Cette thèse s’inscrit dans le cadre d’un Programme d’Étude Amont (PEA) dirigé par la DGA et piloté par l’entreprise Nexter-System, consistant à élaborer des "Systèmes de camouflage adaptatifs Vis et IR". Ce projet concerne l’élaboration de macropixels adaptatifs à réflexion modulable. Le projet de recherche avait pour objectif de réaliser des couches minces de polymères électrochromes de couleur magenta, cyan et jaune pouvant commuter dans un état achromatique, afin de les intégrer dans des dispositifs complets tout organique (collaboration LPPI, Université de Cergy-Pontoise) ou hybrides (collaboration CEA Le Ripault). De plus, ces matériaux doivent être stables électrochimiquement et optiquement, et présenter des temps de commutation relativement courts (inférieurs à 10 secondes dans l’idéal). / This thesis is incorporated in a project which involves developing electro-adjustable reflection macro-pixels for armored vehicle's adaptative camouflage. The purpose of the research project was creating thin layers of magenta, cyan and yellow electrochromic polymers switchable to an achromatic state, in order to incorporate them in organic or hybrid complete devices. Moreover, these materials had to be electrochemically and optially stable, and had to present a short response time. In order to meet the materials color coordinates of the technical specification, the handgap of the organic semi-conductors has been realized by a particular design of the monomers, either by adding electron-rich or electron-poor groups, or by copolymerization between several co-monomers. According to sought properties and the possibilities offered by the monomers, the pi-conjugated polymers had been synthetized by chemical way (by oxydation or Suzuki or Stille reaction) then deposited by spray-casting, or electrodeposited at the surface of a transparent conductor substrate. The electrochromic thin layers had been electrochemically and spectroelectrochemically studied so as to test their cyclic stability and to determine their color coordinates, their opticl contrast and their response time. The use of ionic liquid EMITFSI for synthesis and electrochemical characterization had been explored, and pointed out a significant improvement of the cyclability of the created magenta, cyan and yellow polymers. The preparation of complete electrochromic devices (with organic or inorganic counterelectrode) has been started and has permitted to realize macro-pixels (2x2cm 2) and then demonstrative plates constituted of 16 macro-pixels (4x4cm 2 for each macropixel, with, in particular, yellow pixels including optimized poly(diphenyldithieno[3,2-b;2'3']thiophene)) with electro-control of the color commutation, constituting the fundamental component of an active surface tor the military vehicle's camouflage.

Syftet med studien är att undersöka hur AI kan användas som verktyg inommusikproduktion. De tre program som valdes ut för undersökningen var: AIVA, GoogleAI och Jukebox. För att genomföra undersökningen har deskriptiv fallstudie valts sommetod med komplettering av autoetnografi och designforskning. Resultatet visade påhur de olika programmen kunde användas i olika områden av musikproduktion. AIVAkan användas för att komplettera och/eller återskapa mänsklig kreativitet. Jukebox somär en generativ modell kan användas för att emulera ljudfiler till att imitera olika låtareller andra kompositörers stilar. Google AI består av flera AI program bland annatScribe och Magneta Studios ingår. Där Scribe kan användas för att transkriberapianoljudfiler till MIDI och Magenta Studios kan användas som fristående programeller som plugins i en DAW och med MIDI eller ljudfiler kan programmet utökakreativiteten, ge nya idéer eller bara för experimentera med AI. AI i musikproduktionkan användas som ett effektivt hjälpmedel för att skapa, hitta eller utöka kreativitet.Studien bidrar till att ge ytterligare kunskap om hur AI kan användas som ett kreativtverktyg i musikproduktion genom forskaren själv använder programmen och på ettdetaljerat sätt förklarar processen från början till slut och tar upp exempel på hurprogrammen kan användas i musikproduktion.

<p>The paper contains comment, clarification and criticism, even constructive criticism, of some theses that have been put forward by Laurence Bonjour in his In Defense of Pure Reason.</p><p>It presents a concept of experience that deals with the relation between cognizer and object of experience that has a great similarity to that of Bonjour. Through analysis it is shown that the concept of a priori entails that Bonjour has two concepts of a priori, a narrow and a broad one. The narrow one is, in my own words: According to moderate rationalism a proposition p is a priori justified if and only if you apprehend that p must be true in every possible world. This doesn’t mean that Bonjour doesn’t believe in an epistemological, metaphysical and semantic realm. The broad one does not mention anything about possible worlds.</p><p>Casullo in his A priori justification rejects Bonjour’s argument against Quine’s coherentism. A defense is put forward with the concept ‘an ideal of science for apparent rational insights’. The concept of axiomatic system and foundationalism is used. If we assume that the colour proposition ‘nothing can be red all over and green all over at the same time’ has the meaning that we, in this very moment, are representing a property in the world, thus we have an argument of superposition for the correctness of the proposition. The ground for this argumentation relies on the identification of colours with superposing electromagnetic waves.</p>

The paper contains comment, clarification and criticism, even constructive criticism, of some theses that have been put forward by Laurence Bonjour in his In Defense of Pure Reason. It presents a concept of experience that deals with the relation between cognizer and object of experience that has a great similarity to that of Bonjour. Through analysis it is shown that the concept of a priori entails that Bonjour has two concepts of a priori, a narrow and a broad one. The narrow one is, in my own words: According to moderate rationalism a proposition p is a priori justified if and only if you apprehend that p must be true in every possible world. This doesn’t mean that Bonjour doesn’t believe in an epistemological, metaphysical and semantic realm. The broad one does not mention anything about possible worlds. Casullo in his A priori justification rejects Bonjour’s argument against Quine’s coherentism. A defense is put forward with the concept ‘an ideal of science for apparent rational insights’. The concept of axiomatic system and foundationalism is used. If we assume that the colour proposition ‘nothing can be red all over and green all over at the same time’ has the meaning that we, in this very moment, are representing a property in the world, thus we have an argument of superposition for the correctness of the proposition. The ground for this argumentation relies on the identification of colours with superposing electromagnetic waves.

Creative AI in the music field has in recent years begun stepping out of the confines of academia and seen increased adoption among musicians thanks to developers launching consumer products powered by AI. These new tools are opening up new possibilities in music-making, but their increased use and development prompts inquiry regarding their sustainability. While studies have been conducted on the sustainability of training AI models, the sustainability of the usage of Creative AI remains largely unexplored. To amend this, this paper studies the energy consumption of using four music-related browser-based Creative AI tools. The four tools are Tone Transfer, Piano Scribe, MidiMe and Performance RNN, all developed by Google Magenta. The energy consumption of the tools was found by measuring the power provided to the computer. This was done by connecting a smart plug between the computer’s power cord and the wall socket. We found that Tone Transfer consumed the most energy per use with an average energy consumption of 392 J. MidiMe consumed the least energy per use with 138 J. All the tools consumed less energy per use than leaving the computer running in steady-state for 70 seconds. With this study, we have shown that the usage of music-related Creative AI tools does not represent a threat to sustainability goals. Our findings indicate that the tools studied in this paper manage to be efficient, while being both powerful and useful. This disputes the notion that there is a trade-off between performance and efficiency in the design of AI tools. We postulate that when developing tools for local use by consumers, developers are bound by limitations that force them to design efficient tools. / Kreativ AI inom musikområdet har under de senaste åren börjat ta sig ut ur den akademiska världens ramar och anammats i högre grad bland musiker. Detta tack vare att utvecklare börjat lanserat konsumentprodukter som drivs av AI. Dessa nya verktyg öppnar upp för nya möjligheter inom musikskapande, men deras ökade användning och utveckling föranleder undersökningar om deras hållbarhet. Även om studier har gjorts gällande hållbarheten av att träna AI-modeller, är hållbarheten av användningen av Kreativ AI fortfarande till stor del outforskat. För att ändra detta studerar vi i denna artikel energiförbrukningen av att använda fyra musikrelaterade webbläsarbaserade Kreativa AI-verktyg. De fyra verktygen är Tone Transfer, Piano Scribe, MidiMe och Performance RNN, alla utvecklade av Google Magenta. Verktygens energiförbrukning hittades genom att mäta effekten till datorn. Detta gjordes genom att ansluta en smart kontakt mellan datorns nätsladd och vägguttaget. Vi fann att Tone Transfer förbrukade mest energi per användning med en genomsnittlig energiförbrukning på 392 J. MidiMe förbrukade minst energi per användning med 138 J. Alla verktyg förbrukade mindre energi per användning än vad som konsumeras av att låta datorn vara igång i steady-state i 70 sekunder. Med denna studie har vi visat att användningen av musikrelaterade Kreativa AI-verktyg inte utgör ett hot mot hållbarhetsmål. Våra resultat tyder på att verktygen som studerats i denna artikel lyckas vara effektiva, samtidigt som de är både kraftfulla och användbara. Detta ifrågasätter uppfattningen om att det finns en avvägning mellan prestanda och effektivitet i utformningen av AI-verktyg. Vi anser att när utvecklare utvecklar verktyg för lokal användning av konsumenter är utvecklare bundna av begränsningar som tvingar dem att designa effektiva verktyg.

Cette étude a pour but d’analyser les représentations peintes – mais aussi, à chaque fois que cela était pertinent pour le propos, les dessins, les photographies et les sculptures – des campagnes d’Italie de 1800 et de 1859. L’approche comparative de ces deux événements met en parallèle les héritages et les innovations artistiques d’« un Napoléon à l’autre », en posant à chaque fois la question de la volonté de précision et des connaissances des artistes chargés d’immortaliser les grandes phases de ces conflits, de manière à apporter un regard principalement centré sur les aspects militaires de ces représentations, en recourant notamment à l’étude iconographique. S’il s’agit avant tout d’un travail d’histoire de l’art, s’appuyant sur l’analyse stylistique et sur la réception critique des œuvres, l’approche méthodologique proposée croise d’autres disciplines afin de détailler la conception et l’organisation des œuvres : topographie, stratégie, tactique et, plus largement, d’autres domaines plus spécifiquement liés au patrimoine militaire (uniformologie, emblématique, armement…). Les œuvres sont également confrontées aux objets conservés et à l’histoire militaire qu’elles représentent, afin de comprendre comment les artistes ont conçu leurs productions et sont parvenus à rendre les faits. L’organisation du propos est divisée en trois parties, étudiant successivement la représentation topographique (les artistes se sont-ils rendus sur les lieux, ont-ils cherché à être précis en rendant les paysages et les particularités géographiques ?), le rendu de la bataille (comment la traite-t-on au début et au milieu du siècle, trouve-t-on un véritable souci de faire figurer les bonnes unités aux bons endroits et de tenter de comprendre et / ou de recomposer les manœuvres tactiques ?) et la perception héroïque (comment met-on en valeur le héros d’une époque à l’autre et comment différencier une œuvre au rendu réaliste d’une autre vouée à la glorification ou à l’édification ?). / This work deals with a comparative analysis of military paintings representing the French Italian Campaigns (1800 and 1859), including drawings, photographs and sculptures when it is relevant. The parallel is established between artistic heritages and innovations from “a Napoleon to the other”, asking the artists’ willing of precision and military knowledge when they represented these events, so these works of art are studied in a different way focused on a military approach using iconography. Although the main work is in history of art, based on the analysis of formal handling and critical reception, the methodology resorts other sciences in order to examine the artworks composition and organisation in details: in that way, artworks are confronted to topography, strategy, tactic and also military heritage testimonies (uniforms, emblems, weapons…) and history they aimed to show. The work is divided in three parts, successively studying topographical representation (did the artists travelled to see the places and did they represented precise and recognizable geographical details?), the way of painting battles (how fights were figured at the beginning and in the middle of the 19th century, can regiments and tactical manoeuvres be identified correctly?) and heroic perception (how heroes were showed in 1800 and in 1859 and how artworks can be ranked, between glorification and realistic representations?).

Goal of this master thesis is to study harmonization based on knowledge of given melody and to design a system which will meaningfully automate this activity. In the work there is covered basics of music theory needed for this topic and previous other approaches to this problematic. There is also covered machine learning, neural networks and recurrent neural networks. In the end, there is outlined design of the system, how to make it work and how to use it. Three experiments were executed with the system. Harmonization of the melodies were unpleasant though. A possible cause might be relatively small used neural network of the system.

Goal of this master thesis is to study harmonization based on knowledge of given melody and to design a system which will meaningfully automate this activity. In the work there is covered basics of music theory needed for this topic and previous other approaches to this problematic. There is also covered machine learning, neural networks and recurrent neural networks. In the end, there is outlined design of the system, how to make it work and how to use it. Four experiments were executed with the system. Harmonization of the short melodies were unpleasant. Harmonization of longer melodies were overall more successful though. A possible cause might be relatively small used neural network of the system.