La thèse, s’appuyant sur le fonds de motets à grand chœur conservés à la bibliothèque municipale de Lyon, tente de répondre à la problématique de la pratique musicale lyonnaise au XVIIIe siècle. Les quatre-vingt dix-neuf manuscrits et imprimés conservés se présentent sous forme de partitions ou de parties séparées et viennent pour la plupart de l’ancienne académie des beaux arts ou Concert. La première partie présente les cadres d’exécution du Grand motet à Lyon, dont le Concert, actif entre 1713 et 1773, mais aussi l’éphémère académie des Jacobins, la cérémonie annuelle du vœu pour le salut du roi Louis XV, les fêtes et réjouissances publiques et les concerts spirituels. Le corpus des motets conservés à Lyon est l’objet d’une analyse rigoureuse : la deuxième partie s’attache au catalogue de l’académie, au support musical (papiers à musique, filigranes et graphies musicales), ainsi qu’aux éléments musicaux dont témoignent les sources. La troisième partie présente le répertoire lyonnais du genre. Lalande représente la moitié du corpus conservé et la majorité des compositeurs sont des maîtres de musique de la Cour ou de la capitale, mais l’on trouve également des compositeurs d’autres provinces (Pétouille, Valette de Montigny, …) et des Lyonnais (Estienne, Bergiron du Fort-Michon, Belouard, …). La réception des œuvres à Lyon est mise en évidence par des comparaisons de sources, tandis que quelques particularités locales apparaissent, telles que la composition en « fragments ». Cette étude permet d’affirmer que, si la musique à Lyon est inscrite dans son époque, elle développe néanmoins des caractéristiques qui lui sont propres. / This thesis is founded on the corpus of french “grands motets” which are part of the collection of the Lyon public library, and tries to explain the question of musical practice in Lyon in the 18th century. The ninety-nine manuscripts and engraved sources conserved in the collection are scores and material which come mostly from the ancient “académie des beaux-arts”, also known as Concert. The first part of the thesis presents the context of Grand motet performances in Lyon, namely the Concert, which was active from 1713 to 1773, the short-lived “académie des Jacobins”, the yearly ceremony of the vow for salvation of the king Louis XV, and also public festivities and spiritual concerts. The corpus of motets conserved in Lyon is the subject of a rigorous analysis: the second part is dedicated to the catalogue of the Concert, the musical support (music papers, watermarks and musical handwritings) and to musical elements which appeared in the sources. The third part presents Lyon’s repertory of the motet genre. Half of the corpus is made up of Lalande’s works; most of the composers are from the Court or the capital, but there are musicians from other French provinces (Pétouille, Valette de Montigny, …) and also from Lyon (Estienne, Bergiron du Fort-Michon, Belouard…). The specific nature of the treatment of the motet in Lyon is brought to the fore by a comparison of the sources, while local particularities appear, like the composition by “fragments”. This study shows that if Lyonnais music belonged to its time, it nevertheless developed its own characteristics.

Cette these a pour sujet la recherche de nouvelle physique et l'etude de la production Drell-Yan dans le canal di-electron a l'aide du detecteur CMS au LHC. Certaines theories au dela du Modele Standard (extra dimensions, theories de grande unification) predisent l'existence de particules massives pouvant se desintegrer en une paire d'electrons. La selection des evenements recherches est presentee et etudiee. La strategie d'analyse est introduite et testee. Enfin, l'analyse des premieres donnees a 7 TeV est decrite et les resultats sont commentes. / Doctorat en Sciences / info:eu-repo/semantics/nonPublished

Détection et identification de la réaction quark + anti-quark -> e+ + e- à l'aide du détecteur CMS (Compact Muon Solenoid) auprès du Grand Collisionneur de Hadrons du CERN, le LHC. Cette réaction permet de tester avec précision le Modèle Standard et de rechercher d'éventuelles nouvelles particules (Z') prédites par les théories de grande unification (GUT) et par les modèles à dimensions spatiales supplémentaires. / Doctorat en Sciences / info:eu-repo/semantics/nonPublished

The Standard Model of particle physics which attempts to describe all matter and all forces in the universe (except gravity),has been in agreement with most of the experiments till date. However theoretically and phenomenologically many questions remain unanswered in the SM. The present and future colliders will help the physicists learn more about the nature of matter and all forces in the universe. In this thesis work we have mainly focused on the physics case of the future linear collider which will be a succession of the presently running Large Hadron Collider in CERN Geneva. As an introduction to the thesis work in Chapter 1 we have discussed in detail about the most planned future collider the International Linear Collider. This collider apart from being a high luminosity machine will have the advantage of beam polarization. Chapter 2 discusses about the basis structure of the Standard Model, along with its many unanswered questions. Some of the theories proposed to take care of these deficiencies are also discussed. These theories apart from explaining the shortcomings of the SM, also predicts many new particles and are thus phenomenologically rich. Exploration of these new physics scenarios can be done many ways. A detailed investigation of the direct production of particles which are not present in the SM spectrum, is one of the techniques provided the particles are within the collider reach. The other is an indirect way, where deviations from SM is studied by a through scrutinization of the SM processes. Provided new physics is observed in either of the way, in the present or future colliders it becomes necessary to pin point them. The main objective of this thesis work has been to look for various scenarios, both in a direct and indirect way and identify them. The different cases of beam polarization is also explored. Overall we find that the full potential of the linear collider can be realized only with the availability of the electron and positron beam polarization, both transverse and longitudinal. We give an overview of the importance of beam polarization and its inclusion in the calculation of e+e- collisions in Chapter 3. In Chapter 4 we have considered the possibility of finger printing the presence of heavy additional Z′bosons that arise naturally in extensions of the Standard Model such as E6 models and left-right symmetric models, through their mixing with the standard model Z boson. They are probed using W pair production and leptonic decay of one of the W’s. The Littlest Higgs Model which addresses the hierarchy problem and where the Z′arises naturally is also considered. By considering a class of observables including total cross sections, energy distributions and angular distributions of decay leptons we find significant deviation from the Standard Model predictions for these quantities with right-handed electrons and left-handed positrons at √s=800 GeV. This process complements the study of fermion pair production processes that have been considered before for discrimination between these models. We have then studied the possibility of identifying a strongly interacting Wboson sector inChapter5 which is consistent with present day Large Hadron Collider searches, at the International Linear Collider with longitudinal as well as transversely polarized electron and positron beams. We account for the final state interaction using a suitable Omnes formalism in terms of a plausible resonance description, and carry out thorough analyses of cross sections, asymmetries and angular distributions of the Ws. In order to have a fully comprehensive study we also carry out a comparison with other extensions of the Standard Model, where an s channel resonance like heavy additional Z′bosons arise naturally. We also consider the effect of the strong final state interaction on a correlation that depends on(φ- - φ+), where the φ∓are the azimuthal angles of decay leptons, and find that it is a useful discriminant. The importance of top polarization in the process e+e−→ tt with transverse beam polarization to probe interactions of the scalar and tensor type beyond the Standard Model and the way to disentangle their individual contributions is discussed in Chapter 6. 90% confidence level limits on the interactions with realistic integrated luminosity are presented and are found to improve by an order of magnitude compared to the case when the spin of the top quark is not measured. Sensitivities of the order of a few times 10−3 TeV−2 for real and imaginary parts of both scalar and tensor couplings at √s=500 and 800 GeV with an integrated luminosity of 500 fb−1 and completely polarized beams is shown to be possible. We next consider the process e+e- → γ Z with transverse beam polarization in the presence of anomalous CP-violating γZZ coupling λ1 and γγZ coupling λ2 in Chapter 7. We point out that similar to the approach in Chapter 6 if the final-state spins are resolved, then it becomes possible to fingerprint the anomalous coupling Reλ1. 90% confidence level limit on Reλ1 achievable with center-of-mass energy of 500 GeV or 800 GeV with realistic initial beam polarization and integrated luminosity is of the order of few times of 10−2 when the helicity of Zis used and 10−3 when the helicity of γis used. The resulting corrections at quadratic order to the cross section and its influence on these limits are also evaluated and are shown to be small. In Chapter 8 the production of the lightest neutralinos in the radiative process e+e−→ χ˜10χ˜10γ in supersymmetric models with grand unification is considered. We consider models wherein the standard model gauge group SU(3)c x SU(2)L x U(1)Y is unified in to the grand unified gauge groups SU(5),or SO(10). We compare and contrast the dependence of the signal cross section on the grand unified gauge group, and different representations of the grand unified gauge group, into which the standard model gauge group is unified. We carry out a comprehensive study of the radiative production process which includes higher order QED corrections in our calculations. In addition we carry out a detailed study of the background to the signal process coming from the Standard Model radiative neutrino production e+e−→ νv*γ, as well as from the radiative production of the scalar partners of the neutrinos (sneutrinos) e+e ν˜ν˜γ. The latter can be a major supersymmetric background to the radiative production of neutralinos when the sneutrinos decay invisibly. Finally in Chapter 9, we conclude and present the summary of the thesis.

Cette thèse retrace l’histoire des expositions temporaires à caractère artistique organisées aux Galeries nationales du Grand Palais (GNGP) entre 1966 et 2005. Les analyses sur le contexte historique, politique et social et sur la politique artistique internationale en France révèlent que le pouvoir publique contribue à cette histoire des expositions dès l’origine : il soutient et institutionnalise des expositions temporaires en tant qu’action culturelle de l’État. La mise en oeuvre des expositions est coordonnée principalement par trois organismes publiques : la Réunion des Musées nationaux (RMN), l’Association française d’Action artistique, et les administrations pour l’art contemporain. Sous le titre de grande exposition prestigieuse, chacune de ces expositions a été un moyen pour illustrer une célébration commémorative, une belle relation diplomatique avec l’étranger et une présentation de recherches scientifiques et de politique de patrimoine. De la volonté d’échanges artistiques avec des musées étrangers a résulté l’internationalisation des expositions temporaires, la professionnalisation de la RMN en la matière. Le développement des recherches en histoire de l’art en collaboration avec ces musées étrangers est une conséquence évidente. Toutes ces orientations apparentent les Galeries nationales du Grand Palais à une institution culturelle phare au centre de la capitale en affirmant leur place parmi les grands musées parisiens. Ce travail se focalise également sur la gestion organisatrice, introduite dans la pratique de l’organisation d’expositions aux GNGP notamment pour : l’entretien et la muséographie des collections, le financement des expositions et l’accueil des publics. On constate aussi une professionnalisation des métiers concernant l’organisation d’expositions, pendant ces années. Cette thèse présente le développement de grandes expositions organisées dans un cadre institutionnel, le goût des grands publics pour des expositions artistiques. Elle nous permet également de comprendre l’évolution des expositions temporaires muséales dans la seconde moitié du XXème siècle. / This thesis presents an investigation on the history of temporary art exhibitions at the Galeries nationales du Grand Palais (GNGP) between 1966 and 2005. The analysis of the historical, political and socialistic background and the international artistic policy of France show that the government has played a central role in the development of art exhibitions at the GNGP : the government has encouraged and institutionalized art exhibitions as one of its cultural policy. These exhibitions were mostly planned by three public institutions; Réunion des Musées Nationaux (RMN), Association française d’Action artistique, and the institution for contemporary arts. Each exhibition named as a major representation has been taken place for the commemoration and the presentation of friendly diplomatic relations with foreign countries. Some exhibitions announced academic achievements in art history and outcomes of museum and cultural heritage policies. The enhancement policy of the cultural exchange with foreign museums has led to the internationalization of artexhibitions, and the development of the RMN specialized for the planning of international art exhibitions. This policyalso contributes to the art history research development through the academic collaboration with foreign museums. These grand exhibitions that took place at the GNGP have contributed to make the GNGP as a major cultural institution in the centre of capital city, comparable to other main museums of Paris. This works also discusses the introduction of management for running exhibitions at the GNGP. First, this management included the systematic care and presentationof collections, then the funding of exhibitions and even more the reception of visitors. Moreover, during these years, there has arisen a professionalization of jobs related to art exhibition planning and operation. This thesis presents the development of grand art exhibitions organised in the frame of the public administrations, public audiences for fine arts exhibition, and also allows the understanding of the development of the temporary museum exhibitions held in thesecond half of the twentieth century.

Avec les récents développements obtenus grâce aux modèles globaux magnétohydrodynamiques en trois dimensions de la convection solaire, il est désormais possible de simuler des champs magnétiques structurés à grande échelle et présentant des inversions de polarité bien synchronisées dans chaque hémisphère. Ces modèles qui n'incluent, pour la plupart, aucune modélisation de la surface du Soleil génèrent donc leur dynamo avec l'action de la force électromotrice turbulente (FEM) et de la rotation différentielle uniquement. À partir de cette FEM, différentes techniques peuvent être utilisées pour extraire les coefficients de transport turbulent. Notamment, différents auteurs ont obtenu un tenseur alpha (coefficient du premier ordre) dont les 9 composantes présentent des amplitudes du même ordre, remettant en doute l'approximation faite dans le cas des modèles dynamo de type alphaOmega qui ne tient en compte qu’une de composante du tenseur. À partir d'un code d'analyse par décomposition en valeurs singulières pour évaluer les coefficients du tenseur alpha, nous avons généralisé la procédure pour extraire 18 des composantes du tenseur de deuxième ordre (tenseur beta). Les tenseurs alpha et beta obtenus par cette nouvelle procédure tel qu'appliquée aux sorties du modèle global EULAG-MHD, sont similaires aux tenseurs alpha et beta équivalant obtenus en utilisant l'approximation « Second Order Correlation Approximation ». À l'aide des coefficients de transport turbulent du premier ordre introduit dans un modèle dynamo en champ moyen, nous avons ensuite étudié certaines solutions magnétiques présentant des doubles dynamos. Cette analyse avait pour but de comparer les résultats obtenus par ce modèle simplifié caractérisé par la FEM provenant de EULAG-MHD aux résultats de EULAG-MHD directement. Cette preuve de concept nous a permis de démontrer que l'oscillation observée dans le champ magnétique en surface de EULAG-MHD pouvait provenir de l'action inductive d'une seconde dynamo. Une oscillation biennale est également observée dans plusieurs indices d'activité solaire dont l'origine n'est toujours pas établie. Il est évident que les deux modèles décrits ci-haut et le Soleil opèrent dans des régimes physiques différents. Toutefois, malgré leurs différences, le fait qu'il soit relativement facile de produire une seconde dynamo dans EULAG-MHD et dans le modèle en champ moyen indique que l'action inductive de la FEM peut facilement générer deux dynamos. Finalement, dans le but d'étudier les périodes de grands minima, phénomène encore non reproduit par les modèles globaux, nous avons ajouté une rétroaction magnétique sur l'écoulement azimutal au modèle dynamo cinématique en champ moyen décrit ci-haut. En analysant les solutions de ce modèle dynamo de type alpha2Omega non cinématique, nous avons pu reproduire la tendance observée jusqu'ici uniquement dans les modèles de type alphaOmega selon laquelle le nombre de nombre de Prandtl magnétique contrôle le rapport des périodes générées. De plus, en analysant une solution sur 50 000 ans présentant des périodes de grands minima et maxima non périodiques, nous avons obtenu une distribution de temps de séparation des grands minima presque exponentielle, caractéristique observée dans les reconstructions de l'activité solaire. La rotation différentielle associée à ces périodes de grands minima présente un niveau de fluctuation de 1% par rapport au profil moyen. Ce niveau de fluctuation est d'ailleurs comparable avec les reconstructions historiques de la rotation différentielle en surface obtenues lors du grand minimum de Maunder. / The recent developments achieved by tri-dimensionals magnetohydrodynamic (3D-MHD) global simulations of solar convection allow us to generate an organized large-scale magnetic fields with well-synchronized hemispheric polarity reversal. Because the vast majority of these simulations do not include a modelization of the Sun's surface layer, the generation of their dynamo is thus solely due to the action of the turbulent electromotive force (EMF) in conjunction with differential rotation. From this EMF, different methods can be used to extract the turbulent transport coefficients. In particular, various authors found a full 9 component alpha-tensor (first order coefficients) where all the components are of the same order of magnitude. This finding calls into question the alphaOmega approximation made by the vast majority of mean field dynamo models. We generalized a first order (alpha-tensor) singular value decomposition (SVD) analysis procedure to extract the 18 additional components of the second order tensor (beta-tensor). The alpha and beta tensors obtained by this new procedure as applied to the EULAG-MHD outputs, are similar to the equivalent alpha and beta tensors obtained using the second order correlation approximation (SOCA). By introducing the first order turbulent transport coefficients in a mean field dynamo model, we study the magnetic solutions where double dynamo modes were observed. This analysis allows us to compare the mean field dynamo solutions produced with the EMF, as extracted from EULAG-MHD, with the real magnetic output of EULAG-MHD. This proof of concept demonstrated that the quasi-biennal oscillation observed in the surface toroidal magnetic field in EULAG-MHD can be produced by the inductive action of a secondary dynamo. A similar quasi-biennal oscillation signal is also observed in multiple proxies of the solar activity whose origin is still not confirmed. Although the physical set of properties under which the two numerical models described above operate are different from the Sun, the fact that both models can reproduce a secondary dynamo shows us that the inductive action of the EMF can easily produce two dynamos. Finally, in order to study epochs of grand minima that still cannot be reproduced in global 3D-MHD simulations of convection, we added a magnetic feedback on the mean azimutal flow in our kinematic mean field model. This non-kinematic alpha2Omega model was able to reproduce the tendency of the Prandtl number (Pm) to control the ratio of the modulation period. More specifically, we found an inverse relation between Pm and the ratio of the main magnetic cycle period to the grand minima occurrence period. Moreover, by analyzing a simulation of a length of 50,000 years, where aperiodic periods of grand minima and maxima are observed, we found a waiting time distribution (WTD) of the grand minima close to an exponential, a characteristic also observed in the reconstruction of the solar activity. Finally, the level of fluctuation in the surface differential rotation associated with epochs of grand minima is ~1%. This level of fluctuation was also observed in historical reconstructions of the surface differential rotation during the Maunder minimum.

La Provence n’est pas une destination traditionnellement associée avec la peinture allemande. Pourtant, cette région attire les peintres déjà au siècle des Lumières. Les vestiges romains et le souvenir de Pétrarque en font une étape du Grand Tour ainsi que du Kavalierstour. Les artistes allemands, si nombreux à aller en Italie, commencent aussi à remarquer le sud de la France. Les raisons qui les poussent à entreprendre ce voyage sont variées : pour les peintres au XVIIIe siècle, comme Jakob Philipp Hackert, il s’agit d’une escale en route vers l’Italie qui donne déjà un avant-goût de la péninsule. Johann Georg von Dillis et Ludwig Richter se rendent en Provence au début du XIXe siècle dans le cadre d’un voyage princier. Puis, au milieu du siècle, Johann Wilhelm Schirmer choisit consciemment de parcourir le sud de la France et découvre alors une nature différente de celle de l’Italie. Cette étude a pour but d’établir un corpus d’œuvre, permettant à la fois de documenter la présence d’artistes allemands en Provence, mais aussi de dégager les motivations derrière le voyage, et de montrer comment leur perception de la nature provençale évolue du XVIIIe au XIXe siècle. Ce travail propose une analyse de la place de cette région dans l’histoire artistique, culturelle et littéraire et examine les sources littéraires et visuelles dont les artistes allemands avaient pu avoir connaissance. Les différents cas d’artistes étudiés montrent l’évolution du regard artistique allemand sur la Provence et illustrent la difficulté de faire entrer ce territoire dans les canons de l’époque ce qui s’exprime particulièrement dans la peinture allemande. / Provence is not a destination traditionally associated with German painting. Yet, this region has attracted painters from the eighteenth century onwards. Roman remains and the memory of Petrarch make it a stop on the Grand Tour and on the Kavalierstour. German artists, who were going to Italy in large numbers, paid increasing attention to the South of France by the end of the eighteenth century. The reasons that motivated them to undertake such a voyage were varied: for painters such as Jakob Philip Hackert, it is a station on the way to Italy that gives them a foretaste of the peninsula. Johann Georg von Dillis and Ludwig Richter go to the South of France at the beginning of the nineteenth century as part of princely travels. Then, in the middle of the century, Johann Wilhelm Schirmer makes the conscious decision of touring Provence in search of natural scenery different from Italy’s. The present study aims to establish a body of work documenting the presence of German artists in the South of France, and also to identify what motivated the journey, in order to demonstrate how their perception of Provence evolved from the eighteenth to the nineteenth century. The aim is to analyze the place of this region in artistic, cultural and literary history, and to identify the visual and literary sources that German artists could rely on during their voyage. The different case studies serve to demonstrate the evolution of the Germanic artistic gaze on Provence, and to illustrate the difficult entry of this territory into the canons of the period, which is particularly notable in the context of German painting.

Le Grand Sousse, partie orientale du gouvernorat de Sousse, abrite l'une des plus importantes métropoles régionales du pays, avec une concentration sur la frange littorale des activités humaines et économiques. L'explosion démographique et la généralisation de la desserte en eau potable en font un important foyer de consommation d'eau. Or cette région est aussi très marquée par l'aridité, cause principale de faibles ressources locales. Dépendante des régions voisines pour son approvisionnement en eau, le Grand Sousse mène depuis toujours une course au captage pour satisfaire des besoins grandissants. La stratégie politique traditionnelle de mobilisation et de transferts des ressources s'achevant, la gestion future préconise le recours intensif aux ressources non conventionnelles, telles les eaux usées traitées et les eaux dessalées. Il s'agit là d'un des principaux leviers d'intervention que le Grand Sousse peut promouvoir pour une "gestion intégrée" du système hydraulique, en plus d'une gestion de la demande axée sur les économies d'eau. La thèse a mobilisé des enquêtes directes sur un échantillon représentatif de ménages, d'unités industrielles et d'hôtels ; elles ont permis de dresser le bilan des actions menées dans le sens de cette nouvelle orientation, et de mieux comprendre les contraintes et obstacles rencontrés. La cartographique a été un outil indispensable à la représentation de cette inadéquation entre offre et demande en eau, du réseau d'approvisionnement et de distribution, et des composantes de la gestion future de l'eau. La démarche prospective permet de tirer la sirène d'alarme sur la menace que fait peser l'évolution tendancielle de la demande sur les équilibres socio-spatiaux, et se propose des solutions alternatives à cette évolution. / Grand Sousse, oriental part of Sousse governorate, shelters one of the most important regional metropolises of the country, with a concentration on the littoral fringe of the human and economic activities. The demographic explosion and the generalization of the sideboard in drinking water make an important home of water consumption. Now this region is also very marked by the aridity, the main cause of low local resources. Dependent on nearby regions for its water supply, Grand Sousse leads for a long time a running to the harnessing to satisfy growing needs. The traditional political strategy of mobilization and transfers of the resources ending, the future management recommends the extensive appeal to the not conventional resources, some treated waste water and desalinated waters. It is about one of the main control levers of intervention there which Grand Sousse can promote for an "integrated management" of the hydraulic system, besides a management of the demand centred on the savings of water. The thesis mobilized direct inquiries on a representative sample of households, industrial units and hotels; they allowed to draw up balance sheet actions led in the sense of this new orientation, and to understand better the constraints and the met obstacles. The cartographic was a tool indispensable to the representation of this inadequacy between supply and demand in water, the network of supply and distribution, and constituents of the future management of the water. The forward-looking approach allows pulling the air-raid siren at the threat that makes weigh the trend-setting evolution of the demand on the socio-spatial balances, and proposes alternative solutions of this evolution.

The diploma thesis deals with the topic of new myth in art since the end of 1920s to the February coup in 1948. The thesis focuses on the work of Josef Šíma and the artists of Groop 42 and it is based on the premise that there was a new myth emerging in both cases. This premise relies on historical sources and secondary literature and the idea is further developed in the thesis. Its structure responds to chronological order of the topics in question, which correspond to the individual chapters. Connecting link of the thesis is the personage of Josef Šíma, which was also role model for the younger artists of Groop 42. Important are also the approaches to the new myth of Václav Navrátil, Jindřich Chalupecký and Karel Teige. All of them commented on both work of Josef Šíma and the art of newly formed generation, all of them also commented on the political situation. The thesis stresses the difference between the artistic and political myth in that period and more attention to the new myth in political ideology is paid in the last chapter. This version of myth manifested itself in February 1948 by establishment of totalitarian political regime. Key words New myth, crises, revolution, symbol, Josef Šíma, Le Gand Jeu, Group 42, romanticism, Karel Hynek Mácha, Jindřich Chalupecký, Václav Navrátil, Karel...

The aim of this dissertation was to research, through a comparative architectural analysis,whether the two urban districts Camden Town in north London and Greater Grand Crossing in south Chicago have or have not been gentrified and, if so, what kind of gentrification process they have gone through. The study was based on three questions: what buildings have been transformed in each area? How have the buildings been transformed? Have the functionsof the city districts been transformed with any particular focus in mind? The study found that Camden Town has been tourist gentrified, since the primary focus of the gentrification process was towards tourism and entertainment businesses where old Victorian, industrial buildings were transformed into venues for live music, shops and markets. In the case of Greater Grand Crossing however, it is not possible to establish that the area has been gentrified. Chicagoan artist Theaster Gates transformed several residential houses as part of a project, some of which remained residential, and some were made into spaces for cultural activities. However, the focus of the transformation was towards the already existing population and not towards potential gentrifiers.