Ce mémoire s’intéresse à la notion d’expérimentation en jeu vidéo pour jeter un éclairage conceptuel productif sur le terme vague « jeu vidéo expérimental ». Postulant que le jeu vidéo s’inscrit à la fois dans le domaine des arts (par l’entremise de la création de composantes visuelles, audio ou narratives par exemple), des sciences (notamment parce qu’il dépend de l’avancement des nouvelles technologies numériques) et du design, l’auteur s’inspire des formes variées et parfois distinctes d’expérimentations à travers l’ensemble de ces domaines afin de décrire non pas une méthode expérimentale unique, mais un espace vaste composé de multiples démarches expérimentales. L’auteur montre finalement comment l’on peut réfléchir l’espace expérimental d’un jeu en s’inspirant de la systémique, puis relève quelques formes et figures expérimentales uniques aux domaines ludiques et vidéoludiques. Ce mémoire inclut aussi un compte rendu rétrospectif de création ainsi que quelques réflexions autour d’une oeuvre développée par l’auteur tout au long de sa recherche, l’album musical vidéoludique pour ordinateur Hoverboy. D’abord imaginée comme une oeuvre foncièrement expérimentale, l’auteur revient sur son processus de création et recadre sa démarche en fonction de ses réflexions théoriques autour de la notion d’expérimentation vidéoludique. Cette double démarche de recherche et de création menée en parallèle ouvre des réflexions méthodologiques sur la recherche-création. / This thesis examines the notion of experimentation in video games to shed a productive conceptual light on the vague term “experimental video game”. Postulating that video games are simultaneously part of the arts (through the creation of visual, audio, and narrative components for example), sciences (notably because it relies on technological advancements), and design, the author leans on by the varied and sometimes distinct forms of experimentation across all these fields in order to describe not one singular experimental method, but a vast space which consists of multiple experimental approaches. The author finally shows how we can contemplate the experimental space of a game by drawing inspiration from systems theory, then identifies some unique experimental forms and figures in games and video games. This thesis also includes a retrospective creation report journal as well as some observations on a work developed by the author throughout their research, the computer-based videoludic music album Hoverboy. First imagined as a fundamentally experimental work, the author looks back on their creative process and reframes their approach regarding their theoretical observations around the notion of video game experimentation. This dual approach of research and creation carried out in parallel leads to methodological discussions on research-creation.

François-Henri de Montmorency-Bouteville, maréchal-duc de Luxembourg (1628-1695), connut une longue carrière d’officier général, de la fin de la guerre de Trente Ans à celle de la Ligue d’Augsbourg, et un parcours contrasté, marqué par les inconstances de la faveur et de la fortune des armes. Engagé dans la Fronde auprès de son parent, le prince de Condé, qui lui obtint en 1661 la main de l’héritière de la pairie de Luxembourg, il revint au service lors de la guerre de Dévolution. Ayant acquis la protection de Louvois, il commanda en Hollande en 1672, puis devint capitaine des gardes du corps avant d’obtenir le bâton de maréchal de France en 1675. Impliqué dans l’affaire des Poisons, il fut écarté des commandements et dut attendre la campagne de 1690 pour retrouver la direction de l’armée de Flandre, qu’il commanda jusqu’en 1694. Ses victoires, pourtant peu exploitées, lui valurent une gloire inégalée en son temps et le surnom de Tapissier de Notre-Dame ; elles en firent également l’un des généraux les plus influents à la cour de Louis XIV, qui favorisa l’élévation de sa maison. L’étude de sa carrière apporte une contribution de premier plan à l’histoire de la collaboration intéressée entre la grande noblesse et la monarchie absolutiste, et de la place des généraux dans l’État et le gouvernement du royaume. L’analyse de ses campagnes et de son expérience du commandement dévoile l’évolution de la conduite de la guerre et des opérations, au temps de la stratégie de cabinet et des conflits limités, aussi bien que les transformations progressives des pratiques de la guerre et du combat. / François-Henri de Montmorency-Bouteville, marshal-duke of Luxembourg (1628-1695), followed a long career of general officer, from the end of the Thirty Years’ War till the Nine Years’ War, and had a contrasted life marked by the inconstancies of the favour and the fortune of war. Committed in the Fronde with his relative, the prince of Condé, who obtained for him in 1661 the hand of the heiress of the “pairie” of Luxembourg, he returned to the service during the War of Devolution. Having acquired the protection of Louvois, he commanded in Holland in 1672, then became captain of a company of “gardes du corps”, before becoming marshal of France in 1675. Involved in the Affair of the Poisons, he was pushed aside from commands and had to wait for the campaign of 1690 to find back the direction of the army of Flanders, which he commanded until 1694. His victories, although not totally exploited, were worth to him an unequalled glory at that time, and the nickname of “The Tapissier de Notre-Dame” ; they also made him one of the most powerful generals in the court of Louis XIV, which favored the rise of his family. The study of his career contributes remarkably to the history of the interested collaboration between the high nobility and the absolutist monarchy, and of the place of the generals in the State and the kingdom’s government. The analysis of his campaigns and his experience of command reveals the evolution of warfare, in the time of the “stratégie de cabinet” and the limited conflicts, as well as the progressive transformations of the practice of war and fighting.

Made available in DSpace on 2016-01-26T12:51:13Z (GMT). No. of bitstreams: 1 wilsondaher_tese.pdf: 263101 bytes, checksum: dfa07428664787d43d21bbad4cb1b10a (MD5) Previous issue date: 2006-06-08 / This essay is a historical-review study aiming to revise some reports based on reflexions of authors of the health field in relation to Evidence-Based-Medicine since its beginning until the current tendencies. Despite the great technological and scientific advances nowadays, we have been wondering about if there is some space for medical practice as art connected with science. The research was outlined based in some events and figures from the history of medicine, mainly the ones concerned to Gerolamo Fracastoro,s seminaria prima , Louis Pasteur, s néants and Ignácio Philipe Semmelweis, s dirty hands . Through these, we were able to understand a direction to the scientific knowledge by means of these author,s privileged intuition and others to the highest point; that his, the so-called Evidence-Based-Medicine. Through history, we have been certified that our ancestor from the medical field had coped with precarious science, however using much work and art to fulfil such failure. This should guide to return of an intuitive creativity parallel to the current knowledge available nowadays, therefore, the Evidence-Based-Medicine can be the great further advances for clinical activities / Este ensaio de natureza histórica, teve como objetivo a revisão de trabalhos e reflexões de vários autores da área de saúde, desde a Renascença até a data atual, visando os primórdios e a compreensão crítica da atual tendência denominada Medicina Baseada em Evidências. Procuramos compreender se, malgrado os grandes avanços científicos e tecnológicos de nossa era, ainda restaria espaço para o exercício da medicina como arte aliada à ciência. Tomando como fio condutor da pesquisa, alguns fatos e personagens da história da medicina, principalmente os que se referem à concepção da seminária prima de Gerolamo Fracastoro, aos nadas de Louis Pasteur e às "mãos sujas" denunciadas por Ignácio Philipe Semmelweis, pudemos vislumbrar o caminho aberto para o conhecimento científico, tantas vezes pela intuição privilegiada destes e de outros autores, para a culminância da chamada Medicina Baseada em Evidências. Compreendemos que a história de nossos antepassados da área médica, de ciência precária, mas muito engenho e arte para suprir tal deficiência, deveria nortear-nos ainda, não para um retomo ao obscurantismo científico, mas a uma retomada da criatividade intuitiva que, aliada ao conhecimento atualmente disponível, poderá fazer da Medicina Baseada em Evidências, um verdadeiro salto para o futuro das atividades clínicas.

François de La Noue (1531-1591), gentilhomme français et protestant, compose, alors qu'il est incarcéré, les Discours politiques et militaires, publiés en 1587 : nous en proposons ici une édition commentée, précédée d'une introduction. Celle-ci comporte sept chapitres dont le premier relate la vie de l'auteur, étroitement liée aux guerres de religion. Nous nous sommes ensuite intéressés à la genèse des Discours, avant d'établir un catalogue complet des éditions et émissions de l'œuvre. Un bilan des études consacrées à La Noue et à ses écrits termine ce chapitre. Puis, l'univers culturel de ce gentilhomme qui a manié l'épée et la plume est examiné : par l'identification des sources des Discours, nous avons reconstitué sa bibliothèque. Voulant restaurer l'État, il dénonce, en moraliste, la corruption des valeurs, et propose, en réformateur, un programme éducatif. Sa vision politique tirée des Saintes Écritures et son rôle politique joué durant les guerres font l'objet du chapitre IV. Le cinquième traite de la guerre tant du point de vue de sa légitimité que de celui des institutions militaires que La Noue cherche à améliorer. Le XXVIe discours, qui porte sur l'histoire des guerres civiles, nous a poussé à nous interroger, dans la sixième partie, sur sa conception et son écriture de l'histoire. Une approche rhétorique pose, pour finir, la question du genre Discours. Plusieurs documents annexes viennent ensuite apporter des éclaircissements. Suit le texte des Discours politiques et militaires, présenté avec des notes critiques, historiques et lexicales. Enfin, un glossaire, un index et une bibliographie terminent cette thèse.

The years around 1970 saw the emergence of an artistic fascination with maps and mapping. In the present thesis this fascination is conceptualised as a mapping impulse, acknowledging how the discourses of art and mapping, respectively, intertwine and merge. The aim of the study is to analyse this mapping impulse and to identify recurring themes and concepts in artworks and texts on art where maps and mapping processes are used as a visual expression and method.  In order to demonstrate how the scope of the thesis is shaped by later interpretations of art from around 1970, three exhibition publications from three decades are examined to illustrate how boundaries between the discourses of art and of mapping are renegotiated from the late 1960s up until the 2010s. The representing line of the map is analysed via the concepts of diagrams, maps, and models, such as the re-appearance of Claude Shannon’s and Warren Weaver’s Communication Model in the Swedish late 1960s, Öyvind Fahlström’s World Map (1972), and Sten Eklund’s paintings on glass from 1968 where he transfers ideas from Wittgenstein’s Tractatus into visual representations. The procedural aspects of encounters between the discourses of art and of mapping from around 1970 are analysed in Hans Haacke’s Gallery-Goers’ Birthplace and Residence Profile Pt. 1 and Sten Eklund’s Kullahusets hemlighet (The Secret of Kullahuset). The latter work is interpreted in the light of the role of the mapping, surveying individual, and in a figurative sense, the individual in the system. Here, the concept of alienation is used, as the work delineates the mapping subject who itself is being subject to mapping.  In this thesis the mapping impulse is identified as a way to deal with territory and truth in Western art around 1970. The map as a sign system and a practice is representative of a recent stage where art in various ways deal with a world undergoing rapid change. The mapping impulse circa 1970 can be identified as a visual regime of cartographic reason, characterized by legibility, clarity and lucidity. This also suggests alternative interpretations of the impact of the linguistic turn in the art of the 1960s and early 1970s, revealing a more ambiguous relationship between text and image.

Thesis (Ph. D.)--Uppsala University, 1983. / Includes index. Bibliography: p. 159-169.

Acompanha: Ciência e arte na sala de aula e atividades / Este trabalho se propôs a repensar o ensino de alguns tópicos da óptica a partir das relações entre ciência e arte, entendidas como expressões humanas inseparáveis e instrumentos de compreensão do mundo. O referencial teórico possibilitou reflexões sobre o processo ensino-aprendizagem, sobre as relações entre Ciência a Arte como áreas do conhecimento humano construídas sócio historicamente e sobre o papel da criatividade e da imaginação no ensino de ciências. Baseando-se nestas relações, foi desenvolvida uma unidade didática alternativa para transposição de conceitos da óptica geométrica no ensino médio. A intervenção teve como concepção norteadora a pedagogia dialógico-problematizadora de Paulo Freire e se utilizou dos três momentos pedagógicos Estudo da Realidade, Organização do Conhecimento e Aplicação do Conhecimento, que são proposição dos pesquisadores J.A. Angotti e D. Delizoicov. Foi desenvolvida em três etapas e envolveu seis turmas de três colégios estaduais em Curitiba. O tema gerador foi a Arte Urbana (especialmente o grafite), presente no universo dos nossos educandos. A discussão gerada abordou o conceito de Ciência e a problematização foi feita utilizando-se a tela “An Experiment on a Bird in the Air Pump” (1766), de Joseph Wright of Derby. A estratégia de pesquisa foi do tipo observação participante e o tratamento de dados pelo método comparativo constante. Os dados foram obtidos no estilo cooperativo e a categoria geral definida para análise foi a das “Perspectivas tidas pelos sujeitos”, pois esta é consoante com a concepção freiriana de educação centrada nos sujeitos envolvidos e suas vivências. A pesquisa possibilitou concluir que são promissoras as possibilidades de incrementar o ensino de Física numa abordagem que busque reflexão sobre o papel da Ciência na construção coletiva e histórica do conhecimento, enriquecida pelas suas relações com a Arte; tanto na dimensão pedagógica quanto na acadêmica de pesquisa. / A summary of the stages of a qualitative research on Education, developed at UTFPR, Brazil, is presented. The purpose of this work is to rethink Education on some topics of Optics, on the basis of the relationship between Science and Art, which are understood here as inseparable human expressions and representations of the world. Based on this relationship, an alternative didactic unit was developed, aiming the transposition of concepts on Geometrical Optics in high school. The intervention was based on the dialogical and problem-posing approach due to Paulo Freire, and it was applied to six classes at three State high schools in Curitiba. The generative theme was Street Art, ubiquitous in the universe of students. The generated discussion involved the concept of Science and questioning was made using the painting “An Experiment on a Bird in the Air Pump”, by Joseph Wright of Derby (1766). The research strategy was participant observation, and data were processed by constant comparative method. The data were obtained from the cooperative style and the general category set for analysis was that of “Perspectives taken by subject”, since this is consonant with the Freirian conception for education centered on the involved subjects and their experiences. The research made it possible to conclude that the possibilities are promising to increase the teaching of Physics in an approach that aims to reflect on the role of science in building collective and historic knowledge, enriched by their relationships with art; both in pedagogical and academic research.

Acompanha: Ciência e arte na sala de aula e atividades / Este trabalho se propôs a repensar o ensino de alguns tópicos da óptica a partir das relações entre ciência e arte, entendidas como expressões humanas inseparáveis e instrumentos de compreensão do mundo. O referencial teórico possibilitou reflexões sobre o processo ensino-aprendizagem, sobre as relações entre Ciência a Arte como áreas do conhecimento humano construídas sócio historicamente e sobre o papel da criatividade e da imaginação no ensino de ciências. Baseando-se nestas relações, foi desenvolvida uma unidade didática alternativa para transposição de conceitos da óptica geométrica no ensino médio. A intervenção teve como concepção norteadora a pedagogia dialógico-problematizadora de Paulo Freire e se utilizou dos três momentos pedagógicos Estudo da Realidade, Organização do Conhecimento e Aplicação do Conhecimento, que são proposição dos pesquisadores J.A. Angotti e D. Delizoicov. Foi desenvolvida em três etapas e envolveu seis turmas de três colégios estaduais em Curitiba. O tema gerador foi a Arte Urbana (especialmente o grafite), presente no universo dos nossos educandos. A discussão gerada abordou o conceito de Ciência e a problematização foi feita utilizando-se a tela “An Experiment on a Bird in the Air Pump” (1766), de Joseph Wright of Derby. A estratégia de pesquisa foi do tipo observação participante e o tratamento de dados pelo método comparativo constante. Os dados foram obtidos no estilo cooperativo e a categoria geral definida para análise foi a das “Perspectivas tidas pelos sujeitos”, pois esta é consoante com a concepção freiriana de educação centrada nos sujeitos envolvidos e suas vivências. A pesquisa possibilitou concluir que são promissoras as possibilidades de incrementar o ensino de Física numa abordagem que busque reflexão sobre o papel da Ciência na construção coletiva e histórica do conhecimento, enriquecida pelas suas relações com a Arte; tanto na dimensão pedagógica quanto na acadêmica de pesquisa. / A summary of the stages of a qualitative research on Education, developed at UTFPR, Brazil, is presented. The purpose of this work is to rethink Education on some topics of Optics, on the basis of the relationship between Science and Art, which are understood here as inseparable human expressions and representations of the world. Based on this relationship, an alternative didactic unit was developed, aiming the transposition of concepts on Geometrical Optics in high school. The intervention was based on the dialogical and problem-posing approach due to Paulo Freire, and it was applied to six classes at three State high schools in Curitiba. The generative theme was Street Art, ubiquitous in the universe of students. The generated discussion involved the concept of Science and questioning was made using the painting “An Experiment on a Bird in the Air Pump”, by Joseph Wright of Derby (1766). The research strategy was participant observation, and data were processed by constant comparative method. The data were obtained from the cooperative style and the general category set for analysis was that of “Perspectives taken by subject”, since this is consonant with the Freirian conception for education centered on the involved subjects and their experiences. The research made it possible to conclude that the possibilities are promising to increase the teaching of Physics in an approach that aims to reflect on the role of science in building collective and historic knowledge, enriched by their relationships with art; both in pedagogical and academic research.

Nathan Greene is the Revolutionary Warfare general most associated with unconventional warfare. The historiography of the southern campaign of the revolution uniformly agrees he was a guerrilla leader. Best evidence shows, however, that Nathanael Greene was completely conventional -- that his strategy, operations, tactics, and logistics all strongly resembled that of Washington in the northern theater and of the British commanders against whom he fought in the south. By establishing that Greene was within the mainstream of eighteenth-century military science this dissertation also challenges the prevailing historiography of the American Revolution in general, especially its military aspects. The historiography overwhelmingly argues the myth of the valiant few -- the notion that a minority of colonists persuaded an apathetic majority to follow them in overthrowing the royal government, eking out an improbable victory. Broad and thorough research indicates the Patriot faction in the American Revolution was a clear majority not only throughout the colonies but in each individual colony. Far from the miraculous victory current historiography postulates, American independence was based on the most prosaic of principles -- manpower advantage.

This thesis investigates the progress of technological development during the interwar period of 1919 to 1939. The interwar period was a time of slashed military budgets and isolationist policies. However, despite political, financial, and organizational handicaps, each branch of the military made significant progress in the development of military technology, and the air corps and navy achieved significantly better results. The reason these two branches were able succeed was through a combination of organizational policy and the development of an overarching goal for their respective branch. Within this thesis, I investigated each of the major military branches during the interwar period, specifically the United States Army, Army Air Corps, and Navy. The air corps is considered a separate branch despite being a segment of the army due to its different strategic goal and its growing independence during the interwar period. In my research I found that the army made by far the least technological progress, but did make significant strides in terms of the development of individual components for larger projects. For example, the army developed the M1 rifle and state-of-the-art shock absorbers for tanks. The air corps succeeded in transforming from a small army auxiliary made up of woodand-fabric biplanes into a largely independent branch of the military made up of all-metal monoplane bombers. The navy developed the aircraft carrier and aircraft to accompany the new ships, in addition to making substantial upgrades to existing ships. These upgrades included strengthening ships against torpedo attacks, making engines more efficient, and adding antiaircraft guns to the ships‟ arsenals