This thesis maps out the phenomenological and ontological contours of ‘hope’ in an attempt to challenge traditional individualistic, psychologized, and normative accounts, and to reconceptualise hope as a practice of control. Spinoza and Deleuze’s theory of affect is used to develop an understanding of the ‘hoping body’ as the effect of a symbiotic encounter with a conglomerate of forces. The spatio-temporal dynamics and relations of power at work in this larger conglomerate are also explored through Deleuze and Guattari’s assemblage theory. Ultimately, this thesis argues that hope inaugurates complex practices of mobility control by operating as a claim about the necessity of a particular pathway and vehicle in the present that is grounded on the possibility of a desirable destination in the future. / Graduate

Thesis (M.A.)--University of Montana, 2008. / Title from title screen. Description based on contents viewed Aug. 13, 2008. Includes bibliographical references (p. 38-39).

Thesis (M.F.A.)--Rochester Institute of Technology, 1994. / Typescript. Includes bibliographical references (leaf 24).

During the Austral Spring of 2007-2008 the ANtarctic geological DRILLing program (ANDRILL) recovered a 1,138 meter long sediment core AND-2A from the western side of the Victoria Land Basin for the Southern McMurdo Sound Project. The main goal of the project is to help establish a Neogene (~24 to 1.6 Mya) ice volume and climate record of Antarctica. This study focuses on the foraminifera record of AND-2A for paleoenvironmental and biostratigraphic purposes.AND-2A is unique in that it contains a Middle Miocene record (~17 to ~11 Mya) that includes the Middle Miocene transition of warm climatic conditions favoring polythermal ice sheets to major cooling into polar conditions resulting in the quasi-permanent formation of the East Antarctic Ice Sheet. This Middle Miocene transition has not been previously recovered from the Antarctic continental margin.The foraminifer record is not abundant; however, three assemblage zones are identified throughout AND-2A. Calcareous benthic taxa dominate every assemblage, as well as displaying similarities between modern shallow shelf assemblages around Antarctica and assemblages from previous drilling projects in the Ross Sea sector. The foraminifera record displays a dynamic environmental record and is supported by both the sedimentologic and other paleontologic findings.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / FOTO-ASSEMBLAGE consiste em nomenclatura sugestionada para definir os trabalhos que tenho produzido a partir da junção de fotografias digitais. As elaborações e fundamentações desses trabalhos representam também o cerne das pesquisas que resultaram na presente dissertação. Em princípio, o termo foto-assemblage haveria de referir-se a questões técnicas ou formais dessa prática. Contudo, ao desenvolver as pesquisas alguns procedimentos acabaram por determinar certas nuances que revelaram aspectos comuns também em seus e conteúdos. Como resultado de construções artísticas juntando fotografias desde 2009, cheguei às composições sintéticas aqui apresentadas, construídas a partir de duas fotografias. Aventei o nome foto-assemblage por observar nas imagens resultantes ressalvas que as distinguiriam de certas convenções atribuídas à ideia de fotografia. Ao mesmo tempo, as referidas imagens proporiam um possível desdobramento ao entendimento de assemblage enquanto técnica artística. Ainda que não seja uma regra, fotografias revelam imagens de momentos. Em sua relação com a compreensão humana de tempo ou espaço, fotografias quase sempre contêm instâncias mínimas. Fotografias, contudo, podem ser também compreendidas como uma contração de um percurso de tempo. Toda imagem fotográfica pode ser assimilada como resultante de determinados acontecimentos anteriores e mesmo tida como elemento gerador de conseqüências futuras. Seguindo esse entendimento, o que proponho com a foto-assemblage é que essa lide com segmentos de tempo ou de espaço contidos numa mesma imagem. Essas fotografias originárias ganhariam uma nova atribuição, sendo retiradas de seu contexto original, serviriam de balizas do percurso de tempo ou espaço suprimido e subjetivado entre elas. Poeticamente, eventos ocorridos entre as fotografias originárias estariam contidos nas imagens produzidas. O termo assemblage foi incorporado às artes a partir de 1953, por Jean Dubuffet, para descrever trabalhos que seriam algo mais do que simples colagem. A ideia de assemblage se baseia no princípio de que todo e qualquer material ou objeto colhido de nosso mundo cotidiano pode ser incorporado a uma obra de arte, criando um novo conjunto, sem que perca seu sentido original. Esse objeto é arrancado de seu uso habitual e inserido num novo contexto, tecendo laços de relação com os demais elementos, construindo narrativas num novo ambiente, o da obra. Na ideia da foto-assemblage, entretanto, é sugerido uso das imagens fotográficas originárias não como objetos que estariam em um mundo cotidiano, mas sim como imagem na concepção do que seria uma entidade mental. Adoto como que uma visão mágica onde as imagens originárias e básicas estariam numa outra dimensão, num plano bidimensional, não manipulável por nós habitantes da tridimensionalidade. Nesse ambiente imaginário ou não, as fotografias são assentadas consolidando a foto-assemblage. Quando a foto-assemblage se concretiza, se corporifica numa mídia, sendo impressa para uma contemplação, ai então, passaria a integrar nosso mundo tridimensional. O resultado poderia ser admitido como um híbrido, uma terceira coisa, a partir de duas que já não se dissociam mais no ensejo de uma compreensão estética. Ao final da dissertação, apresento experiências práticas que resultaram em quatro séries de imagens em foto-assemblage. Cada série enfatiza aspectos peculiares do que denomino paisagem expandida, representando percursos de tempo, espaço ou trajetos entre o mundo concreto e mundos do inconsciente. / PHOTO-ASSEMBLAGE consists on nomenclature to define the work that I have produced from the junction of digital photographs. The elaboration and justification of these works also represent the core of the research that resulted in this dissertation. In principle, the term photo-assemblage would refer to formal or technical issues this practice. However, research to develop some procedures ultimately determine certain nuances that reveal common aspects and also in their content. As a result of joining constructions artistic photographs since 2009, I came to the synthetic compositions presented here, constructed from two photographs. I suggested name photo-assemblage by observing the resulting images caveats that distinguish certain conventions attributed to the idea of photography. At the same time, these images would propose a possible unfolding to the understanding of assemblage as artistic technique. Although it is not a rule, photographs show images of times. In its relation to the human understanding of time and space, photographs almost always contain instances minimal. Photographs, however, can also be understood as a contraction of a course of time. Every photographic image can be assimilated as a result of certain events before and even seen as an element that generates future consequences. Following this understanding, what I propose with the photo-assemblage is that it deals with segments of time or space contained in the same picture. These photographs originating win a new award, being removed from their original context, serve as beacons of travel time or space and deleted subjectivizing between them. Poetically, events originating from the photographs would be contained in the images produced. The term assemblage to the arts was built as from 1953 by Jean Dubuffet to describe works that would be something more than simple collage. The idea of assemblage is based on the principle that any material or object drawn from our everyday world can be incorporated into a work of art, creating a new set without losing its original meaning. This object is torn from its habitual use and placed in a new context, weaving bonds of relationship with the other elements, constructing narratives in a new environment, the work. In view of photo-assemblage, however, is suggested use of photographic images as objects originating not they would be in an everyday world, but as the design image of what a mental entity. I adopt it as a magical sight where the images originate, basic, would be in another dimension, a two-dimensional plane, we can not be manipulated by the inhabitants of three-dimensionality. In this "environment" imaginary or not, pictures are settled consolidating photo-assemblage. When the photo-assemblage materializes, is embodied in media, being printed for contemplation there would then integrate our three-dimensional world. The result could be admitted as a hybrid, a third thing from two no longer dissociate more opportunity in an aesthetic understanding. In the concluding stages of dissertation, practical experiences that resulted in four sets of images in photo-assemblage. Each one emphasizing peculiar aspects of what I title "expanded landscape", reproducing images that contain paths of time, space or paths between the concrete world and unconscious worlds

Le travail de cette thèse porte sur l’étude à l’échelle atomique des molécules de Cycloparaphénylènes ([n]CPPs) et leurs dérivés, par modélisation ab initio (calculs par DFT/LDA). La première étude a été de regarder la stabilité de ces anneaux lors de leurs fonctionnalisations par des halogènes et les changements structuraux induits. La notion importante d’énergie de courbure a été soulevée pour trouver de nouvelles routes de synthèse. L’encapsulation de fullerène C60 à l’intérieur des [10]CPPs est une part très importante de cette thèse, avec plus particulièrement l’interaction entre le dimère d’azafullerène (C59N)2 et deux [10]CPPs. Les interactions supramoléculaires et l’alignement de deux [10]CPPs sur ce dimère ont été regardés théoriquement mais aussi expérimentalement grâce à une collaboration avec deux équipes de recherches en Allemagne et en Grèce. La possibilité d’alignement des [10]CPPs a conduit à l’étude de la fonctionnalisation de ces molécules dans le but de les connecter avec différents ponts de type aromatique, polymère ou métallique pour former une nouvelle famille de pseudo-nanotubes composé de [10]CPPs connectés. Selon les connexions utilisées, les propriétés de conduction des pseudo-nanotubes varient de semi-conducteur à large gap jusqu’à des structures métalliques. Dans ce manuscrit, les interactions entre les [n]CPPs et les nanotubes de carbone ont été étudiés pour former des structures où le [n]CPP interagit à l’intérieur ou autour du nanotube de carbone. Dans ce cadre, l’étude de la rotation du [n]CPP montre une très faible force de frottement et permet ainsi de prévoir une rotation ultra rapide du CPP. / The work in this thesis concerns the study at the atomic scale of Cycloparaphenylene ([n]CPP) molecules and their complexes and derivatives, using ab initio modeling methods (DFT/LDA). I initially look at the stability of these molecular rings when functionalized by halogens, and the structural changes induced. The important notion of curvature energy is raised to find new synthesis routes. The encapsulation of C60 fullerene inside [10]CPPs is a very important part of this work and more particularly the interaction between the azafullerene dimer (C59N)2 and two [10]CPPs. This allowed us to look at supramolecular interactions and the alignment of two [10]CPPs on this dimer both theoretically and experimentally, through collaboration with research teams in Germany and Greece. The possibility of templated alignment of [10]CPPs leads to a study on the functionalization of these molecules with the aim of connecting them together with various connectors, for example with aromatic species, polymers or metals to form a new family of pseudo-nanotubes composed of multiply inter-linked [10]CPPs. Depending on the connections used, the conduction properties of the 'pseudo-nanotubes' can vary from wide-gap semiconductors to metallic structures. I also show in this manuscript, that [n]CPPs and carbon nanotubes can interact to form structures where the ring is encapsulated inside or around the carbon nanotube. In this context, the study of the rotation of cycloparaphenylene demonstrate a very low frictional force and thus predict ultra-rapid CPP rotation.

Coordenação de Aperfeiçoamento de Pessoal de Nível Superior / FOTO-ASSEMBLAGE consiste em nomenclatura sugestionada para definir os trabalhos que tenho produzido a partir da junção de fotografias digitais. As elaborações e fundamentações desses trabalhos representam também o cerne das pesquisas que resultaram na presente dissertação. Em princípio, o termo foto-assemblage haveria de referir-se a questões técnicas ou formais dessa prática. Contudo, ao desenvolver as pesquisas alguns procedimentos acabaram por determinar certas nuances que revelaram aspectos comuns também em seus e conteúdos. Como resultado de construções artísticas juntando fotografias desde 2009, cheguei às composições sintéticas aqui apresentadas, construídas a partir de duas fotografias. Aventei o nome foto-assemblage por observar nas imagens resultantes ressalvas que as distinguiriam de certas convenções atribuídas à ideia de fotografia. Ao mesmo tempo, as referidas imagens proporiam um possível desdobramento ao entendimento de assemblage enquanto técnica artística. Ainda que não seja uma regra, fotografias revelam imagens de momentos. Em sua relação com a compreensão humana de tempo ou espaço, fotografias quase sempre contêm instâncias mínimas. Fotografias, contudo, podem ser também compreendidas como uma contração de um percurso de tempo. Toda imagem fotográfica pode ser assimilada como resultante de determinados acontecimentos anteriores e mesmo tida como elemento gerador de conseqüências futuras. Seguindo esse entendimento, o que proponho com a foto-assemblage é que essa lide com segmentos de tempo ou de espaço contidos numa mesma imagem. Essas fotografias originárias ganhariam uma nova atribuição, sendo retiradas de seu contexto original, serviriam de balizas do percurso de tempo ou espaço suprimido e subjetivado entre elas. Poeticamente, eventos ocorridos entre as fotografias originárias estariam contidos nas imagens produzidas. O termo assemblage foi incorporado às artes a partir de 1953, por Jean Dubuffet, para descrever trabalhos que seriam algo mais do que simples colagem. A ideia de assemblage se baseia no princípio de que todo e qualquer material ou objeto colhido de nosso mundo cotidiano pode ser incorporado a uma obra de arte, criando um novo conjunto, sem que perca seu sentido original. Esse objeto é arrancado de seu uso habitual e inserido num novo contexto, tecendo laços de relação com os demais elementos, construindo narrativas num novo ambiente, o da obra. Na ideia da foto-assemblage, entretanto, é sugerido uso das imagens fotográficas originárias não como objetos que estariam em um mundo cotidiano, mas sim como imagem na concepção do que seria uma entidade mental. Adoto como que uma visão mágica onde as imagens originárias e básicas estariam numa outra dimensão, num plano bidimensional, não manipulável por nós habitantes da tridimensionalidade. Nesse ambiente imaginário ou não, as fotografias são assentadas consolidando a foto-assemblage. Quando a foto-assemblage se concretiza, se corporifica numa mídia, sendo impressa para uma contemplação, ai então, passaria a integrar nosso mundo tridimensional. O resultado poderia ser admitido como um híbrido, uma terceira coisa, a partir de duas que já não se dissociam mais no ensejo de uma compreensão estética. Ao final da dissertação, apresento experiências práticas que resultaram em quatro séries de imagens em foto-assemblage. Cada série enfatiza aspectos peculiares do que denomino paisagem expandida, representando percursos de tempo, espaço ou trajetos entre o mundo concreto e mundos do inconsciente. / PHOTO-ASSEMBLAGE consists on nomenclature to define the work that I have produced from the junction of digital photographs. The elaboration and justification of these works also represent the core of the research that resulted in this dissertation. In principle, the term photo-assemblage would refer to formal or technical issues this practice. However, research to develop some procedures ultimately determine certain nuances that reveal common aspects and also in their content. As a result of joining constructions artistic photographs since 2009, I came to the synthetic compositions presented here, constructed from two photographs. I suggested name photo-assemblage by observing the resulting images caveats that distinguish certain conventions attributed to the idea of photography. At the same time, these images would propose a possible unfolding to the understanding of assemblage as artistic technique. Although it is not a rule, photographs show images of times. In its relation to the human understanding of time and space, photographs almost always contain instances minimal. Photographs, however, can also be understood as a contraction of a course of time. Every photographic image can be assimilated as a result of certain events before and even seen as an element that generates future consequences. Following this understanding, what I propose with the photo-assemblage is that it deals with segments of time or space contained in the same picture. These photographs originating win a new award, being removed from their original context, serve as beacons of travel time or space and deleted subjectivizing between them. Poetically, events originating from the photographs would be contained in the images produced. The term assemblage to the arts was built as from 1953 by Jean Dubuffet to describe works that would be something more than simple collage. The idea of assemblage is based on the principle that any material or object drawn from our everyday world can be incorporated into a work of art, creating a new set without losing its original meaning. This object is torn from its habitual use and placed in a new context, weaving bonds of relationship with the other elements, constructing narratives in a new environment, the work. In view of photo-assemblage, however, is suggested use of photographic images as objects originating not they would be in an everyday world, but as the design image of what a mental entity. I adopt it as a magical sight where the images originate, basic, would be in another dimension, a two-dimensional plane, we can not be manipulated by the inhabitants of three-dimensionality. In this "environment" imaginary or not, pictures are settled consolidating photo-assemblage. When the photo-assemblage materializes, is embodied in media, being printed for contemplation there would then integrate our three-dimensional world. The result could be admitted as a hybrid, a third thing from two no longer dissociate more opportunity in an aesthetic understanding. In the concluding stages of dissertation, practical experiences that resulted in four sets of images in photo-assemblage. Each one emphasizing peculiar aspects of what I title "expanded landscape", reproducing images that contain paths of time, space or paths between the concrete world and unconscious worlds

Cette thèse a pour sujet les méthodes informatiques traitant les séquences ADN provenant des séquenceurs haut débit. Nous nous concentrons essentiellement sur la reconstruction de génomes à partir de fragments ADN (assemblage génomique) et sur des problèmes connexes. Ces tâches combinent de très grandes quantités de données et des problèmes combinatoires. Différentes structures de graphe sont utilisées pour répondre à ces problèmes, présentant des compromis entre passage à l'échelle et qualité d'assemblage. Ce document introduit plusieurs contributions pour répondre à ces problèmes. De nouvelles représentations de graphes d'assemblage sont proposées pour autoriser un meilleur passage à l'échelle. Nous présentons également de nouveaux usages de ces graphes, différent de l'assemblage, ainsi que des outils pour utiliser ceux-ci comme références dans les cas où un génome de référence n'est pas disponible. Pour finir nous montrons comment utiliser ces méthodes pour produire un meilleur assemblage en utilisant des ressources raisonnables. / Novel approaches for the exploitation of high throughput sequencing data In this thesis we discuss computational methods to deal with DNA sequences provided by high throughput sequencers. We will mostly focus on the reconstruction of genomes from DNA fragments (genome assembly) and closely related problems. These tasks combine huge amounts of data with combinatorial problems. Various graph structures are used to handle this problem, presenting trade-off between scalability and assembly quality. This thesis introduces several contributions in order to cope with these tasks. First, novel representations of assembly graphs are proposed to allow a better scaling. We also present novel uses of those graphs apart from assembly and we propose tools to use such graphs as references when a fully assembled genome is not available. Finally we show how to use those methods to produce less fragmented assembly while remaining tractable.

Ce travail porte sur la photoréactivité de dithiényléthènes A (solution et film mince), molécules photochromiques permettant l’obtention d’un film présentant un effet opto-mécanique sous irradiation UV ou Visible. Son obtention est basée sur l’assemblage supramoléculaire réversible par liaisons hydrogènes quadripolaires entre A et des élastomères B, tous deux fonctionnalisés par les mêmes groupements UPy. La première étape de ce travail s’est concentrée sur la cinétique des assemblages supramoléculaires par DLS, RMN, AFM, et calculs DFT. Concernant l’auto-assemblage AAAA, une forte sensibilité aux conditions initiales et des particularités cinétiques (temps de latence, "overshoot") ont été interprétées en termes de nucléation et croissance 3D de nano-objets. Après ajout de B, ces effets disparaissent au profit d’un mélange qui s’homogénéise sur plusieurs heures. La deuxième étape, conduite par spectroscopie d’absorption nanoseconde/femtoseconde et calculs TDDFT, s’est focalisée sur les mécanismes de photocommutation de A sous différents environnements (oligomères, grands assemblages). Si, concernant les états S1, des temps caractéristiques de photoréversion (≈5 ps) et photocyclisation (≈150 fs) proches de ceux de la littérature ont été observés, deux états triplets ont pu être identifiés (conformère antiparallèle et parallèle) dont l’un est photoactif (Tau≈10 µs). Contrairement au processus de photoréversion qui est insensible aux changements de l’environnement, le processus de photocyclisation y est lui très sensible. Donc, il est très probable que l’interface forme ouverte-forme fermée au sein des films (A,B) soit l'une des clefs pour comprendre l’effet optomécanique. / This work concerns the photoreactivity of photochromic dithienylethenes A (in solution and thin film) able to form a film exhibiting an opto-mechanical effect under UV or Visible irradiation. The production of this film is based on the reversible supramolecular assembly by quadrupolar hydrogen bonds between A and elastomers B, both being functionalized by UPy groups.The first step of this work focused on the kinetics of supramolecular assemblies by DLS, NMR, AFM, and DFT calculation. Concerning the self-assembly AAAA, a strong sensitivity to initial conditions and a typical kinetics (overshoot) have been interpreted in terms of nucleation and 3D growth of nano-objects. After addition of B, these effects disappear in favor of a mixture which homogenizes within several hours. The second step, conducted by nanosecond / femtosecond absorption spectroscopy and TDDFT calculations, focused on the photocommutation mechanisms of A in different environments (oligomer, large assembly). Considering the S1 states, the characteristic times of photoreversion (≈5 ps) and photocyclization (≈150 fs) processes appear to agree with literature data: Two triplet states have been identified (antiparallel and parallel conformers), one of which is photoactive (Tau≈10 μs). Compared to the photoreversion process which is insensitive to changes in the environment, the photocyclisation process appears to be very sensitive. These, the interface between the open and closed forms within the films (A, B) is probably one of the keys to understand the optomechanical effect.

Depuis plusieurs années, un intérêt grandissant pour les véhicules hybrides se fait sentir de la part des constructeurs. Que ce soit pour un modèle hybride, thermique et électrique, ou un modèle tout électrique, la masse importante d'un véhicule de type roadster va à l’encontre des objectifs de réduction de la consommation de carburant et d’augmentation de l’autonomie. Aussi, l’optimisation du châssis d'un roadster a été entreprise pour réduire la masse globale du véhicule. Le but de cette maîtrise est de juger de la viabilité mécanique et économique d’un châssis d’aluminium pour le roadster. Au changement de matériau vient s’ajouter la sélection d’un procédé d’assemblage pertinent. Les critères de choix seront la réduction de la masse du châssis après assemblage, le contrôle de son coût, l’assurance de sa bonne résistance mécanique, notamment en fatigue, et la rigidité de la structure. Plusieurs méthodologies ont été élaborées pour guider la conception des pièces en aluminium et permettre le choix d’un procédés d’assemblage pertinent. Appliquées au roadster, elles ont permis d’aboutir à la création de structures optimisées. Les méthodologies développées ont été formalisées pour être utilisables sur d’autres projets similaires.