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This study addresses sorting problems with predefined ordinal classes. We develop a new method based on Support Vector Machine (SVM) model, which is mainly used for nominal binary or multi-class classification processes. In the proposed method, the SVM model is extended to include the preferences of the decision maker and the ordinal relationship between classes in sorting problems. New sets of constraints are added to the SVM model. We demonstrate the performance of the proposed method through several data sets. We compare the results with those of classical SVM model and UTADIS method, a well-known multiple criteria sorting method. We also analyze the effect of feature space mapping by Kernel Trick utilization on the results.

Ce travail de doctorat analyse la question du traitement de l’inventivité habitante au sein d’un bureau d’étude. L’inventivité habitante se définit par les pratiques réalisées par des habitants et détournant des normes socio-spatiales. Elles sont des modifications incrémentales et fragmentées qui participent au processus d’habitabilité. Cette thèse a pour particularité de construire un dialogue entre le monde de l’action au sein d’un bureau d’étude en aménagement du territoire et les sciences territoriales. La problématique de la thèse fait d’ailleurs référence à cet enjeu. Elle questionne la manière dont l’ingénierie territoriale a la capacité d’améliorer l’habitabilité des territoires par l’inventivité habitante.L’auteur s’appuie sur un socle théorique pragmatique et interactionniste autour des questions de l’habiter et des contraintes spatiales. Il définit l’inventivité habitante à partir d’une critique des œuvres de Michel De Certeau, notamment L’invention du quotidien, de la notion de bricolage développée par Claude Lévi-Strauss ou encore la mètis des hellénistes Détienne et Vernant. Sur les terrains d’études du cabinet de conseil, l’auteur a recherché, observé et analysé les inventivités habitantes. La profusion des terrains d’études (Communauté de Communes de Miribel et du Plateau, Aurillac, le département du Gard, etc.) a permis d’observer une grande diversité de pratiques inventives. Après une analyse quantitative, l’auteur a proposé une inventivité habitante type : des habitants se constituent en groupe(s) afin de combler un manque à l’échelle de la rue, où ni internet ni l’action publique n’ont un rôle. Ces actions s’inscrivent dans le cadre de l’économie collaborative, durant un an ou une demi-journée. Cette inventivité détourne les normes socio-spatiales en vigueur sur le territoire.A partir d’une analyse fine de l’inventivité habitante, l’auteur a travaillé sur les relations existantes avec l’habitabilité et l’ingénierie territoriale. Il affirme que l’inventivité habitante améliore l’habitabilité. Par ce postulat, il a mis en avant le processus d’émancipation comme une condition de l’habitabilité. Toute une série d’actions publiques locales ont été analysées afin d’identifier les possibilités de l’ingénierie territoriale. Enfin, l’auteur invite au débat dans un dernier chapitre, où il propose des méthodes pour une ingénierie territoriale de l’habitabilité / This Phd work analyses inhabitant inventiveness question within a planning consultant office. The inhabitant inventiveness can be defined as inhabitants practices diverting socio-spatial norms,. They are incremental and fragmented modifications which participate in the habitability process. This thesis has for distinctive characteristic to develop a dialogue between the action’s world in a design office in town planning and territorial sciences. The thesis problem underlines the stakes of such a dialogue. It questions the way territorial engineering could have the capacity to improve habitability thanks to inhabitant inventiveness.The author’s work is based on theoretical, pragmatic and interactionist theories about dwelling and spatial pressure. He defines inhabitant inventiveness from a critic of Michel De Certeau’s work, especially L’invention du quotidien, from the notion of DIY elaborate by Claude Lévi-Strauss, and mètis of the Hellenists Détienne and Vernant. From the field studies of the design office he worked for, the author looked, observed and analyzed the inhabitants inventiveness. The field studies profusion (Communauté de Communes de Miribel et du Plateau, Aurillac, le département du Gard, etc.) lead to observing a diversity of inventiveness practices. After a quantitative analysis, the author generated a model of inhabitant inventiveness : inhabitants form a group to fill a void, a “lack of”, at street level, where neither internet nor public action has no role Actions take place within the scope of collaborative economy, for one year or one half-day. This inventiveness diverts socio-spatial norms.From an in-depth analysis of inhabitant inventiveness, the author worked on the relationship between habitability and territory engineering. He claims that inhabitant inventiveness improves habitability. Local public actions were analysed to identify how spatial and territorial engineering and planning could create or restrain possibilities. Finally, the author creates a controversy in the last chapter, where he proposes methods for territorial engineering of habitability.

Cette thèse étudie les relations techniques entre l’art magique et le cinématographe et confronte la pratique de trois artistes magiciens à celle de Georges Méliès. Bien que le rapprochement ait souvent été considéré comme évident, le but est ici d’étudier en détail les liens techniques entre le cinéma et la magie. En effet, le spectacle magique présenté par les prestidigitateurs, les illusionnistes ou les manipulateurs répond à des règles établies, théorisées, et débattues au sein de la profession. Il n’y a pas une pratique, mais des genres et des modes de présentation différents, qui évoluent sans cesse. Analyser l’utilisation du cinématographe au regard de ces règles permet de mettre en évidence une continuité d’approche de la part des magiciens ; cette machine constitue pour eux un nouvel élément dans un spectacle déjà établi. Après avoir développé les formes et les pratiques associées à la prestidigitation, nous analyserons dans la première partie l’œuvre de Buatier de Kolta, qui implante une nouvelle forme : l’illusionnisme, ainsi qu’une technique, le Théâtre Noir, invention née par erreur. La seconde partie retrace le succès de Leopoldo Fregoli, qui pousse les limites des pièces magiques anglaises avec son spectacle de Transformisme : il ne repose plus sur la technique des identités altérées d’acteurs. Finalement, la troisième partie étudie l’implantation de la figure du manipulateur, perçue comme un artiste-virtuose et comme une forme de « magie moderne » par le public ; cette forme questionne les magiciens sur la place que doit tenir la manipulation dans leur art, au moment où se forment les premiers syndicats corporatifs. Plus précisément la dernière partie étudie l’adoption de cette forme dans l’œuvre de Gaston Velle, tant dans ses spectacles itinérants que dans ses premières vues animées. L’ensemble de ces questionnements sera rapproché des pratiques magiques et cinématographiques de Georges Méliès, qui emprunte à chacune de ces formes / This thesis studies the technical relations between the art of magic and the cinematograph, and confronts the practice of three magicians to that of Georges Méliès. Although the link between cinema and magic was often considered evident, the purpose here is to study in detail the technical links between them. Indeed, the magic show presented by the prestidigitators, the illusionists or the manipulators replies to established theorized rules, which are discussed within the profession. There is not one practice, but several genres and different modes of presentation, which evolve. Analyzing the use of the cinematograph within these rules reveals a continuity of understanding amongst the magicians, this machine constitutes for them a new tool in their already established show. The first part, develops the forms and the practices associated with prestidigitatation, and analyzes Buatier de Kolta's illusionist work, as well as a technique : The Black Art, which arose, by mistake from a more compex invention. The second part redefines Leopoldo Fregoli's success, which pushes the limits of the English Magic Theater with its transformism show that is no longer based on the technique of the actors’ distorted identities. Finally, the third part studies the magician-manipulator, perceived by the public as a virtuoso; this questions the magicians about the place that manipulation takes in the magic show. The third part will study the adoption of this form in Gaston Velle's work both in his itinerant shows and in his first animated views. All these questionings will be reviewed in relation to Georges Méliès' magic and cinematographic practices, which borrow from each of these forms

Estudo centrado nas trucagens eletrônicas digitais utilizadas por Peter Greenaway a partir dos anos 80, no âmbito das tradições cinematográficas e da evolução tecnológica audiovisual. Conceitua-se suas intervenções técnicas e artísticas no campo dos efeitos especiais e das trucagens cinematográficas. O método de análise utilizado combina a dramaturgia da forma, enunciada por Sergei Eisenstein, com as tradições artísticas das composições do visual music, iniciado nos anos 20, e as teorias da física mecânica e seus movimentos ondulatórios. As reflexões construídas nessa pesquisa nos permitem reconhecer um amplo sistema de referências utilizado por Greenaway para desenvolver a sua dramaturgia da forma a partir das trucagens eletrônicas digitais. Diversas categorias propostas por Eisenstein foram revigoradas por Greenaway e estão sendo enriquecidas com novas formulações que apontam para o desenvolvimento de uma prática inovadora na cinematografia em geral. / Study focused on electronic digital trick-film used by Peter Greenaway from the\'80s, under the traditions of film and audiovisual technology developments. The concept is its technical and artistic interventions in the field of special effects and trick-films. The analysis method used combines the form dramaturgy, provided by Sergei Eisenstein with the artistic traditions of the visual music compositions, starting in the 20s, and the theories of physics and mechanical wave motion. The reflections made in this study allow us to recognize an extensive system of references used by Greenaway to develop their theater the way from trucagens electronic fingerprints. Categories proposed by Eisenstein were reinvigorated by Greenaway and are enriched with new formulations that point to the development of an innovative practice in the film industry in general.

Estudo centrado nas trucagens eletrônicas digitais utilizadas por Peter Greenaway a partir dos anos 80, no âmbito das tradições cinematográficas e da evolução tecnológica audiovisual. Conceitua-se suas intervenções técnicas e artísticas no campo dos efeitos especiais e das trucagens cinematográficas. O método de análise utilizado combina a dramaturgia da forma, enunciada por Sergei Eisenstein, com as tradições artísticas das composições do visual music, iniciado nos anos 20, e as teorias da física mecânica e seus movimentos ondulatórios. As reflexões construídas nessa pesquisa nos permitem reconhecer um amplo sistema de referências utilizado por Greenaway para desenvolver a sua dramaturgia da forma a partir das trucagens eletrônicas digitais. Diversas categorias propostas por Eisenstein foram revigoradas por Greenaway e estão sendo enriquecidas com novas formulações que apontam para o desenvolvimento de uma prática inovadora na cinematografia em geral. / Study focused on electronic digital trick-film used by Peter Greenaway from the\'80s, under the traditions of film and audiovisual technology developments. The concept is its technical and artistic interventions in the field of special effects and trick-films. The analysis method used combines the form dramaturgy, provided by Sergei Eisenstein with the artistic traditions of the visual music compositions, starting in the 20s, and the theories of physics and mechanical wave motion. The reflections made in this study allow us to recognize an extensive system of references used by Greenaway to develop their theater the way from trucagens electronic fingerprints. Categories proposed by Eisenstein were reinvigorated by Greenaway and are enriched with new formulations that point to the development of an innovative practice in the film industry in general.

Zero Magic is a trick for the financial markets, which has the capacity to undermine the perceived value of a publicly traded company and profit from this. Short selling is a way of profiting from loss: Making money if and when a target company loses in value. It is a fundamental market activity that goes as far back as the first stock, yet to this day little is publicly known about the strategies employed by short sellers. On the US exchanges there is no requirement for hedge funds to disclose short positions, and in other jurisdictions such requirements are very limited. Zero Magic was developed by covertly infiltrating a secretive hedge fund specializing in short selling, and reverse engineering its methods. In brief, the hedge fund’s trading strategy is based on identifying suitable short selling targets through analyzing networks of corruption, and then framing critical newsworthy stories about these target companies that can be anonymously distributed among journalists. Profit is gained when a target company loses in value. Rigorous measures are taken by the fund never to be identified as the source of a negative campaign.Access to the hedge fund was gained through the art world. The founder and co-director routinely supports artists and art institutions and is said to have gotten the idea for his fund when looking at a Mark Lombardi drawing (an artist known for mapping networks of power and corruption). It is hard to tell whether the founder’s engagement with art merely entertains personal vanity, or if it functions more strategically as a means of “secret publicity” for the fund; giving access to investors, while staying under the radar of more mainstream public relations. Covert techniques such as hidden recordings and proxy researchers were used to uncover the fund’s methods. With the assistance of Théo Bourgeron, sociologist of finance, Zero Magic not only reconstructs the workings of the trading strategy, but offers a fully operational magic gimmick. The magic gimmick is a computer program providing non-expert users the means to identify relevant short selling targets (companies with weak “valuation conventions”), and a step-by-step guide to undermining their perceived value. With this gimmick one can execute a successful short sale without any previous contacts in the investor community or access to insider information. A US patent application for the trick was filed in January 2016.The artistic PhD “Zero Magic: Shifting the Valuation Convention” concludes with a stage performance and a magic box:The stage performance, “On a Long Enough Timeline the Survival Rate for Everyone Drops to Zero” with magician Malin Nilsson, performed on May 11 and 12, 2016, at Cirkus Cirkör, Stockholm. Through the ticket sales, audience members are drawn into the Zero Magic trick, buying into the predicted future loss of a target company. The magic box, prepared for public archives, contains the Zero Magic computer software, a US patent application for a “Computer Assisted Magic Trick Executed in the Financial Markets” and four historical examples of magic tricks played out beyond the stage, in the world at large.

Submitted by Bruna Rodrigues (bruna92rodrigues@yahoo.com.br) on 2016-10-10T13:51:29Z No. of bitstreams: 1 DissWM.pdf: 576272 bytes, checksum: 2aed9c1a9025d2818155f1b5a16ffc54 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-21T13:33:51Z (GMT) No. of bitstreams: 1 DissWM.pdf: 576272 bytes, checksum: 2aed9c1a9025d2818155f1b5a16ffc54 (MD5) / Approved for entry into archive by Marina Freitas (marinapf@ufscar.br) on 2016-10-21T13:34:02Z (GMT) No. of bitstreams: 1 DissWM.pdf: 576272 bytes, checksum: 2aed9c1a9025d2818155f1b5a16ffc54 (MD5) / Made available in DSpace on 2016-10-21T13:34:12Z (GMT). No. of bitstreams: 1 DissWM.pdf: 576272 bytes, checksum: 2aed9c1a9025d2818155f1b5a16ffc54 (MD5) Previous issue date: 2016-02-17 / Conselho Nacional de Desenvolvimento Científico e Tecnológico (CNPq) / We present a study of rank-one perturbations of self-adjoint and unitary operators, in particular related to the so-called Kotani’s trick. In Chapter 2 we recall relevant definitions and elementary facts. In Chapter 3 we present recent results by Marx, which involve self-adjoint operators and Hausdorff measures. A generalization of such results to the set of unitary operators is described in Chapter 4. / Apresentaremos um estudo realizados sobre pertubações de posto 1 de operadores auto-adjuntos e unitários, particularmente relacionados ao chamado truque de Kotani. O Capítulo 2 consiste na exposição de definições elementares e fatos básicos que serão utilizados nos outros capítulos. O Capítulo 3 consiste na exposição de um estudo feito de um artigo recente de Marx sobre o tema, envolvendo operadores autoadjuntos e medidas de Hausdorff. Uma generalização dos resultados obtidos no artigo já mencionado para o contexto de operadores unitários é discutida no Capítulo 4.

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Les premiers comptes rendus de l’histoire du cinéma ont souvent considéré les premiers dessins animés, ou vues de dessins animés, comme des productions différentes des films en prise de vue réelle. Les dessins animés tirent en effet leurs sources d’inspiration d’une gamme relativement différente d’influences, dont les plus importantes sont la lanterne magique, les jouets optiques, la féérie, les récits en images et les comics. Le dessin animé n’en demeure pas moins fondamentalement cinématographique. Les vues de dessins animés de la décennie 1900 ne se distinguent ainsi guère des scènes à trucs sur le plan de la technique et du style. D’abord le fait de pionniers issus de l’illustration comique et du croquis vivant comme Émile Cohl, James Stuart Blackton et Winsor McCay, le dessin animé s’industrialise au cours de la décennie 1910 sous l’impulsion de créateurs venant du monde des comics, dont John Randolph Bray, Earl Hurd, Paul Terry et Max Fleisher. Le processus d’institutionnalisation par lequel le dessin animé en viendra à être considéré comme une catégorie de film à part entière dépend en grande partie de cette industrialisation. Les studios de dessins animés développent des techniques et pratiques managériales spécifiquement dédiées à la production à grande échelle de films d’animation. Le dessin animé se crée ainsi sa propre niche au sein d’une industrie cinématographique dont il dépend toutefois toujours entièrement. Ce phénomène d’individuation repose sur des formules narratives et des personnages récurrents conçus à partir de modèles issus des comics des années 1910. / This dissertation focuses on the institutionalization and industrialization of drawn animation. Animated cartoons are usually seen as being quite different from live action films. They were modelled on traditions found in the realm of magic lantern, opitcal toys, phantasmagoria and comics. Yet, cartoons were fundamentally filmic by nature. Technically and aesthetically, animated films were considered as a category of trick films. In the 1910s, after the pioneering work of Emile Cohl, James Stuart Blackton and Winsor McCay, who were also famous for their work as cartoonists and lightning sketch artists, the nascent industry of animated cartoons recruited talent from the comic strip and the illustration industries, including John Randolph Bray, Earl Hurd, Paul Terry and, later, Max Fleischer. The institutionalization of animated cartoons — that is, the process through which cartoons gained enough visibility so they could be legitimately considered a new category of films — is the result of their industrialization. Animated cartoons studios developed techniques and work management practices that were specific to their needs. While largely dependent on the moving picture industry, animated cartoons created their own niche. This phenomenon of individuation relied heavily on narrative formulas and recurring characters modelled after famous comics of the 1910s.