Dans cette thèse, nous développons une nouvelle méthode de détection de ruptures "Off-line", appelée Dérivée Filtrée avec p-value, sur des paramètres d'une suite de variables aléatoires indépendantes, puis sur le paramètre de Hurst d'un mouvement Brownien multifractionnaire. Cette thèse est composée de trois articles. Dans un premier article paru dans Sequential Analysis nous posons les bases de la méthode Dérivée Filtrée avec p-value (FDpV) en l'appliquant à une suite de variables aléatoires indépendantes. La méthode a une complexité linéaire en temps et en mémoire. Elle est constituée de deux étapes. La première étape utilisant la méthode Dérivée Filtrée détecte les bons instants de ruptures, mais également certaines fausses alarmes. La deuxième étape attribue une p-value à chaque instant de rupture potentiel détecté à la première étape, et élimine les instants dont la p-value est inférieure à un certain seuil critique. Nous démontrons les propriétés asymptotiques nécessaires à la calibration de la méthode. L'efficacité de la méthode a été prouvé tant sur des données simulées que sur des données réelles. Ensuite, nous nous sommes attaqués à l'application de la méthode pour la détection de ruptures sur le paramètre de Hurst d'un mouvement Brownien multifractionnaire. Cela s'est fait en deux phases. La première phase a fait l'objet d'un article à paraitre dans ESAIM P&S où nous avons établi un Théorème Central Limite pour l'estimateur du paramètre de Hurst appelé Increment Ratio Statistic (IRS). Puis, nous avons proposé une version localisée de l'IRS et démontré un TCL local pour estimer la fonction de Hurst d'un mouvement Brownien multifractionnaire. Les preuves sont intuitives et se distinguent par leur simplicité. Elles s'appuient sur le théorème de Breuer-Major et une stratégie originale appelée "freezing of time". La deuxième phase repose sur un nouvel article soumis pour publication. Nous adaptons la méthode FDpV pour détecter des ruptures sur l'indice de Hurst d'un mouvement Brownien fractionnaire constant par morceaux. La statistique sous-jacent de l'algorithme FDpV est un nouvel estimateur de l'indice de Hurst, appelé Increment Zero-Crossing Statistic (IZCS) qui est une variante de l'IRS. La combinaison des méthodes FDpV + IZCS constitue une procédure efficace et rapide avec une complexité linéaire en temps et en mémoire. / This Ph.D dissertation deals with "Off-line" detection of change points on parameters of time series of independent random variables, and in the Hurst parameter of multifrcational Brownian motion. It consists of three articles. In the first paper, published in Sequential Analysis, we set the cornerstones of the Filtered Derivative with p-Value method for the detection of change point on parameters of independent random variables. This method has linear time and memory complexities, with respect to the size of the series. It consists of two steps. The first step is based on Filtered Derivative method which detects the right change points as well as the false ones. We improve the Filtered Derivative method by adding a second step in which we compute the p-values associated to every single potential change point. Then we eliminate false alarms, i.e. the change points which have p-value smaller than a given critical level. We showed asymptotic properties needed for the calibration of the algorithm. The effectiveness of the method has been proved both on simulated data and on real data. Then we moved to the application of the method for the detection of change point on the Hurst parameter of multifractional Brownian motion. This was done in two phases. In the first phase, a paper is to be published in ESAIM P&S where we investigated the Central Limit Theorem of the Increment Ratio Statistic of a multifractional Brownian motion, leading to a CLT for the time varying Hurst index. The proofs are quite simple relying on Breuer-Major theorems and an original freezing of time strategy.The second phase relies on a new paper submitted for publication. We adapted the FDpV method to detect change points on the Hurst parameter of piecewise fractional Brownian motion. The underlying statistics of the FDpV technology is a new statistic estimator for Hurst index, so-called Increment Zero-Crossing Statistic (IZCS) which is a variation of IRS. Both FDpV and IZCS are methods with linear time and memory complexities, with respect to the size of the series.

Il presente lavoro di tesi si colloca all’interno della tradizione di ricerca nota come Empirically Supported Therapy Relationships, un modello d’indagine centrato sulla natura e sulla funzione della relazione al di là della contrapposizione tra ricerca sugli esiti e ricerca sul processo. I tre studi in cui si articola il lavoro assumono come focus d'indagine porzioni progressive del trattamento: la prima seduta, le prime due sedute, l’intero percorso. Nel primo studio sono messi a confronto differenti esiti terapeutici per verificare se le ricadute sul piano clinico del metodo interpretativo siano riconducibili ad un criterio di presenza/assenza o da ricercare nell’intreccio con altri fattori caratterizzanti il percorso di cura. Il secondo studio si propone di affrontare casi di interruzione prematura del trattamento, differenziati in funzione del raggiungimento o meno della stipulazione di un contratto terapeutico: l’obiettivo è quello di evidenziare le caratteristiche connesse alla diversa fase di abbandono del contesto di cura. Infine il terzo studio, nella forma del single-case study, è incentrato sui momenti di frattura dell’alleanza terapeutica lungo un intero processo terapeutico di quaranta sedute. / The present dissertation refers to the theoretical background known in the literature as Empirically Supported Therapy Relationships, a research tradition focused on the relationship and its nature, beyond the outcome and process research opposition. The three studies included in this work focused on different portions of treatment: respectively the initial intake session, the first two sessions, and the overall treatment. In the first study different outcomes were compared in order to examine if the effects of interpretations were connected to specific factors of psychotherapeutic process. The second study aimed to assess clinical cases of premature termination, differentiated on the basis of the contract attainment: the purpose was to depict specificities due to the different phase of dropping out. Finally, the third study was a single-case research examining alliance ruptures within an entire clinical process of forty sessions.

Les signaux électroencéphalographiques enregistrés chez les patients épileptiques reflètent, en dehors des périodes correspondant aux crises d'épilepsie, des signaux transitoires appelés "activités épileptiformes" (AE). L'analyse des AE peut contribuer à l'étude des épilepsies partielles pharmaco-résistantes. Une méthode de caractérisation de la dynamique spatio-temporelle des AE dans des signaux EEG de profondeur est présentée dans ce document. La méthode est constituée de quatre étapes:<br /><br />1. Détection des AE monovoie. La méthode de détection, qui repose sur une approche heuristique, utilise un banc de filtres en ondelettes pour réhausser la composante pointue des AE (généralement appelée "spike" dans la littérature). La valeur moyenne des statistiques obtenues en sortie de chaque filtre est ensuite analysée avec un algorithme de Page-Hinkley dans le but de détecter des changements abrupts correspondant aux spikes.<br /><br />2. Fusion des AE. Cette procédure recherche des co-occurrences entre AE monovoie à l'aide d'une fenêtre glissante puis forme des AE multivoies.<br /><br />3. Extraction des sous-ensembles de voies fréquement et significativement activées lors des AE multivoies (appelés "ensembles d'activation").<br /><br />4. Evaluation de l'éxistence d'un ordre d'activation temporel reproductible (éventuellement partiel) au sein de chaque ensemble d'activation.<br /><br />Les méthodes proposées dans chacune des étapes ont tout d'abord été évaluées à l'aide de signaux simulés (étape 1) ou à l'aide de models Markoviens (étapes 2-4). Les résultats montrent que la méthode complète est robuste aux effets des fausses-alarmes. Cette méthode a ensuite été appliquée à des signaux enregistrés chez 8 patients (chacun contenant plusieurs centaines d'AE). Les résultats indiquent une grande reproductibilité des distributions spatio-temporelles des AE et ont permis l'identification de réseaux anatomo-fonctionnels spécifiques.

Quelles représentations les Français, situés au-delà de l'activité professionnelle, ont-ils de la vieillesse ? Comment font-ils face aux conséquences de l'avancée en âge ? Qu'est-ce qui est important pour eux durant les années de la dernière étape de la vie ? Quels sont leurs souhaits, leurs appréhensions, les nouvelles pistes qu'ils explorent ? Telles sont les questions à l'origine du projet de recherche dont ce texte présente les résultats. Il veut être une contribution à l'étude des différentes manières dont les personnes de plus de soixante ans se représentent et vivent leur avancée en âge au début du XXIe siècle, les principaux évènements, changements et ruptures qu'elles doivent assumer, les questions qu'elles se posent, les difficultés qu'elles rencontrent, l'enseignement qu'elles en retirent.

Cette thèse propose des méthodes computationnelles nouvelles en géométrie de l'information, avec des applications temps réel au traitement du signal audio. Dans ce contexte, nous traitons en parallèle les problèmes applicatifs de la segmentation audio en temps réel, et de la transcription de musique polyphonique en temps réel. Nous abordons ces applications par le développement respectif de cadres théoriques pour la détection séquentielle de ruptures dans les familles exponentielles, et pour la factorisation en matrices non négatives avec des divergences convexes-concaves. D'une part, la détection séquentielle de ruptures est étudiée par l'intermédiaire de la géométrie de l'information dualement plate liée aux familles exponentielles. Nous développons notamment un cadre statistique générique et unificateur, reposant sur des tests d'hypothèses multiples à l'aide de rapports de vraisemblance généralisés exacts. Nous appliquons ce cadre à la conception d'un système modulaire pour la segmentation audio temps réel avec des types de signaux et de critères d'homogénéité arbitraires. Le système proposé contrôle le flux d'information audio au fur et à mesure qu'il se déroule dans le temps pour détecter des changements. D'autre part, nous étudions la factorisation en matrices non négatives avec des divergences convexes-concaves sur l'espace des mesures discrètes positives. En particulier, nous formulons un cadre d'optimisation générique et unificateur pour la factorisation en matrices non négatives, utilisant des bornes variationnelles par le biais de fonctions auxiliaires. Nous mettons ce cadre à profit en concevant un système temps réel de transcription de musique polyphonique avec un contrôle explicite du compromis fréquentiel pendant l'analyse. Le système développé décompose le signal musical arrivant au cours du temps sur un dictionnaire de modèles spectraux de notes. Ces contributions apportent des pistes de réflexion et des perspectives de recherche intéressantes dans le domaine du traitement du signal audio, et plus généralement de l'apprentissage automatique et du traitement du signal, dans le champ relativement jeune mais néanmoins fécond de la géométrie de l'information computationnelle.

Drawing on the methods of feminist art history and my own knowledge of the field, this PhD gives an overview of “Russian” (Russian Empire, Soviet, post-Soviet) art history with women at its center. Starting in the late 18th century and spanning to the present-day, I critically examine women’s artworks, the social contexts in which those women find themselves, as well as their biographies. Thus, this thesis extends beyond strict media analysis as a central concern of feminist criticism. This text consist of five chapters. Chapter One begins at the end of the 18th century and covers women artists working throughout the Russian Empire up through the beginning of the 20th century. Thesis looks at specific women artists and how the path to professionalization opened up new doors while women were still largely excluded from elite artistic circles. This overview demonstrates how this occurred both in explicit social exclusion as well as implicitly – specifically in the ways that the portrayals of women in professional art shifted throughout the 19th century. The ambivalent nature of women’s simultaneous inclusion and exclusion from leading art institutions and groups serves as a defining feature of the art world of the Russian Empire. Chapter Two examines women’s roles in the avant-garde at the beginning of the 20th century. As has been recognized in much popular scholarship, women served as key players in the so-called “Russian Avant-Garde”. For instance, while many Western European artists at the time turned to the colonies of their respective empires for stimulation, many Russian avant-garde artists turned to local peasants. Precisely because of their more differentiated relationships, Chapter Two argues that these women artists produced very dissimilar work from their Western European counterparts. This was due both to questions of gender as well as power and colonialism. From there, thesis shows the ways in which women avant-garde artists made use of various media – especially textiles, porcelain, and book design. Chapter Three revolves around women artists in the Soviet Union. At first it examines how women were portrayed in Socialist Realism, which followed largely three archetypes: the collective farm woman, the sportswoman, and the ballerina. In this chapter focus is on how women navigated the slippery terrain of the social world of Socialist Realism by highlighting the role of its most successful example – Vera Mukhina. Tracing through Mukhina’s path from the avant-garde to Socialist Realism’s most famous female artists, the text reveals continuities between the two genres that have typically been overlooked in the literature. Indeed, Mukhina’s development suggests much more in common between the avant-garde and Socialist Realism than most male artists’ careers would indicate. Finally, this chapter discusses women artists who rejected Socialist Realism and produced so-called “unofficial” art – focusing on the (in)famous Bulldozer Exhibition of 1974. Chapter Four illuminates how women artists negotiated the enormous socio-political changes during Perestroika through past the dissolution of the Soviet Union. In the 1990’s, three prominent all-women art collectives emerged: the Factory of Found Clothes, the Cyber-Femin Club, and the Fourth Height. Based largely on interviews with the women who participated in the groups, text sketches out a general history of how they formed, produced art, and confronted questions of gender and society. Then, chapter four turns to women artists who worked mostly individually throughout the same period. In this thesis women artists from the 90’s are categorized based on their concepts of gender – women who flipped gender dynamics through their art, women who took radical stances toward gender through their art, and women who did not clearly challenge ideas of gender. In the text they are called the “flip-floppers”, the “radicals”, and the “quietists”, respectively. In Chapter Five, there is a break with the chronological approach of the previous chapters. Instead, first part compares the trial of Iuliia Tsvetkova in 2019 and the trial of Natalia Goncharova in 1910. Both women were accused of producing pornography and thus subject to prosecution. Through this comparison, one can see the continuities and ruptures of the gender dynamics in broader society then and now, particularly in relationship to art and art production. Second part of the chapter five, compares the so-called “Leningrad Feminists” of the 1970’s and Pussy Riot from the 2010’s. By highlighting how these two collectives used the imagery of the Virgin Mary in their work, the text draws out parallels between the two that have gone unnoticed, even by the artists themselves. This dissertation is thus fundamentally about connections. Connections, both visible and invisible, define the social constellations in which women artists participate. By drawing out these connections, this thesis reimagines Russian art history and propose new, albeit imperfect, in the words of Amelia Jones, genealogies. Such genealogies open the space for a deep reckoning with the canon.:Table of Contents Introduction But What is a Russian Woman Artist Anyway? Literature Review & Methodology Chapter Outline Chapter 1: Woman as Artist in the Russian Empire Imperialism and Internal Colonization Bridging Art Histories: Between the Russian Empire and the Western Empires The “Russian Empire” periods of Marie-Anne Collot, Élisabeth Vigée Le Brun, and Kristina Robertson Independent Foreign Women Artists, Operating Beyond Royal Patronage: Maria Gomion and Julie Hagen-Schwarz Representations of Local and European Women Artists in the Russian Empire: Comparing article “Russkie Khudozhnitsy” [Russian Women Artists] and Somov’s article “Zhenshchiny Khudozhnitsy” [Women Artists] Paths to Professional Art for Women Artists in the late Russian Empire Variety of Professional Strategies for Women Artists in the Russian Empire Challenges Faced by Women in the Imperial Academy of Arts: Marfa Dovgaleva, Avdotia Mikhailovna Bakunina, Sofia Sukhovo-Kobylina, and Katerina Khilkova Women Artists from the Russian Empire in the Académie Julian: Maria Bashkirtseff, Princess Maria Tenisheva, Maria Iakunchikova, and Elizaveta Zvantseva Female and Male Paths to Becoming an Artist: The Cases of Elena Polenova and Vasilii Polenov Women in the Wanderers and the World of Art Two Women Wanderers: Emily Shanks and Antonina Rzhevskaia Women in the World of Art and Related Circles: Anna Ostroumova-Lebedeva, Elizaveta Kruglikova, Elena Polenova, Maria Yakunchikova, and Zinaida Serebriakova Between Artist, Mother, and Model: Self-Representations of Women Artists Insisting on the Professional Self: Katerina Dolgorukaia, Katerina Chikhacheva, Sofia Sukhovo-Kobylina, Maria Bashkirtseff, Elizaveta Kruglikova, Anna Ostroumova-Lebedeva, Marianne Werefkin, and Teresa Ries The Fe[male] Gaze: Ol’ga Della-Vos-Kardovskaia, Tamara de Lempicka, and Zinaida Serebriakova Chapter 2: Women Artists Shaping the Avant-Garde Conceptualizing Avant-Garde in the Russian Empire Framing the “Feminine”: Noble and Peasant Femininities Women Artists and Religion: Natalia Goncharova and Marianne Werefkin Women Artists and Lubok: Sofia Kalinkina, Elizaveta Bem, and Maria Siniakova The Case of Natalia Goncharova: Between Two Worlds Looking West: Goncharova and Gauguin Looking East: Goncharova and Peasant Culture Craft in the Foreground: Women in Textile, Porcelain, and Book Design Women in Textile Design, Embroidery, and Factory Production: Natalia Davidova, Sonia Delaunay-Terk, Nadezhda Udaltsova, Vera Pestel, Ol’ga Rozanova, Varvara Stepanova, and Lubov Popova Women in Costume Design in the Early Soviet Union: Natalia Goncharova, Nina Genke-Meller, Alexandra Exter, Nadezhda Lamanova, Varvara Stepanova, Sonia Delaunay-Terk, and Vera Mukhina Women Artists and Futurist Books: Elena Guro, Natalia Goncharova, and Ol’ga Rozanova Women Artists and Children’s Book Illustration: Vera Ermolaeva, Elena Safronova, Alisa Poret, Tatjana Glebova, Maria Siniakova, Galina and Ol’ga Chichagovy, and others Women artists and Small Sculptural Forms (porcelain and ceramics): Natalia Danko and Alexandra Shekotikhina-Potozkaia Chapter 3: Women Artists in Socialist Realism and Unofficial Art Aligning Art History of the Soviet Union and Gender Studies Official Images of Women in the Soviet Union Kolkhoznitsa [Collective Farm Woman] Sportsmenka [Sportswoman] Balerina [Ballet Dancer] Socialist Realist Women Painters Women Artists in the Moscow School of Socialist Realism: Vera Orlova, Ekaterina Zernova, and Serafima Riangina Women Artists and the Leningrad School of Painting: Nadezhda Steinmiller, Evgenia Antipova, Vera Nazina, and others Women Socialist Realist painters from the Soviet Republics: Tetiana Iablonska, Vaiiha Samadova, the Sisters Aslamazian, Elene Akhvlediani, and others Women Artists as Soviet Sculptors Women as Sculptors before the Soviet Union: Elena Luksch-Makovskii, Maria Dillon, Teresa Ries, and Anna Golubkina A Case Study: Vera Mukhina the Soviet Sculptor – Between the Street and the Household Women Artists in Unofficial Art Some Aspects of Canonization of Women Artists of the Bulldozer Exhibit: Nadezhda Elskaia and Lydia Masterkova Artistic Couples in Soviet Unofficial Art and Their Visions of Eden Chapter 4: Women Artists in the Late Soviet Union and after Its Dissolution The Emergence of Women-Only Groups in the Post-Soviet Space: the Factory of Found Clothes (FFC), Cyber-Femin Club, the Fourth Height The Factory of Found Clothes (FFC): Ol’ga Tsaplia-Egorova and Natalia Gluklia-Pershina-Yakimanskaia The Cyber-Femin-Club: Alla Mitrofanova, Irina Aktuganova, Lena Ivanova, and Ol’ga Levina Chetvertaia Vysota [The Fourth Height]: Ekaterina Kameneva, Dina Kim, and Galina Smirnskaia Resisting Erasure: Women Artists from the 1990’s The Mirror Game or the Flip-Floppers: Anna Alchuk and Tania Antoshina The Radicals: Alena Martynova and Elena Kovylina The Quietists: Marina Perchikhina and Liza Morozova Curating the “Gender Turn” in the post-Soviet art: Natalia Kamenetskaia and others Chapter 5: Creating Parallel Histories Unacceptable Bodies: Trials against Natalia Goncharova in 1910 and Iuliia Tsvetkova in 2019 Bogoroditsa stan’ Feministkoi? Comparing the Leningrad Feminists and Pussy Riot Conclusion Illustrations Bibliography Additional Materials. Interviews.

Master of Visual Arts / This Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.

Master of Visual Arts / This Dissertation explores the metaphor of Ariadne’s thread in terms of interconnection, when an element from the everyday is used as a locus linking broader concepts of time and space. Such experiences and associations are reflected in the work of Louise Bourgeois, Eva Hesse, Doris Salcedo, Lucio Fontana, Richard Tuttle, Mona Hatoum, Simone Mangos, Anya Gallaccio and Yoshihiro Suda. In relation to my own work, the metaphor of interconnecting thread allows a sense of freedom and journey of discovery. My studio and related research are closely aligned in developing my understanding of interconnection, through my studio process of making and continuing experiences of looking at and interpreting others artists’ work.