Cette thèse vise à examiner les formes de l'action collective et de l'être-avec tendanciellement imposées par l'hégémonie du crowdsourcing. La notion de crowdsourcing désigne l'appropriation des mécanismes collaboratifs du web 2.0 par des secteurs d'activité originellement étrangers à son influence : design de vêtements, conceptionde biens durables, ingénierie de véhicules, challenges sociaux, etc. Tandis que la plupart des travaux se penchant sur ce phénomène se tient au dedans d'un cadre conceptuel emprunté à l'économie politique, cette recherche s'efforce plutôt d'examiner la spécificité des régimes organisationnels et interactionnels propres à cesplateformes : ce sont ainsi les processus de subjectivation individuelle et collective qu'informent ces dispositifs qui suscitent ici l'intérêt de la recherche.Cette réflexion s'articule autour de cinq axes d’analyse distincts. Un axe économique d’abord, visant à re-situer l’actuelle hégémonie de ces dispositifs au plus près des dynamiques de long terme du capital. Un axe organisationnel ensuite, examinant l’inclination de ces plateformes à suspendre la félicité de l’action collective à la fluidité, la multiplicité et l’hétérogénéité des contributions qu’elles coordonnent. Un axe technique encore, s’efforçant d’analyser les procédés équipant cette coordination depuis la condition de fluidité, de multiplicité etd’hétérogénéité que lui assignent ces dispositifs. Un axe interactionnel ensuite, analysant les agencements d’énonciation ainsi articulés par ces procédés techniques et impersonnels de coordination. Un axe existential enfin, visant à examiner les processus de (dé)subjectivation individuelle et collective auxquels ces agencements exposent leurs utilisateurs.Chacun de ces axes est ainsi construit autour d’une analyse ethnographique sérielle de différents dispositifs - notamment Yelp, TripAdvisor, OpenIDEO, Local Motors et Quirky - visant à dissoudre les spécificités propres àchacune de ces plateformes dans la dispersion des schèmes - organisationnels, techniques, interactionnels, énonciatifs, existentiaux - qui s’y répètent. / The aim of this thesis is to examine the underlying forms of collective action and beingwith imposed by the hegemony of crowdsourcing. The concept of crowdsourcing refers to the appropriation of collaborative mechanisms of Web 2.0 by industries that are originally outside it’s influence: fashion design, conception ofdurable goods, automotive engineering, social challenges, etc. While most studies addressing this phenomenon draw their conceptual framework from the domain of political economy, this thesis will on the contrary endeavour to study the particularities of the organizational and interactional regimes specific to crowdsourcing platforms. It is thus the processes of individual and collective subjectivation that are given form by these platforms that arouse interest for such research.This study is articulated around five distinct lines of research. The first line is economic; the goal is to situate the present dominance of crowdsourcing apparatuses in close relation to the long term dynamic of capital. The second line is organizational; it aims to examine the inclination of such platforms to condition the felicity of collective action by the fluidity, the multiplicity and the heterogeneity of the contributions they coordinate. The third line is technical; it seeks to analyse the processes that enables coordination under the condition of fluidity, multiplicity and heterogeneity that are allotted to these platforms. The fourth line is interactional, it analyses the assemblages of enunciation that are articulated by these technical and impersonal processes of absencecoordination. The fifth and final line is existential, it will examine the individual and collective (de)subjectivation processes to which these assemblages expose their users.Each of these research lines is developed on a serial ethnographic analysis of various platforms - namely Yelp, TripAdvisor, OpenIDEO, Local Motors and Quirky - in order to break down the specificities of each of these platforms into the repetition of organizational, technical, interactional, enunciative and existential patterns.

The miscommunication between sender and receiver during transcoding indexes specific historical moments similarly to analog film's indexical trace. Iconography and glitch art begin to establish glitch's deictic index. The glitch aesthetic exposes societal paranoia by illustrating dependence on the digital and fear of system failure. With the advent of video sharing sites like Youtube and popular cyberfilms, the glitch aesthetic has evolved into a pop culture artifact.

Sous quelles conditions un territoire est-il construit en regard de la programmation informatique? Comment reterritorialiser Internet à l'échelle du corps? Par où l'algorithme pénètre-t-il nos échanges symboliques? Avec la société i Matériel, puisqu'il s'agit de composer avec les flux d'informations, nous devons presque accepter de partir de nulle part et d'in-terminer notre développement. Aussi, loin de vouloir établir des catégories ou des principes prétendant établir un plan d'action, cette thèse se pose le problème de ce qui toujours, dans un programme, échappe aux codes; des nouvelles images telles qu'elles débordent les écrans et des milieux humains, profondément hybridés par les automates programmés. Pour penser les flux, il est indispensable de considérer un terrain, un fragment de milieu humain. Deux projets en rapport avec cette notion de territoire – une mission de service public visant à mettre en réseau un ensemble d'opérateurs culturels sur la ville de Bourg-en-Bresse, et une œuvre d'art numérique investissant, par le portrait social, la question d'une ré-appropriation individué des flux – nous permettront de faire progresser ce mi-lieu hyper-complexe entre le corps et le programme. En définitive, il s'agira de voir quels genres d'affect il nous est nécessaire de connaître afin que les réseaux numériques accompagnent une augmentation de notre puissance d'exister. / Under what conditions a territory is built in regard to computer programming? How to reterritorialize Internet to a body scale? By where the algorithm penetrates our symbolic exchanges? With the i-material society, since we have to compose with the flow of information, we almost have to accept to start from nowhere and un-finish our development. Also, far from wanting to establish categories or principles claiming to establish an action plan, this thesis asks itself the problem of what, in a program, always escapes the codes; new images as they go beyond the screens and human environments, deeply hybridized by programmed automatons. To think flows, it is essential to consider a ground, a human environment fragment. Two projects related to the notion of territory --- a public service mission aimed to develop a network of cultural operators all over the city of Bourg-en-Bresse, and a digital art work investing, with the social portrait, the question of a re-appropriation of individuated stream --- will allow us to progress throughout this hyper-complex halfway between the body and the program. Ultimately, it will be to see what kind of affect it is necessary for us to know so that digital networks accompany an increase in our power to exist.

Boutons « J’aime », tweets ancrés… Toutes ces formes sont générées par des interfaces de programmation ou API, outils d’écriture informatique qui ont integré la chaîne de production des textes de réseau contemporains. Cette thèse interroge la fonction éditoriale des API, soit leur rôle dans la production, la standardisation et la circulation des « petites formes » des textes de réseau. Avec comme corpus les API de Facebook et de Twitter ainsi que les petites formes qu’elles permettent de produire, notre analyse techno-sémiotique s’articule en cinq chapitres. Le premier est une généalogie des API du point de vue de l’écriture combinatoire. Nous montrons que cette conception de l’écriture est un trait saillant de la programmation et de l’informatique. Le second chapitre interroge les imaginaires de l’écriture informatique, entre chiffre, combinatoire et méthode scientifique universelle. Le troisième chapitre est une analyse des conséquences sémiotiques de cet universalisme combinatoire, où nous montrons que les API proposent une conception du texte comme ensemble abstrait de blocs combinables. Abstraction du texte qui sert une « économie des passages », objet de notre quatrième chapitre, dans laquelle les API sont des lieux d’industrialisation d’une « pratique lettrée » : elles établissent des critères de lisibilité et de reproductibilité du texte. Parmi ces critères, nous notons une invisibilisation du rôle pourtant fondamental du calcul informatique. Nous proposons donc, dans un cinquième chapitre, des pistes pour développer une sémiotique qui prenne en compte le calcul comme mode d’expression propre aux médias numériques. / « Like » buttons, embedded tweets… All of these visual forms are produced by Application Programming Interfaces (APIs). APIs are digital writing tools which have become part of the publishing process of contemporary web pages. This thesis aims at understanding the « publishing function » of APIs : their role in the production, standardization and circulation of the « little forms » of online texts. Focused on Facebook’s and Twitter’s APIs, our work is divided into five chapters. The first one is a genealogy of the APIs, starting from their combinatorial aspect, a conception of writing which trace back to early programming and the invention of computer science. The second chapter is an inquiry about the imaginaries of calculus as a kind of writing, torn between the imaginary of numbers, of combinatorics and the search for a universal scientific method. The third chapter is a study of the semiotic consequences of this combinatorial universalism. We show how APIs are based on an idea of text as an abstract, modular object. This abstraction of the text is beneficial to an « economy of passages ». In this economy where circulation produce value, APIs are a place of « literate practices » (chapter four). They establish visual standards for the readability, production and circulation of online texts. Among these standards, there’s a systematic invizibilisation of the action of machines, although calculus is a necessary part of the production of digital texts. Therefore, in the fifth chapter, we give some epistemological elements towards non-anthropocentric semiotics, meaning : semiotics which would take into account computational machines as a part of the utterance of digital texts.

Denna studie undersöker användningen av active learning i Kompetenscenters digitala klassrum med fokus på områden som kreativt klimat, motivation och digital undervisning. Kompetenscenter är en kommunal vuxenutbildning som ligger i Köping. Syftet med studien är att förbättra studenternas engagemang i distansstudier och skapa ett mer tillgängligt och inkluderande klimat i det digitala klassrummet. Innovationsbidraget ligger i att kunna skapa bättre förutsättningar för studenterna i den digitala miljön med hjälp av lärometoden active learning. Den valda forskningsmetoden är ett kvalitativt angreppssätt med en fallstudiedesign. Forskarna har utgått från en abduktiv ansats då forskarna kontinuerligt har jämfört ny empiri med teori. Som datainsamlingsmetoder har forskarna använt sig utav sju semistrukturerade intervjuer med sju olika respondenter från Kompetenscenter. Den genomförda analysmetoden är tematisk analys av empiriska data, forskarna har kodat insamlade data för att identifiera teman. Genom lärometoden active learning har studien tagit fram riktlinjer för Kompetenscenter. Implementeringen av dessa riktlinjer kommer hjälpa Kompetenscenter att skapa ett kreativt klimat som är tillgängligt och inkluderande för studenterna. / This study investigates the use of active learning in the Competence Center’s digital classroom with a focus on areas such as creative climate, motivation, and digital teaching. Competence Center is a municipal adult education located in Köping. The aim of this study is to improve student engagement in distance learning and create a more accessible and inclusive climate in the digital classroom. The innovation contribution lies in being able to create better conditions for the students in the digital environment with the help of the teaching method active learning. The chosen research method is a qualitative approach with a case study design. The researchers have used an abductive approach, in which case the researchers have continuously compared new empirical evidence with theory. As data collection methods, the researchers have used seven semi-structured interviews with seven different respondents from Competence Center. The analysis method carried out is thematic analysis of empirical data, the researchers have coded the collected data to identify themes. Through the teaching method active learning, the study has produced guidelines for Competence Center. The implementation of these guidelines will help Competence Center to create a creative climate that is accessible and inclusive for the students in the digital classroom.

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At the Ottawa Hospital in Ontario, Canada, clinicians use full body immersion virtual reality to treat a variety of health conditions, including: traumatic brain injuries, post- traumatic stress disorder, acquired brain injuries, complex regional pain syndrome, spinal cord injuries, Guillain-Barré syndrome, and lower limb amputations. The system is shared between military and civilian patient populations. Viewed by clinicians and the system’s designers as a value neutral medical technology, clinical virtual reality’s sights, sounds, movements, and smells reveal cultural assumptions about universal patient experiences. In this dissertation I draw from reflexive feminist research methodologies, visual anthropology and sensory ethnography in a hospital to centre the body in current debates about digital accessibility in the 21st Century. 40 in-depth interviews with practitioners and patients, 210 clinical observations, and film and photography ground research participant experiences in day-to-day understandings of virtual reality at the hospital. In this dissertation I address an ongoing absence of the body as a site of analytical attention in anthropological studies of virtual reality. While much literature in the social sciences situates virtual reality as a ‘post-human’ technology, I argue that virtual reality treatments are always experienced, resisted and interpreted through diverse body schemata. Furthermore, virtual reality cannot be decoupled from the sensitivities, socialities and politics of particular bodies in particular places and times. The Ottawa Hospital’s Computer Assisted Rehabilitation Environment (CAREN) system features a digitally enhanced walk-in chamber, treadmills on hydraulic pistons, surround sound audio, advanced graphics and user feedback utilizing force plates and a dynamic infrared motion capture system. The CAREN system utilizes hardware and software reliant on specific assumptions about human bodies. For example, these assumptions are echoed in depictions of race, gender, class, and indigeneity. Patients using virtual reality technologies can experience more than one disability or health condition at a time, further disrupting the idea of universal user experiences. As clinicians and patients confront the limitations of body normativity in the CAREN system’s interface design, they improvise, resist, and experience virtual reality in ways that defy design agendas, ultimately shaping patient treatments and unique paths to healing and health. / Graduate