Worldline, une importante société d’informatique, doit améliorer la qualité de ses projets. Nous avons réalisé un audit sur plusieurs projets de l’entreprise afin d’identifier comment éviter l’échec des projets: aucune conclusion définitive n'en a été tirée. Cependant, il a mis en lumière le besoin d’améliorer l’utilisation des tests. Effectivement, tester chaque partie du code est requis pour éviter l’échec du projet. Dans l’industrie, notamment à Worldline, l’automatisation des tests a commencé dans le but de maîtriser le comportement des applications. Mais, exécuter tous les tests après un changement peut être une coûter plusieurs heures. Le retour sur le code changé est retardé et le développeur perd du temps pour découvrir les potentiels bogues. La solution généralement proposée dans la littérature consiste à réduire le nombre de tests à lancer en sélectionnant seulement ceux relatifs aux derniers changements effectués. L’approche sélectionne un jeu de tests réduit et approprié qui détectera de potentielles régressions dans l’application. Chaque approche de sélection de tests a besoin d’être étudiée dans le contexte de Worldline et adaptée en conséquence pour convenir aux habitudes des développeurs. Avant d’intégrer une telle approche, une étude a été faite pour connaître les habitudes actuelles des développeurs vis-à-vis de la sélection de tests. Grâce à cette étude, nous avons développé un outil pour les développeurs visant à effectuer la sélection des tests. Le but est aussi d’étudier l’impact de cet outil sur leur comportement. Nous espérons que cette approche de sélection de tests apportera des changements dans leur processus de développement. / Worldline, a major IT company, has to increase the quality of its projects. We performed an audit of several projects of the company to identify how to avoid project failure: no final conclusion has been drawn. However, it highlighted a need to enhance testing usage. To test every piece of code is compulsory to avoid project failure. In industry and more specifically in Worldline, automation of tests has begun to ensure the proper behavior of their applications. But, ensuring the execution of all tests after a change can be a costly operation requiring several hours. Feedback on the changed code is delayed and developer has to spent time to discover the potential bugs. The solution generally proposed in literature consists in reducing the number of tests to run by selecting only the ones related to the last changes made by the developer. The approach selects a suitable and small set of tests to detect potential regression in the application behavior.These approaches need to be studied in the context of Worldline and consequently adapted to suit developers’ habits. Before integrating such an adapted test selection approach, a study of the testing behavior of the developers has been done to get their current test selection usage. Based on the study of the Worldline environment, we developed a tool for the developers aiming to perform test selection.The goal is also to study the impact of this tool on their behavior. We hope that the test selection approach that is packaged in a tool adapted to the Worldline developers will bring a change in their developmentprocess.

Esta tese examina a atuação do dominicano francês Louis-Joseph Lebret e da instituição que fundou no Brasil, a Sociedade para a Análise Gráfica e Mecanográfica Aplicada aos Complexos Sociais (SAGMACS), um escritório de pesquisas em desenvolvimento que atuou no planejamento urbano no Brasil no período de 1947 até os anos de 1960. O fio condutor desta pesquisa é a idéia de Lebret sobre a formação de quadros para o desenvolvimento (développeurs), que passou a ser o mote principal do seu engajamento. Para a nossa análise identificamos algumas das matrizes de pensamento de Lebret, que estavam ligadas às dimensões sociológica e religiosa e que influenciaram a sua atuação no país. Verificamos a inserção de Lebret no contexto francês antes de sua chegada ao Brasil e as razões que o levaram a buscar um novo terreno de atuação profissional. Durante o período em que atuou no Brasil, Lebret publicou manuais de pesquisa, proferiu cursos e palestras e orientou os trabalhos da SAGMACS imbuído da idéia de que os países subdesenvolvidos necessitavam de um corpo técnico e militante capacitado para atuar em favor do desenvolvimento. Muitos profissionais brasileiros formados a partir desta idéia participaram dos cursos e atuaram nos trabalhos da SAGMACS, tendo parte deles recebido a formação específica em desenvolvimento no Institut de Recherche et de Formation en vue du Développement Harmonisé (IRFED), criado por Lebret em 1958. Mais tarde, muitos desses profissionais atuariam repercutindo aquelas idéias e a formação recebida, seja em outros grupos de assistência técnica, seja no aparelho do Estado, em cargos políticos, ou em universidades. Mostramos que as experiências de Lebret no Brasil contribuíram para a sua atuação em outros países da América Latina, em outros continentes, e para a sua legitimação como pesquisador na França. Estas experiências e as trocas com os profissionais brasileiros colaboraram no aprimoramento de seu conceito de desenvolvimento e o amadurecimento da sua idéia de criação de um instituto de formação profissional para o desenvolvimento, o IRFED. / This thesis examines the actions of the French-Dominican Louis-Joseph Lebret and the institution he founded in Brazil, the Sociedade para a Análise Gráfica e Mecanográfica Aplicada aos Complexos Sociais (SAGMACS), a Development research bureau that worked in urban planning in Brazil from 1947 until the 1960s. The thrust of this research is the Lebret\'s idea on the training of cadres for development (développeurs), which became the main theme of his engagement. For our analysis we identify some of the matrices of Lebret\'s thought, which were linked to sociological and religious dimensions that influenced his work in the country. We note the inclusion of Lebret in the French context before his arrival in Brazil and the reasons that led him to seek a new field of professional activity. During the period he worked in Brazil, Lebret published research manuals, taught courses, lectures and guided the work of SAGMACS imbued with the idea that developing countries needed a militant trained staff to act in favour of Development. Many Brazilian professionals formed by this idea attended the courses and were involved in the work of SAGMACS, a portion of them receiving specific training in Development at the Institut de Recherche et de Formation en vue du Développement Harmonisé (IRFED), created in 1958 by Lebret. Later, many of these professionals would work reflecting those ideas and the training received, whether in other groups of technical assistance, either in the state apparatus, in political office, or in Universities. We show that the experiences of Lebret in Brazil contributed to his performance in other Latin American countries, in other continents, and his legitimacy as a researcher in France. These experiences and exchanges with Brazilian professionals have contributed to the improvement of his concept of Development and maturation of his idea of creating a training institute for professional Development, IRFED.

Esta tese examina a atuação do dominicano francês Louis-Joseph Lebret e da instituição que fundou no Brasil, a Sociedade para a Análise Gráfica e Mecanográfica Aplicada aos Complexos Sociais (SAGMACS), um escritório de pesquisas em desenvolvimento que atuou no planejamento urbano no Brasil no período de 1947 até os anos de 1960. O fio condutor desta pesquisa é a idéia de Lebret sobre a formação de quadros para o desenvolvimento (développeurs), que passou a ser o mote principal do seu engajamento. Para a nossa análise identificamos algumas das matrizes de pensamento de Lebret, que estavam ligadas às dimensões sociológica e religiosa e que influenciaram a sua atuação no país. Verificamos a inserção de Lebret no contexto francês antes de sua chegada ao Brasil e as razões que o levaram a buscar um novo terreno de atuação profissional. Durante o período em que atuou no Brasil, Lebret publicou manuais de pesquisa, proferiu cursos e palestras e orientou os trabalhos da SAGMACS imbuído da idéia de que os países subdesenvolvidos necessitavam de um corpo técnico e militante capacitado para atuar em favor do desenvolvimento. Muitos profissionais brasileiros formados a partir desta idéia participaram dos cursos e atuaram nos trabalhos da SAGMACS, tendo parte deles recebido a formação específica em desenvolvimento no Institut de Recherche et de Formation en vue du Développement Harmonisé (IRFED), criado por Lebret em 1958. Mais tarde, muitos desses profissionais atuariam repercutindo aquelas idéias e a formação recebida, seja em outros grupos de assistência técnica, seja no aparelho do Estado, em cargos políticos, ou em universidades. Mostramos que as experiências de Lebret no Brasil contribuíram para a sua atuação em outros países da América Latina, em outros continentes, e para a sua legitimação como pesquisador na França. Estas experiências e as trocas com os profissionais brasileiros colaboraram no aprimoramento de seu conceito de desenvolvimento e o amadurecimento da sua idéia de criação de um instituto de formação profissional para o desenvolvimento, o IRFED. / This thesis examines the actions of the French-Dominican Louis-Joseph Lebret and the institution he founded in Brazil, the Sociedade para a Análise Gráfica e Mecanográfica Aplicada aos Complexos Sociais (SAGMACS), a Development research bureau that worked in urban planning in Brazil from 1947 until the 1960s. The thrust of this research is the Lebret\'s idea on the training of cadres for development (développeurs), which became the main theme of his engagement. For our analysis we identify some of the matrices of Lebret\'s thought, which were linked to sociological and religious dimensions that influenced his work in the country. We note the inclusion of Lebret in the French context before his arrival in Brazil and the reasons that led him to seek a new field of professional activity. During the period he worked in Brazil, Lebret published research manuals, taught courses, lectures and guided the work of SAGMACS imbued with the idea that developing countries needed a militant trained staff to act in favour of Development. Many Brazilian professionals formed by this idea attended the courses and were involved in the work of SAGMACS, a portion of them receiving specific training in Development at the Institut de Recherche et de Formation en vue du Développement Harmonisé (IRFED), created in 1958 by Lebret. Later, many of these professionals would work reflecting those ideas and the training received, whether in other groups of technical assistance, either in the state apparatus, in political office, or in Universities. We show that the experiences of Lebret in Brazil contributed to his performance in other Latin American countries, in other continents, and his legitimacy as a researcher in France. These experiences and exchanges with Brazilian professionals have contributed to the improvement of his concept of Development and maturation of his idea of creating a training institute for professional Development, IRFED.

Aujourd’hui, les logiciels libres ou open source sont de plus en plus utilisés et peuvent servir dans certains cas de base de développement de logiciels « non libres » ou propriétaires. Le noyau Linux est utilisé par exemple pour aider dans le développement de plusieurs plateformes et logiciels comme Windows et iOS. Le succès des logiciels open source émane du fait que, contrairement aux logiciels propriétaires, les logiciels open source sont développés dans des projets qui s’appuient sur des communautés. Les projets et leurs communautés sont compris dans des environnements plus larges appelés écosystème logiciel ouvert (ECLOO). Toutefois, ces ECLOOs font face à de nombreuses difficultés pouvant nuire à leur santé ou leur bonne marche. Le projet SECOHealth a été initié dans le but de comprendre la santé des écosystèmes logiciels afin de proposer des catalogues de lignes directrices et des outils de recommandation pour pouvoir mesurer et contrôler cette santé. La recherche décrite dans ce document est une partie du projet SECOHealth. Cette recherche a pour objectif de mieux appréhender la santé des ECLOOs pour pouvoir mesurer et contrôler cette santé. Pour ce faire, nous répondrons aux trois questions de recherche suivantes : 1. Quels sont les principaux problèmes auxquels font face les ECLOOs? 2. Quelles sont les principales causes de ces problèmes? 3. Quels sont les principaux impacts de ces problèmes? Pour répondre à ces questions, nous avons mené des entrevues individuelles auprès de dix experts évoluant dans les ECLOOs. L’analyse des données recueillies nous a permis de construire les diagrammes d’analyse causale sur la base de chaque entrevue, ainsi que les chaînes causales des principaux problèmes observés. Les résultats montrent que les principaux problèmes de santé observés, leurs causes et impacts relèvent aussi bien du domaine technique que de domaines non-techniques tel la gestion. / Nowadays, open source software are increasingly used and can become in some cases the basis to develop commercial or proprietary software. For example, the Linux kernel is used in developing several platforms and software like Windows and iOS. The success of open source software stems from the fact that, unlike proprietary software, open source software are developed in projects that rely on communities. Projects and their communities are included in broader environments called open source software ecosystems (OSSECOs). However, these OSSECOs face many difficulties that can affect their health or their proper functioning. The SECOHealth project was initiated with the aim of understanding the health of software ecosystems in order to propose catalogs of guidelines and recommendation tools for measuring and controlling this health. The research described in this document is part of the SECOHealth project. This research aims to better understand the health of open software ecosystems in order to be able to measure and control it. To do this, we will answer the following three research questions: 1. What are the main problems facing OSSECOs? 2. What are the main causes of these problems? 3. What are the main impacts of these problems? To answer these questions, we conducted one-on-one interviews with ten experts in OSSECOs. Analysis of the data collected allowed us to construct the causal analysis diagrams and the causal chains of the main problems observed. The results show that the main health problems, their causes and their impacts fall within the technical domain as well as non-technical domains such as the management.

Cette thèse doctorale étudie la pratique des « artistes-développeurs » œuvrant dans le développement de jeux vidéo en industrie. Elle propose d’aborder cette pratique comme un phénomène complexe, au carrefour du développement de jeu vidéo, de l’agir professionnel et de la pensée des designers. Le développement de jeu vidéo se caractérise par le travail créatif, collaboratif et interdisciplinaire entre design, art, programmation et gestion. En raison de la complexification et de la rationalisation des produits et des processus vidéoludiques depuis les années 1990, des exigences considérables sont apparues pour les artistes, en termes d’adaptation, de spécialisation, de créativité et de productivité. Au cours de la phase de préproduction, des artistes expérimentés collaborent en équipe multidisciplinaire et contribuent à la conception et au prototypage des premières versions fonctionnelles des jeux. Alors que les industries canadienne et québécoise du jeu vidéo se sont rapidement développées au cours des vingt-cinq dernières années, les connaissances sur la pratique des artistes-développeurs demeurent limitées, en dehors de nous informer de l’expertise technique. Les studios développeurs exigent des besoins constants en main-d’œuvre compétente et en alignement des formations ; ils recherchent des compétences particulières (par ex. collaboratives, transversales, polyvalence), tel que constaté chez les petits et moyens studios émergents québécois. En tant qu’enseignant, artiste et chercheur, nous avons voulu développer une compréhension fine et contextuelle dans le but d’informer et guider la formation universitaire des futures artistes et la pratique en industrie. Des explorations pré-terrain au moyen d’entretiens et d’observations auprès d’artistes séniors ont servi à construire la problématique de l’étude, en fournissant une première compréhension de la pratique des artistes-développeurs. Notamment, cette pratique implique des activités individuelles et collaboratives de conception, ainsi que des habiletés réflexives intrinsèques. Ceci a conduit à apparenter leur pratique à celle du designer au sens large. Les va-et-vient entre les premières explorations et la littérature ont enrichi le questionnement pour l’étude jusqu’à conduire à un premier objectif : explorer la pratique réflexive « designlike » des artistes-développeurs expérimentés, durant la phase de préproduction et dans les petits et moyens studios québécois. Un second objectif vise à concevoir un modèle de pratique permettant de saisir la pratique professionnelle compétente des artistes-développeurs. Sur le plan théorique, l’étude se réfère aux théories constructivistes et pragmatistes de l’agir professionnel de la pensée des designers. Le cadre théorique permet d’élaborer une construction théorique avec laquelle il devient possible d’étudier un ensemble de dimensions structurant la démarche réflexive de design, à travers des cas situés et incarnés de pratique. Sur le plan méthodologique, l’enquête qualitative inspirée de l’ethnographie et du « shadowing » explore à travers trois cas de pratique (chaque cas = un artiste dans un petit studio). L’analyse interprétative vise à construire des catégories et à identifier des patterns réplicables d’un cas à l’autre. Chaque cas est analysé et interprété individuellement ; une synthèse transversale des trois cas permet de décrire un modèle provisoire de pratique, lequel est validé auprès des trois participants en entretien individuel. Nous proposons un modèle transférable et enseignable de pratique professionnelle compétent de l’artiste-développeur, en termes de situations et de compétences. Nous soulevons les besoins d’accompagner les artistes à mieux conceptualiser et expliciter leur pratique. Nous montrons comment la préproduction de jeu vidéo constitue un vecteur d’activités collaboratives de design et de prototypage. Nous concluons en proposant des recommandations à la formation des futurs artistes-développeurs, en revenant sur la démarche méthodologique utilisée et en proposant des pistes de recherches futures. / This doctoral thesis studies the practice of “artist-developers” working in video game development. It proposes to examine this practice as a complex phenomenon, at the intersection of video game development, professional practice and design thinking. Video game development is characterized by creative, collaborative and interdisciplinary work between design, art, programming and management. Due to the increasing complexity and rationalization of video game products and processes since the 1990s, considerable demands have been placed on artists in terms of adaptation, specialization, creativity and productivity. During the preproduction phase, experienced artists collaborate in multidisciplinary teams and contribute to the design and prototyping of the early functional versions of games. While the Canadian and Quebec video game industries have grown rapidly over the past twenty-five years, knowledge about the artist-developers’ practice remains limited, except in terms of technical expertise. Development studios have a constant need for qualified practitioners and well-adapted training; they are looking for specific skills (e.g. collaborative, cross-disciplinary, versatility), as seen in small and medium-sized emerging studios in Quebec. As a teacher, artist and researcher, we wanted to develop a fine-grained and contextual understanding in order to inform and guide the academic training of future artists and industry practice. Pre-field investigations based on interviews and observations with senior artists served to frame the study, providing an initial understanding of artist-developers’ practice. This was built on individual and collaborative design activities as well as intrinsic reflective skills. Through the pre-field study we have noticed some similarities between artists’ and designers’ practices. The back and forth between the first explorations and the literature enriched the questioning so to lead to a first objective: to explore the “designlike” reflective practice of experienced artist-developers, in the preproduction phase and in small and medium-sized Quebec studios. A second objective is to develop a model of practice to capture the competent professional practice of artist-developers. The theoretical approach refers to constructivist and pragmatist theories of professional practice and of design thinking. The theoretical framework allows to elaborate a theoretical construction with which we can study a set of dimensions that structures the reflective process of design, through which we can study situated and embodied cases of practice. The methodological approach draws on qualitative research and refers to ethnography and shadowing to explore through three cases of practice (each case = an artist in a small studio). Interpretive analysis is used to construct categories and identify patterns that can be replicated across cases. Each case is analyzed and interpreted individually; a cross-case synthesis is used to describe a provisional model of practice, which is then validated by the three participants during an individual interview. Based on the findings, the study proposes a transferable and teachable model of professional practice of the artist-developer, in terms of situations and skills. In addition, we raise the need to support artists in conceptualizing and making explicit their practice. We also show how the preproduction of video games can be considered as a vector for collaborative design and prototyping activities. In our conclusions, we make several recommendations for the pedagogical training of future artist-developers. We discuss the theoretical and methodological approaches used and suggest various avenues for future research.