Y a-t-il un rapport entre l'effet provoqué par une image et sa texture? L'illusionnisme pictural issu de la Renaissance, fondé sur la perspective linéaire, avait cherché à effacer toute trace de la facture en peinture. La présence du corps de l'artiste dans cette facture devenue apparente n'apporte-t-elle pas une émotion plus immédiate? Cette thèse montre que les découvertes des sciences cognitives sur la perception ont été pressenties par des peintres des XIX et XXe siècles, en particulier B. Morisot, V. Van Gogh, et F. Bacon qui ont bouleversé les habitudes du regard. Ces artistes se sont rendus compte qu'une image parcellaire, gardant sa facture visible, ne nuisait pas à la réception de celle-ci, au contraire. Van Gogh et Bacon ont fait remarquer qu'une telle manière de représenter, favorisant les "imperfections", laissant la matière apparente, produisait sur le spectateur un effet plus immédiat et plus fort qu'une autre à l'aspect fini, maîtrisé rationnellement du début à la fin. Sera analysée la démarche de ces peintres qui vont vers une prise de conscience fort intéressante au regard des sciences cognitives. Une étude anatomique et psycho-physiologique de la vision montre d'étonnantes passerelles avec les intuitions de ces peintres. La trace du geste donne des informations motrices que le cerveau peut capter. Le flou, l'inachevé appellent notre perception à combler les vides, car le cerveau ne cesse de scénariser, à l'origine pour sa sauvegarde, à partir de ce qui n'est que probable, incertain. Les surfaces où la texture est très apparente nous font pénétrer au cœur du processus de fabrication de l'œuvre, et aux conditions de possibilité de la créativité / Is there a connection between the effect produced by an image and its texture? The pictorial illusionism of the Renaissance, based on linear perspective, attempted to erase all traces of the facture in paintings. But it seems that the presence of the artist’s body in the facture of the work provokes a more immediate emotion drawn from the origins of perception. This thesis will show that discoveries in cognitive sciences on perception were anticipated by painters of the XIX and XXth centuries, especially B. Morisot, V. Van Gogh, and F. Bacon, who contributed to change the habits of seeing. Those artists found out that an incomplete image, which keeps the trace of its facture, doesn’t hinder its understanding, but does quite the contrary. Van Gogh and Bacon noticed that such a way to represent things, leaving imperfections and visible matter, produces on the spectator a more immediate and stronger effect than an image rationally mastered from the beginning to the end. The approach of each of those artists will be analysed ; they had very interesting intuitions regarding recent discoveries in cognitive sciences. Recent results from anatomical and psycho-physiological studies on the mechanisms of vision show astonishing links with the intuitions of the artists. The trace of the gesture gives motor information that the brain can grasp. Our perception completes the gaps of unfinished visual information, because our brain, originally develop for our survival, is used to build scenarios from what is only probable, uncertain. Surfaces where the texture is visible allow us to get inside the process of materially manufacturing the work, and to the conditional options of creativity

No description available.

Beginning to creste composition(of spatial or flat form) the artist first of all stars from its shape. Form - the most expensive part of spatial composition. In later stage it is contemplated how to infuse even more emotionality, more graten impression to express idea of composition. To achieve that purpose - facture as auchiliary means of expression amply is used. Deeper cognition of facture and form analysis wasnt done in the couse of studies, conseouently in the final diploma paper just arose an apportunity to deepen and unclose mind. This cognition of a problem is necessary in pedagogical as well as in creative activities. Objectives of this final paper are:to reveal peculiarities and role of artistic means of expression (facture,form) and their reciprocity in spatial compositions, as well as to work up methodic recommendations for training and application of these artistic means of expression in creative works.

This dissertation aims to investigate the hybrid facture of one of the most influential buildings of architectural history, Hagia Sophia, which has been a source of wonder and awe since its construction in the sixth century. Since the first temple erected on that site; old-new, future-past, forgetting-remembering are all intertwined in the imaginative act of initiating and its continuous making as re-makings that manifest the building as a palimpsest-in-the-becoming. Its originality lies not any of its chronological beginnings but its diachronic facture of interweaved historical, mythical and architectural strata of its remakings through appropriation. The conquest of Constantinople, a central moment in Hagia Sophia's macro-history, marked the beginning of the diachronic appropriation of the site and building elements that are of Byzantine origin. By employing the south turret as the site of the minaret, the appropriation became a twofold strategy of preservation and innovation that ensured sacredness and continuity. An intertwined narrative was factured by complementing the material appropriation with deliberately constructed mythopoeic and visual re-makings of Byzantine texts and representations. Evliya Celebi's tale in which an Ottoman architect was said to have laid the foundations of a minaret preceding the conquest and the Dusseldorf manuscript, an idiosyncratic version of Buondelmonti's Liber Insularum Archipelagi are the two accounts through which this study aims to open-up a multi-directional dialogue to explore the appropriation program of Hagia Sophia. Within this framework, a critical revisiting of the concepts of facture, making, palimpsest, original, spolia and their respective relationships will provide clues to tackle the transformation process the building is going through currently. In a way, its hybrid facture will act as a paradigmatic model for the future undertakings. / Master of Science / This dissertation aims to investigate the hybrid facture of one of the most influential buildings of architectural history, Hagia Sophia, which has been a source of wonder and awe since its construction in the sixth century. Since the first temple erected on that site; old-new, future-past, forgetting-remembering are all intertwined in the imaginative act of initiating and its continuous making as re-makings that manifest the building as a palimpsest-in-the-becoming. Its originality lies not any of its chronological beginnings but its diachronic facture of interweaved historical, mythical and architectural strata of its remakings through appropriation. The conquest of Constantinople, a central moment in Hagia Sophia's macro-history, marked the beginning of the diachronic appropriation of the site and building elements that are of Byzantine origin. By employing the south turret as the site of the minaret, the appropriation became a twofold strategy of preservation and innovation that ensured sacredness and continuity. An intertwined narrative was factured by complementing the material appropriation with deliberately constructed mythopoeic and visual re-makings of Byzantine texts and representations. Evliya Celebi's tale in which an Ottoman architect was said to have laid the foundations of a minaret preceding the conquest and the Dusseldorf manuscript, an idiosyncratic version of Buondelmonti's Liber Insularum Archipelagi are the two accounts through which this study aims to open-up a multi-directional dialogue to explore the appropriation program of Hagia Sophia. Within this framework, a critical revisiting of the concepts of facture, making, palimpsest, original, spolia and their respective relationships will provide clues to tackle the transformation process the building is going through currently. In a way, its hybrid facture will act as a paradigmatic model for the future undertakings.

Document polyvalent, la thèse a pour ambition de démontrer que le détail juridique que la facture constitue en apparence, peut masquer des problématiques épineuses. La facture a été victime d'un détournement de fonction en raison de la pratique courante de l'insertion de données qui ne figureraient pas sur une facture rudimentaire. Il y a eu une inflation de la charge juridique contenue dans le document. C'est la possibilité du « phénomène contentieux » autour de l'acceptation d'une clause insérée dans la facture qui a permis à cette dernière d'intégrer la sphère contractuelle. Ce mouvement inflationniste s'est doublé d'une appropriation étatique du document. La juridicité du document a été renforcée par le législateur au nom d'un renforcement des conditions de libre concurrence conférant alors au document une dimension technique. Le document est alors marqué du sceau de l'autonomie, celle-ci menaçant alors d'autres droits fondamentaux et notamment, le principe de légalité, au nom d'une transparence invasive. La facture est alors sans aucun doute alors une image double. Ce qui saisit, c'est la trajectoire vécue par un document plus que polyvalent ayant pour point de départ une pratique naturelle et parvenant à un point d'arrivée technique et pesant. Le droit de la facture traduit fidèlement l'état d'un droit sous tension en ce que la législation obligatoire sur la facture est contraignante et ne répond pas aux exigences de sécurité juridique. / Versatile paper, the thesis aims to demonstrate that the legal detail that the bill is apparently can hide thorny issues. The bill was the victim of a function of diversion due to the common practice of inserting data that do not appear on a rudimentary bill. There was an inflation of legal charge contained in the document. It is the possibility of " disputes phenomenon " around the acceptance of a clause in the bill which allowed the latter to integrate the contractual sphere. However, this movement is accompanied by another paradigm shift, when the legislature wished to seize the invoice into a competitive tool. Juridicity document has been strengthened by the legislature in the name of strengthening the conditions of free competition while giving the document a technical dimension. The document is then marked with the seal of autonomy, it then threatening other human rights, including the principle of legality, on behalf of invasive transparency. The invoice is then undoubtedly be a double image. What grabs is the trajectory experienced by a paper more versatile than having to base a natural practice and achieving a technical point of arrival and weighing. The right of the bill accurately reflects the state of a power law in that mandatory legislation on the invoice is binding and does not meet the requirements of legal certainty .

Dans l’histoire de la musique occidentale, de nombreuses formes orchestrales se sont imposées de l’orchestre symphonique aux ensembles de musique de chambre. L’intérêt pour ces formes s’est rarement porté sur les ensembles d’instruments à vent particulièrement adaptés à la musique de plein air. Le choix de la longue durée historique laisse entendre tous les possibles d’une histoire politique, culturelle et sociale de 1700 à 1914. Les conditions dans lesquelles sont nés et se sont développés ces ensembles en France, permet d’en voir leur usage, leur répertoire, leur sociabilité et leur impact sur la vie musicale.L’histoire de l’ensemble à vent est complexe. Musique ostentatoire ou militaire il est pendant longtemps l’objet sonore du pouvoir. L’étude des conditions de la création musicale spécifique pour ces ensembles fait apparaître des usages musicaux particuliers et permet d’établir un premier recensement d’oeuvres originales et de compositeurs, tout en montrant les relations entre création musicale savante et usage utilitaire ou populaire.La pratique instrumentale évolue avec les innovations de la facture tout comme l’art de l’orchestration. Le statut des musiciens évolue du professionnalisme à l’amateurisme orphéonique. La modélisation de la musique d’harmonie ou de fanfare et son instrumentalisation par le pouvoir lui confère une fonction représentative officielle. Le modèle « français » se répand sur tous les continents. Parallèlement, d’un usage ostentatoire et privé, l’ensemble à vent devient musique du peuple et sa pratique se diffuse sur l’ensemble du territoire national imposant un mode original de transmission musicale en marge des enseignements officiels et en quête de reconnaissance.Entre unité et diversité cette étude invite à redécouvrir la part patrimoniale des ensembles d’instruments à vent dans les champs historiques, sociologiques et musicologiques, à l’heure où, pour de multiples raisons, ces ensembles sont menacés. / In the history of western music, a lot of different shapes of bands grew on, from the symphony orchestra to the chamber music ensembles. But among these bands, the wind bands hardly attracted interest to perform outdoor music. With the choice of a historically long time period we are able to imagine all that their political, cultural and social history could be, from 1700 to 1914. The conditions of birth and development of these ensembles allow us to observe what their uses, repertoire and sociability were and what was their impact on musical life.The history of the wind band is complicated. For a long time period, being either conspicuous music or military music, it was used by the political power as an object of expression. Studying the conditions of musical creation of these ensembles reveals specific musical uses. It enables to establish a first inventory of original works and composers, while linking scholar musical creation and practical or popular use.The instrumental practice changes according to the innovations in the making process, as the orchestration art. The musicians' status evolves from professionalism to band amateurism. The establishment of a model of concert band music or brass band music and its exploitation by the political power leads to an official representative function. France becomes all over the world a country to look up to in this matter. At the same time the wind ensemble, for a conspicuous and private use, happens to become the music of the people. Its practice spreads throughout France, setting a specific way to pass music on, detached from the official teachings and in search for recognition.Between unity and diversity, this study is an invitation to discover again the cultural heritage of the wind bands in the history, sociology and musicology fields, when today these bands are threatened.

La fatigue représente la deuxième cause d’endommagement des structures métalliques anciennes après la corrosion. Celle-ci se manifeste par l’apparition de fissures, dans les zones fortement sollicitées présentant des concentrations de contraintes importantes, et peut mener à terme à la ruine de l’ouvrage. Dans le cas des structures métalliques anciennes, les fissures de fatigue s’amorcent généralement au droit des trous de rivets rendant difficile leur détection par les techniques de contrôle non destructif conventionnelles. De même, les matériaux métalliques anciens de la construction, et notamment le fer puddlé, limitent l’utilisation de certaines techniques. Dans le cadre de ce travail de thèse, l’objectif principal est d’étudier l’efficacité d’un renforcement par composites collés dans le cas de fissures de fatigue émanant de trous de rivets. Pour cela, des éprouvettes de petites dimensions, présentant un perçage central et une unique fissure de fatigue en bord de perçage, ont été considérées. De même, deux matériaux métalliques, acier doux et fer puddlé, ainsi que deux procédés de renforcement PRFC (polymères renforcés de fibres de carbone), à Module Normal et à Ultra Haut Module, sont étudiés. Pour chaque procédé de renforcement, différentes configurations de renforcement ont été testées et notamment la mise en précontrainte du plat composite MN avant collage. Cela a permis de mettre en évidence l’efficacité de la technique de collage de plats PRFC pour un renforcement à la fatigue de matériaux métalliques anciens. Par ailleurs, les expressions analytiques simples proposées pour le facteur d’intensité de contraintes pourront par la suite être utilisés pour une application aux structures rivetées en tenant compte de la présence du rivet ainsi que celle des plaques assemblées. / After corrosion, fatigue phenomenon is the main cause of damage in old metallic structures. Fatigue cracks appear in stress concentration area subject to high stresses, and can lead to the ruin of the bridge. In old metallic structures, fatigue cracks mainly occur at the edge of the rivet hole and are thus difficult to detect with the common non-destructive inspection technique (NDI). Moreover, due to the poor quality of the old metallic materials, particularly puddled iron, some of the NDI techniques cannot be used. The main objective of the present work is to study the effectiveness of carbon fibre reinforced polymer (CFRP) laminates in reinforcing fatigue crack emanating from the rivet hole. Thus, investigations on small-scale specimens were done. These specimens consist of metallic plates with center hole from which one single crack emanates. Two metallic materials, puddled iron and mild steel, and two reinforcement processes were used. These reinforcement processes consist of Normal Modulus (NM) and Ultra High Modulus (HHM) CFRP laminates. Furthermore, symmetrical and un-symmetrical reinforcement configurations are considered as well as pre-stressing NM laminates before application. The experimental results showed firstly the efficiency of the different studied reinforcement configurations in slowing down crack propagation. In conclusion of this work, the achieved results, particularly those in terms of Stress Intensity Factor, could be used for reinforcement of riveted structures by CFRP bonding, taking into account the presence of rivets as well as the presence of the others elements of the assembly.

Le présent travail, réalisé dans le cadre du projet ANR MAESSTRO, concerne le remplacement des tables d’harmonie de piano traditionnellement constituées d’épicéa par des structures composites stratifiées. Cette démarche suppose une connaissance fine des matériaux à remplacer et des matériaux de remplacement. La contribution de la thèse consiste donc en le développement d’outils de caractérisation du comportement dynamique de structures viscoélastiques anisotropes hétérogènes sur une large bande de fréquence. Dans une première partie, l’étude théorique de la propagation des ondes planes dans ces structures est étudiée. Contrairement à une approche modale classique, les conditions aux limites et chargements sont écartés du problème. Les surfaces de dispersion obtenues contiennent la signature de l’anisotropie, de l’hétérogénéité des propriétés mécaniques ou encore du comportement dissipatif de la structure. La deuxième partie est dédiée au développement d’un moyen de mesure plein-champ robotisé. Celui-ci permet la mesure du champ de vitesse tridimensionnel instantané d’une structure soumise à un chargement dynamique répétable. La définition de l’expérience est intégrée dans un environnement CAO, permettant la prise en compte des problématiques liées à l’utilisation d’un bras robot, ainsi que l’automatisation complète de la mesure. La troisième partie est consacrée à la formulation de procédures d’identification basées sur les mesures obtenues. Les paramètres d’un modèle réduit de la mesure sont identifiés par le biais d’une méthode ESPRIT originale, intégrant des développements spécifiques aux mesures plein-champ. Ces paramètres sont ensuite utilisés pour exprimer un problème aux valeurs propres inverse permettant l’identification des propriétés de la structure mesurée. La démarche est mise en œuvre dans le cadre de l’analyse modale (régime transitoire) et l’analyse en vecteurs d’onde proposée (régime permanent). Des validations expérimentales sur des poutres homogènes et plaques anisotropes sont présentées. Le manuscrit conclut par l’application des méthodes proposées à l’identification des propriétés matériau d’une table d’harmonie de piano à queue Stephen Paulello Technologies SP190// / The present work, as part of the MAESSTRO ANR project, is motivated by the replacement of wood by composite material in the design of the piano soundboard. The main focus is on the characterization of the mechanical properties of both replaced and replacement materials in a wide frequency range, taking into account anisotropy, heterogeneous and viscoelastic behavior. First, the wave propagation in such structures is investigated; boundary conditions and loads are discarded to focus on the mechanisms responsible for the energy transmission in the media. The footprint of the complex behavior of the studied structures is represented and interpreted via the dispersion surfaces. Second, a robotized setup is proposed, allowing for the measurement of the full-field instantaneous 3D velocity along the surface of structures submitted to a repeated dynamic load. Third, identification methods using this experimental data are proposed. Based on the parameters of a reduced signal model of the measurement identified with an original ESPRIT method, inverse eigenvalue problems are formulated. Both transient and steady regime are investigated, respectively through modal analysis and the proposed wavevector analysis. The proposed methods are validated through applications on homogeneous beams and anisotropic plates. Finally, the overall proposed procedure is applied for the identification of the material properties of the soundboard of the Stephen Paulello technologies SP190// grand piano

No description available.

Titanium based alloys reinforced uniaxially with silicon carbide fibres (Ti/SiC) are advanced and innovative materials for aerospace vehicles. To avoid potential problems, these new materials should be extensively tested and analyzed before application. This research focuses on experimental fracture toughness study on 0.5 mm thick Ti/SiC composite materials for aerospace applications. The fracture toughness tests are mainly based on BS 7448 with some modifications for transversely isotropic behaviour of the composite materials. By loading on specimens in the direction perpendicular to the fibre axis, three critical values of fracture toughness parameters characterizing fracture resistance of material, plane strain fracture toughness [Plane strain fracture toughness }, critical crack tip opening displacement [Critical crack tip opening displacement ] and critical J-integral [Critical at the onset of brittle crack extension or pop-in when Δa is less than 0.2 mm. ]are measured for two kinds of titanium alloy specimens and three kinds of Ti/SiC composites specimens. The values of [Provisional value of Plane strain fracture toughness ] obtained from the fracture toughness tests are not valid [Plane strain fracture toughness ] for these materials, since the thickness of specimens is insufficient to satisfy the minimum thickness criterion; however, the results could be used as particular critical fracture toughness parameter for 0.5 mm thick structures of the materials. The valid values of [Critical J at the onset of brittle crack extension or pop-in when Δa is less than 0.2 mm. ] and [Critical crack tip opening displacement ] could be used as fracture toughness parameters for all thickness of structures of the materials. The results also show that: fracture toughness of the titanium alloys decreases dramatically after being unidirectional reinforced with SiC fibre, which is mainly triggered by poor fibre/matrix bonding condition. Moreover, Ti-Al3-V2.5 reinforced with 25% volume fraction SiC fibre performs better than the other two composites in fracture resistance.