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Un objet ancien dont on ne se sert plus aujourd’hui continue cependant de vivre dans notre vie contemporaine. Il se présente à nous avec un autre fonctionnement et souvent avec une autre définition : ce n’est plus l’objet utile ni l’outil pratique qu’il a été. Dans cette thèse, la valeur de l’objet ancien est étudiée dans sa dimension immatérielle et spirituelle. Ainsi nous renouvellerons sa définition en réfléchissant sur son essence et sa forme d’un point du vue contemporain. La première partie de cette thèse présente les concepts de la valeur de l’objet ancien de nos jours sous un angle sociologique. Ensuite, nous proposons une approche du concept de l’objet ancien comme une chose mi-humaine mi-objet. Puisqu’un objet ancien d’une autre époque possède toujours en lui cette vie de l’époque révolue, est-ce que cet objet peut vivre comme s’il était une chose animée ? Dans la seconde partie, nous avons recherché quelles caractéristiques pouvaient donner à l’objet ancien cette sensation de vie humaine ? Peut-être tout d’abord les traces des gens qui se sont accumulées sur lui visiblement et invisiblement ? La notion coréenne de « sonté » nous a permis de traduire et d’exprimer ces traces visibles et invisibles sur l’objet ancien. Dans la dernière partie, l’objet ancien est étudié dans le domaine de l’art contemporain. Les artistes contemporains voient l’objet ancien comme un nouvel objet et lui donne une autre forme et une autre essence qui, bien souvent, est une allégorie de la destinée humaine. / An ancient object that is no longer in use today continues however to survive in our contemporary life. It is presented to us with another function and often with another definition: it is no longer the useful object nor the practical tool that it used to be. In this dissertation, the value of the ancient object is studied in its immaterial and spiritual dimensions. We will thus renew its definition by reflecting on its essence and form from a contemporary viewpoint. The first part of the dissertation presents the concepts around the value of the ancient object in our time from a sociological angle. Next, we propose an approach to the concept of the ancient object as half-human and half-object. Since an ancient object from another era always keeps within itself its life in the period gone by, could this object exist as if it were an animated entity? In the second part, we have sought what characteristics could offer the ancient object this sensation of human life. Perhaps, first of all, the traces of people that it has accumulated visibly and invisibly? The Korean notion of “sonté” allows us to translate and express these visible and invisible traces on the ancient object. In the last part, the ancient object is studied in the field of contemporary art. Contemporary artists see the ancient object as a new object and give it another form and another essence which often is an allegory of human destiny.

Multiple gravity assist (MGA) spacecraft trajectories can be difficult to find, an intractable problem to solve completely. However, these trajectories have enormous benefits for missions to challenging destinations such as outer planets and primitive bodies. Techniques are presented to aid in solving this problem with a global search tool and additional investigation into one particular proximity operations option is discussed. Explore is a global grid-search MGA trajectory pathsolving tool. An efficient sequential tree search eliminates v∞ discontinuities and prunes trajectories. Performance indices may be applied to further prune the search, with multiple objectives handled by allowing these indices to change between trajectory segments and by pruning with a Pareto-optimality ranking. The MGA search is extended to include deep space maneuvers (DSM), v∞ leveraging transfers (VILT) and low-thrust (LT) transfers. In addition, rendezvous or nπ sequences can patch the transfers together, enabling automatic augmentation of the MGA sequence. Details of VILT segments and nπ sequences are presented: A boundaryvalue problem (BVP) VILT formulation using a one-dimensional root-solve enables inclusion of an efficient class of maneuvers with runtime comparable to solving ballistic transfers. Importantly, the BVP VILT also allows the calculation of velocity-aligned apsidal maneuvers (VAM), including inter-body transfers and orbit insertion maneuvers. A method for automated inclusion of nπ transfers such as resonant returns and back-flip trajectories is introduced: a BVP is posed on the v∞ sphere and solved with one or more nπ transfers – which may additionally fulfill specified science objectives. The nπ sequence BVP is implemented within the broader search, combining nπ and other transfers in the same trajectory. To aid proximity operations around small bodies, analytical methods are used to investigate stability regions in the presence of significant solar radiation pressure (SRP) and body oblateness perturbations. The interactions of these perturbations allow for heliotropic orbits, a stable family of low-altitude orbits investigated in detail. A novel constrained double-averaging technique analytically determines inclined heliotropic orbits. This type of knowledge is uniquely valuable for small body missions where SRP and irregular body shape are very important and where target selection is often a part of the mission design.

À partir d’un corpus ouvert de photographes et de cinéastes coloristes qui ont une fascination pour le nocturne, cette thèse explore les différentes gradations et significations de celui-ci, des plus évidentes aux plus abstraites. La thèse s’attache alors à démontrer que le régime nocturne transforme l’obscurité en valeurs chromatiques et qu’il éclaire, avec une subtilité qu’occulte la vision diurne, les aspects les plus complexes de la société et de l’esprit humain. La confrontation des analyses de séquences filmiques et de photographies dans une perspective articulant esthétique, philosophie et histoire de l’art, a permis de construire la thèse autour de trois grandes notions, Distorsion, Sublimation, Transfiguration, qui fondent le nocturne comme catégorie esthétique de l’image.Le corpus principal organisé sur des critères externes (nocturne, couleur post-années 1960-70) et internes (processus esthétiques conjoints) est composé de séquences de films en couleurs de Stanley Kubrick (1928-1999), de David Lynch (1946), de Brian de Palma (1940), de Francis Ford Coppola (1939) et de séries photographiques de Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) et Daniel Boudinet (1945-1990).Le corpus secondaire est constitué de séries photographiques de Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974), Chrystel Lebas (1966), d’extraits d’un court métrage d’Antoine Barraud (1973) et d’une série TV de Nic Pizzolatto (1975) et Justin Lin (1973), nécessaire pour finaliser la démonstration. / Based on a large corpus of colorist film directors and photographers who share a fascination for the nocturne, this thesis explores the different gradations and meanings of this one, from the more obvious to the more abstracts. The thesis endeavours to demonstrate how the nocturne reasserts the darkness values to turn them into colors, and how it illuminates, with a subtlety absent in diurnal vision, the more complex aspects of society as well as the human mind.The confrontation between picture and film sequences analysis, with a perspective articulating aesthetic, philosophy and art history, leads to three main concepts: Distortion, Sublimation and Transfiguration. Thereby it establishes the nocturne as an image’s aesthetic category in cinema and photography.The main corpus in cinema and photography, organised by externals criteria (nocturne, post-1960-1970 years color) and internals criteria (similar operating processes aesthetic), is established with the movie extracts of Stanley Kubrick (1928-1999), David Lynch (1946), Brian de Palma (1940), Francis Ford Coppola (1939) as well as the photographic series of Gregory Crewdson (1962), Bill Henson (1955), Rut Blees Luxemburg (1967) and Daniel Boudinet (1945-1990).The second is based on the photographic series of Darren Almond (1971), Jean-Christian Bourcart (1960), Nicolas Dhervillers (1981), Laurent Hopp (1974) and Chrystel Lebas (1966), as well as Antoine Barraud’s (1973) movie extracts. Finally, for the requirement of the demonstration, a Nic Pizzolatto (1975) and Justin Lin (1973) TV show.