Dans cette thèse, nous présentons nos contributions à APOLLO : un compilateur de parallélisation automatique qui combine l'optimisation polyédrique et la parallélisation spéculative, afin d'optimiser des programmes dynamiques à la volée. Grâce à une phase de profilage en ligne et un modèle spéculatif du comportement mémoire du programme cible, Apollo est capable de sélectionner une optimisation et de générer le code résultant. Pendant l'exécution du programme optimisé, Apollo vérifie constamment la validité du modèle spéculatif. La contribution principale de cette thèse est un mécanisme de génération de code qui permet d'instancier toute transformation polyédrique, au cours de l'exécution du programme cible, sans engendrer de surcoût temporel majeur. Ce procédé est désormais utilisé dans Apollo. Nous l'appelons Code-Bones. Il procure des gains de performance significatifs par comparaison aux autres approches. / In this thesis, we present our contributions to APOLLO: an automatic parallelization compiler that combines polyhedral optimization with Thread-Level-Speculation, to optimize dynamic codes on-the-fly. Thanks to an online profiling phase and a speculation model about the target's code behavior, Apollo is able to select an optimization and to generate code based on it. During optimized code execution, Apollo constantly verifies the validity of the speculation model. The main contribution of this thesis is a code generation mechanism that is able to instantiate any polyhedral transformation, at runtime, without incurring a major time-overhead. This mechanism is currently in use inside Apollo. We called it Code-Bones. It provides significant performance benefits when compared to other approaches.

Abstract This doctoral dissertation discusses constructive mythopoetics in J. R. R. Tolkien’s legendarium, the mythopoetic logics and elements on which Tolkien’s texts and his fantasy world are constructed. My aim in this research is to create a reading of Tolkien’s fiction that shows that it is possible to discern a mythopoetic code in Tolkien’s legendarium. My hypothesis is that Tolkien’s mythopoetic fiction aims to be coherent on the levels of languages, myths, and inter- and intratextual background. This coherence can be found throughout the various texts and fragments of Tolkien’s fiction. From the cosmogonical creation myth of The Silmarillion, to the fairy-story lightness of The Hobbit and the quest fantasy of The Lord of the Rings, Tolkien’s fiction has its roots in the mythopoetic logics of his theory of creative writing (or myth-making). Tolkien is the sub-creator; he is creating myths and building his own world. For Tolkien, God is the primary creator, but the author is the (sub-)creator of his own creation. This is consistent throughout Tolkien’s legendarium, despite the fact that whilst creating his fiction, Tolkien is “pretending” to be a translator of mythical pseudo-historical documents. In the main chapters, my research logics trace the inner timeline of Tolkien’s legendarium. Starting from the creation of the world, I move onto the long fall and struggle and to the end of the world. When discussing the theme of creation, I focus on the concept of creation on the intratextual level of Tolkien’s legendarium as well as on Tolkien’s aesthetics of creative work. In the end of the dissertation, I turn my attention also to the creative work of the reader. My theoretical approach is influenced by both Northrop Frye’s constructive theory of literature and Benjamin Harshav’s theory of constructive poetics. I discuss the creative methods of speculative historical epic and the dichotomies of beginning and end, good and evil, mortality and immortality, spiritual and physical, and visibility and invisibility, as well as how these elements are manifested in Tolkien’s mythopoetic vision. The structure of Tolkien’s constructive mythopoetics is illuminated through the grand concepts of the Creation, the Existence, the Fall and the Struggle. / Tiivistelmä Väitöskirjani käsittelee konstruktiivista mytopoetiikkaa J. R. R. Tolkienin legendaariossa. Työ keskittyy ennen kaikkea mytopoeettiseen logiikkaan ja elementteihin, joiden kautta Tolkienin tekstit ja hänen luomansa fantasiamaailma rakentuvat. Tutkimukseni muodostaa Tolkienin fiktion luennan, joka osoittaa, että Tolkienin legendaariolle voidaan löytää mytopoeettinen koodi. Tämä koodi havainnollistaa, että Tolkienin mytopoeettinen fiktio luo koherentin ja uskottavan kokonaisuuden kielen, myyttien sekä inter- ja intratekstuaalisten vaikutussuhteiden kautta. Tämä yhteenkuuluvuus ja koodi on nähtävissä, vaikka Tolkienin legendaarion osat ovat keskenään perin erilaisia, eri kirjallisuuslajeihin kuuluvia ja vaikka osa on julkaistu vain fragmentteina hänen kuolemansa jälkeen. Tolkienin mytopoeettinen logiikka ja luovan kirjoittamisen teoria näkyvät aina Silmarillion-teoksen kosmogonisesta luomismyytistä kevyen satumaiseen Hobittiin tai aina seikkailufantasiaan Taru Sormusten Herrasta. Tekijänä Tolkien näyttäytyy teoksissaan “alempana luojana” (sub-creator), joka kehittää myyttejä ja rakentaa fantasiamaailmaansa. Tolkienille Jumala on “ylempi luoja”, johon kirjailija vertautuu fiktion tasolla. Väitöskirjani tutkimuslogiikka seuraa Tolkienin legendaarion aikajärjestystä. Aloitan työni maailmanluomisesta, siirryn tämän jälkeen ns. pitkään tappioon ja haipumiseen sekä aina maailmanloppuun saakka. Luomisen teemaa käsitellessäni päähuomioni on sekä Tolkienin legendaarion teosten sisäisessä kertomuksessa että hänen kirjallisen luomisensa estetiikassa. Väitöskirjan loppupuolella käännän huomiotani myös lukijan “luomistyöhön” teoksia lukiessa. Käyttämääni teoreettiseen näkökulmaan ovat vaikuttaneet erityisesti Northrop Fryen konstruktiivinen kirjallisuusteoria sekä Benjamin Harshavin konstruktiivinen poetiikka. Käsittelyssäni ovat myös spekulatiivisen historiallisen epiikan metodit sekä hyvän ja pahan, kuolevaisuuden ja kuolemattomuuden, henkisen ja fyysisen sekä näkyvän ja näkymättömän vastakkainasetteluparit, ja ennen kaikkea se, kuinka nämä vastakkainasetteluparit ja elementit näyttäytyvät Tolkienin mytopoeettisessa visiossa. Tolkienin fiktion konstruktiivinen mytopoetiikka havainnollistuu metafyysisten ja temaattisten käsitteiden Luominen (Creation), Olemassaolo (Existence), Lankeamus (Fall) ja Ponnistelu (Struggle) kautta.

In the prison society of Circadia, the Jury doesn’t need chains or locks to keep citizens tame, only routine—but Valerie and Brennan break the routine. Valerie allows a hospital patient who hurt her in the past to die from cardiac arrest. Her twelve-year term will be reset if anyone finds out she didn’t try to save him; she’ll start over in the dangerous Twelfth Circle. With 455 days left in Circadia, she must lie not only to the authorities but also to her family. And she’s a terrible liar. Most conversations halt near Brennan, the Warden’s son, but even he catches the whispers after a police officer attempts to escape from Circadia. When Brennan learns that his mother and a Juror are rigging the officer’s public trial, they give him a choice: side with the Circadians and lose his safety, or side with the Jury and lose his self-respect. Structured in chapters that alternate between Valerie and Brennan, this novel—influenced by George Orwell, Suzanne Collins, and Michel Foucault—suggests that the best prison makes you comfortable. It makes you want to stay.

Speculative fiction is a genre that is gaining urgency in the contemporary Canadian literary scene as authors and readers become increasingly concerned with what it means to live in a nation implicated in globalization. This genre is useful because with it, authors can extrapolate from the present to explore what some of the long-term effects of globalization might be. This thesis specifically considers the long-term effects of globalization on communities, a theme that speculative fictions return to frequently. The selected speculative fictions engage with current theory on globalization and community in their explorations of how globalization might affect the types of communities that can be enacted. This thesis argues that these texts demonstrate how Michael Hardt and Antonio Negri’s notion of “cooperative autonomy” can be uniquely cultivated in the conditions of globalization – despite the fact that those conditions are characterized by the fragmentation of traditional forms of community (Empire 392).

Cette recherche est une comparaison des métaphysiques de Deleuze et de Whitehead. Deleuze et Whitehead ont en commun une approche philosophique où un certain empirisme, qu’il soit « transcendantal » ou « spéculatif », cherche à élucider la nature de l’expérience en tant que telle. Dans les deux cas il s’agit de rendre compte de l’expérience réelle en elle-même, pas seulement de ses conditions de possibilité. Les tâches de l’empirisme transcendantal comme de l’empirisme spéculatif peuvent être définies comme un essai pour expliquer la genèse de l’expérience ou d’une nouvelle sorte de subjectivité, qui remonterait bien plus haut et qui serait bien plus universelle que celle du sujet kantien. Ainsi, dans les philosophies de Deleuze et de Whitehead, ce n’est pas plus un sujet transcendantal et conscient qui est placé au fondement ou au commencement de toute expérience réelle, car chez l’un comme chez l’autre l’expérience humaine n’est plus qu’un cas qui peut être dérivé d’un processus beaucoup plus général, qui est le processus de la réalité elle-même. Pour Deleuze et Whitehead, ce qui est important devient alors d’expliquer la genèse ou l’individuation, par laquelle une expérience se produit. Empirisme transcendantal et empirisme spéculatif peuvent être caractérisés tous deux, chacun à sa façon, d’ « ontologies univoques », où l’intensité est liée à l’individuation / This research is a comparative study of the metaphysics of Deleuze and Whitehead. Deleuze and Whitehead share a common philosophical approach in which a certain empiricism, whether "transcendental" or "speculative", tries to elucidate the nature of experience as such. In both cases what matters is to explain the real experience for itself, not its conditions of possibility. The tasks of their empiricism, be it transcendental or speculative, may be defined as an essay to explain the genesis of experience or of a new kind of subjectivity which could be traced back to a much higher and universal stand than the Kantian subject’s one. Thus, in the philosophies of Deleuze and Whitehead, neither are a transcendental subject nor a conscious subject which is situated at the foundation or the start of any real experience, since, for both of them as well human experience is but a case or a result which can be derived from a much more general process, which is the very process of reality itself. For Deleuze as well as Whitehead, what was thus important was to explain the genesis or the process of individuation, by which experience is produced. Both transcendental empiricism and speculative empiricism can be characterized, each one in its own way, as "univocal ontologies", wherein intensity is linked to individuation.

Planet Earth is moving rapidly towards a point of no return in the climate crisis currently experienced, and while the debate is still raging on wether it is naturally occurring or not the temperature steadily increases - causing melting icecaps, expanding seas and rising oceans. It is the author's view however, that wether the change is man-made or not is irrelevant; as there is no other planet to conduct an experiment on. Therefor it needs to be treated as a problem generated by our species to best ward for the future generations. With rising seas come new problems, many problems that have accidentally been solved by developments in other fields. Take the development of artificial islands on the coast of Norway leading to the creation of entire floating civilisations in South East Asia. It easy to believe the coast lines among the nations of Earth will expand to take advantage of the additional space and comforts of newly created islands - and from this a new lifestyle will be born. A type of life where water plays a bigger role than ever before, and the need for mobility is greater than ever calls for urgent development in the nautical vehicle department. For what kind of vehicle would best be utilised for a life between the land and the sea in the future year of 2050? Throughout the often messy creative process many twists and turns have led the project forwards and backwards. Artistic exploration through sketching has been coupled with critical analysis of brand aesthetics and target markets. Conceptual evaluation and finalisation in 3D software and many, many loops back and forth generated visual material in both 2D and 3D to effectively communicate proposed solutions and artistic expression. The support from Scania and working out of the studio provided valuable insight for the brands future targets, but also the possibilities to collaborate and evaluate concepts along the process with engineers and modellers to ensure a believable final result. The feedback from the design team has strengthened the visual appeal of the vehicle, while the project in turn has helped the brand push its marque into the future in a visual sense. The final result is the Scania SNEKKJA, an amphibious vehicle capable of both land and aquatic travel in one single package adapted for most weather conditions. Pushing Scania further into the field of public transport, this vehicle retains the quality touch of the trucks currently delivered by the brand. It presents a new form language that stays true to the core values and roots of the manufacturer with a modern touch and offers a service provided by the brand as a personal mobility solution for people that want a more premium on demand service. A system that is always available and where convenience is the name of the game.

abstract: The current sustainability crisis is born from a specious notion that humans are separate from and in a position of control over nature. In response, this dissertation reconceptualizes education beyond its current anthropocentric model to imagine education as learning through relationality with all that is ‘beyond’ the human. The study leaves behind hegemonic binary distinctions (human/nature, teacher/student, formal/non-formal education) to reimagine education as a multidirectional process of learning as worlding and becoming-with Earth (Haraway, 2016a). It explores what matters in education and how it comes to matter. This dissertation introduces the concept of storyworlding to describe what occurs when multispecies, multi-mattered assemblages (re)write Earth’s narratives through their relationships with one another. Taking its inspiration from the work of the Common Worlds Research Collective, Donna Haraway, and Isabelle Stengers, storyworlding acknowledges that the relationships between and among all biotic and abiotic forces on Earth make stories through their interactions, and these stories make a pluriverse of worlds. The study is structured as a natureculture (Haraway, 2003) ethnography. This innovation on ethnography, a traditionally human-centered method, focuses on agential, multispecies/ multi-mattered assemblages rather than the description of human culture. Data is not generated and then labeled as fixed in this study. It is emergent in its assemblages as a co-narrator in sympoietic storyworlding (Haraway, 2016b). Data generation took place over 6 months in a small, coffee-producing region of Southeastern Brazil. Data generation methods included walking conversations with children and the more-than-human world, participation in a multi-grade, one-room schoolhouse, and the collection of visual and audio data such as drawings, photographs, videos, and audio recordings. Using an intentionally slow, messy, and fluid diffractive analysis, I follow the data where it leads as I think with the concept of storyworlding (Barad, 2007; Mazzei, 2014). Drawing inspiration from Donna Haraway, Isabelle Stengers, and Iveta Silova, the dissertation concludes with an Epilogue of speculative fabulation (SF) imaginings through which I invite the reader to engage in the thought experiment of reimagining not only what matters in education, but what education, itself, is. / Dissertation/Thesis / Doctoral Dissertation Educational Leadership and Policy Studies 2020

abstract: Open Design is a crowd-driven global ecosystem which tries to challenge and alter contemporary modes of capitalistic hardware production. It strives to build on the collective skills, expertise and efforts of people regardless of their educational, social or political backgrounds to develop and disseminate physical products, machines and systems. In contrast to capitalistic hardware production, Open Design practitioners publicly share design files, blueprints and knowhow through various channels including internet platforms and in-person workshops. These designs are typically replicated, modified, improved and reshared by individuals and groups who are broadly referred to as ‘makers’. This dissertation aims to expand the current scope of Open Design within human-computer interaction (HCI) research through a long-term exploration of Open Design’s socio-technical processes. I examine Open Design from three perspectives: the functional—materials, tools, and platforms that enable crowd-driven open hardware production, the critical—materially-oriented engagements within open design as a site for sociotechnical discourse, and the speculative—crowd-driven critical envisioning of future hardware. More specifically, this dissertation first explores the growing global scene of Open Design through a long-term ethnographic study of the open science hardware (OScH) movement, a genre of Open Design. This long-term study of OScH provides a focal point for HCI to deeply understand Open Design's growing global landscape. Second, it examines the application of Critical Making within Open Design through an OScH workshop with designers, engineers, artists and makers from local communities. This work foregrounds the role of HCI researchers as facilitators of collaborative critical engagements within Open Design. Third, this dissertation introduces the concept of crowd-driven Design Fiction through the development of a publicly accessible online Design Fiction platform named Dream Drones. Through a six month long development and a study with drone related practitioners, it offers several pragmatic insights into the challenges and opportunities for crowd-driven Design Fiction. Through these explorations, I highlight the broader implications and novel research pathways for HCI to shape and be shaped by the global Open Design movement. / Dissertation/Thesis / Doctoral Dissertation Media Arts and Sciences 2020

Robotics engineers' ongoing quest to create human-like robots has raised profound questions on their lack of ethical implications. The rapid progress and growth of humanoid robots is said to have a significant impact on society and human psychology in the near future. Interaction Design is a multidisciplinary field in which designers are often encouraged to engage in important conversations and find solutions to complex problems. On the other hand, animators often use animated videos as metaphors to reflect on important matters that are present in our cultural and societal spheres. This study investigates the use of animation in Speculative Design settings as material to bridge two communities together - the animators and roboticists, to foster ethical behaviors and impact future technology. The main result of the design process is a concept for a mobile platform that stimulates discussions on the ethical considerations of human relationships with humanoid robots, through speculative animation. Moreover, the interactive platform enhances imagination, creativity and learning processes between users.

There is a growing recognition of the interconnectedness of the crises of food, water, democracy and climate change as stemming from the capitalist hunt for modernity and progress. As climate change is thus not only so complex, but urgent, the question of a successful portrayal of it for an enhanced understanding and subsequent action becomes vital. The name of the Capitalocene functions to highlight the intersectional origins of climate change - as the Global North has done violence upon nature in the quest for monetary value, so has it also done violence upon people in the process. The Kingston Cycle is part of a fast-rising wave of speculative fiction with the potential to successfully communicate not only an encompassing picture of the acknowledgedly incomprehensive totality of the current crisis, but also the solution in the form of an egalitarian society founded on the value of community instead of capital. As writers are thus beginning to discover the suitability of speculative fiction to depict the Capitalocene, especially spatiotemporal combinations of genres such as historical steampunk fantasy, it is necessary for scholars to follow in order to breach the hitherto persisting view of speculative fiction as simply an escape from reality, and to investigate how it can be used to create not only an understanding of the current crisis, but an incentive to action.