La recherche a pour point de départ les problèmes environnementaux que rencontrent actuellement les architectes. Les changements de priorités au profit de l'environnement peut être bien observé dans l'architecture récente de Paris, arène où se rencontrent les tendances les plus novatrices et les plus caractéristiques de leur temps. Le travail se propose de suivre cette évolution en prenant pour objet d'analyse deux jardins apparus récemment à Paris : le parc de La Villette de Bernard Tschumi et le Jardin en mouvement du parc André-Citroën conçu par Gilles Clément. Ces deux réalisations avec le même programme (parc urbain) ont l'avantage de résulter des approches diamétralement opposées et d'être en même temps très représentatives de l'architecture de leur décennie. Les enjeux de la recherche sont les suivants :– Montrer qu'un changement considérable s'est produit dans l'architecture européenne des années 90, à savoir le changement des priorités au profit de l'environnement. Il s'agit de montrer que l'architecture contemporaine est entrée dans une nouvelle phase de son évolution, tout en insistant sur l'importance du « tournant écologique ». Le mouvement écologique en architecture n'est pas une mode passagère, introduite par quelques personnalités influentes. Ce n'est pas non plus un « style » parmi d'autres ni un « courant » au sein de l'architecture contemporaine. Au fond, il s'agit d'un mouvement qui apparaît en réponse aux besoins réels de la société occidentale. L'un des objectifs de la recherche est de montrer la nouveauté de l'architecture écologique non seulement par rapport à l'architecture de la période précédente mais aussi par rapport à l'architecture traditionnelle.– Dégager les moteurs de cette évolution de l'architecture. Les changements dont il s'agit sont dus à plusieurs facteurs : économiques (énergétiques), environnementaux, politiques. Le travail de thèse a pour but de montrer comment ces facteurs ont contribué, directement ou indirectement, au passage vers l'architecture écologique. Il ne s'agit pas d'établir un simple rapport de dépendance mais d'analyser les processus dans toute leur complexité. Les processus dont il s'agit ne sont pas toujours linéaires, et l'apparition de cette nouvelle architecture résulte de la superposition de plusieurs tendances.– Analyser le contexte esthétique de l'apparition de l'architecture écologique. La recherche situe les objets d'analyse dans leur contexte culturel français et international, en montrant que l'apparition de l'architecture écologique va de pair avec une certaine crise du paradigme moderniste, qui a épuisé son potentiel théorique. La recherche se propose d'établir des parallèles entre l'architecture contemporaine et des phénomènes appartenant à la littérature, à la philosophie, à l'art contemporain.– Analyser le tournant environnemental (qui n'est pas encore achevé) dans une perspective « futurologique », c'est-à-dire évaluer ses conséquences à long terme / The point of departure of this thesis research is the environment worries which are currently faced by the architects. The shift in priorities to the environment may be followed in the modern architecture of Paris, in the city where there are the most innovative, the most typical tendencies of the current time. The task of the research is to follow this evolution and two parks recently appeared in Paris: Park de la Villette by Bernard Tschumi and the park of André Citroën created by Gilles Clément are taken as the object of this analysis. The choice of the object is explained as follows: these two objects are derived from the diametrically opposed architectural approaches and at the same time they are very revealing for the architecture of its decade. Being focused on the architecture, the research has also interdisciplinary element. This work puts the objects of the analysis in their French and international cultural context. The research sets up parallels between the modern architecture and phenomenon from literature (fragmentary method of writing), philosophy (theory of fragments) and modern art

O projeto de pesquisa analisa os rumos do pensamento escultórico moderno em direção a uma escala ambiental, processo que tem origem no final do séc. XIX, momento em que a obra A Porta do Inferno, de Auguste Rodin, modifica o espaço narrativo clássico, rompendo com a premissa do monumento e passando a pleitear cada vez mais uma imersão da obra no espaço do observador. O período das vanguardas históricas também foi fundamental para se repensar as fronteiras entre as linguagens tradicionais e o reconhecimento de outras esferas que não a das belas-artes, desde a dissolução da base na escultura de Constantin Brancusi, passando pela renovação do estatuto de arte em Marcel Duchamp, até as experiências de colagem com a obra Merzbau, de Kurt Schwitters. A dissertação examina especialmente a produção que desde então problematizou a tradição da escultura, privilegiando as manifestações contemporâneas que derivam da tradição moderna, projetando o campo da arte para além dos gêneros artísticos fixados até então, buscando expandir a noção de escultura em termos espaciais, temporais e experienciais. Entre as décadas de 1940 e 1960, a ruptura com essa tradição culmina na radicalidade das ações corporais de Jackson Pollock, que conferem uma nova escala às pinturas; e, mais à frente, numa produção que emergia como crítica aguda ao mercado e à institucionalização cada vez mais precoce do trabalho de arte. A arte contemporânea, então, teria sua origem num processo de crítica do objeto, precipitado pelo problemas da cultura de massa, onde os trabalhos se reconhecem num mundo da cultura, mesmo ao resistirem a sua cooptação. Sem ter sido objeto de análises abrangentes, a escultura contemporânea, se é que ainda podemos denominar escultura os trabalhos produzidos a partir da década de 1960, parece ter colocado em crise a noção moderna de forma, e passa a operar num contexto ampliado, aberta ao espaço e à dinâmica cultural urbana. É nesse momento que a dissertação se aproxima das obras de Richard Serra, José Resende e Hélio Oiticica e passa a dedicar uma análise mais atenta sobre aqueles trabalhos que lidaram com uma escala ambiental, ou ainda, se aproximaram das contingências do lugar onde atuam, quer físicas, sociais ou culturais, operando próximos à poética do site specificity. / The research project analyses the directions of the modern sculptural thoughts towards an environmental scale, a process that begins in the end of the 19th Century, a moment in which Auguste Rodins The Gates of Hell modifies the classic narrative space breaking up with the premise of the monument and defend every time more an immersion of the work in the observer space. The historical vanguard period was also fundamental to rethink the boundaries between the traditional languages and the recognition of spheres that are not of fine arts ñ from the dissolution of the base in sculpture of Constantin Brancusi, passing through the renovation of the art statute of Marcel Duchamp, to the collage experiences of Kurt Schwitters Merzbau. The dissertation examines specially the production that has questioned the sculpture tradition, the contemporary manifestations that come from modern tradition, projecting the art field beyond the so far fixed artistic genders and searching to expand the notion of sculpture in terms of space and time, as well as your artistic practice significance. Between the decades of 1940 and 1960, the break with this tradition culminates in the radically body actions of Jackson Pollock that gives a new scale to paintings; and afterwards, in a production that emerged as a deep critique of the market and the every time earlier institutionalization of the art work. The contemporary art, therefore, would have its origin in a process of the object critique precipitated by mass culture problems where the works are recognized in a cultural word, even when they resist to their cooptation. Without being object of comprehensive analyses, the contemporary sculpture, if we still can denominate sculpture the works produced from the 1860 decade on, seems to have placed the modern notion of form in crisis, and started to operate in an enlarged context, open to space and to the urban cultural dynamic. It is at his moment that the dissertation approaches Richard Serra, José Resende and Hélio Oiticicas work and dedicates more careful analyses over those works that deal with environmental scale, or yet, approach either physical, social or cultural contingencies of the place in which they act, operating to the poetic of the site specificity.

A tese investiga como se apresenta o humor político do Porta dos Fundos em esquetes audiovisuais veiculadas pelo Youtube. Parte-se de um panorama sobre as audiovisualidades para atentar sobre os processos produtivos em relação com o contexto político nacional. Os conceitos de comicidade e humor são acionados a partir de Henry Bergson (1983) e Elias Thomé Saliba (2002), sendo o primeiro tomado como sistema organizador da narrativa a partir da intencionalidade de fazer rir, enquanto o segundo é definido pelo contraste entre o que é e o que deveria ser, acionando uma reflexão crítica que complementa e dá a tonalidade do gesto social empregado pelos humoristas. Para tratar sobre o humorismo audiovisual percorremos a história do riso e do escárnio com Georges Minois (2003), Roberto Elísio dos Santos e Regina Rosseti (2012), entre outros, a fim de resgatar as raízes do riso midiatizado brasileiro. O problema de pesquisa é: Como se dá o humor sobre a política na comicidade audiovisual do Porta dos Fundos? Para responder essa pergunta elencamos como objetivo geral da pesquisa descrever e analisar como se apresenta o humor audiovisual sobre a política em um canal no Youtube - o do Porta dos Fundos, explorando o objeto na relação com o campo do audiovisual nacional, com o contexto político contemporâneo e com a teoria sobre o humor e a comédia. A partir deste, estabelece-se como objetivos específicos: a) descrever as possíveis relações entre a matriz da comédia audiovisual nacional e o humor político veiculado pelo Porta dos Fundos; b) descrever e analisar como os conteúdos audiovisuais apresentam o humor sobre a política do Porta dos Fundos; c) apontar pistas que indiquem elementos de distinção do conteúdo humorístico do Porta dos Fundos no campo do audiovisual contemporâneo Entendemos que para abordar o humor sobre a política do Porta dos Fundos no Youtube é preciso contextualizar a cultura midiática e digital contemporânea, relacionando-a com o contexto político vivido no Brasil durante o período de análise, em busca de um olhar relacional que aponte pistas sobre como os agentes e os campos sociais influenciam-se mutuamente e quais marcas deixam uns sobre os outros. A epistemologia adotada é da sociologia relacional de Pierre Bourdieu (1997, 2002, 2007a, 2007b), que auxilia no tratamento dispensado ao corpus empírico de seis esquetes audiovisuais de humor sobre política veiculados pelo Youtube, entre agosto de 2012 e abril de 2017, e analisados filmicamente a partir das proposições metodológicas de Penafria (2009), Julier e Marie (2009). Como resultado encontramos marcas distintivas do humor do Porta dos Fundos sobre a política a partir das suas estratégias narrativas que privilegiam o sentido de realidade junto ao espectador; um processo produtivo colaborativo que diversifica os conteúdos e fortalece a imagem a marca; uma identidade visual (estética e linguística) mantida mesmo com o rodízio de funções e colaboradores; tudo marcando um fenômeno que emerge em um tempo de lacuna no humor crítico sobre política na TV, políticas públicas que incentivam a produção audiovisual independente e converge com a ampliação da conectividade e cultura digital no país. / The thesis investigates how the political humor of “Porta dos Fundos” in audiovisual sketches transmitted by Youtube is presented. It started by a panorama on the audiovisuals to look at productive processes in relation to national socioeconomic and political contexts. Henry Bergson (1983) and Elias Thomé Saliba (2002) trigger ehe concepts of comics and humor. The first one being taken as the system organizer of the narrative from the intentionality of making laugh, while the second one is defined by the contrast between what is and what should be, triggering a critical reflection that complements and gives the tone of the social gesture employed by comedians. To deal with audiovisual humor, we go through the story of laughter and scorn with Georges Minois (2003), Roberto Elísio dos Santos and Regina Rosseti (2012), among others, in order to rescue the roots of Brazilian disseminated laught. The research problem is: How does the political humor in the audiovisual comedy of “Porta dos Fundos”work? In order to answer this question we have as a general objective of the research to describe and analyze how audiovisual political humor is presented in a channel on YouTube – called Porta dos Fundos, exploring the object in relation to the field of the national audiovisual, with the contemporary political context and with the theory about humor and comedy. From this, specific objectives are stablished: a) to describe the possible relations between the matrix of the national audiovisual comedy and the political humor conveyed by Porta dos Fundos; b) describe and analyze how the audiovisual contents present the political humor of Porta dos Fundos; c) to point out clues that indicate elements of distinction of the humoristic content of Porta dos Fundos in the field of contemporary audiovisual We understand that in order to approach the political humor of Porta dos Fundos on Youtube it is necessary to contextualize the contemporary digital and digital culture, relating it to the actual political and economic context in Brazil during the period of analysis, searching for relational look that points out clues about how agents and social fields influence each other and which brands leave in one another. The epistemology adopted is Pierre Bourdieu's (1997, 2002, 2007a, 2007b), relational sociology, which assists in the treatment given to the empirical corpus of six audiovisual humoristic sketches transmitted by Youtube, in between august of 2012 and april of 2017, and analyzed in the movie by the methodological propositions of Penafria (2009), Julier and Marie (2009). As a result we find distinctive marks of the political humor of Porta dos Fundos from their narrative strategies that privilege the sense of reality with the spectator; a collaborative production process that diversifies the content and strengthens the brand image; a visual identity (aesthetic and linguistic) maintained even with the rotation of functions and collaborators; all marking a phenomenon that emerges in a time that lacs critical political humor on TV, public policies that encourage independent audiovisual production and converge with the expansion of connectivity and digital culture in the country.

Les infections du site opératoire (ISO) sont classées au 3ème rang des infections associées aux soins les plus fréquentes en France. Des approches épidémiologiques " classiques " de prévention ont permis une réduction des taux d'ISO d'environ 50% en 20 ans. Malgré ces progrès, les taux d'incidence et le nombre brut d'ISO restent notables en France. De nouveaux outils permettraient d'améliorer la compréhension et la prévention des ISO. Lors d'une approche clinique de la prévention des ISO, nous avons évalué l'efficacité d'éponges de collagène imprégnées de gentamicine pour la prévention des ISO chez des patients à haut risque bénéficiant d'un pontage aorto-coronarien avec double artères mammaires internes. Des Dans un second temps, une approche, épidémiologique, avait pour objectif d'étudier l'accord des hygiénistes et des chirurgiens impliqués dans la surveillance des ISO de 10 pays Européens dans le diagnostic des ISO. La finalité était d'évaluer l'intérêt de la publication des taux d'ISO dans un objectif de benchmarking. La dernière approche était comportementale. Nous avons tout d'abord réalisé une revue systématique de la littérature afin d'évaluer l'état actuel des connaissances concernant l'impact des comportements des équipes opératoires sur la survenue d'ISO ou sur des marqueurs du risque infectieux. Enfin, nous avons présenté le protocole d'une étude en cours de réalisation sur l'évaluation des déplacements des personnels durant 63 interventions de chirurgie cardiaque et orthopédique, enregistrés de manière objective et continue par l'intermédiaire d'un système automatique de capture de mouvement. Ces données seront corrélées à des marqueurs du risque infectieux. / Surgical site infection (SSI) constitutes the third most frequent healthcare associated infection in France. “Classic” epidemiological approaches have already allowed to decrease SSI rate of approximately 50% in 20 years. Despite these improvements, the incidence rate and the crude number of SSI stay important in France. New tools may improve the understanding and the prevention of SSI. In first, through a clinical approach of the SSI prevention, we have evaluated the efficacy of a gentamicin-impregnated collagen sponge reduce sternal wound infections in high-risk cardiac surgery patients. Secondly, an epidemiological approach had the objective to assess the agreement in diagnosing SSI among specialists involved in SSI surveillance in Europe and evaluate the interest of the public reporting of SSI rate in a view of benchmarking. Finally, a behavioural approach has begun by a systematic descriptive review of the literature to evaluate the current evidence regarding the influence of staff behaviours on the infectious risk in operating room. Then, we have presented the protocol of a study in progress on the assessment of movements in the operating room during 63 procedures of cardiac and orthopaedic surgery, recorded with an objective and continuous manner using a motion capture system. These data will be correlated to surrogates of the infectious risk.

Nest site selection and nesting success of plains sharp-tailed grouse were examined on the Grand River National Grassland in South Dakota during the nesting season from 2009-2012. We used conditional logistic regression to assess vegetation production, ecological site description, and landscape position on nest site selection. Two competing models regarding nest site selection: top model consisted of non-native forbs and native cool-season grasses, second best model included all grass and forb. Nine ESDs were used for nesting; loamy and clayey ecological sites most frequently used and produced the highest standing crop. Most frequent observed nest site State were Annual/Pioneer Perennial and Introduced and Invaded Grass. Top model for nest daily survival rates included litter, second-best model included ESD; second-best model showed negative effect for nests initiated in thin claypan, limy backslope, and sandy ecological sites. Based on daily survival estimate and 23-day incubation period, nests were 59% successful.

With the current upsurge of a technological era, there is an underlying global threat to the cultural development of theatre, especially opera. Therefore, there is a need for a paradigm shift that will re-imagine and transcend opera into the 21st century. Site-specific opera merges the potential of theatrical entertainment and the value of an existing site. Both the location and the performance have the ability to remove the audience from their lives and submerge them in a fantasy or created reality. With the focal approach being the interpretation of the Magic Flute Opera at a site-specific location, a concept of cultural heritage awareness is revealed. With this in mind, the preservation extends into a consideration of the existing site. The site, Fort Daspoortrand, is currently in a state of physical degradation, and the decay of heritage and cultural fabric is prominent. Thus, the potential for preservation and cultural celebration arises. It is proposed that through a site-specific opera performance of William Kentridge’s adaptation of The Magic Flute by Mozart, a sense of wareness can be created for both the site and a South African interpretation of opera. The opera will catalyse the awareness of the site, and the scenography will act as a vehicle to bring site and opera together in a visual and spatial experience. Through the merging of opera and site, the heritage and cultural significance of both entities will be explored, allowing the opportunity for life to be breathed back into both the fort and opera in general. The design intention of this project is to bring awareness to the existing fabric of the site, as well as the dramatic opportunities that the site naturally presents. In this way, the physical and cultural decay of both Fort Daspoortrand and opera are brought to the public’s attention. The intention in this creation of site awareness is to promote an afterlife for the site, by exposing its character in an attempt to ignite future development at the site once the opera has finished. Through combining opera and site, the audience will be exposed to the beauty of the site and the cultural richness of opera simultaneously. The temporary design intervention aims to strategically link the themes of The Magic Flute with the characteristics of the site to explore the relationship between narrative, fort and opera. Emphasis is placed on how to take the audience on a winding and intertwining journey of the site during the performance of the opera adaptation. The fluidity and natural progression of the audience through the site will ultimately create a reflective and emotive understanding of The Magic Flute’s theme of the journey from darkness to light. / Mini-dissertation Mint(Prof)--University of Pretoria, 2018. / Architecture / MInt(Prof) / Unrestricted

A la lumière de la revue de la littérature et des différentes opportunités empiriques qui se sont présentées, nous étions devant une problématique de recherche qui reflète l’actualité de l’usage de la web TV à des fins contributives, et plus précisément l’influence de certains éléments d’atmosphère du site de la web tv sur l’attitude des étudiants les conduisant à adopter un comportement d’approche spécifique à ce dispositif. Notre recherche nous a permis de proposer un modèle conceptuel qui s’est hissé en un cadre global d’appréhension du comportement des étudiants quant à la fréquentation des web tv universitaires étudiantes. A partir d’une approche qualitative et sur la base d’une expérimentation menée auprès d’un échantillon de 200 étudiants de l’USTV, nous avons pu détecter non seulement les éléments d’atmosphère les plus influents sur le comportement d’approche des étudiants mais également certaines caractéristiques individuelles dont l’impact est bien modérateur. Cette thèse contribue finalement à une meilleure compréhension du rôle et du fonctionnement de l’influence des stimuli environnementaux de la web tv sur le comportement de l’étudiant et présente en outre un ensemble de réflexion à adopter et d’action à entreprendre en vue de drainer les réponses comportementales souhaitées par les concepteurs. / In light of the literature review and the various empirical opportunities which appeared, we were facing a problem of research reflecting the current use of the web TV for contributory, and more precisely the influence of some atmospheric elements of the web TV site on student attitudes leading them to adopt a specific behavioral approach to this device. Our research allowed us to propose an abstract model of the search that has risen himself in a global frame of behavior apprehension of students on attendance web tv university. From a qualitative approach and based on an experiment led with a sample of 200 students from USTV, we were able not only to detect the most influential atmospheric elements on the behavioral approach of students, but also some individual characteristics whose impact is moderating. This thesis contributes finally to a better understanding of the role and functioning of the influence of environmental stimuli of the web tv on student behavior and also has a set of reflections that should be adopted and actions to be taken to drain behavioral responses desired by designers.

L'internet est devenu un environnement omniprésent dans le monde du travail et du loisir. La popularité sans cesse croissante des applications web ainsi que des services associés entraînent l'exécution de nombreuses transactions critiques, qui soulèvent des questions de sécurité. Du fait de cette croissance, des efforts ont été entrepris durant cette dernière décennie pour rendre les applications web plus sûres. Malgré ces efforts, de récents rapports provenant de l'institut SANS estiment que plus de 60 % des attaques commises sur l'Internet ciblent les applications web en se concentrant sur les vulnérabilités inhérentes aux problèmes de validation, comme le Cross-Site Scripting ou les injections SQL. Dans cette thèse, nous avons conduit deux études de recherche empirique, analysant un grand nombre d'application web vulnérables. Nous avons assemblé une base de données contenant plus de 10.000 rapports de vulnérabilités depuis l'an 2000. Ensuite, nous avons analysé ces données pour déterminer si les développeurs ont pris conscience des problématiques de sécurité web de nos jours, comparé à la période où ces applications émergeaient. Puis nous avons analysé l'étroit lien entre le langage de programmation utilisé pour développer l'application web et le nombre de vulnérabilité reporté. Avec ces résultats empiriques comme base, nous présentons notre solution IPAAS qui aide les développeurs novice en termes de sécurité à écrire des applications sécurisées par défaut. Nous montrons par ailleurs que cette technique améliore de manière probante la sécurité des applications web. / The web has become a backbone of our industry and daily life. The growing popularity of web applications and services and the increasing number of critical transactions being performed, has raised security concerns. For this reason, much effort has been spent over the past decade to make web applications more secure. Despite these efforts, recent data from SANS institute estimates that up to 60% of Internet attacks target web applications and critical vulnerabilities such as cross-site scripting and SQL injection are still very common. In this thesis, we conduct two empirical studies on a large number of web applications vulnerabilities with the aim of gaining deeper insights in how input validation flaws have evolved in the past decade and how these common vulnerabilities can be prevented. Our results suggest that the complexity of the attacks have not changed significantly and that many web problems are still simple in nature. Our studies also show that most SQL injection and a significant number of cross-site scripting vulnerabilities can be prevented using straight-forward validation mechanisms based on common data types. With these empirical results as foundation, we present IPAAS which helps developers that are unaware of security issues to write more secure web applications than they otherwise would do. It includes a novel technique for preventing the exploitation of cross-site scripting and SQL injection vulnerabilities based on automated data type detection of input parameters. We show that this technique results in significant and tangible security improvements for real web applications.

Background: Opioid overdoses have killed almost 20,000 Canadians since 2016. To address this, Canada has established supervised consumption sites where people can use drugs in the presence of trained staff and get access to pharmacological treatments such as methadone. However, there is very little research on whether supervised consumption clients use methadone, or whether their use of methadone prevents opioid overdose. Methods: A secondary data analysis of information collected from one supervised consumption site was undertaken in order to explore relationships between client self-reported methadone dosage and subsequent observed same-day opioid overdose. Results: Statistical analysis showed no correlation between methadone usage and reduced chance of opioid overdose. However, the most common dosage of methadone reported (30mg/day) was far below the minimum therapeutic dose of methadone. Conclusion: Clients of supervised consumption sites often report being prescribed methadone, but not at a dose high enough to reduce opioid overdose.

No description available.