wife, and promises not to see you on Saturdays, the normal course of your life will unfold. But if
your husband should discover your secret, you will be condemned to torment, until the Last Judgment".
Melusina meets Raymond in the forest near Lusignan. Raymond, returning from a wild boar hunt in which he
accidentally killed his uncle Aimeri, the Count of Poitiers, falls in love with Melusina and asks for her hand in
marriage.
Thanks to her powers, Melusina succeeds in proving Raymond’s innocence. The fairy accepts his marriage
proposal and makes him promise to not have any doubts as to her origins, and to never see her on Saturday. In
exchange, she offers Raymond her fortune as well as many children.
Durring the first year of their marriage, Melusina undertakes the construction of Vouvant, Mervent and of the
Saint-Maixent tower: enough fortresses to contribute to the immense power of the Lusignan family. One night
was enough for her to build the most imposing fortresses (Tiffauge, Talmont, Partenay), churches like that of
Saint-Paul-en-Gâtine, sprung up in the middle of fields, the towers of Garde à La Rochelle and Niort, and even
the town of Lusignan.
One Saturday, pushed into it by the jealousy of his brother, the Count of Forez, Raymondin broke the rule and
made a hole in the solid iron door leading to his wife’s room with the point of his sword. And this is what he
saw:
"Melusina bathed in a great big marble tub, her body a woman’s down as far as her navel, combing her hair;
from the navel on down, her body was a serpent’s, right down to the tail, which itself was as big as a giant’s
hand. Her tail slapped the water so hard that water splashed up to the ceiling of her chamber".
A betrayed Melusina fled through the window with a cry, and her husband never again saw her in human form.
However, legend has it that Melusina comes back for three days, each time one of the fortresses she built
changes masters, and that she appears every time one of her descendants is about to die. She had a whole line of
influential descendants. This aspect may be illustrated across the interactive module via an interactive,
consultable family album.
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2. Scripting of the interactive module for Melusina, the Serpent-Fairy.
1. You have access to Melusina’s room via a window in the Tower of Beasts that leads
to a long dark corridor in which there are several doors. You are in front of the locked
door. You are represented by the curious fly cursor and skeleton key that allows you to
interact with the main interface. The door is closed, but you can see a dresser drawer
through the keyhole. Your curious fly cursor goes and opens the drawer.
You will find a parchment hidden inside the drawer, the fly pulls it out (with its legs)
and drops it in front of the door where it unfolds, after having come through the
keyhole, so that you can read it.
2. The parchment unrolls before your eyes and you can read the reason for which you
are faced with a locked door. (It is Saturday, the day where Melusina is hidden from
mortal eyes, like those of her husband).
To exit the page click on Melusina’s wax seal.
←Melusina’s wax seal.
As you enter Melusina’s chamber and get close to her tail, the fly will squash itself
against the wall (permitting interactivity without the fly, used only for navigation on the
map and in the Tower of Beasts) and Melusina’s serpent’s tail becomes your new
cursor.
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There are several clickable zones that make the map more interesting, all the while
informing you (in a more or less unscripted way) about the legend of Melusina.
3.1. When the cursor is passed over the ivy above the window, the flowers open.
3.2 When the user clicks on the sky with Melusina’s tail, the clouds will either be
chased away, or night will fall.
3.3 When you click on the Madonna (Virgin Mary and child), the tableau turns over to
show an explanation of Melusina’s curse, perhaps in the form of an agreement or pact.
3.4 Passing the cursor close to Melusina’s head turns it from one side to the other,
slightly. When you triple-click on her shoulder, the cursor becomes the fly again and
Melusina turns towards you, worried. Seeing it is you, a simple fly, she is reassured.
You have just concluded your interactive experience with the serpent-fairy.
Examples of possible options: A family album of Melusina`s lineage (descended from Lusignan), a bottle of perfume on the dresser that starts an
animation recounting Melusina’s history, a song describing the legend (as was often done in the middle ages during banquets, etc.): the idea being to base
the animation of the poetical module on history and fairy tales.
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4- Canadian production team
The Canadian team, the core of production, in terms of the general supervision of the project and its initial startup phase, (begun in Spring 2005) is composed of:
- 20 undergraduate students in multimedia (among them, 2 graduating third-year students and one second-year
student, who are supervising artisitic direction and writing).
- 3 alumni students with Bachelors degrees in multimedia, one of whom has a Masters degree in multimedia,
who will take part as professionals and technical help (programming, artificial intelligence, 3D graphics, music).
- An extra teaching assistant for academic support for students in programming and for questions regarding
material logistics and software (David Morin), and
- a professor-researcher who can take responsibility for the general direction of the project production (Samuelle
Ducrocq-Henry1).
Current list of the people on the Canadian Bestiary research team:
Production meetings and division of labour
Meetings and production assignments, undertaken since the summer of 2005 for research purposes, will extend
into June 2006. Meetings will take place every two weeks in Room D-306 at the Rouyn-Noranda campus
(Quebec) on Thursday, from 3:30 PM to 6:30 PM, with a student workload averaging 2 hours per week
(approximately) depending on their course schedule (Fall or Winter session).
Individual meetings with the researcher-professor will happen on Wednesday mornings and Thursday afternoons
at her office, for specific student followup, according to their progress and out-of-class availability. Meetings via
web-conference (using MSN, primarily) will occur when participants cannot meet physically within the same
building.
Students active in undergraduate programs at UQAT (2005-2006) and their email addresses (where
available):
1. Élise Massy, project leader and artistic direction – final project ART1217 + summer practicum
elise.massy@uqat.ca
2. Charlotte Desplanque, project leader and student artistic direction louve0610@hotmail.com
3. Stéphanie Bedard, writing director, third year graduate: final project ART1217 + summer practicum
yoko2103@hotmail.com
4. Samuel Bernier, lead programmer quovadis999@hotmail.com
5. Véronique, verob_26@hotmail.com graphics
6. Valérie Côtes, valco_16@hotmail.com translation/correction
7. Alexandre Lemieux, graphics lemieuxalex@hotmail.com
8. Jonathan Boivert, mastermasseur@hotmail.com graphic designer, 3D animator
9. Audrey Filion, filionaudrey@hotmail.com one interactive module plus research
10. Mercedes Torella, merella@msn.com graphics
11. Lucci Joseph, ultrabichnou@yahoo.fr one module and drawings
12. Louis-José Roy krg@clarisse.ca graphics, webmaster and translation
13. Valérie Leduc valley57@hotmail.com graphics
1 (Consult her personal website to see other research projects in which she is involved, or to find her curriculum vitae at the
bottom of the page) : www.ludisme.com
Otherwise the site will be a potential home for the Bestiary, accessible at this address:
www.ludisme.com/bestiaire.htm
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14. Marc-André Martin, 2nd year –DEC [college studies diploma] in multimedia studies
15. Jean-Simon Lemieux, graphics, animation Gurfturf@hotmail.com
16. Mathieu Gagnon, bigshinymal@hotmail.com graphics
17. Louis-José Roy, graphics webmaster, krg@clarisse.ca
18. Valérie Leduc, graphics, valley57@hotmail.com
Alumni students:
- Billy Lariviere, Music, programming, billylariviere@hotmail.com
- Réjean Lavoie, Jr. Music, 3D graphics, lavoie66@hotmail.com
- Alexandre Robertson Duffour, graphics, music, programming - ardufour@hotmail.com
Professors and assistants:
- Francois Ruph, professor researcher, photographer francois.ruph@uqat.ca
- David Morin, teaching assistant and programming support, david.morin@uqat.ca
UIM General Management: André Blanchard, UIM President: andre.blanchard@uqat.ca
Entire Canadian team:
23 involved participants, more than 20 undergraduate students, 17 of which are actively registered in UQAT
programs, 2 professor-researchers and a teaching assistant.
Others international teams (in French):
France :
Paris - Vélizy
Étudiantes 2ème cycle – intéressées à l’université d’été:
Florence noirez flonoirez@hotmail.com
Floriane macian florianemacian@gmail.com ;
Sharon lim crazesand@qmail.com Créature : la nymphe Péone
Supervision ou personne contact : Édith Puiglambert Edilamb@aol.com
Toulouse :
1er et 2eme cycles
Supervision ou personne contact : Gilles Methel methel@univ-tlse2.fr
Florence Pistre
Mathieu Babin
Florent Cattelain
Fabien Escoubet
Antoine Falzon
Johann Frizon
le Drac
Dragon-tristan&IseultIrish people-vive la
guinness
Cyril Izarn
Christophe Martins
Salamandre (elemental
de feux)
Gemma Munte I
Armengou
Tarasque ou Golem
15
Sébastien Trezel
Camille Urbain
Marlène Bouche
U.I.M. Research
feu follet
centaure ou dryades
Bordeaux :
Supervision ou personne contact : Didier Paquelin dpaquelin@free.fr
Thomas Lucquiaud
lucthom@gmail.com
Troll
François Thibauld
francois.thibaud@gmail.com
Madragore
Claire Casteig
Jenyfair Lacour
Mickael Choisi
Thomas Laffite
Amélie Dauvin
Claire Bihet
Anne-Florence Gryzbek
Vanessa Lunardelli
Sébastian Cuturi
Jean-Baptiste Abadie
Olivier Roy
Lucie Huet
Laetitia Damiani
Didier Paquelin
fatsteig@wanadoo.fr
Licorne
Troll
Troll
Troll
Troll
Licorne
Licorne
Licorne
Licorne
Madragore
Madragore
Madragore
Madragore
Supervision
dpaquelin@free.fr
Ile de la Réunion :
9 étudiants et un professeur.
Supervision ou personne contact : Rodolphe Séraphine rodolphe.seraphine@wanadoo.fr
FORMATION MULTIMEDIA BAC+4
Didier Benoiton didier.benoiton@laposte.net
Développeur PHP/MYSQL, ActionScript, C, C++, LINGO
Issu d'une licence pro ILOI/Gobelins/Paris8
Cédric Zouao hikaioshin@gmail.com
Développeur PHP/MYSQL, ActionScript, C, C++, LINGO
Issu d'un IUT en développement e-commerce
Grimaud Christelle christelle.grimaud@laposte.net
Infographiste 2D - Photoshop, Illustrator, Flash, Director / Programmeur PHP/MYSQL, ActionScript
Betty Zopire eripoz9@hotmail.com
Infographiste 2D - Photoshop, Illustrator, Flash, Director
Issue d'un DNAP Beaux-arts
Jean-David Hoareau nephila@caramail.com
Infographiste 2D - Photoshop, Illustrator, Flash, Director
Issu d'un DNAP Beaux-arts
FORMATION 3D FX BAC+4
Payet Stéphane
Infographiste 2D/3D - Photoshop, Illustrator, Flash, 3dsMAX/Maya
Rodolphe Bax r.bax@laposte.net
16
U.I.M. Research
Fierval Florent florent.fierval@wanadoo.fr
D'Eurveiller David elhijo@voila.fr
Infographiste 2D/3D - Photoshop, Illustrator, 3dsMAX/Maya
Issu d'un DNAP Beaux-arts
Brésil :
4 Professeurs et 4 étudiants
Nous attendons le détail des coordonnées (noms et emails) des participants ; voici les créatures choisies :
La cobra grande (Le serpent amazonien) et le Saci (un petit loir avec une seule jambe, un bonnet rouge et une pipe).
Supervision ou personne contact : Tunico Amancio
tunico@cruiser.com.br
Madagascar :
Nous attendons le détail des coordonnées (noms et emails) des participants et des créatures choisies.
Supervision ou personne contact : J.A Rakotoarisoa jar@simicro.mg
VIII Financing
1- Bursaries and subsidies
A request for a $7000 (CDN) subsidy was made in March 2005 to the UQAT Fond Institutionnel de la
Recherche (FIR). Because a significant number of requests had been made to the fund, only a portion of the
requested amount - $2000 - was finally granted in May 2005. This subsidy served to finance the project start-up,
via the work, didactic materials and the hiring of two students over the summer of 2005 (research and scripting
of the main interface and its method of operation).
We are currently researching existing subsidies to which we may apply, with the ministry of education, the
Canada Council for the Arts, as well as with OFQJ, so that we may pursue applications for further financial aid
in order that the project be undertaken, and specifically for the funding of students and professors trip to Ile de la
Réunion in 2006.
Another request, approved by UQAT, has just been submitted to the Fonds de recherche sur la Société et la
Culture (Programme d'établissement de nouveaux professeurs-chercheurs-créateurs): for funding support of the
Bestiary project, $15,000 for the 2006-07 year and $14,100 (interuniversity prototype phase) for the year 200708 (desired commercialization phase). The answer to this request will be known as of April 25, 2006.
It will be necessary for associated students and professor researchers to determine if subsidies would be possible
for their own teams in their respective countries, as well as for general fees to cover the cost of production itself
(for their own needs).
17
U.I.M. Research
Production costs and total fees (up to the prototype phase, submitted to the Moebius Prize in 2006):
2006-07 Production Budget (needs) :
- CD and DVD-ROM Burning – $ 300
- Server and hard disk space for storing saved data: $ 400
- Photocopies and art books for researchers: $ 300
- Purchase of research and tutorial media and documentation: $ 500
- Professional production licenses for Director, Photoshop and Flash Professional software: $1,700
- Budget for the creation of 5 sound effects and music tracks: $1 000
- Budget for translation (French, English and Chinese): $1 000
- Fee for AI programming for specific needs: $1,600
- Fees of impression of bestiary items (T-shirts, calendars, postal and Christmas cards and so on) for the
fundraising campaign for the student group : (1300 $ + 200 + 500$ + 1000$) : $ 3000
Total production costs for 2005-06: $9,800
2006-07 Travel Budget summer school, final integration of the prototype (Canadian team):
- Return trip airfare Montréal-Paris-La Réunion in May 2006: $1,600 CDN per person
- team composed of 10 students and one professor: Total: $16,000 CDN
Accommodation: 2 weeks for 6 people, for a total of about $1,200 per person ($7,200 CDN in total):
offered by the UIM summer school 2005 host institution at Ile de la Réunion, ILOI,
- On-site transport (2 rental cars (7 passengers each) for two weeks): $1,500 CDN
- Food: estimated at about $100 CDN per week per person; $2,500
Total travel study fees for May 2006 for 10 people: $20,000
2005-06 Budget grand total (production costs + transportation costs (travel study for the UQAT
production team): $29,800 (CDN)
Requested from FQRSC (subsidy- maximum authorized by the institution) : $15,000 for 2006-07
---------------------------------------------------------------------------------------------------------------------------Production Budget 2006-2007 (needs):
- CD and DVD-ROM burning and connexe fees by professionals to burn cds ready to sell of the
Immersive Bestiary x 1000 units : $ 1600
- Server and hard disk space for storing saved data: $300
- Photocopies: $200
- Purchase of research and tutorial documentation and associated media: $500
- New professional licenses in case of update: $500
- Budget for translation (French, English, Chinese): $900
- Budget for artificial intelligence for specific needs: $1,300
- Budget for hiring research assistants ( the project will not be funded by the universities at this stage
and will require that hired students be paid): $5 000 for 5 part-time students for one year.
Total production costs 2006-07: $10,400
18
U.I.M. Research
Budget for production of prototype for commercialization 2007-2008:
- 2 Return airfaire Montréal-Paris in September 2007 + airfare Rouyn-Montréal to get me to Trudeau
Airport from Rouyn: (to join my other research colleagues collaborating for the final phase of the
Bestiary, (at the commercialization phase). : 2x $900 + 2x $200
Total travel fees: $2,200 CDN
Grand total (production fees + travel and production fees) for 2006-07: $12,600 CDN
Total Cost: $29,800 + $12,600: $42,400 (90% of which we hope to have funded by sponsors or subsidies)
Other assumed (direct or indirect) costs:
Production costs of the Bestiary remain modest thanks to the wealth of human resources (students and
professors) who, in return, as co-creators, will benefit from the unique and worthwhile experience of an
interuniversity research projects).
Otherwise, the project benefits from existing infrastructures that allow the limitation of operating costs (rooms
and computer labs, libraries and internet connection, computing materials, software and networks) that it can
deploy via UIM member institutions.
2 – Other methods of financing
A- Other funding requests
A group financing request to cover 50% of the transportation costs of 10 members of the research-production
team from Canada, in the context of the International University of Multimedia summer school will be made
with the OFQJ (Organisme franco-québécois pour la Jeunesse) for a total of $ 9000.
This request is dependent on the subsidy program offered by the organization, and proposes that 50% of the
travel costs be covered for a research/student team, within the scope of university activities.
This could then cover half the cost of the Montreal-Paris, Paris-St. Denis-Ile de la Réunion trip, where courses
specifically connected to the interuniversity Bestiary project will be held this summer (collection from all
member countries of interactive modules, supervised by the Canadian team and integrated into the immersive
search engine conceived by the UQAT research team in May 2005).
The total amount requested and submitted to this organization will be 50% of $2000 (individual
transport/accommodation) x 10 people (I, as a young researcher under the age of 35, as director of the project,
and 9 research assistant students who have worked since the beginning on this project).
The submitted request will be for $10,000 (50% of the $20,000 needed to cover the Canadian team’s travel fees
for the complete integration of data from all of the member institutions onto the CD-ROM).
Other methods of financing are currently being planned by the Canadian student team, such as a fundraising
campaign to support the production of the CDROM as well as the 2006 UIM summer school study trip.
19
U.I.M. Research
B- Sponsorship
Researching sponsorships will be an important part of the work of the student team, in order to be able to
subsidize their travel costs for the summer school in May 2006 at Ile de La Réunion where the final integration
of the project in its prototypical format will take place.
The partners to be searched out are essentially well-known businesses who want to ensure good visibility, and
numerous local small- and medium-sized enterprises involved in social and cultural development within the
associated regions (Abitibi-Témiscamingue, Québec, Canada).
C- Student Fundraising Campaign
Students on the Canadian team have met to plan several fundraising avenues and have come up with various
possible ideas. They aim at finding 500$ per student, for a total of 5000$ before april 2006.
Various products derived from the Bestiary (logos on tuques, calendars, bookmarks, colouring books, etc.) will
be printed and sold before Christmas in order to cover part of the travel costs for part of the Canadian team’s trip
to the summer school, as well as for production of the project.
T-shirts with poetical themes on them (high-quality illustrations, logos and graphics pulled from the bestiary –
representing, for example, stylized dragons or phoenixes, etc.) Humorous t-shirts could also be put up for sale.
For example, yellow t-shirts, in the style of Canadian road signs, having black silhouettes of mythical creatures
on them, with warnings such as the following, below the graphic: “Slow down. Centaurs crossing” or “Flying
gargoyles, next 10 km”, etc. These will help publicize the project and create a certain contagious curiosity on the
part of the public.
As well, a series of promotional events punctuated by humourous fundraising slogans will be set in motion, such
as “Unicorn for sale”; “Adopt-A-Beast!” (in the same way that the Adopt-a-highway sponsoring scheme works
in the U.S.) have been envisioned in order to complete fundraising goals by permitting the creation of certain
modules connected to popular Bestiary creatures, to be sponsored by the public (table of creatures up for
adoption on request).
Sponsors and donors will be noted as such on the CDROM, and will receive a large format, full-colour rendering
of their creature’s module, as well as email news about early sketches from the original production of the CD
and possibly, a promotional prize for their role as Friend to the Bestiary (Special Edition).
It is also possible that (still in a humourous vein) spaces - windows in the Tower of Beasts - symbolically
represent calls to other potential sponsors (with “For Rent” written on the shutters of the window) in order to
seek more financial backers (non-profit organizations or private enterprise).
Prize draws in the form of raffles are also planned, in order to supplement the diverse fundraising efforts and
campaigns.
20
U.I.M. Research
IX Fall-Winter 2005-06 production schedule (subject to change)
(planning information to follow)
Task list/ Duration
Start
End
Test/correction Responsables
Brainstorming - general interface
May 05
Continuous
Scripting: general interface
Sept.05
May 05
Scripting: 30 individual creature modules
End
of December
August
15
Graphics: Aerial world map
End
of End
of November
August
December
Elise/Charlotte
Graphics: Tower of Beasts
September. January
M-André Martin
Graphics: Grotto
Fall
Spring
?
Animation: cave paintings: bisons and Fall
horses to dragons and to the schematic
map of the World of Beasts
Spring
?
Model creation: Tower of Beasts
Jan-Feb
March
April
QTVR Compression: Tower of Beasts
March
April
April
QTVR Integration, Tower of Beasts and
access nodes leading to independent
movies of individual creature modules
Spring
Writing team
Canada
Improvements
to be made
during
the
summer school
November
Spring ‘06
Summer school
SDH’s
Interactivité
students)
Jonathan Boivert
Group work?
Linear animation: from the aerial view of Winter
the map towards the Tower of Beasts
?
Animation of the cursor (the Fly)
?
Specific Bestiary
illuminated texts.
character
font
QTVR Compression: Tower of Beasts
Fall
for August
End
September
OK
Cours
(30
Alexandre R. Dufour
Winter
?
Graphics and random animations for the Winter
windows of the tower.
?
Graphics and animation of the illuminated Spring
drop caps in each creature legend
Valérie L.
Graphics and animation of animated Sept.
sequences of random beast evolution on
the world map
Dec.
Dec.
Jean-Simon
1st finished interactive module to send as August
an example to member universities, the
story of Melusina
Nov
Oct
Charlotte
Desplanque
Deadline for submission of the other Oct
countries’
interactive
modules
Jan
Dec
All the
authors
associated
21
U.I.M. Research
(integration)
Continuity of the audiovisual esthetic of Feb
the interactive modules from other
countries, update and testing of the
programming and movie access links
May
Composition and creation of sound effects Oct
and music tracks
Feb
Composition and creation of sound effects Same
and music tracks
above
Summer School
Alex.
RobertsonDufour
–
Billy
Lariviere – Samuelle
D.H.
and others?
(Welcome)
as
Ibid: Welcome to all!
(we need to record
numerous sounds for
atmosphere)
Receipt and integration of the prehistoric ?
grotto before animation
Scripting to print a graphic module
Feb
Graphics team
?
March
March
Samuel Bernier
Creation of the Bestiary logo and legal Sept
deposit of the production title
Nov
All
Translation of the modules to English Sept
(text only) and from Chinese to French
and English (for the chinese modules)
Feb
Valérie Cotes, SDH
and others: welcome!
Integration of sounds and audio Spring
environments (movement effects on the
maps and tower of roll-over and fade in/
fadeout type
Spring
To be announced
Place the creatures on the surface of the Sept.
aerial map
Dec
Writing team
Create the project website (information Oct
section - the research project – UIM – the
creatures chosen – creatures to be
developed – Financing – Our sponsors;
the team – the schedule – daily journal –
international exchanges section
Nov
Oct
The
Cyber-Tapirs
(Canadian team for
the Web Jam 2005
competition)
22
U.I.M. Research
X The creatures of the immersive Bestiary
A – Current list of creatures being developed (Team Canada + cours d’interactivité class (2nd year
undergraduate) including the name of the student currently working on it:
1. Dragon – Mercedes Torella
2. Cerberus – Patrick Bergeron
3. Basilisk – Frederic Mathieu
4. Sasquatch (Canadian Big Foot) - Kevin Plamondon
5. Beast of Gévaudan – Eric Touchette
6. Gulon – Véronique Bisson
7. Catoblepas – Sébastien Doucet
8. Chupacabra – Marc Alexandre Ladouceur
9. Criosphinx – Julie Roch
10. Dahu (Burin of the Alberta Mountains) – Louis-José Roy
11. Hydra – Samuel Bernier
12. Jackalope – Myrko Poitras
13. Maymaygwashi – Marc André Martin
14. Melusina (hybrid fairy) – Charlotte Desplanque
15. Minotaur – Abderrahim Baka
16 Argont - Nicolas Turgeon- Morin
17 Roc (Thunderbird) – Jonathan Boivert
18 Ice Edge monster –Etienne Begin-Thibault
19 Satyr – Steve Portelance
20 Sphinx – Ludovie Gauthier -Boileau
21 Tarasque – Julie Bertholet
22 Gouivre- Alexandre Lemieux
23 Wendigo – Charlotte Desplanque
24. Ungak (Spirit of Lake Temiscamingue) – Chantal Mathieu
25. Gargoyle –Valérie Cotes
26. Butterfly Man – Richard Harkans
27. Pegasus – Audrey Filion
28 Ahkiyyini –Mireille Bournival
29 Jack O’ Lantern – Dominic Goulet-Lapointe
30 Fairy – Jean Lessard
31 Kraken – Patrick Nadeau –Vallée
23
U.I.M. Research
B- List of creatures needing development (students from member countries may also create modules on
creatures from other member countries not chosen yet):
1. Cyclops
2. Manticore
3. Lycanthrope
4. Sphinx
5. Hydra
6. Elf
7. Abominable Snowman (or Yeti)
8. Medusa
9. Oni
10. Succubus
11. Cyclops
12. Angel
13. Harpy
14. Nymph
15. Unicorn
16. Elfish spirit
17. Centaur
18. Mandragora
19. Cat-wolf
20. Chinese Dragon
21. Golem
22. Triton (Male Siren)
23. Gorgon
24. Ghoul
25. Hippogriff
26. Butterfly Man
27. Uruk-Haï
28. Lich
29. Unicorn
30. Loch Ness monster (Nessie) Onocentaur
31. Phœnix
32. Rhinogrades (Snouters)
33. Roc, Rokh or Rukh
34. Salamander (elemental of fire)
35. Siren
36. Amphisbaena
37. Behemoth, Banshee, Bogeyman
38. Cagons
39. Dryads
40. Etin, Elf
41. Phantoms
42. Gorgon
43. Imp, Ifrit
44. Jersey Devil, Jabberwock, Jormungand
45. Kraken, Kludde, Kelpie, Ki-Lin
46. Lycanthropes, Goblin, Leprechaun,
47. Manticore, Undead, Mummies, Mandragora, Moires, Mothman
48. Nymphs, Nereids, Naiads
49. Oni, Orc, Ovinnik
50. Poltergeist
24
U.I.M. Research
51. Raicho
52. Troll, Tatzlwurm
53. Unhcegila (Uncegila), Unwaba
54. Vampire, Vodyanoy
55. Valkyries, Wendigo, Wyvern
56. Yâble
57. Leviathan
58. Shakopei (Inuit creature),
59 Outika etc…
60 Bucentaure
61 Chimera
C- Other creatures
There are, of course, other creatures to be created by other member universities who will add to the list
according to their research (creatures from Chinese, ile de la Reunion and Madgascan legend, etc.).
XI Graphic chart (points to remember)
Generally, the Bestiary being an intentionally artistic medium, the graphic style should be realised as line
drawings, and engravings as well as illuminated manuscript style. That is to say that cartoon-style drawings
should be avoided: no black outlines, etc. Outlines are allowed, but they should be part of the drawing, created
for texture and they should, more or less, be integrated into the picture (see examples).
Where colours are concerned, avoid saturation of bright and fluorescent colours (depending on the
module); use more nuanced colours and fewer flat colours, try to be inspired by the colours in illuminated
manuscripts, earthy colours, deep colours, monochromatic and bichromatic colours and grayscale (see
examples).
Let your drawing breathe: do not limit it with a predefined boundary: ideally, it should blend in with the
exterior background; let your imagination go in terms of texture, décor (more linked with pure and natural
environments). Let the drawing fade into texture and paper, try different traditional techniques (paper cutouts for
animation, for example: it should be well-drawn, but 3 or 4 images maximum of simplified, limited movement
animation are allowed: heads that move, wings that spread, etc.) Surfaces should not be saturated, nor totally
filled. The precision of a shared bank of textures should be the goal. Let’s work on it, so we can put it on the
website, for all to access!
25
U.I.M. Research
Exemples of interfaces produced by the canadian team (on the 10th of December 2005)
The Griffin
The Dahu
The Beast of the Gevaudan (One on the two)
The Ice Edge Monster
The Basilic
The Gouivre
26
The Cryosphinx
The Windigo
U.I.M. Research
Melusina
The Kraken
-------------------------------------------------------------------------------------------------Other exemples of what to do or not :
Examples to avoid at all costs: exactly what we don’t want.
Flat colours, large black outlines etc.…
Avoid black outlines.
As far as drawing and integration of decor (not too much detail) this is good, but the image is still restricted to
the rectangular frame.
Same thing here – nice visual, but the frame is too
present.
27
U.I.M. Research
Here’s the typography of the Bestiary (other writing style inspired by calligraphies and illuminated manuscripts
may be used):
The Bestiary typography will be useful in writing the summary of the legend, which you should write yourself, taking
inspiration from existing texts (for reasons of copyright). Our writing team can help you do this.
(Contact Stéphanie Bédard via email at: yoko2103@hotmail.com).
Interesting examples for texts and illuminated manuscripts.
These examples are also interesting for
the background textures and paper
textures.
Examples for the map icons (for the
animation group.)
Examples of little insect creatures for the cursor, icons for the
map and good examples for the textures, drawings that are more in the
style of engravings.
28
U.I.M. Research
For the drawing on the left, even if we see the line, it is not a black outline, but the original line of the drawing,
and it is completely integrated into the picture via colour gradations.
Example of integrated contour drawing, it is not the lines of a cartoon (compare above at right).
A good example of framing included in background (frame and not frame at the same time)
XII Miscellaneous
A project potentially extending itself over two years
The Bestiary project might possibly extend over a second and last year (2006-2007) leading towards a
commercialization phase, once the prototype has been completed and presented at competitions, in order to be
refined and sold to the public (refinement, compatibility tests etc.).
A funding request has been made to the Fond de recherche sur la Société et la Culture, au Québec, with this in
mind; the requested subsidy amount is for $15,000 to finance the Canadian team (and its trip to the May 2006
summer school at Réunion) and the necessary costs for 2005-2006 production; and $14,100 for 2006-2007 for
remunerations for student assistants and research and purchase costs of professional software with the goal of
possible commercialization of the Bestiary.
29
U.I.M. Research
The Canadian team in relation to the other member-institutions
The Canadian team has taken the initiative in this research project in completing the essentials in terms of the
core production work (visual, indexed search engine, artificial intelligence card that serves to connect each
creature) as well as all the central elements of the program to which each of the interactive modules created by
collaborating students and foreign researchers will be connected.
Otherwise, in order to meet deadlines where time constraints may not allow other countries to fully participate,
Canada has chosen to create the modules of a few other folkloric creatures from other countries (and not just
Canada) to be sure that creatures from pretty much all over the planet are illustrated and especially those from
continents connected to the UIM. Furthermore, each member country may also go and pick from the list of
available creatures and those that may possibly be created: this will certainly enrich the research of the
collaborators.
However we will need help from any and all volunteers for the great number of related tasks (translations,
various graphics, writing, illustrations, etc.): Therefore, your help is most welcome. For example, for the work
from China, we would very much like help with translation of certain texts (English, ideally to Mandarin). We
thank volunteers in advance for making yourselves known to the project directors (email address on page 13).
Conclusion
I hope I have made you aware of this unusual project and have been able to communicate the infectious passion
that it inspires in all who are participating in it.
Do not hesitate to contact me (preferably by email) to let me know whether you are interested in this project, or
to ask any questions, if you require clarification.
Thanking you in advance for your attention and for the time you want to give to this project.
Cordially yours,
Professor in multimedia theory and practice and new information technologies
Département of educational sciences - Université du Québec en Abitibi-Témiscamingue
Email: samuelle.ducrocq@uqat.ca
Tel (819) 762-0971 ext. 2284 Room C-322
Research website: www.ludisme.com
Bestiary website: www.ludisme.com/bestiaire/
30

1 SUMMARY I Description II General and specific objectives III

Transcription

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