Academic literature on the topic 'Essais (technologie) – Informatique'

Le développement de l’intelligence numérique va profondément modifier aussi bien notre marché du travail que notre enseignement. Pour s’adapter à une telle situation, la généralisation d’un modèle d’enseignement basé sur la théorie STEAM (Sciences, Technologies, Engineering, Arts et Mathématiques), s’avère une solution attrayante. Cette approche interdisciplinaire qui combine la créativité (art et design) et les sciences (technologie, ingénierie et mathématiques), permet aux élèves de développer des solutions innovantes à des problèmes réels, en développant l’hémisphère gauche et l’hémisphère droit du cerveau. L’objectif de cette approche est de développer chez les apprenants un certain nombre de compétences comportementales et techniques essentielles dans un futur proche, par le biais de la robotique et du codage. Ceux-ci permettent d’introduire de nouveaux modes d’apprentissage à travers des expériences, en mode projet, par essai-erreur et résolution de problèmes. Le but de cet article est de développer un programme de robotique et de programmation destiné aux écoles primaires Marocaines et de favoriser le processus de transfert didactique des apprentissages. L’étude a montré que l’introduction des robots dans l’apprentissage au primaire est une approche concrète pour construire les nouveaux concepts informatiques.

Ces deux derniêres décennies, l'environnement social et culturel en Algérie a connu, dans les domaines de l'information et de la communication, un grand bouleversement avec l'apparition de nouvelles technologies. Les campus universitaires ont essayé de suivre cette mutation en se dotant de moyens informatiques didactiques adéquats et três performants (laboratoires multimédia, médiathêque, espace Internet, espace audiovisuel, etc). Puis, un Programme National de télé-enseignement três ambitieux a été mis en place par le Ministêre de l'Enseignement Supérieur et de la Recherche Scientifique, ce qui a permis de mettre en service, dès 2008, des cellules de télé- enseignement et de visioconférences dans un grand nombre d'universités. Cependant, malgré ces investissements importants en équipement sophistiqué, les usages des Technologies de l'Information et de la Communication dans l'Enseignement n'ont pas suivi le même rythme de croissance. Il y a une sous-utilisation de ces outils de travail qui sont de puissants outils à potentiel cognitif. Situation aggravée par les routines pédagogiques, administratives, bureaucratiques, et managériales qui ont engendré des inerties à tous les niveaux. Bien que théoriquement les TICE puissent être considéré comme un instrument pédagogique adapté au milieu universitaire, sa mise en pratique est assez difficile à mettre en oeuvre car elle nécessite des changements dans la gestion au sein de l'université. L'objet de cette communication concerne la visioconférence. Si cette derniêre doit correspondre théoriquement à un besoin réel dans l'enseignement au sein des universités algériennes, son usage n'en est rien dans la pratique. L'usage de la visioconférence en Algérie est des plus déconcertants. Aprês cinq ans de sa mise en service, les salles équipées du matériel adéquat sont encore sous utilisées et parfois même pas utilisées!! L'une des plus grandes contradictions entre les objectifs MESRS et l'usage de la visioconférence est que d'une part la tutelle désire diffuser l'enseignement à un três grand nombre d'étudiants (des milliers), et d'autre part les salles de visioconférence ne peuvent recevoir qu'un nombre limité d'étudiants (généralement inférieur à 100). Alors comment concilier cet objectif et l'usage de ce matériel ? Doit-on prendre le risque de faire des investissements supplémentaires alors que les premiers investissements n'ont pas été rentabilisés ? Nous ne croyons pas que ce serait une bonne solution, pour cela nous proposons dans cette communication, aprês la présentation d'un état des lieux de la visioconférence en Algérie (sur la base d'un sondage), des usages pouvant répondre aux besoins nationaux tout en tenant compte des potentialités humaines disponibles.

- M.A. van Bakel, R. Borofsky, Making history; Pukapukan and anthropological constructions of knowledge. Cambridge: Cambridge University Press, 1987. 201 pp.; ill. - Andrew Beatty, J.A. Feldman et al., Nias, tribal treasures: Cosmic reflections in stone, wood and gold, Delft: Volkenkundig Museum Nusantara, 1990. - A.G. van Beek, Christian F. Feest, Technologie und ergologie in der Völkerkunde, Band 2, Berlin: Dietrich Reimer Verlag, Ethnologische Paperbacks, 1989. xiv, 290 pp., Alfred Janata (eds.) - N. Bootsma, Bernhard Dahm, José Rizal, Der nationalheld der Filipinos, Zürich: Munster-Schmidt Verlag Göttingen, 1988, 88 pp. - Aart G. Broek, John de Pool, Bolívar op / en Curaçoa: Historische novelle / leyende histórico [Inleiding door / introducción del L.W. Statius van Eps en / y E. Luckmann-Levy Maduro; vertaling uit het Spaans door L. Hoetink-Espinal], Zutphen: De Walburg Pers, 1988. - Martin van Bruinessen, Peter Kloos, Door het oog van de antropoloog: Botsende visies bij heronderzoek. Muiderberg: Dick Coutinho, 1988, 148 pp. - J.G. de Casparis, Charles Higham, The Archaeology of mainland Southeast Asia. From 10,000 B.C. to the fall of Angkor. Cambridge World Archaeology, Cambridge: Cambridge University Press, 1989. - H.J.M. Claessen, Luc de Heusch, Ecrits sur la royauté sacrée. Brussel, Institut de Sociologie: Editions de l’Université de Bruxelles. 1987. 314 pp. - H. Dagmar, Erich Kolig, The Noonkanbah Story, Dunedin: University of Otago Press, 1987. - Anke van Dijke, Linda Terpstra, Anil Ramdas, De strijd van de dansers; Biografische vertellingen uit Curaçao, Amsterdam: SUA, 1988. - B.F. Galjart, Hans-Dieter Evers, Strategische gruppen. Vergleichende studien zu staat, bürokratie und klassenbildung in der dritten welt. Berlin: Dietrich Reimer Verlag, 1988, 279 pp., Tilman Schiel (eds.) - J. Hoffenaar, G. Teitler, Anatomie van de Indische defensie: Scenario’s, plannen, beleid 1892-1920. [Anatomy of the defence of the Netherlands East Indies: Scenarios, plans, policy 1892-1920], Amsterdam: Van Soeren, 1988, 482 pp. - Rudy de Jongh, Sjoerd Rienk Jaarsma, Waarneming en interpretatie. Vergaring en gebruik van ethnografische informatie in Nederlands Nieuw-Guinea (1950-1962). Utrecht: Interdisiplinair Sociaal Wetenschappelijk Onderzoekinstituut Rijksuniversiteit, 1990. 247 pp. English summary. - Ward Keeler, J.Joseph Errington, Structure and style in Javanese: A semiotic view of linguistic etiquette, Philadelphia: University of Pennsylvania Press, 1988, 290 pp. - Ank Klomp, Raymond T. Smith, Kinship and class in the West Indies; A genealogical study of Jamaica and Guyana, Cambridge etc.: Cambridge Studies in Social Anthropology, Cambridge University Press, 1988. - G.J. Knaap, A.H.P. Clemens, Het belang van de Buitengewesten; Economische expansie en koloniale staatsvorming in de Buitengewesten van Nederlands-Indië 1870-1942, NEHA-series III, deel 7, Amsterdam: NEHA, viii + 306 pp. 1989., J.Th. Lindblad (eds.) - Jaap de Moor, E.S. van Eyck van Heslinga, Van compagnie naar koopvaardij; De scheepvaartverbinding van de Bataafse Republiek met de koloniën in Azië 1795-1806, Amsterdam: De Bataafsche Leeuw, 1988. [Hollandse Historische Reeks, no. IX.] 320 pp., kaart, ills., tabellen, bibliografie, index. - Otto van den Muijzenberg, Jean-Claude Lejosne, Le journal de voyage de G. van Wuysthoff et de ses assistants au Laos (1641-1642), Metz: Editions du Centre de Documentation du Cercle de Culture et de Recherches Laotiennes, 1987. 370 pp., 3 indices, bibliography, maps, illustrations. - Gert J. Oostindie, M.J. van den Blink, Olie op de golven; De betrekkingen tussen Nederland/Curaçao en Venezuela gedurende de eerste helft van de twintigste eeuw, Amsterdam: De Bataafsche Leeuw, 1988, 128 pp. - Rien Ploeg, Robert M. Hill II, Continuities in highland Maya social organisation, Philadelphia: University of Pennsylvania Press, xxii + 176 pp., 1987., John Monaghan (eds.) - Harry A. Poeze, Takashi Shiraishi, An age in motion; Popular radicalism in Java, 1912-1926, Ithaca/London: Cornell University Press, 1990. xxiv + 365 pp. - Rob de Ridder, Willem F.H. Adelaar, Het boek van Huarochirí. Mythen en riten van het Oude Peru, Amsterdam: Meulenhoff, 1988, 150 pp., - Marie-Odette Scalliet, Peter Carey, A.A.J. Payen: Journal de mon voyage à Jogja Karta en 1825. The outbreak of the Java War (1825-30) as seen by a painter, Cahier d’Archipel 17, Paris 1988. XIV + 183 pp., 17 ill., 3 maps. - Matthew Schoffeleers, Marion Melk-Koch, Auf der Suche nach der menschlichen Gesellschaft: Richard Thurnwald, Berlin: Dietrich Reimer, 1989. 352 pp., maps, photographs and Thurnwald bibliography. - Matthew Schoffeleers, Peter Metcalf, Where are you / Spirits? Style and theme in Berawan prayer, Washington and London: Smithsonian Institution Press, 1989, 345 pp. - J.W. Schoorl, J.F.L.M. Cornelissen, Pater en Papoea; Ontmoeting van de Missionarissen van het Heileg Hart met de cultuur der Papoea’s van Nederlands Zuid-Nieuw-Guinea (1905-1963), Kampen: Kok, 1988, XIV + 256 pp. - Alex van Stipriaan, Jo Derkx, Suriname; A bibliography, 1980-1989, Leiden: KITLV (Royal Institute of Linguistics and Anthropology), Department of Caribbean studies, 1990, 297 pp., Irene Rolfes (eds.) - A.A. Trouwborst, Th. Schweizer (Hg), Netzwerkanalyse; Ethnologische perspektiven, Berlin: Dietrich Reimerverlag, 1989, VIII, 229 pp. - Hans Vermeulen, Brian Juan O’Neill, Social inequality in a Portugese hamlet; Land, late marriage and bastardy, 1870-1978, Cambridge: Cambridge University Press. 431 pp. 1987. - C.W. Watson, Hendrick M.J. Maier, In the center of authority. The Malay Hikayat Merong Mahawangsa, Ithaca: Southeast Asia program, Studies on Southeast Asia , 1988. 210 pp. - Neil Lancelot Whitehead, Edmundo Magaña, Orión y la mujer Pléyades. Simbolismo astronómico de los indios kaliña de Surinam, Dordrecht/Providence: Foris, 1988. [CEDLA Latin American studies series 44.] 373 pp. - J.J. de Wolf, Meyer Fortes, Religion, morality and the person: Essays on Tallensi religion, edited and with an introduction by Jack Goody. Cambridge: Cambridge University Press, 1987.

Abstract: The increased volume and complexity of information available via the Internet and other networked information and communications systems (ICTs) have heightened the need for more efficient and effective ways of searching on-line resources. Technologies involving automated and human-operated software continue to evolve in meeting these needs but process and standardization remain key problems in determining who will do the work and how data and software programming should be structured to maximize the effort. The problem is exacerbated by database and search tool customization, as a widening range of organizations attempts to adapt the "metadata" technologies and approaches to unique information environments and resources. This paper overviews metadata in its current application and development as an Internet technology, and points to its relevance to communications - a field that has yet to embrace the movement thematically. Résumé: La complexité et le volume croissants de l'information disponible sur Internet et autres systèmes d'information et de communication en réseau ont augmenté le besoin de moyens plus efficaces pour faire une recherche en ligne. Les technologies employant des logiciels automatisés et non-automatisés continuent à évoluer pour subvenir à ces besoins, mais la difficulté des procédures et le manque de standardisation présentent des défis dans le choix de travailleurs et dans la programmation de données et de logiciels de manière à maximiser leur rendement. La fabrication sur commande de bases de données et d'outils de recherche exacerbe ce problème. En effet, un éventail croissant d'organisations essaie d'adapter les technologies et approches de la métadonnée à des ressources et environnements informatiques différents. Cet article passe en revue le développement et l'application actuels de la métadonnée en tant que technologie d'Internet, et souligne sa pertinence pour les communications - un domaine qui jusqu'à présent n'a pas élaboré la thématique de ce mouvement.

De nombreuses monnaies parallèles circulent depuis toujours à côté de la monnaie officielle. Aujourd’hui, une nouvelle génération de monnaie est en train de naître des nouvelles technologies : les crypto-monnaies, dont l’exemple le plus connu est le bitcoin. Ces monnaies n’existent que sous forme de code informatique, sans équivalent papier ou métallique. Leur particularité est d’être créées et gérées de manière décentralisée. Bien qu’elles constituent une avancée technologique remarquable, elles soulèvent de nombreux défis tant éthiques qu’économiques, que ce numéro de Regards économiques essaie d’éclairer. Le bitcoin est aujourd’hui la crypto-monnaie la plus populaire. Son fonctionnement est totalement indépendant des banques et des États, et garantit l’anonymat des utilisateurs. Sa sécurité repose sur une innovation cruciale : un système de paiement entièrement décentralisé. Plus besoin de banques commerciales ou de banques centrales pour gérer le système de paiement et s’assurer de la sécurité des transactions. L’ensemble des paiements en bitcoin est archivé dans un registre public (le «distributed ledger»), conçu pour être infalsifiable (ou presque). Ce registre permet d’éviter un problème inhérent à toute monnaie électronique sans forme matérielle : la possibilité de dépenser plusieurs fois un même bitcoin pour plusieurs transactions. Puisqu’aucune autorité ne possède un pouvoir de contrôle sur le bitcoin et ne peut surveiller les transactions, ce registre virtuel garantit un traçage de chaque bitcoin et évite qu’il ne soit dépensé plusieurs fois par un même utilisateur. Cette innovation a été essentielle pour le succès et la sécurité du bitcoin. Elle intéresse d’ailleurs de nombreux acteurs, comme les banques commerciales. Géréer de manière automatique et décentralisée le système de paiement permet en effet d’épargner d’importantes sommes d’argent. Cependant, le bitcoin n’est pas sans connaître quelques difficultés. Au regard de l’efficacité économique, le bitcoin est encore loin de constituer une monnaie de confiance. De nombreuses fraudes et quelques faillites retentissantes ont émoussé l’enthousiasme initial qu’il suscitait. Par ailleurs, la conception même du bitcoin interdit qu’un État ou qu’une banque centrale puisse intervenir, une impossibilité qui, en cas de crise, peut se révéler problématique. Le bitcoin soulève également problème au regard de la justice sociale. Tous les utilisateurs ne sont pas égaux, notamment en termes technologiques. Par ailleurs, bien que la protection de la vie privée et des données personnelles de chaque utilisateur soit légitime, l’anonymat des utilisateurs de bitcoins constitue un nouvel instrument pour le blanchiment d’argent qui complique le travail des autorités fiscales. Ce numéro de Regards économiques entend éclairer le fonctionnement des crypto-monnaies, en prenant l’exemple du bitcoin. Il apporte également quelques réflexions sur les enjeux économiques et éthiques de cette nouvelle forme de monnaie. En conclusion, il insiste sur les enseignements principaux et les pistes éventuelles que tracent ces nouvelles monnaies.

De nombreuses monnaies parallèles circulent depuis toujours à côté de la monnaie officielle. Aujourd’hui, une nouvelle génération de monnaie est en train de naître des nouvelles technologies : les crypto-monnaies, dont l’exemple le plus connu est le bitcoin. Ces monnaies n’existent que sous forme de code informatique, sans équivalent papier ou métallique. Leur particularité est d’être créées et gérées de manière décentralisée. Bien qu’elles constituent une avancée technologique remarquable, elles soulèvent de nombreux défis tant éthiques qu’économiques, que ce numéro de Regards économiques essaie d’éclairer. Le bitcoin est aujourd’hui la crypto-monnaie la plus populaire. Son fonctionnement est totalement indépendant des banques et des États, et garantit l’anonymat des utilisateurs. Sa sécurité repose sur une innovation cruciale : un système de paiement entièrement décentralisé. Plus besoin de banques commerciales ou de banques centrales pour gérer le système de paiement et s’assurer de la sécurité des transactions. L’ensemble des paiements en bitcoin est archivé dans un registre public (le «distributed ledger»), conçu pour être infalsifiable (ou presque). Ce registre permet d’éviter un problème inhérent à toute monnaie électronique sans forme matérielle : la possibilité de dépenser plusieurs fois un même bitcoin pour plusieurs transactions. Puisqu’aucune autorité ne possède un pouvoir de contrôle sur le bitcoin et ne peut surveiller les transactions, ce registre virtuel garantit un traçage de chaque bitcoin et évite qu’il ne soit dépensé plusieurs fois par un même utilisateur. Cette innovation a été essentielle pour le succès et la sécurité du bitcoin. Elle intéresse d’ailleurs de nombreux acteurs, comme les banques commerciales. Géréer de manière automatique et décentralisée le système de paiement permet en effet d’épargner d’importantes sommes d’argent. Cependant, le bitcoin n’est pas sans connaître quelques difficultés. Au regard de l’efficacité économique, le bitcoin est encore loin de constituer une monnaie de confiance. De nombreuses fraudes et quelques faillites retentissantes ont émoussé l’enthousiasme initial qu’il suscitait. Par ailleurs, la conception même du bitcoin interdit qu’un État ou qu’une banque centrale puisse intervenir, une impossibilité qui, en cas de crise, peut se révéler problématique. Le bitcoin soulève également problème au regard de la justice sociale. Tous les utilisateurs ne sont pas égaux, notamment en termes technologiques. Par ailleurs, bien que la protection de la vie privée et des données personnelles de chaque utilisateur soit légitime, l’anonymat des utilisateurs de bitcoins constitue un nouvel instrument pour le blanchiment d’argent qui complique le travail des autorités fiscales. Ce numéro de Regards économiques entend éclairer le fonctionnement des crypto-monnaies, en prenant l’exemple du bitcoin. Il apporte également quelques réflexions sur les enjeux économiques et éthiques de cette nouvelle forme de monnaie. En conclusion, il insiste sur les enseignements principaux et les pistes éventuelles que tracent ces nouvelles monnaies.

Screens, as technological but also narrative and social devices, alter reading and writing practices. Users consume vids, read stories on the Web, and produce creative contents on blogs or Web archives, etc. Uses of seriality and transmediality are here discussed, that is watching, reading, and writing as interpreting, as well as respective and reciprocal uses of iteration and interaction (with technologies and with others). A specific figure of users or readers will be defined as a skilful and literate audience: fans on archives (FanFiction.net-FFNet, and Archive of Our Own-AO3). Fans produce serial and transmedia narratives based upon their favourite TV Shows, publish on-line, and often produce discourses or meta-discourse on this writing practice or on writing in general.The broader perspective of reception studies allows us to develop a three-step methodology that develops into a process. The first step is an ethnographic approach based on practices and competencies of users. The second step develops and clarifies the ethnographic dimension into an ethno-narrative approach, which aims at analysing mutual links between signs, texts, and uses of reading and writing. The main question is that of significance and meaning. The third step elaborates upon interactions in a technological and mediated environment. Social, participative, or collaborative and multimodal dimensions of interacting are yet regarded as key elements in reshaping a reading-writing cultural practice. The model proposed is a socio-narrative device, which hangs upon three dimensions: techno-narrative, narratological, and socio-narrative. These three dimensions of a shared narrative universe illustrate the three steps process. Each step also offers specific uses of interacting: an ethnographic approach of fictional expectation, a narrative ethnography of iteration and transformation, and a socio-narrative perspective on dialogism and recognition. A specific but significant example of fans' uses of reading and interacting will illustrate each step of the methodology. This qualitative approach of individual uses aims to be representative of fans' cultural practice (See Appendix 1). We will discuss cultural uses of appropriation. How do reading, interpreting, writing, and rewriting, that is to say interacting, produce meaning, create identities, and build up our relation to others and to the (story)world? Given our interest in embodied and appropriated meanings, appropriation will be revealed as an open cultural process, which can question the conflict and/or the convergence of the old and the new in cultural practices, and the way former and formal dichotomies have to be re-evaluated. We will take an interest in the composition of meaning that unfolds a cultural and critical process, from acknowledgement to recognition, a process where iteration and transformation are no longer opposites but part of a continuum.From Users' Competencies to the Composition of Narrative and Social Skills: A Fictional ExpectationThe pragmatic question of real uses steers our approach toward reading and writing in a mediated environment. Michel de Certeau's work first encourages us to apply his concepts of strategies and tactics to institutional strategies of engaging the audience and to real audience tactics of appropriation or diversion. Real uses are traceable on forums, discussions groups, weblogs, and archives. A model can be built upon digital tracks of use left on fan fiction archives: types of audience, interactions, and types of usage are here considered.Media Types Interaction Types Usage Types Media audienceConsumerSkilfulViewingReadingInformation searchContent production (informative, critical, and creative)Multimedia audienceConsumerSkilful+Online readingE-shoppingSharingRecommendationDiscussionInformative content productionCross-media audienceConsumerSkilful+SerendipityPutting objects in perspectiveNetworkingCritical content productionTransmedia audienceConsumerSkilfulInvolvedPrecursor+Understanding enhanced narrativesValue judgments, evaluationUnderstanding economic dimensions of the media systemCreative content productionTable 1 (Cailler and Masoni Lacroix)Users gear their reading and writing practices toward one medium, or toward multiple media in multi-, cross-, and trans- dimensions. These dimensions engage different and specific kinds of content production, and also the way users think about their relation to the media system. We focus on cumulative uses needed in an evolving media system. Depending on their desire for cultural products issued from creative and entertainment industries, audiences can be consumer-oriented or skilful, but also what we term "involved" or "precursor." Their interactive capacity within these industries allows audiences to produce informative, narrative, discursive, creative (or re-creative), and critical content. An ethnographic approach, based upon uses, understands that accumulating, crossing, and mastering different uses requires available and potential competencies and literacies, which may be immediately usable, or which have to be gained.Figure 1 (Masoni Lacroix and Cailler)The English language enables us to use different words to specify competencies, from ability to skill (when multiple abilities tend towards appropriation), to capability and competency (when multiple skills tend towards cultural practice). This introduces an enhancement process, which describes the way users accumulate and cross competencies to enhance their capability of understanding a multimedia or transmedia system, shaped by multiple semiotic systems and literacies.Abilities and skills represent different literacies that can be distributed in four groups-literacy, graphic literacy, digital literacy and interactive literacy, converging to a core of competencies including cognitive capability, communicative capability, cultural capability and critical capability. Note that critical skills appear below in bold italics. Digital LiteracyTechnical ability / Computational ability / Digital ability or skill Informational skill Visual LiteracyGraphic abilityVisual abilitySemiotic skillSymbolic skill Core of CompetenciesCognitive capabilityCommunicative capabilityCultural capabilityCritical capability Interactive LiteracyInteractional abilitySpectatorial abilityCollective abilityAffective skill LiteracyNarrative ability or skill / Linguistic ability / Reading and interpreting ability / Mimetic and fictional ability Discursive skillTable 2 (Masoni Lacroix and Cailler)Our first illustration exhibits the diversity, even the profuse and confused multiplicity, of cultural influences and preferences of a fan, which he or she comprehends as a whole.Gabihime, born on 6 October in Lafayette, Louisiana, in the United States, joined FFNet in 2001, and last updated her profile in September of 2010. She has written 44 stories for a variety of fandoms, and she belongs to two fandom communities. She has written one story about Twin Peaks (1990-) for an annual fandom gift exchange in 2008. Within Twin Peaks, her favourite and only romantic pair is Audrey Horne and Dale Cooper. Pairing represents a formal and cultural use of fan fiction writing, and also a favourite variation of the original text. Gabihime proposes notes to follow the story:I love Twin Peaks, and I love Audrey Horne particularly, and the rich stilted imagery of the show certainly […] I started watching my favourite season one episodes and reading the script notes for them. When I got to the 4-5 episode break (when Cooper comes back from visiting Jacques's cabin to the delightful sounds of the Icelandic junket roaring at their big shindig and finds Audrey in his bed) I discovered that this scene was originally intended to be left extremely ambiguous.Two main elements can be highlighted. Love founds fans' relation to the characters and the text. Interaction is based on this affect or emotion. Ambiguity, real or presumed, leads to what can be called a fictional expectation. This strong motive to interact within a text means that readers have to fill in the blanks of the text (Jenkins, "Transmedia"). They fill it with their desire for a character, a pairing, and a story. Another illustration of a fan's affective investment, Lynzee005 (see below) specifies that her fiction, "shows what I hope happened in between the scenes to which we were treated in the series."Gabihime does not write fan fiction stories anymore. She has a web site where she posts her stories and links to other fan art, vids, or fiction, as well as a blog where she writes her original fiction, and various meta-narrative and/or meta-discursive productions, including a wiki, Tumblr account, LiveJournal page, and Twitter account.A Narrative Ethnography of Fans' Production Content: Acculturation as Iteration and TransformationWe can briefly focus on another partial but significant example of narratives and discourses of a fan, in the perspective of a qualitative and iterative approach. We will then emphasise that narratives and discourses circulate, in other words that they are written and reformulated in and on different periods and platforms, but also that narratives use iteration and variation (Eco 1985).Lynzee005 was born in 1985 in Canada. She joined FFNet in 2008 and last updated her profile in September 2015. She has a beta profile, which means that she reads and reviews other fans' work-in-progress. We can also clarify that publishing chapter-by-chapter and being re-read on FFNet appears to be a principle of writing and of writing circulation. So, writing reveals an iterative and participative practice.Prior to this updating she wrote:When I read, I look for an emotional connection with the characters and I hope to be genuinely invested in where the story is going. […] I tackle everything in chunks, concentrating on the big issues (consistent characterization, believable plot lines, etc.) before moving down to the smaller ones (spelling, punctuation). Once I finish reading a "chunk," I put it together in the whole and see if it works against the other "chunks," and if not, then I go back and start over.She has written 17 stories for 7 different fandoms. She wrote five stories for Twin Peaks including a crossover with another fandom. She joined AO3 in December 2014 and completed her Twin Peaks trilogy. Her profile no longer underlines this serial process of chunking and dispersal, stressed by Jenkins ("Transmedia"), but only evokes how scenes can be stitched together. She now insists on the outcome of unity or continuity rather than on the process of serialization and fragmentation.Stories about fans, their affective and interpretive relations to a story universe and their uses of reading and writing in and out a fandom, can illustrate a diversity of attachments and interests. We can briefly describe a range of attachments. Attachment to the character, described above, can move towards self-narration, to the exhibit of self both as a person and a character, to a self-distancing, an identity affect. Attachment also has interpretative and critical dimensions. Attached to a narrative universe, attached to storytelling, fans promote a writing normalisation and a narrative format (genre, pairing, tagging, memes, etc.). Every fan seems to iterate and alter this conduct. This appropriation renews self-imposed narrative codes. The use of writing by fans, based on attachments, is both iterative and transformative. The Organization for Transformative Works (OTW), AO3's parent apparatus, asserts that derivative fans' work is transformative.According to Umberto Eco's vision of a postmodern aesthetics of seriality, "Something is offered as original and different […] this something is repeating something else that we already know; and […] just because of it we like it" (167). There is an "enjoyment of variations" (174). "Seriality and repetition are not opposed to innovation" (175). Eco claims a dialectic between repetition and innovation, that is to say a: "dialectic between order and novelty -in other words, between scheme and innovation," where "the variation is no longer more appreciable than the scheme" (173). We acknowledge the "inseparable knot of scheme-variation" he is stressing (Eco 180), and we intend to put narrative fragmentation and narration dispersal forward to their reconstruction in a narrative universe as a whole, within the socio-narrative device. The knot illustrates the dialogical principle of exceeding dichotomies that will be discussed hereunder.The plurality of uses and media calls for an accumulation of competencies, which engage users in the process of media acculturation. A "literate" or skilful user should be able to comprehend "the flow of content across multiple media platforms," the media industries' cooperation, "the migratory behavior of media audiences," and the "technological, industrial, cultural, and social changes" that the word convergence manages to describe (Jenkins, Convergence, 3).Acculturation conveys an appropriation process, borrowed from "French" sociology of uses. Audiences become gradually intimate with the context of the evolving media environment. Scholars progressively understand how audiences are familiarizing themselves with competencies until they master literacies, where competencies are gathered. Users become sensitive, as well as mindful of time and space in literacy (Literacy), and of how writing can be spatialised (Graphic Literacy), of how the media space is technologized (Digital Literacy), and of what kind of structural interactions are emerging (Interactive Literacy).Thus, the research question takes shape: "What kind of interactions can users establish with objects that are both technical and cultural?" Which also means: "In a study of effective uses, can the researcher find appropriation logics or tactics in the way users, specifically here readers and writers, improve their cultural practices?" As Davallon and Le Marec furthered it, uses have to be included in a process of cultural growth. Users can cross technical and cultural dimensions of an object in two main ways: They can compare the object with other cultural products they are used to, or they can grasp its novelty when engaging a cognitive and cultural capability of adaptation. Acknowledgment and adaption are part of the social process of cultural growth. In this sense, use can be an integrated activity or a novel one.The model of cultural growth means that different and dispersed uses are progressively entering a meaning-making process. The question of meaning holds together, even unifies, multiple uses of reading and writing in a cultural practice of reading-writing. With this in mind, the core of competencies described above accurately displays the importance of critical skills (semiotic, informational, affective, symbolic, narrative, and discursive) nourishing a critical capability. Critically literate, users are able to question the place to which they have been attributed and the place they can gain, in an evolving (and even uncertain) media system. They can elaborate a critical reflection on their own practices of reading and writing.Two Principles of a Socio-Narrative Device: Dialogism and RecognitionUses of reading and writing online invite us to visualize and think through the convergence of a narrative object (technical, visual, and cultural), its medium and format(s), and the audiences involved. Here, multimodality has to be (re)considered. This is not only a question of different modes but a question of multiplicity in reading and writing uses, that leads us to the way a fan attachment creates his or her participation in the meaning of the text, and more generally leads us to the polyphonic form of writing questions. Dispersed uses converging into a cultural and social practice bring to light dialogical dimensions of writing, in the sense pointed out by Bakhtin in the early 1930s. Dialogism expands the notion of intertextuality to a social practice; enunciation appears polyphonic, and speakers are interacting. Every discourse is oriented to other discourses, interacting and responding to pre-existing discourses addressing the same object. Discourse is always others' discourse and shows a multiple and inter-relational subject.A fan producing meta-narratives or meta-discourses on media and fan fiction is an inter-relational subject. By way of illustration, Slaymesoftly, displays her stories on AO3, on her own Web site, and on specialized archives. She does not justify fan fiction writing through warnings or disclaimers but defines broadly what fiction is and how she uses fiction in her stories. She analyses publishing, describes her universe and the alternative universes that she explores, and depicts how stories become a series. Slaymesoftly can be considered a literate fan, approaching writing with emotion or attachment and critical rationality, or more precisely, leading her attachment to writing with the distance that critical thought allows. She writes "Essays -about writing, vampires, and whatever else I decide to blather on about" on her Web site or on her LiveJournal, where she also joined a community. In the main, Slaymesoftly experiences multiple variations, in the sense of Eco, variations that oppose and tie a character to a canon, or a loving writing object to what could be newly told. Slaymesoftly also exposes the desire for recognition engaged by fans' uses of interaction. This process of mutual recognition, stated in Hegel's Phenomenology of Spirit highlights and questions fans' attachment, individual identity, and normative foundation. Mutual recognition could strengthen communitarianism or conformism in writing, but it can also offer a way for attachments to be shared, a way to initiate a narrative, and a social practice of dialog.Dialogical dimensions of cultural practices of reading-writing (both in production and reception) design a fragmented narrative universe, unfinished but one, that can be comprehend in a socio-narrative device.Figure 2 (Masoni Lacroix & Cailler)Texts, authors, writers, and readers are not opposed but are part of a socio-narrative continuity. This device crosses three complementary and evolving dimensions of the narrative universe: techno-narrative, socio-narrative (playful, creative, and critical, in their interactivity), and narratological. Uses of literacy generating multimedia, cross-media, and transmedia productions also question the multimodal form of writing and invite us to an iterative, open, dialogical, and interrogative practice of multimodality. A (post)narratological activity opens up to an interrogative practice. This practice dialogs with others' discourse and narrative. The questioning complexity remains open. In a proximate meaning, a transmedia narrative is fragmented, open to incompletion, but enrolled in a continuum (Jenkins, "Transmedia").Looking back, through the overtaken dichotomy between production and reception, a social and narrative process has been described that leads to the reshaping of multiple uses of literacies into cultural practices, and further on, to a cultural and social practice of reading-writing blended into interactivity. Competencies, dictated uses of reading and writing and alterna(rra)tive upsurges (as fans' production content) can be questioned. What can be questioned is either the fragmentation, the incompletion, and the continuity of narratives, that Jenkins no longer brings into conflict ("Transmedia"). This is also what the social and narrative form of dialogism teaches us: dichotomies, as a tool or a structure of thought, appear suspect or no longer significant. There is continuity in the acculturation process, from acknowledgement to recognition, continuity in the multiple uses of interacting, continuity from narrative to discourse, continuity from emotion to writing critically, a transformative continuity in iteration and variation, a polyphonic continuity.ReferencesBakhtin, Michaïl, and V.N. Volosinov. Marxism and the Philosophy of Language. Cambridge: Harvard UP, 1973.Cailler, Bruno, and Céline Masoni Lacroix. "El 'French Touch' Transmediatico: Un Inventario." Transmediación: Espacios, Reflexiones y Experiencias. Eds. Denis Porto Renó et al. Bogotá, Colombia: Editorial Universidad del Rosario, 2012. 181-98.Davallon, Jean, and Joëlle Le Marec. "L'Usage en son Contexte. Sur les Usages des Interactifs des Céderons des Musées." Réseaux 101 (2000): 173-95.De Certeau, Michel. L'Invention du Quotidien. Paris: Folio Essais, 1990.Eco, Umberto. "Innovation and Repetition: Between Modern and Postmodern Aesthetics." Daedalus 114 (1985): 161-84.Hegel, G.W.F. Phénoménologie de l'Esprit. Trans. Bernard Bourgeois. Paris: Vrin, 2006.Jenkins, Henry. Convergence Culture. Where Old and New Media Collide. New York UP, 2006.———. "Transmedia 202: Further Reflections." 2011. <http://henryjenkins.org/2011/08/defining_transmedia_further_re.html>.Masoni Lacroix, Céline. "Mise en Récit des Fictions de Fans de Séries Télévisées: Variations, Granularité et Réflexivité." Tension narrative et Storytelling. Eds. Nicolas Pélissier and Marc Marti. Paris: L'harmattan, 2014. 83-100.———. "Narrativités 2.0: Fragmentation-Organisation d'un Métadiscours." Cahiers de Narratologie 32 (2017). <http://journals.openedition.org/narratologie/7781>.———, and Bruno Cailler. "Fans versus Universitaires, l'Hypothèse Dialogique de la Transmédialité au sein d'un Dispositif Socio-narratif." Revue française des sciences de l'information et de la communication 7 (2015). <http://journals.openedition.org/rfsic/1662>.———, and Bruno Cailler. "Principes Co-extensifs de la Fiction Sérielle, de la Distribution Diffusée à une Pratique Interprétative Dialogique: une Nouvelle Donne Socio-narrative?" Cahiers de Narratologie 31 (2016). <http://narratologie.revues.org/7576>. TV Show Fandoms ExploredBuffy The Vampire Slayer (Joss Whedon).Sherlock (Mark Gatiss & Steven Moffat).Twin Peaks (Mark Frost & David Lynch).Wallander (from Henning Mankell to Philip Martin).

What creative techniques of resistance are available to a female filmmaker when she is the victim of a violent event and filmed at her most vulnerable? This article uses an autoethnographic lens to discuss my experience of a serious car crash my family and I were inadvertently involved in due to police negligence and a criminal act. Employing Creative Analytical Practice (CAP) ethnography, a reflexive form of research which recognises that the creative process, producer and product are “deeply intertwined” (Richardson, “Writing: A Method” 930), I investigate how the crash’s violent affects crippled my agency, manifested in my creative praxis and catalysed my identification of latent forms of institutionalised violence in film culture, its discourse and pedagogy that also contributed to my inertia. The article maps my process of writing a feature length screenplay during the aftermath of the crash as I set out to articulate my story of survival and resistance. Using this narrative inquiry, in which we can “investigate how we construct the world, ourselves, and others, and how standard objectifying practices...unnecessarily limit us” (Richardson, “Writing: A Method” 924), I outline how I attempted to disrupt the entrenched power structures that exist in dominant narratives of violence in film and challenge my subjugated positioning as a woman within this canon. I describe my engagement with the deconstructionist practices of writing the body and militant feminist cinema, which suggest subversive opportunities for women’s self-determination by encouraging us to embrace our exiled positioning in dominant discourse through creative experimentation, and identify some of the possibilities and limitations of this for female agency. Drawing on CAP ethnography, existentialism, film feminism, and narrative reframing, I assert that these reconstructive practices are more effective for the creative enfranchisement of women by not relegating us to the periphery of social systems and cultural forms. Instead, they enable us to speak back to violent structures in a language that has greater social access, context and impact.My strong desire to tell screen stories lies in my belief that storytelling is a crucial evolutionary mechanism of resilience. Narratives do not simply represent the social world but also have the ability to change it by enabling us to “try to figure out how to live our lives meaningfully” (Ellis 760). This conviction has been directly influenced by my personal story of trauma and survival when myself, my siblings, and our respective life partners became involved in a major car crash. Two police officers attending to a drunken brawl in an inner city park had, in their haste, left the keys in the ignition of their vehicle. We were travelling across a major intersection when the police car, which had subsequently been stolen by a man involved in the brawl – a man who was wanted on parole, had a blood alcohol level three times over the legal limit, and was driving at speeds exceeding 110kms per hour - ran a red light and crossed our path, causing us to crash into his vehicle. From the impact, the small four-wheel drive we were travelling in was catapulted metres into the air, rolling numerous times before smashing head on into oncoming traffic. My heavily pregnant sister was driving our vehicle.The incident attracted national media attention and our story became a sensationalist spectacle. Each news station reported erroneous and conflicting information, one stating that my sister had lost her unborn daughter, another even going so far as to claim my sister had died in the crash. This tabloidised, ‘if it bleeds, it leads’, culture of journalism, along with new digital technologies, encourages and facilitates the normalisation of violent acts, often inflicted on women. Moreover, in their pursuit of high-rating stories, news bodies motivate dehumanising acts of citizen journalism that see witnesses often inspired to film, rather than assist, victims involved in a violent event. Through a connection with someone working for a major news station, we discovered that leading news broadcasters had bought a tape shot by a group of men who call themselves the ‘Paparazzi of Perth’. These men were some of the first on the scene and began filming us from only a few metres away while we were still trapped upside down and unconscious in our vehicle. In the recording, the men are heard laughing and celebrating our tragedy as they realise the lucrative possibilities of the shocking imagery they are capturing as witnesses pull us out of the back of the car, and my pregnant sister incredibly frees herself from the wreckage by kicking out the window.As a female filmmaker, I saw the bitter irony of this event as the camera was now turned on me and my loved ones at our most vulnerable. In her discussion of the male gaze, a culturally sanctioned form of narrational violence against women that is ubiquitous in most mainstream media, Mulvey proposes that women are generally the passive image, trapped by the physical limits of the frame in a permanent state of powerlessness as our identity is reduced to her “to-be-looked-at-ness” (40). For a long period of time, the experience of performing the role of this commodified woman of a weaponised male gaze, along with the threat of annihilation associated with our near-death experience, immobilised my spirit. I felt I belonged “more to the dead than to the living” (Herman 34). When I eventually returned to my creative praxis, I decided to use scriptwriting as both my “mode of reasoning and a mode of representation” (Richardson, Writing Strategies 21), test whether I could work through my feelings of alienation and violation and reclaim my agency. This was a complex and harrowing task because my memories “lack[ed] verbal narrative and context” (Herman 38) and were deeply rooted in my body. Cixous confirms that for women, “writing and voice...are woven together” and “spring from the deepest layers of her psyche” (Moi 112). For many months, I struggled to write. I attempted to block out this violent ordeal and censor my self. I soon learnt, however, that my body could not be silenced and was slow to forget. As I tried to write around this experience, the trauma worked itself deeper inside of me, and my physical symptoms worsened, as did the quality of my writing.In the early version of the screenplay I found myself writing a female-centred film about violence, identity and death, using the fictional narrative to express the numbness I experienced. I wrote the female protagonist with detachment as though she were an object devoid of agency. Sartre claims that we make objects of others and of ourselves in an attempt to control the uncertainty of life and the ever-changing nature of humanity (242). Making something into an object is to deprive it of life (and death); it is our attempt to keep ourselves ‘safe’. While I recognise that the car crash’s reminder of my mortality was no doubt part of the reason why I rendered myself, and the script’s female protagonist, lifeless as agentic beings, I sensed that there were subtler operations of power and control behind my self-objectification and self-censorship, which deeply concerned me. What had influenced this dea(r)th of female agency in my creative imaginings? Why did I write my female character with such a red pen? Why did I seem so compelled to ‘kill’ her? I wanted to investigate my gender construction, the complex relationship between my scriptwriting praxis, and the context within which it is produced to discover whether I could write a different future for myself, and my female characters. Kiesinger supports “contextualizing our stories within the framework of a larger picture” (108), so as to remain open to the possibility that there might not be anything ‘wrong’ with us, per se, “but rather something very wrong with the dynamics that dominate the communicative system” (109) within which we operate: in the case of my creative praxis, the oppressive structures present in the culture of film and its pedagogy.Pulling FocusWomen are supposed to be the view and when the view talks back, it is uncomfortable.— Jane Campion (Filming Desire)It is a terrible thing to see that no one has ever taught us how to develop our vision as women neither in the history of arts nor in film schools.— Marie Mandy (Filming Desire)The democratisation of today’s media landscape through new technologies, the recent rise in female-run production companies (Zemler) in Hollywood, along with the ground-breaking #MeToo and Time’s Up movements has elevated the global consciousness of gender-based violence, and has seen the screen industry seek to redress its history of gender imbalance. While it is too early to assess the impact these developments may have on women’s standing in film, today the ‘celluloid ceiling’ still operates on multiple levels of indoctrination and control through a systemic pattern of exclusion for women that upholds the “nearly seamless dialogue among men in cinema” (Lauzen, Thumbs Down 2). Female filmmakers occupy a tenuous position of influence in the mainstream industry and things are not any better on the other side of the camera (Lauzen, The Celluloid Ceiling). For the most part, Hollywood’s male gaze and penchant for sexualising and (physically or figuratively) killing female characters, which normalises violence against women and is “almost inversely proportional to the liberation of women in society” (Mandy), continues to limit women to performing as the image rather than the agent on screen.Film funding bodies and censorship boards, mostly comprised of men, remain exceptionally averse to independent female filmmakers who go against the odds to tell their stories, which often violate taboos about femininity and radically redefine female agency through the construction of the female gaze: a narrational technique of resistance that enables reel woman to govern the point of view, imagery and action of the film (Smelik 51-52). This generally sees their films unjustly ghettoised through incongruent classification or censorship, and forced into independent or underground distribution (Sexton-Finck 165-182). Not only does censorship propose the idea that female agency is abject and dangerous and needs to be restrained, it prevents access to this important cinema by women that aims to counter the male gaze and “shield us from this type of violence” (Gillain 210). This form of ideological and institutional gatekeeping is not only enforced in the film industry, it is also insidiously (re)constituted in the epistemological construction of film discourse and pedagogy, which in their design, are still largely intrinsically gendered institutions, encoded with phallocentric signification that rejects a woman’s specificity and approach to knowledge. Drawing on my mutually informative roles as a former film student and experienced screen educator, I assert that most screen curricula in Australia still uphold entrenched androcentric norms that assume the male gaze and advocate popular cinema’s didactic three-act structure, which conditions our value systems to favour masculinity and men’s worldview. This restorative storytelling approach is argued to be fatally limiting to reel women (Smith 136; Dancyger and Rush 25) as it propagates the Enlightenment notion of a universal subjectivity, based on free will and reason, which neutralises the power structures of society (and film) and repudiates the influence of social positioning on our opportunity for agency. Moreover, through its omniscient consciousness, which seeks to efface the presence of a specific narrator, the three-act method disavows this policing of female agency and absolves any specific individual of responsibility for its structural violence (Dyer 98).By pulling focus on some of these problematic mechanisms in the hostile climate of the film industry and its spaces of learning for women, I became acutely aware of the more latent forms of violence that had conditioned my scriptwriting praxis, the ambivalence I felt towards my female identity, and my consequent gagging of the female character in the screenplay.Changing Lenses How do the specific circumstances in which we write affect what we write? How does what we write affect who we become?— Laurel Richardson (Fields of Play 1)In the beginning, there is an end. Don’t be afraid: it’s your death that is dying. Then: all the beginnings.— Helene Cixous (Cixous and Jensen 41)The discoveries I made during my process of CAP ethnography saw a strong feeling of dissidence arrive inside me. I vehemently wanted to write my way out of my subjugated state and release some of the anguish that my traumatised body was carrying around. I was drawn to militant feminist cinema and the French poststructuralist approach of ‘writing the body’ (l’ecriture feminine) given these deconstructive practices “create images and ideas that have the power to inspire to revolt against oppression and exploitation” (Moi 120). Feminist cinema’s visual treatise of writing the body through its departure from androcentric codes - its unformulaic approach to structure, plot, character and narration (De Lauretis 106) - revealed to me ways in which I could use the scriptwriting process to validate my debilitating experience of physical and psychic violence, decensor my self and move towards rejoining the living. Cixous affirms that, “by writing her self, woman will return to the body which has been more than confiscated from her, which has been turned into…the ailing or dead figure” (Cixous, The Laugh of the Medusa 880). It became clear to me that the persistent themes of death that manifested in the first draft of the script were not, as I first suspected, me ‘rehearsing to die’, or wanting to kill off the woman inside me. I was in fact “not driven towards death but by death” (Homer 89), the close proximity to my mortality, acting as a limit, was calling for a strengthening of my life force, a rebirth of my agency (Bettelheim 36). Mansfield acknowledges that death “offers us a freedom outside of the repression and logic that dominate our daily practices of keeping ourselves in order, within the lines” (87).I challenged myself to write the uncomfortable, the unfamiliar, the unexplored and to allow myself to go to places in me that I had never before let speak by investigating my agency from a much more layered and critical perspective. This was both incredibly terrifying and liberating and enabled me to discard the agentic ‘corset’ I had previously worn in my creative praxis. Dancyger and Rush confirm that “one of the things that happens when we break out of the restorative three-act form is that the effaced narrator becomes increasingly visible and overt” (38). I experienced an invigorating feeling of empowerment through my appropriation of the female gaze in the screenplay which initially appeased some of the post-crash turmoil and general sense of injustice I was experiencing. However, I soon, found something toxic rising inside of me. Like the acrimonious feminist cinema I was immersed in – Raw (Ducournau), A Girl Walks Home at Night (Amirpour), Romance (Breillat), Trouble Every Day (Denis), Baise-Moi (Despentes and Thi), In My Skin (Van), Anatomy of Hell (Breillat) – the screenplay I had produced involved a female character turning the tables on men and using acts of revenge to satisfy her needs. Not only was I creating a highly dystopian world filled with explicit themes of suffering in the screenplay, I too existed in a displaced state of rage and ‘psychic nausea’ in my daily life (Baldick and Sartre). I became haunted by vivid flashbacks of the car crash as abject images, sounds and sensations played over and over in my mind and body like a horror movie on loop. I struggled to find the necessary clarity and counterbalance of stability required to successfully handle this type of experimentation.I do not wish to undermine the creative potential of deconstructive practices, such as writing the body and militant cinema, for female filmmakers. However, I believe my post-trauma sensitivity to visceral entrapment and spiritual violence magnifies some of the psychological and physiological risks involved. Deconstructive experimentation “happens much more easily in the realm of “texts” than in the world of human interaction” (hooks 22) and presents agentic limitations for women since it offers a “utopian vision of female creativity” (Moi 119) that is “devoid of reality...except in a poetic sense” (Moi 122). In jettisoning the restorative qualities of narrative film, new boundaries for women are inadvertently created through restricting us to “intellectual pleasure but rarely emotional pleasure” (Citron 51). Moreover, by reducing women’s agency to retaliation we are denied the opportunity for catharsis and transformation; something I desperately longed to experience in my injured state. Kaplan acknowledges this problem, arguing that female filmmakers need to move theoretically beyond deconstruction to reconstruction, “to manipulate the recognized, dominating discourses so as to begin to free ourselves through rather than beyond them (for what is there ‘beyond’?)” (Women and Film 141).A potent desire to regain a sense of connectedness and control pushed itself out from deep inside me. I yearned for a tonic to move myself and my female character to an active position, rather than a reactive one that merely repeats the victimising dynamic of mainstream film by appropriating a reversed (female) gaze and now makes women the violent victors (Kaplan, Feminism and Film 130). We have arrived at a point where we must destabilise the dominance-submission structure and “think about ways of transcending a polarity that has only brought us all pain” (Kaplan, Feminism and Film 135). I became determined to write a screen narrative that, while dealing with some of the harsh realities of humanity I had become exposed to, involved an existentialist movement towards catharsis and activity.ReframingWhen our stories break down or no longer serve us well, it is imperative that we examine the quality of the stories we are telling and actively reinvent our accounts in ways that permit us to live more fulfilling lives.— Christine Kiesinger (107)I’m frightened by life’s randomness, so I want to deal with it, make some sense of it by telling a film story. But it’s not without hope. I don’t believe in telling stories without some hope.— Susanne Bier (Thomas)Narrative reframing is underlined by the existentialist belief that our spiritual freedom is an artistic process of self-creation, dependent on our free will to organise the elements of our lives, many determined out of our control, into the subjective frame that is to be our experience of our selves and the world around us (107). As a filmmaker, I recognise the power of selective editing and composition. Narrative reframing’s demand for a rational assessment of “the degree to which we live our stories versus the degree to which our stories live us” (Kiesinger 109), helped me to understand how I could use these filmmaking skills to take a step back from my trauma so as to look at it objectively “as a text for study” (Ellis 108) and to exercise power over the creative-destructive forces it, and the deconstructive writing methods I had employed, produced. Richardson confirms the benefits of this practice, since narrative “is the universal way in which humans accommodate to finitude” (Writing Strategies 65).In the script’s development, I found my resilience lay in my capacity to imagine more positive alternatives for female agency. I focussed on writing a narrative that did not avoid life’s hardships and injustices, or require them to be “attenuated, veiled, sweetened, blunted, and falsified” (Nietzsche and Hollingdale 68), yet still involved a life-affirming sentiment. With this in mind, I reintroduced the three-act structure in the revised script as its affectivity and therapeutic denouement enabled me to experience a sense of agentic catharsis that turned “nauseous thoughts into imaginations with which it is possible to live” (Nietzsche 52). Nevertheless, I remained vigilant not to lapse into didacticism; to allow my female character to be free to transgress social conventions surrounding women’s agency. Indebted to Kaplan’s writing on the cinematic gaze, I chose to take up what she identifies as a ‘mutual gaze’; an ethical framework that enabled me to privilege the female character’s perspective and autonomy with a neutral subject-subject gaze rather than the “subject-object kind that reduces one of the parties to the place of submission” (Feminism and Film 135). I incorporated the filmic technique of the point of view (POV) shot for key narrative moments as it allows an audience to literally view the world through a character’s eyes, as well as direct address, which involves the character looking back down the lens at the viewer (us); establishing the highest level of identification between the spectator and the subject on screen.The most pertinent illustration of these significant scriptwriting changes through my engagement with narrative reframing and feminist film theory, is in the reworking of my family’s car crash which became a pivotal turning point in the final draft. In the scene, I use POV and direct address to turn the weaponised gaze back around onto the ‘paparazzi’ who are filming the spectacle. When the central (pregnant) character frees herself from the wreckage, she notices these men filming her and we see the moment from her point of view as she looks at these men laughing and revelling in the commercial potential of their mediatised act. Switching between POV and direct address, the men soon notice they have been exposed as the woman looks back down the lens at them (us) with disbelief, reproaching them (us) for daring to film her in this traumatic moment. She holds her determined gaze while they glance awkwardly back at her, until their laughter dissipates, they stop recording and appear to recognise the culpability of their actions. With these techniques of mutual gazing, I set out to humanise and empower the female victim and neutralise the power dynamic: the woman is now also a viewing agent, and the men equally perform the role of the viewed. In this creative reframing, I hope to provide an antidote to filmic violence against and/or by women as this female character reclaims her (my) experience of survival without adhering to the culture of female passivity or ressentiment.This article has examined how a serious car crash, being filmed against my will in its aftermath and the attendant damages that prevailed from this experience, catalysed a critical change of direction in my scriptwriting. The victimising event helped me recognise the manifest and latent forms of violence against women that are normalised through everyday ideological and institutional systems in film and prevent us from performing as active agents in our creative praxis. There is a critical need for more inclusive modes of practice – across the film industry, discourse and pedagogy – that are cognisant and respectful of women’s specificity and our difference to the androcentric landscape of mainstream film. We need to continue to exert pressure on changing violent mechanisms that marginalise us and ghettoise our stories. As this article has demonstrated, working outside dominant forms can enable important emancipatory opportunities for women, however, this type or deconstruction also presents risks that generally leave us powerless in everyday spaces. While I advocate that female filmmakers should look to techniques of feminist cinema for an alternative lens, we must also work within popular film to critique and subvert it, and not deny women the pleasures and political advantages of its restorative structure. By enabling female filmmakers to (re)humanise woman though encouraging empathy and compassion, this affective storytelling form has the potential to counter violence against women and mobilise female agency. Equally, CAP ethnography and narrative reframing are critical discourses for the retrieval and actualisation of female filmmakers’ agency as they allow us to contextualise our stories of resistance and survival within the framework of a larger picture of violence to gain perspective on our subjective experiences and render them as significant, informative and useful to the lives of others. This enables us to move from the isolated margins of subcultural film and discourse to reclaim our stories at the centre.ReferencesA Girl Walks Home at Night. Dir. Ana Lily Amirpour. Say Ahh Productions, 2014.Anatomy of Hell. Dir. Catherine Breillat. Tartan Films, 2004. Baise-Moi. Dirs. Virginie Despentes and Coralie Trinh Thi. FilmFixx, 2000.Baldick, Robert, and Jean-Paul Sartre. Nausea. 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Bochner and Carolyn Ellis. Walnut Creek, CA: AltaMira Press, 2002. 107-111.Lauzen, Martha M. “Thumbs Down - Representation of Women Film Critics in the Top 100 U.S. Daily Newspapers - A Study by Dr. Martha Lauzen.” Alliance of Women Film Journalists, 25 July 2012. 4-5.———. The Celluloid Ceiling: Behind-the-Scenes Employment of Women on the Top 100, 250, and 500 Films of 2018. Center for the Study of Women in Television and Film San Diego State University 2019. <https://womenintvfilm.sdsu.edu/wp-content/uploads/2019/01/2018_Celluloid_Ceiling_Report.pdf>.Mansfield, Nick. Subjectivity: Theories of the Self from Freud to Haraway. St Leonards, NSW: Allen & Unwin, 2000.Moi, Toril. Sexual/Textual Politics: Feminist Literary Theory. London: Methuen, 2002.Mulvey, Laura. Visual Pleasure and Narrative Cinema in Feminism and Film. Ed. E. Ann Kaplan. New York: Oxford University Press, 1975. 34-47.Nietzsche, Friedrich W. The Birth of Tragedy and the Genealogy of Morals. Trans. Francis Golffing. New York: Doubleday, 1956.Nietzsche, Friedrich W., and Richard Hollingdale. Beyond Good and Evil. London: Penguin Books, 1990.Raw. Dir. Julia Ducournau. Petit Film, 2016.Richardson, Laurel. Writing Strategies: Reaching Diverse Audiences. Newbury Park, California: Sage Publications, 1990.———. Fields of Play: Constructing an Academic Life. New Brunswick, N.J.: Rutgers University Press, 1997.———. “Writing: A Method of Inquiry.” Handbook of Qualitative Research. Eds. Norman K Denzin and Yvonna S. Lincoln. Thousand Oaks, CA: Sage Publications, 2000.Romance. Dir. Catherine Breillat. Trimark Pictures Inc., 2000.Sartre, Jean-Paul. Being and Nothingness: An Essay on Phenomenological Ontology. London: Routledge, 1969.Sexton-Finck, Larissa. 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Les travaux présentés s'inscrivent dans l'étude globale de la compréhension et la simulation des dégradations occasionnées par irridiation au Co-60 des composants électroniques embarqués. Un programmed'extraction de paramètres élaboré au laboratoire ainsi que l'utilisation du logiciel SPICE ont permis la simulation de l'effet de dose sur des TMOS. Simultanément, une étude expériementale des effets en dose cumulée et des effets post-irridiation a été réalisée sur des inverseurs CMOS. Elle montre l'applicabilité de la théorie linéaire dans une large gamme en débit de dose. L'utilisation de guérisons thermiques doit permettre de prédire la dégradation à long terme d'un circuit CMOS soumis aux débits de dose de l'environnement spatial.

L'intérêt des méthodes formelles est de permettre le développement rigoureux de systèmes informatiques critiques. Pour des systèmes complexes, elles peuvent être complétées par des formalismes de structuration et de modularité. Nous proposons ici une démarche pour la génération et l'évaluation de jeux de test fonctionnel à partir de spécifications formelles structurées ou modulaires. Nous nous appuyons sur un formalisme de spécification modulaire Moka-TRIO basé d'une part sur la théorie des catégories et le calcul des modèles défini par Ehrig et Mahr (qui permettent de structurer une modélisation et éventuellement d'encapsuler des données) et d'autre part sur la logique temporelle métrique TRIO (pour décrire des comportements réactifs). Des outils associés à ce formalisme permettent de définir et valider une spécification complexe. Nous montrons comment la structure d'une spécification Moka-TRIO permet de mettre en avant différents niveaux d'abstraction pour le test : unitaire, intégration, agrégat et système. Pour chacun de ces niveaux, nous décrivons un mécanisme de génération de jeux de test à partir d'une spécification complexe en s'appuyant sur la sémantique de celle-ci. Enfin, nous reprenons le cadre théorique d'évaluation défini par Bernot, Gaudel et Marre qui détermine la pertinence d'un jeu de test. En étendant la définition d'institution pour prendre en compte des catégories de cas de test, nous montrons comment nos mécanismes de génération permettent de définir des jeux pertinents. L'outil Moka-TRIO implémente les différents mécanismes de génération. L'approche a été appliquée à un système de contrôle de commandes électriques de vol.

Le test de logiciel temps réel tend à mettre en évidence des erreurs de traitement, le non respect de spécifications fonctionnelles ou de contraintes liées au code. Dans une optique « analyse de sûreté », ce test doit pouvoir être effectué indépendamment du matériel cible (dont l’acquisition n’est pas envisageable) mais doit cependant permettre d’étudier le comportement du logiciel testé en présence de défaillances simulées du matériel. Le test est utile au long des phases de développement, de validation et de maintenance d’un produit. Nous présentons ici un outil, appelé OST, qui simule l’exécution du code et le comportement de son environnement logiciel et matériel. L’exécution du test est surveillée et de nombreuses informations sont collectées automatiquement. Dans ce mémoire, nous présentons les mécanismes et objets internes qui régissent le fonctionnement de l’outil. Ensuite nous décrivons les moyens dont dispose l’utilisateur pour construire les jeux d’essais et l’environnement du logiciel sous-test. Nous définissons les moyens interactifs mis à sa disposition. Enfin la réalisation d’un prototype de l’outil est présentée ainsi que les essais d’utilisation qui ont été faits.

Nos travaux étudient la conception du test en complément de preuves : l'objectif est de définir des critères de sélection de test qui ciblent les lacunes de ces preuves. Le champ d'application proposé est la vérification d'algorithmes de tolérance aux fautes. Les preuves considérées peuvent être des démonstrations informelles, publiées dans la littérature, ou des preuves formelles inachevées. Dans le premier cas, nous définissons une méthode basée sur une reformulation du discours informel sous forme d'un arbre de preuve. L'arbre offre une représentation de l'articulation logique de la démonstration, ainsi qu'un support pour son analyse pas à pas. La faisabilité et l'efficacité du test guidé par la preuve sont évaluées expérimentalement sur deux exemples d'algorithmes incorrects : un algorithme d'ordonnancement de tâches, et un algorithme d'appartenance de groupe. Les résultats montrent que l'identification des lacunes de la preuve peut s'avérer efficace pour guider le test, sous réserve que l'analyse de l'arbre ne mette pas en évidence un manque de rigueur affectant l'ensemble de la démonstration. Dans le cas de preuves formelles, nous reprenons le principe d'un test basé sur l'arbre de preuve. L'établissement d'un lien entre les lemmes non prouvés et des sous-espaces d'entrée de test peut alors être plus problématique que précédemment. L'étude expérimentale d'un autre algorithme d'appartenance de groupe, partiellement prouvé avec le système PVS, montre néanmoins que, lorsqu'un lien est possible, cette information peut s'avérer pertinente pour guider le test
Our work studies the design of testing to supplement correctness proofs: the goal is to define test selection criteria which focus on the weak parts of the proof. The proposed field of application is the verification of fault-tolerance algorithms. The target proofs can be informal demonstrations, published in the literature, or partial formal proofs. In the first case, we define a method based on the reformulation of the informal discourse as a proof tree. This tree offers a representation of the logical structure of the demonstration, and a support for its step by step analysis. The feasibility and efficiency of proof guided testing are experimentally assessed using two examples of flawed algorithms: a task scheduling algorithm, and a group membership algorithm. The results show that identification of the weak parts of the proof can be effective to guide testing, provided that the tree analysis does not reveal a lack of rigor affecting the whole demonstration. In the case of formal proofs, we retain the principle of testing based on the proof tree. Establishing a link between unproved lemmas and subspaces of the test input domain can be more difficult than previously. Still, the experimental study of another group membership algorithm, partially proved with the PVS system, shows that, if a link can be established, this information can be relevant to guide testing

Ce memoire concerne l'etude et le developpement de techniques d'analyse de testabilite de descriptions comportementales de circuits. Ces techniques ont pour objectif de reduire le cout du processus de generation de sequences de test comportemental. Ce cout etant directement lie a la complexite des descriptions comportementales et a la complexite de la strategie de generation des sequences de test comportemental, les techniques presentees ont ete adaptees des domaines du test du logiciel et du test du materiel. Elles ont ete developpees au sein d'un environnement de testabilite comportementale nomme betie. Ce dernier contient les trois outils suivants: un outil de mesure de complexite de descriptions comportementales, un outil d'identification de fragments de descriptions a ameliorer et un outil de mesure de testabilite de descriptions comportementales

Cette etude se situe dans le cadre de la generation automatique de vecteurs de test pour circuits digitaux c. M. O. S. Elle a pour but le test de pannes realistes au niveau transistors. L'approche proposee s'appuie sur les concepts algorithmiques developpes pour les pannes de collages au niveau portes. Les techniques d'intelligence artificielle utilisees sont la hierarchie et l'apprentissage. La hierarchisation structurelle autorise la description de cellules complexes et l'injection de pannes au niveau transistors. La hierarchisation fonctionnelle permet de conserver, voire meme augmenter les vitesses traditionnelles d'execution. Enfin, les techniques d'apprentissage, basees sur le processus d'injection, etablissent un compromis espace memoire/temps de calcul favorable a leur exploitation. Elles sont de plus compatibles avec les techniques d'apprentissage existantes

Les travaux présentés dans ce mémoire ont pour objectif de définir une stratégie appropriée pour le test de logiciels critiques orientés-objet. La stratégie de test que nous préconisons s'appuie sur la complémentarité de données de test statistique et déterministe. Les entrées de test statistiques sont générées automatiquement à partir de l'information présente dans les diagrammes d'état UML; en complément, les entrées de test déterministes ciblent des points singuliers du domaine d'entrée. Cette stratégie mixte s'intègre dans un environnement commercial de modélisation (Rose RealTime) permettant ainsi la génération automatique à la fois des entrées de test statistiques et des sorties attendues. Le pouvoir d'efficacité de cette stratégie mixte est évalué par une technique d'injection de fautes logicielles, analyse de mutation. Dans ce cadre, un outil d'analyse de mutation pour programmes Java a été développé sur les bases d'une idée originale, associant analyse syntaxique et réflexivité pour l'injection de différents types de fautes (traditionnelles et orientées-objet). Ces travaux théoriques sont illustrés sur une étude de cas industrielle du domaine avionique. Les résultats expérimentaux confirment la pertinence de l'approche élaborée et montrent son efficacité prometteuse vis-à-vis de la recherche de fautes. Ces mesures d'efficacité sont complétées par une étude comparative de l'approche proposée avec une approche déterministe utilisée expérimentalement chez Rockwell-Collins.

Cette these a pour objet la conception en vue du test et le test integre de machines d'etats finis (mef) implantees sous forme de plas cmos dynamiques avec registres d'etats. L'etude est menee jusqu'a la definition d'un outil de cao pour la generation atomatique des mef self-testables. A partir du graphe de la machine a realiser, l'outil genere les masques de l'implantation physique dans la technologie choisie. Apres une presentation detaillee des differentes methodes de test des plas, une etude particuliere concernant la conception en vue du test des plas cmos dynamiques est proposee. Des modeles de fautes specifiques sont definis permettant ensuite une formalisation precise des vecteurs de test. Des modules de generation de cette sequence et d'analyse des reponses sont elabores comme partie integrante de la machine. Enfin, un outil de generation automatique est valide par differents exemples d'application

L'objet de cette these est le developpement d'une methodologie de diagnostic des pannes temporelles dans les circuits digitaux. Nous avons propose une alternative a l'utilisation de la simulation de fautes, basee sur l'analyse de chemins critiques. Les resultats obtenus ont permis de mettre en evidence la surete et la precision du processus de diagnostic