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La reconversion des friches industrielles constitue depuis les années 1950 un phénomène important en Europe. Bien qu’elle soit connue comme un mouvement de réaménagement urbain, elle porte aussi un sens particulier en ce qui concerne les pratiques culturelles et artistiques d’aujourd’hui. Ces vastes espaces abandonnés par la science et les industries de l’époque moderne deviennent de plus en plus des lieux d’expression alternatifs qui sont propices aux échanges entre l’art, l’industrie et la science de l’époque contemporaine. Ainsi, ces lieux de mémoires incarnent par leurs caractéristiques particulières l’entité des sociétés occidentales contemporaines. A commencer par leurs infrastructures, le modèle d’organisation de travail, et l’approche de production industrielle qu’ils reflètent ; ces usines, laboratoires et centrales sont au croisement de plusieurs questionnements artistiques. L’objectif principal de la présente thèse est d’analyser la possibilité d’une interaction entre l’art, la science, l’industrie mais aussi avec l’ institution académique au sein d’un projet de friche culturelle particulier réalisé à Istanbul en Turquie en mettant l’accent sur les retombées socio‐économiques d’une telle reconversion au niveau urbain. En partant de l’exemple unique de Santralistanbul ‐une initiative de l’université de Bilgi Istanbul qui a redonné vie à l’ancienne centrale électrique de Silahtarağa‐, il s’agit de mettreen lumière les particularités du projet et de se focaliser principalement sur ce qui concerne le domaine des arts du spectacle. / Since the 1950’s, the conversion of industrial wastelands constitute an important phenomenon in Europe. Even if it is more known as a movement of urban redevelopment, it also holds a particular meaning for today’s cultural and artistic practices. These huge (vast) spaces that were abandoned by science and industries of the modern era start to become the places of alternative expressions which are convenient for exchanges between art, industry and science of contemporary times. Thus, these memorial places‐ through their particular characteristics incarnate the entity of the western contemporary societies. Starting by their facilities, the model of organization of work, and the industrial production approach that they reflect; their factories, laboratories and centers are at the crossroads of several artistic questions. The major objective of this thesis is to analyze the possibility of an interaction between art, science, and industry but also academia within the project of a particular cultural wasteland realized in Istanbul in Turkey by putting the emphasis on social –economicalechoes of such a conversion at urban level. Observing the unique example of Santralistanbul – an initiative of Bilgi University that gave life again to the ancient electricity power station of Silahtaraga‐, the point is to highlight theparticularities of the project and to focus principally on the activities concerning the domain of performing arts.

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Approved for public release; distribution is unlimited / Twenty-three years ago, Israeli fighter pilots destroyed the Osiraq nuclear reactor and made a profound statement about global nuclear proliferation. In light of the recent preventive regime change in Iraq, a review of this strike reveals timely lessons for future counterproliferation actions. Using old, new, and primary source evidence, this thesis examines Osiraq for lessons from a preventive attack on a non-conventional target. Before attacking Osiraq, Israeli policymakers attempted diplomatic coercion to delay Iraq's nuclear development. Concurrent with diplomatic actions, Israeli planners developed a state of the art military plan to destroy Osiraq. Finally, Israeli leaders weathered the international storm after the strike. The thesis examines Israeli decisionmaking for each of these phases. The thesis draws two conclusions. First, preventive strikes are valuable primarily for two purposes: buying time and gaining international attention. Second, the strike provided a one-time benefit for Israel. Subsequent strikes will be less effective due to dispersed/hardened nuclear targets and limited intelligence. / Major, United States Air Force

In the current fight against Islamic extremism, the United States is challenged in its ability to isolate and target specific individuals and groups in select regional environments - efforts that are arguably symptomatic of broader shortfalls in US global influence and strategic reach. These particularly troublesome environments are characterized by a lack of State control and are populated with fiercely independent, largely Muslim, and decidedly anti-western communities. Unable to consistently penetrate and influence these "ungoverned" regions, operational intelligence remains sporadic and opportunities limited. No broader, structural change has yet been made that would weaken or sever the links among Islamic extremists and their regional hosts over a sustained period or enable greater cooperation between the US or its allies with indigenous tribal populations. Accordingly, these regions continue to provide ideal locations for terrorist sanctuary, bases of support and operation, and freedom of movement. A supplemental US policy option is required. The challenge thus becomes one of how to create more effective opportunities to gain influence and control over these select tribal regions while countering the influence of competitors over a sustained period. A policy of manipulating tribal fractures and rivalries in order to induce or heighten internal conflict could provide these opportunities.

Theoretical understandings of war have been dominated by the thought of Clausewitz for a number of decades. His thought is valid in many respects, but for various reasons it is open to misinterpretation and misunderstanding; furthermore, a number of his observations (particularly on the prevalence of chance and uncertainty in war) are not fully explored and substantiated theoretically. This thesis is an attempt to present and elucidate a new theoretical understanding of war's nature which complements Clausewitz's theories and addresses these concerns: this is the understanding of war as a form of violent conflict which is not bound by rules. The thesis consists of five main chapters. The first is an in-depth study of Clausewitz, which will provide an exegesis of his theories and highlight the deficiencies in his thought, before positing how understanding war as ‘violent conflict without rules' could be used to address and explain them. The second chapter is a study of the theory of rules, examining in particular the role they play in moderating conflict: we can find that amongst other things, rules lend predictability and psychological security to a contest, restrict the scope of physical harm and tend to preserve the political and social status quo. As war lacks rules (in the sense that there are no ‘rules of war' as there are ‘rules of chess'), it therefore lacks these benefits. A following chapter on the laws and customs of war will address cases where war appears to be bound by rules, and clarify my position. The final two chapters explore the implications of war's lack of rules with reference to two areas which are most commonly associated with war. The fourth chapter on strategy will explore how this military concept is necessitated by war's ruleless nature; the final chapter will examine the uniquely violent, physical nature of war through the same theoretical prism, and will show how the technological innovation associated with war is a consequence of its lack of regulation, and a potent contributor to the chance and uncertainty which plagues warfare.

Made available in DSpace on 2016-04-28T14:16:21Z (GMT). No. of bitstreams: 1 Pedro Biava.pdf: 6298545 bytes, checksum: c82b28033d9f2d4f2054d02e74b6f2b1 (MD5) Previous issue date: 2015-03-09 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / Jean Painlevé s (1902-1989) scientific cinema is filled with elements that turned his analysis into an important source to study the relation between Art and Science during the first decades of the 20th century, especially in France. The filmmaker s work is composed of more than 200 movies, performed throughout more than six decades of work as a filmmaker, scientist and Science propagator. Painlevé used cinema as a research and scientific propagation instrument, and he used a particular mixture of technical and narrative resources to perform his work. He connected surrealist art to scientific objectivity, always seeking to show the spectator his own enchantment for scientific research. Some of his films became a reference for the Science documentarians that followed him. It is the case of The Seahorse (1934), his most popular film. It gathers images that were never seen before about the birth of babies from this species, where the male has the role of giving birth offspring. Painlevé used a narrative that mixed technical and scientific information along with dramatic and comical elements. It s possible to notice how his work helped Science become more accessible and popular. His work had Marine Biology as a main theme, but he worked with other scientific themes that interested him in Physics, Chemistry and other areas. Using cinema as a source of science history research is not only a tool that allows an analysis of the technical evolution of image capturing, but it´s also a sociocultural understanding of the historical context in which the cinematographic technique was used. Analyzing the films as part of the documents studied in the research was essential in the process. Besides an extensive filmography, Painlevé left a series of written material talking about cinema, which helped understand his vision of Science, and the role he assigned to cinema in the context of scientific development. In this dissertation, the objective was to cross information presented in these films and texts to understand the aspects of Science History in his work / O cinema científico de Jean Painlevé (1902-1989) é repleto de elementos que tornaram sua análise uma fonte importante para estudar a relação entre arte e ciência nas primeiras décadas do século XX, em especial na França. Sua obra é composta por mais de 200 filmes, realizados ao longo de mais de seis décadas de trabalho como cineasta, cientista e divulgador da ciência. Painlevé utilizou o cinema como instrumento de pesquisa e divulgação científica, e fez uso de uma mistura particular de recursos técnicos e narrativos para realizar seu trabalho. Uniu a arte surrealista à objetividade científica, sempre buscando apresentar ao espectador o encantamento que ele próprio tinha pela pesquisa científica. Alguns de seus filmes tornaram-se referência para os documentaristas de ciência que o sucederam. É o caso de O Cavalo Marinho (1934), seu filme mais popular e que reúne imagens, até então inéditas, do nascimento de filhotes dessa espécie que tem no macho, o papel de gestor das crias. Painlevé fez uso de uma narrativa que mesclava informações técnicas e cientificas com elementos dramáticos e cômicos. É possível perceber como seu trabalho ajudou a tornar a ciência mais acessível e popular. Sua obra teve como temática principal a biologia marinha, mas tratou de outros temas da ciência que lhe interessavam, na física, química e em outras áreas. O uso do cinema como fonte de pesquisa da história da ciência é uma ferramenta que permitiu não apenas uma análise da evolução técnica do registro de imagens, mas também um entendimento sócio cultural do contexto histórico em que a técnica cinematográfica foi utilizada. Analisar os filmes, como parte dos documentos estudados na pesquisa, foi fundamental no processo. Além da extensa filmografia, Painlevé deixou uma série de escritos tratando do cinema que auxiliaram na compreensão de sua visão de ciência e do papel que ele atribuía ao cinema no contexto do desenvolvimento científico. Nessa dissertação, buscou-se fazer um cruzamento das informações presentes nestes filmes e textos para compreender os aspectos da História da Ciência presentes em sua obra

Operationer, operativ ledning, nätverksbaserat försvar och manöverkrigföring ärnågra av ledorden i dagens alltmer kvalitativa försvar. Dessa uttryck är även viktigadå nya förmågor som robotsystem med markmålskapacitet diskuteras. Dessutommåste politisk vilja och militär förutsättning finnas för att dessa system skall bli förverkligade.Arbetet undersöker om det finns politisk vilja och militära förutsättningarför markmålsrobotar placerade ombord på morgondagens svenska örlogsfartyg. Föratt det skall bli förståeligt innehåller arbetet dessutom en kortfattad beskrivning avdylika befintliga, och tänkta framtida, robotsystem. Vidare belyser arbetet hur systemenkan kopplas ihop med de svenska operativa ledningsfilosofierna och kopplasslutligen mot de militära operativa imperativen. Uppsatsen teorianknytning är teoriernakring manöverkrigstänkandet och det nätverksbaserade försvaret. / Historical Sweden has had the ability to conduct Naval Gun Support (NGS).Particularly with armoured vessels ore ironclads as they were called. Later oncruisers and destroyers solved the task. From the middle of the eighties up topresent time Sweden’s naval register of shipping have consisted of smallerunits without the capability of Naval Surface Fire Support (NSFS) that is thecurrent used term.Technological evolution up until today enables smaller vessels (surface-shipsand conventional submarines) to carry arms such as Standoff Land AttackMissiles (SLAM). This fact together with the theories about network centricwarfare and manoeuvre warfare facilitates the base of this work.Operations, operational command, network centric warfare and manoeuvrewarfare are some keywords in today’s quality based defence forces. Theseexpressions are also important when new capacities such as ground-to-groundmissile systems are discussed. Furthermore there have to exist political willand military conditions before such systems can be realized. This work examinesif there are political willingness and military circumstances to realizeSLAM-systems aboard tomorrow’s Swedish man-of-war. To get it comprehensiblethe work also includes a brief description of similar, existing, andimagined future missile systems. Further on the work sheds light on how thesystems could be attached to the Swedish operational philosophy of militarycommand and finally how they connect to the Swedish military operationalimperatives. The underlying theories of the composition are the theories aboutmanoeuvre warfare and network centric warfare. / Avdelning: ALB - Slutet Mag 3 C-upps.Hylla: Upps. ChP 01-03

Operationskonst som begrepp är relativt nytt men fenomenet har funnits under lång tid. Taktikär en annan del av krigskonsten nära knuten till operationskonsten då det är de taktiska avgörandenapå slagfältet som skall leda till att operativa mål uppnås.Tysk operationskonst som den utövades i början av andra världskriget samt amerikansk operationskonstsom den utövades i Irak 2003 får anses som två framgångsrika tillämpningar av operationskonst.Men vad innebar dessa typer av operationskonst och hur påverkade de taktiken iform av markförbandens strid?Syftet med denna uppsats är att undersöka hur operationskonst påverkar taktik och vilka konsekvenserdetta innebär samt om typen av operationskonst har någon betydelse för detta.Denna uppsats är en beskrivande studie. Den bygger på kvalitativ textanalys samt en analys avhur operationskonsten påverkar taktiken följt av en fallstudie.Resultatet visar att operationskonst påverkar taktik genom att begränsa eller främja handlingsfrihetenför förbandschefer. Taktiken påverkas också genom var man väljer att samla resurser:centraliserat eller decentraliserat. Skillnaden beror på typ av operationskonst. Oavsett typ avoperationskonst så innebär påverkan betydande konsekvenser för taktiken. / Operational Art is relatively new as a concept but the phenomenon has existed for a long time.Tactics is another part of Military Art closely connected to Operational Art since decisive tacticalactions leads to the achievement of Operational objectives.Two successful types of Operational Art were German Operational Art as practised in the early1940: s and American Operational Art as practised in Iraq 2003.But what was the content of these types of Operational Art and how did they influence tacticalactions performed by ground units?The overall aim of the thesis is to examine how Operational Art influences tactics and whatconsequences that involves and if the type of Operational Art has any significance.The thesis is a descriptive study. It is based on qualitative text-analysis and an analysis of howOperational Art influences tactics followed by a case study.The main conclusion is that Operational Art influences tactics by limiting or promoting freedomof action for commanders in the field. Tactics is also influenced by the way resources are handled,centralized or decentralized. The differences in influence depend on the type of OperationalArt. No matter the type of Operational Art, the influences will have considerable consequencesfor tactics. / Avdelning: ALB - Slutet Mag 3 C-upps. Hylla: Upps. ChP 06-08