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Les composants mémoires sont omniprésents en électronique : ils sont utilisés pour stocker des données, et sont présents dans tous les champs d’application - industriel, automobile, aérospatial, grand public et télécommunications, entre autres. Les technologies mémoires ont connu une évolution constante depuis la création de la première mémoire vive statique (Static Random-Access Memory, SRAM) à la fin des années 60. Les besoins toujours plus importants en termes de performance, de capacité et d’économie d’énergie poussent à une miniaturisation constante de ces composants : les mémoires modernes contiennent des circuits dont certaines dimensions sont de l’ordre du nanomètre.L’un des inconvénients de cette miniaturisation fut un accroissement de la sensibilité de ces composants aux radiations. Depuis la détection des premiers effets singuliers (Single-Event Effects, SEE) dans un satellite à la fin des années 70, et la reproduction du phénomène en laboratoire, les fabricants de composants mémoires et les ingénieurs en électronique se sont intéressés au durcissement aux radiations. Au début, les besoins en stockage pour des applications civiles et militaires – comme le développement d’accélérateurs de particules, de réacteurs nucléaires et d’engins spatiaux – créa un marché pour les composants durcis aux radiations. Ce marché s’est considérablement réduit avec la fin de la Guerre Froide et la perte d’intérêt des gouvernements, et après quelques années, les ingénieurs durent se tourner vers des composants commerciaux (Commercial Off-The-Shelf Components, COTS).Les composants COTS n’étant pas conçus pour résister aux radiations, chaque composant doit être évalué avant d’être utilisé dans des systèmes dont la fiabilité est critique. Ce processus d’évaluation est appelé Radiation Hardness Assurance (RHA). Les tests aux radiations des composants commerciaux sont devenus une pratique standardisée (en particulier dans l’industrie aérospatiale). Ces composants sont irradiés à l’aide d’accélérateurs de particules et de sources radioactives, afin d’évaluer leur sensibilité, de prédire leur taux d’erreur dans un environnement radiatif donné, et ainsi de déterminer leur adéquation pour une mission donnée.Cette étude porte sur le test de composants mémoires aux effets singuliers. Les objectifs, difficultés et limitations des tests aux radiations sont présentés, et des méthodes d’analyse de données sont proposées ; l’identification et l’étude des modes de défaillance sont utilisées pour approfondir les connaissances sur les composants testés. Cette étude est basée sur de nombreuses campagnes de test aux radiations, étalées sur une période de quatre ans, pendant lesquelles des mémoires de différentes technologies – mémoires vives statique (SRAM), ferroélectrique (FRAM), magnétorésistive (MRAM) et mémoire flash – furent irradiées avec des faisceaux de muons, neutrons, protons et ions lourds. Les données générées ont également servi au développement d’un CubeSat développé conjointement par le LIRMM et le Centre Spatial Universitaire de Montpellier, MTCube, dont la mission est l’irradiation de ces mêmes composants en milieu spatial. Les concepts sous-jacents liés aux radiations, aux environnements radiatifs, à l’architecture des composants mémoires et aux tests aux radiations sont introduits dans les premiers chapitres, et les avancées scientifiques de cette étude sont présentées dans le dernier chapitre. / Electronic memories are ubiquitous components in electronic systems: they are used to store data, and can be found in all manner of industrial, automotive, aerospace, telecommunication and entertainment systems. Memory technology has seen a constant evolution since the first practical dynamic Random-Access Memories (dynamic RAMs) were created in the late 60's. The demand for ever-increasing performance and capacity and decrease in power consumption was met thanks to a steady miniaturization of the component features: modern memory devices include elements barely a few tens of atomic layers thick and a few hundred of atomic layers wide.The side effect of this constant device miniaturization was an increase in the sensitivity of devices to radiation. Since the first radiation-induced single-event effects (SEEs) were identified in satellites in the late 70’s and particle-induced memory upsets were replicated in laboratory tests, radiation hardness has been a concern for computer memory manufacturers and for systems designers as well. In the early days, the need for data storage in radiation-rich environments, e.g. nuclear facilities, particle accelerators and space, primarily for military use, created a market for radiation-hardened memory components, capable of withstanding the effects of radiation. This market dwindled with the end of the Cold War and the loss of government interest, and in a matter of years, the shortage of available radiation-hard components led system designers to turn to so-called Commercial Off-The-Shelf (COTS) components.Since COTS devices are not designed with radiation hardness in mind, each COTS component must be assessed before it can be included in a system where reliability is important – a process known as Radiation Hardness Assurance (RHA). This has led to the emergence of radiation testing as a standard practice in the industry (and in the space industry in particular). Irradiation tests with particle accelerators and radioactive sources are performed to estimate a component’s radiation-induced failure rate in a given radiation environment, and thus its suitability for a given mission.The present work focuses on SEE testing of memory components. It presents the requirements, difficulties and shortcomings of radiation testing, and proposes methods for radiation test data processing; the detection and study of failure modes is used to gain insight on the tested components. This study is based on data obtained over four years on several irradiation campaigns, where memory devices of different technologies (static RAMs, ferroelectric RAM, magnetoresistive RAM, and flash) were irradiated with proton, heavy-ion, neutron and muon beams. The yielded data also supported the development of MTCube, a CubeSat picosatellite developed jointly by the Centre Spatial Universitaire (CSU) and LIRMM in Montpellier, whose mission is to carry out in-flight testing on the same memory devices. The underlying concepts regarding radiation, radiation environments, radiation-matter interactions, memory component architecture and radiation testing will be introduced in the first chapters, while the academic advances which were made during this study are presented in the final chapter.

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This study focuses specifically on the laws and regulations relating to commercial fishing within the Exclusive Economic Zone of South Africa and the impact of illegal fishing (IUU). The goal is to determine how overfishing can be stopped or minimised and ultimately for South Africa to harvest the illegally caught fish in such a way that it becomes part of the South African economy and generates revenue. The study will analyse the international legal instruments applicable and their impact on the development of the South African maritime laws. An in depth look at the relevant South African maritime laws will be vital as to determine if these laws are adequate to protect the fish resources from illegal exploitation and official mismanagement. To see if South Africa’s maritime laws are lacking with other countries a comparison must be done, particularly with a country like Australia that has one of the highest success rates when it comes to combating IUU fishing. It will be found that the international legal instruments and agreements on the use of the sea have afforded rights and powers to coastal states to protect their sea zones, but it will remains the responsibility of each coastal state to determine how it will use these rights and powers to protect its own sea zones. Further it will be shown that South Africa has the necessary legislative measures in place to protect its fish resources, but the problem lies with the implementation of those measures Australia does not only rely on its legislation to stop IUU fishing, but it also uses external methods, that South Africa will have to consider. / LLM (Import and export Law), North-West University, Potchefstroom Campus, 2014

This study focuses specifically on the laws and regulations relating to commercial fishing within the Exclusive Economic Zone of South Africa and the impact of illegal fishing (IUU). The goal is to determine how overfishing can be stopped or minimised and ultimately for South Africa to harvest the illegally caught fish in such a way that it becomes part of the South African economy and generates revenue. The study will analyse the international legal instruments applicable and their impact on the development of the South African maritime laws. An in depth look at the relevant South African maritime laws will be vital as to determine if these laws are adequate to protect the fish resources from illegal exploitation and official mismanagement. To see if South Africa’s maritime laws are lacking with other countries a comparison must be done, particularly with a country like Australia that has one of the highest success rates when it comes to combating IUU fishing. It will be found that the international legal instruments and agreements on the use of the sea have afforded rights and powers to coastal states to protect their sea zones, but it will remains the responsibility of each coastal state to determine how it will use these rights and powers to protect its own sea zones. Further it will be shown that South Africa has the necessary legislative measures in place to protect its fish resources, but the problem lies with the implementation of those measures Australia does not only rely on its legislation to stop IUU fishing, but it also uses external methods, that South Africa will have to consider. / LLM (Import and export Law), North-West University, Potchefstroom Campus, 2014

This doctoral project, entitled 'Displacing AIDS: Therapeutic Transitions in Northern Uganda' examines the biosocial transitions engendered by the treatment of HIV, focusing on antiretroviral therapy (ART/ARV) interventions, and the ways these are intertwined with the social transitions of conflict, displacement and return. The research involved an inter-disciplinary qualitative study with internally displaced communities living with HIV in northern Uganda, during 10 months fieldwork between 2006 and 2009. Northern Uganda has experienced a two decade civil war between the government of Uganda and the Lord’s Resistance Army (1987 to 2006). In 2006, after a cessation of hostilities was signed, hundreds of thousands of the displaced began returning ‘home’. The effects of conflict and social displacement were to significantly shape both the social and medical aspects of ART provision. I argue that northern Uganda was significantly excluded from widespread national community-based responses as a result of the war during the 1990s and early 2000s. Given this background, ART interventions were to engender rapid social transformations among those with HIV, but also in relation to the perceptions of HIV/AIDS in the broader community. I explore these intersecting biosocial and displacement-induced transitions through several streams: the social transitions of forced displacement and the return process; the transitions from illness to a precarious health; from social exclusion to a contested inclusion; transitions between local and biomedical understandings of healing; transitions in authority and biopower; as well as continually shifting forms of identity, support and affiliation. I give particular emphasis to forms of socio-spatial and medico -moral transformations. I argue that ARV interventions have been nested in the social and moral spaces of displacement. In particular the spatial configurations of encampment, involving extreme congestion and lack of privacy, have shaped patterns of disclosure and community and identity formation. The influence of Catholicism, shaped by missionary histories in the region, has also had a strong impact. Themes of militarism, lack of productivity, and encampment have shaped the language and perceptions of HIV and AIDS. Theoretically I engage with debates around biosociality, stigmatisation and ‘clientship’ within the emerging literature on ARVs. I trace the intersections of these questions with those in forced migration studies regarding the social transformations of displacement and return. Furthermore, I use this social analysis to engage with public-health perspectives on ARV provision. I argue that community-based strategies require adaptation to the social contexts of displacement. Such adaptations, involving attentiveness to the socio-spatial specificity of displaced contexts, are critical for the long-term provision and sustainability of antiretroviral therapy to displaced communities. In particular the return phase has created unexpected challenges for treatment continuity, arising from large-scale population movements. The thesis has a strong narrative focus and traces the experiences of several people living with HIV through the paths of displacement and return.

When the history painter Benjamin West (1738-1820) died in March 1820, he left behind a remarkable monument to his life and work in his residence at 14 Newman Street, in London’s fashionable West End. Here, he had created an elaborate ‘palace’ of art, dedicated to history painting and to himself – his artistic genius, his artistic heroes, and his unique transatlantic identity. This impressive establishment was nearly fifty years in the making and part of an elaborate strategy to develop an artistic reputation as the pre-eminent history painter of his generation. While his studio has been considered by scholars as a place of pilgrimage for dozens of American students, its physicality and contents have never been thoroughly explored. Using a variety of evidence, including bank records, contemporary descriptions, and visual material, this thesis reconstructs much of this important space and collection to reveal how it was shaped and utilised by West. It combines a documentation of the spaces and objects with an analysis of their use and meaning in terms of the painter’s engagement with art theory, pedagogy, practice, collecting, display, and legacy. West, who was History Painter to George III, inhabited 14 Newman Street from 1774 to 1820, a period of dramatic expansion and cultural ambition in the London art world. Indeed, this thesis argues that 14 Newman Street and its impressive contents were more than just a history painter’s ‘palace’ of art but a place symbolic of the ideals and ambitions of British art. Following an introduction that more fully defines the aims and scope of this thesis, four chapters explore the significance of West’s house, his collections, and their display in this context. Chapter one provides an overview of his home and studio, and considers how it was designed with West’s various audiences in mind. The scope and character of his impressive collection is examined in the second chapter with a particular focus on a selection of Old and New World objects that represent particular areas of strength within the corpus of the collection. Chapter three examines the collection as a public and private artistic resource for West and his students as well as a statement of his commitment to the grand tradition. In chapter four, West’s self-promotion and exhibition strategies at Newman Street are addressed, highlighted by his exhibition of The Death of Lord Nelson in 1806. Developed in the dynamic context of the establishment of the Royal Academy, the proliferation of public exhibitions, and ongoing debates about national art, West’s collection and studio at 14 Newman Street exemplified the aspirations of British art.

Hybrid Dialogues, Situation Strategies (hereafter referred to as HDSS) aims to explore the production of a postcolonial visual culture, through action research centered on producing and reflecting on collaborative visual artworks. The aim of the research is to use collaborative creative practice itself as the site of investigation into the way in which visual creative strategies can reflect and redefine the processes of constructing, inhabiting and exchanging complex definitions of postcolonial identities. It is suggested that the reflexive creative processes of art/design methods, can bring productive, transformative and complex re-visibilisations of accepted and contested postcolonial histories, through the application of the 'familiarity' of making clothes as a wider metaphor for exploring the construction of complex, postcolonial identities. In my thesis I set out my understanding of postcolonial visual culture and its histories and their relationship to my practice and the project presented. The research is implemented through Shade, a project situated within postcolonial visual culture and which interrogates the processes of producing that postcolonial culture. As the major practice project for HDSS, Shade is the key site of the generation of new knowledge. Through participation and reflection a new methodology of "fittings" has been developed, combining the principles of participatory action research and the craft process of tailoring, embroidering and fitting, so that the development and performance of the garments and accessories for Shade also become an important space for generation of new postcolonial cultural exchanges. Through this reflective practice, five principles of/for creative engagement with postcolonial cultures are identified. These five principles are; 'shared histories', 'radical familiarities', 'complicit spectacle', 'transgressive crafts', and 'democratic bespoke'. HDSS insists on becoming deeply implicated in acts of collaborative practice and on reflection on the construction of postcolonial identities. This has produced the key contribution to new knowledge, which can be summarised as the theory of 'shared cultural production', which suggests that no act of postcolonial cultural production can be theorised without genuine democratic participation in the conditions of its production.

The socio-cultural significance of Cloud Gate Dance Theatre (est. 1973) in Taiwan is manifested in the interconnection of political nationalism and the representation of a diasporic postcolonialist cultural nationalism in its dance creations. The hybrid nature of Taiwanese society and its struggle between Chinese and Taiwanese nationalism are reflected in the motive behind the creation of the company, the evolution of its repertoire and changes in its nationalist stance. The creation of Cloud Gate, the first Taiwanese contemporary dance company, was stimulated by its founder Lin Hwaimin's enthusiasm for Taiwan Chinese nationalism. The name Cloud Gate Dance Theatre not only relates to Chinese dance history and the formation of Chinese mythological nationalism, but also indicates the hybrid nature of Taiwanese society. In brief, Cloud Gate's multi-cultural dance creation is generated by diasporic Chinese for diasporic Chinese. In the light of intensifying Taiwanese nationalism on the island the evolution of the Cloud Gate repertoire (between 1973-1997), which began by juxtaposing Chinese and Western dance elements before integrating Chinese, Western, Taiwanese, Taiwanese indigenous and various Asian dance elements, reflects the company and Taiwanese society's search for a Taiwanese cultural and political identity. Among the Cloud Gate repertoire, Legacy (1978) and Nine Songs (1993) are considered to exemplify most this distinct socio-cultural phenomenon-the interaction and interconnection between dance, culture and nationalism in the context of the formation of Taiwan as a postcolonial society in opposition to Chinese nationalist hegemony. A research methodology for the socio-cultural analysis of dance is developed, with specific relevance to the Cloud Gate repertoire, which incorporates methods originating in sociology of dance and choreological studies. This is supported by a documentary research method which draws on theories and analytical methods of sociology and dance history. Zelinger's (1979) theory of semiotics of theatre dance is applied to bring together sociological and choreological methods. The examination of Thomas' (1986) sociological analysis of dance, Adshead's (1988) and Sanchez-Colberg's (1992) dance structural analysis leads to the development of a new method of analysis. Geertz's (1973) concept of `Thick description' provides the theoretical ground for the interpretation of data collected through the analysis of extrinsic and intrinsic features of cultural phenomena. Consequently the significance of the dance in question can be addressed in terms of the complex network of interpretations of it within its socio-cultural context.