« Que nul n’entre ici s’il n’est subversif » ! Cette sentence pourrait orner le frontispice du Cabaret Voltaire, célèbre lieu qui a vu naître le dadaïsme en 1916. Les spectacles Dada subvertissaient les conventions esthétiques, remettant en question le statut de l’oeuvre d’art et mêlaient les médiums et les styles jusqu’à incorporer des objets, photomontages, masques, marionnettes… dans la sphère artistique. Ce caractère interdisciplinaire et transgressif réapparaît chez les surréalistes connus pour leurs scandales, leurs manifestes, leurs inventions littéraires et plastiques mais aussi leur engagement politique. Ces deux avant-gardes marquent une rupture dans l’histoire de l’art. Leur caractère subversif influence encore aujourd’hui de nombreux artistes contemporains occidentaux sur le plan des formes, des sujets abordés ou des processus de création. Néanmoins, le changement de contexte amène à redéfinir la subversion qui se transforme parfois en provocation chez les artistes actuels, encourant le risque de devenir une nouvelle norme et d'être récupérée par le marché de l'art. Ce sont ces différences entre subversion et provocation que cette thèse se propose d’étudier en confrontant deux contextes : celui des avant-gardes historiques et le contexte contemporain avec la fin des « grands récits ». / « Do not enter if you are not subversive ». This sentence could decorate the frontispiece of Cabaret Voltaire, the famous place where Dadaism was born in 1916. Dada 's shows subverted aesthetic conventions, questioned the status of the work of art and mixed styles and mediums even integrating objects, photomontages, masks, marionettes in artistic area. This interdisciplinary and transgressive characteristic reappears with Surrealists, well-known for their scandals, manifestoes, literary and artistic inventions but also for their political involvement. These both avant-gardes broke with academic history of art. Their subversive characteristic is still influencing nowadays a lot of occidental contemporary artists on a formal, thematic or creative way. Nevertheless, the change of context leads to redefine the subversion which sometimes turns into provocation in contemporary artists' practices, taking the risk of changing into a new norm and being taken over by the art market. This thesis intends to study these differences between subversion and provocation comparing two contexts : the context of the historical avant-gardes' and the contemporary one with the end of the grand narratives.

This thesis examines the gender-subversive potential of mixed-sex martial arts. The research problem takes its significance from the well-documented linkages drawn within feminist research between combat sports and hierarchal gender differentiation. It is posited that from a feminist perspective, gender-subversive physical practices are desirable because they instigate a shift towards fairer and freer bodily discourse, and as such they are deserving of critical academic attention. Furthermore, sex-integrated sports have the potential to lead participants towards embodying and propagating such subversive gender discourses, and when these changes take place within highly masculinised activities such as combat sports, the significance of this subversion is amplified. While existing literature has addressed these themes with reference to women s participation in these kinds of activities, there is a relative paucity of sociological work explicitly examining mixed-sex participation, which this thesis is intended to redress. Using semi-structured interviewing, qualitative data were gathered from a group of male and female martial artists across the English East Midlands. The interviews were transcribed and then subjected to discourse analysis. Findings suggested that mixed-sex martial arts does involve gender subversion but that the practice also remains structured by dominant, hierarchal gender discourse in several significant ways. It is therefore suggested that mixed-sex training can present the possibility of gender subversion under particular conditions, such as: martial arts being accessible to both men and women at multiple levels of participation; a normalised presence of women, particularly at higher levels such as being coaches and competitors; participants coming to share an identity as martial artists which is irrespective of sexual difference; and ultimately training being integrated as much as possible, particularly with regard to the more intensely physical, combative aspects, such as sparring. The participants indicated that under these conditions they were able to conceive of and practice their gender differently, in ways which portrayed little or no hierarchal distinction between the sexes, and as such is considered subversive . Following these findings, the thesis ultimately concludes with a brief outline of some recommendations for good practice in martial arts clubs. In this way, the thesis contributes towards feminist understandings of the body and of physical culture, by highlighting one possible way in which to conceive of the sexed body differently from the prevailing norms of hierarchal sexual differentiation.

Approved for public release, distribution is unlimited / A dynamic subversion attack on the Windows XP Embedded operating system is demonstrated to raise awareness in developers and consumers of the risk of subversion in commercial operating systems that may be safety critical. SCADA (Supervisory Control and Data Acquisition) systems that monitor and control our critical infrastructure depend on embedded systems. The attack can be loaded onto a fielded system that has been subverted with a small software artifice. The artifice could be inserted into the system at any time in the system's lifecycle. The attack provides a flexible method for the attacker, who may not be the same individual who inserted the artifice, to gain total control of the subverted system. Due to the dynamic loading property of this subversion, the attacker does not have to decide the aspect of the system to be targeted until a time of her choice. The attack does not exploit an existing flaw in the target module but is possible because the initial artifice is inserted into the kernel of an operating system where adversaries have access to source code. This thesis discusses certain aspects of known methods for developing systems free from subversion. Several projects that utilized these methods are presented. / Civilian, Naval Postgraduate School

Approved for public release, distribution is unlimited / The attack of choice for a professional attacker is system subversion: the insertion of a trap door that allows the attacker to bypass an operating system's protection controls. This attack provides significant capabilities and a low risk of detection. One potential design is a trap door that itself accepts new programming instructions. This allows an attacker to decide the capabilities of the artifice at the time of attack rather than prior to its insertion. Early tiger teams recognized the possibility of this design and compared it to the two-card bootstrap loader used in mainframes, since both exhibit the characteristics of compactness and adaptability. This thesis demonstrates that it is relatively easy to create a bootstrapped trap door. The demonstrated artifice consists of 6 lines of C code that, when inserted into the Windows XP operating system, accept additional arbitrary code from the attacker, allowing subversion in any manner the attacker chooses. The threat from subversion is both extremely potent and eminently feasible. Popular risk mitigation strategies that rely on defense-in-depth are ineffective against subversion. This thesis focuses on how the use of the principles of layering, modularity, and information hiding can contribute to high-assurance development methodologies by increasing system comprehensibility. / Civilian, Naval Postgraduate School

Open source software (OSS) is typically created in a decentralized self-organizing process by a community of developers having the same or similar interests. A key factor for the success of OSS over the last two decades is the internet: Developers who rarely meet face-to-face can employ new means of communication, both for rapidly writing and deploying software. Therefore, many tools emerged that assist a collaborative software development process, including in particular tools for source code management (SCM) and version control. In the R world, SCM is not a new idea, in fact, the R Development Core Team has always been using SCM tools for the R sources; first by means of Concurrent Versions System (CVS), and then via Subversion (SVN). A central repository is hosted by ETH Zürich mainly for managing the development of the base R system. Mailing lists like R-help, R-devel and many others are currently the main communication channels in the R community. Also beyond the base system, many R contributors employ SCM tools for managing their R packages, e.g., via web-based SVN repositories like SourceForge (http://SourceForge.net/) or Google Code (http://Code.Google.com/). However, there has been no central SCM repository providing services suited to the specific needs of R package developers. Since early 2007, the R-project offers such a central platform to the R community. R-Forge (http://R-Forge.R-project.org/) provides a set of tools for source code management and various web-based features. It aims to provide a platform for collaborative development of R packages, R-related software or further projects. / Series: Research Report Series / Department of Statistics and Mathematics

Apresenta apontamentos teóricos, metodológicos e práticos sobre construções cênicas próprias da linguagem da performance, elaboradas por meio de experiências estético-sensoriais, seus decorrentes relatos e repercussão no interior de escolas públicas localizadas no interior de uma periferia da Zona Sul da cidade de São Paulo-SP. Ainda contempla o diálogo entre artistas - inclusive em formação, comunidades escolar e local, professores, estudantes - também pertencentes a essas comunidades, e de modo mais geral a sociedade. O intuito é discutir os sentidos da subversão, um componente próprio da performance no ambiente escolar. / This text presents theoretical, methodological and practical notes on performance-specific scenic constructions, elaborated through aesthetic-sensorial experiences, their reports and repercussions in the interior of public schools located in the interior of a periphery of the South Zone of the city of São Paulo- SP. It also contemplates dialogue between artists - including in training, school and local communities, teachers, students and society. The aim is to discuss the meanings of subversion, a specific component of performance in the school environment.

Devant la nécessité de penser la subjectivité féminine différemment, la présente étude explore un corpus de théories féministes provenant de divers courants de pensée, ainsi qu'un corpus de films réalisés par des femmes au Québec, pour y relever des représentations alternatives de la subjectivité féminine et étudier leur potentiel subversif. Puisqu'il semble profitable de valoriser les échanges entre les théoriciens et les artistes, notre étude propose une lecture croisée de ces deux corpus pour vérifier si certaines idées se recoupent, se complètent ou s'opposent. Dans cette recherche, nous examinons plus précisément comment la revalorisation du couple mère-fille, des déesses femmes et de la subjectivité féminine, effectuée par la théorie de Luce Irigaray et par le film La turbulence des fluides de Manon Briand, compense en partie les oublis, les censures et les méprises de la psychanalyse freudienne, des religions occidentales et des cultures patriarcales. Nous observons aussi comment la figure de la lesbienne, développée dans la théorie de Monique Wittig et dans le film Rebelles de Léa Pool, remet en question l'hétérosexualité, révèle le caractère artificiel des catégories de sexe et libère la sexualité féminine de ses attaches hétérosexuelles. Il s'agit aussi de voir comment la figure du travesti/transsexuel, mise de l'avant par Judith Butler et par le film Le sexe des étoiles de Paule Baillargeon, démontre la facticité des catégories « homme » et « femme », illustre le caractère « performatif » du genre et expose la rigidité des normes d'intelligibilité de nos sociétés. Nous expliquons enfin comment le sujet nomade, développé dans la théorie de Rosi Braidotti et dans le film Borderline de Lyne Charlebois, ébranle le mode de pensée dualiste, la métaphysique de la substance et le logocentrisme cartésien. À la lumière de cette exploration, il apparaît clairement que ces figures ne comportent pas en soi un pouvoir subversif; ce sont plutôt les procédés accompagnant la mise en scène de ces figures qui déterminent si celles-ci détiennent ou non le potentiel de perturber l'ordre établi. ______________________________________________________________________________ MOTS-CLÉS DE L’AUTEUR : Cinéma, Représentation, Femme, Subjectivité, Subversion.

<p>A process for the analysis and collection of information of software systems has been defined. It extracts relevant information of project source files from an online repository and stores that meta-information in a database for further processing. Then, according to the meta-information in the database, it downloads the source files and writes the feedback information back to the database as well. Now the data can be used as input for various analysis tools, in our case a tool called VizzAnalyzer, which reads the project source code and performs a series of software quality analyses.</p><p>But actually, the process, which is mentioned above needs, a lot of manual work, makes the work inefficient and the analysis of large numbers of projects impossible.</p><p>Thus, a series of thesis projects has been devised to automate the whole process. This thesis aims at automating the information extraction and source file download work, which will make the latter preparation of the analysis task much easier and more efficient.</p>

Abstract

A process for the analysis and collection of information of software systems has been defined. It extracts relevant information of project source files from an online repository and stores that meta-information in a database for further processing. Then, according to the meta-information in the database, it downloads the source files and writes the feedback information back to the database as well. Now the data can be used as input for various analysis tools, in our case a tool called VizzAnalyzer, which reads the project source code and performs a series of software quality analyses. But actually, the process, which is mentioned above needs, a lot of manual work, makes the work inefficient and the analysis of large numbers of projects impossible. Thus, a series of thesis projects has been devised to automate the whole process. This thesis aims at automating the information extraction and source file download work, which will make the latter preparation of the analysis task much easier and more efficient.