Academic literature on the topic 'Fichier virtuel'

Si bon nombre de praticiens sont équipés de scanners optiques intrabuccaux pour réaliser leurs empreintes numériques 3D, plus rares sont ceux qui utilisent les fichiers 3D issus de l’Imagerie volumétrique par CBCT (Cone Beam Computed Tomography) et encore moins sont ceux qui utilisent des scans 3D de visage de leur patient. Toutes ces images 3D dont la visualisation de l’image en couleur est attirante permettent déjà une analyse immédiate intéressante du patient. Mais peut-on aller plus loin ? Est-ce que ces fichiers 3D issus des différentes technologies sont interfaçables, connectables ? Les fichiers 3D générés par les différents systèmes technologiques d’acquisition correspondent chacun à une partie virtualisée du patient, malgré des formats de fichiers quelque fois différents, il est possible de les regrouper afin d’obtenir un patient virtuel complet : le « Jumeau virtuel ». Plusieurs logiciels de modélisation graphique 3D permettent d’importer, convertir et utiliser les fichiers des différents types d’acquisition 3D. Évidemment, l’utilisation de ces logiciels nécessitent un certain apprentissage initial mais finalement les procédures numériques sont simples. De la sorte, l’objectif de cet article est de vous sensibiliser avec ces techniques d’utilisation de l’imagerie 3D numérique.

Fichte y Deleuze se interpelan recíprocamente cuando caracterizan -cada cual a su modo- al dogmatismo como el enemigo del pensamiento auténticamente filosófico. En este artículo, reconstruiremos y compararemos tales caracterizaciones para, a partir de ellas, interrogar a ambas ontologías y contemplarlas bajo una nueva luz. En Deleuze, se estudiará de qué manera el Yo al cual ubica -en todas sus dimensiones- en el plano empírico puede hacer afirmaciones no-dogmáticas acerca de los planos que son su condición trascendental: lo intensivo y lo virtual. En Fichte, se interpetará la célebre fórmula Yo = Yo no como una forma de la identidad sino de una inmanencia que nunca se cierra sobre sí misma, sino que produce eternamente la multiplicidad de lo real.

Avec le projet d’Inventaire des ressources ethnologiques du patrimoine immatériel (IREPI) débuté en 2003-2004, le Québec figure parmi les pionniers à mener un inventaire du patrimoine culturel immatériel sur son territoire. Sélectionnant des personnes-ressources ou « porteurs de patrimoine », la Chaire de recherche du Canada du patrimoine ethnologique de l’Université Laval a développé une méthodologie alliant des techniques d’entretien et des techniques audiovisuelles pour mener des enquêtes de terrain. Ces données collectées sont valorisées par le biais des nouvelles technologies en créant un inventaire multimédia sur internet, et non par la méthode « classique » d’un simple inventaire papier ou par fiche. En 2006, la France se lance dans cette entreprise en s’inspirant de la méthodologie utilisée au Québec. L’une des opérations-pilotes, menée en Aquitaine, se tourne également vers les outils audiovisuels pour mettre en image l’inventaire du patrimoine culturel immatériel, en suivant une méthode de recherche alliant démarche empirique, fiches d’inventaire (description textuelle et réalisation de court-métrages) et valorisation sous forme d’exposition physique et virtuelle. Si les méthodes d’investigation pensées sur le mode ethnologique semblent similaires, ces inventaires émergent dans un contexte historique, social et politique particulier qui les façonne et les modèle en fonction de la rhétorique patrimoniale ou du cadre institutionnel et juridique en vigueur de chaque côté de l’Atlantique. Les problèmes de temporalités du travail d’enquête, de conservation et d’exploitation des données collectées, de « regard patrimonial » et de sa construction sont également inhérents à ces projets de recherche appliquée.

Abstract.This paper explores eighteenth-century German debates on the relation of freedom and perfection in the course of which Kant works out his juridical theory. It contrasts the perfectionist ideas of political activity in Christian Wolff and Karl von Dalberg (a historically important but neglected figure), with Fichte's program inThe Closed Commercial State(1800), distinguishing logics of political intervention. Examining insufficiently recognized aspects of the intellectual context for Kant's distinction between happiness, right and virtue, the paper demonstrates Fichte's (problematic) application of Kantian ideas of freedom to political economy and contests current interpretations of the politically disengaged character or attenuated modernism of German political philosophy in the Enlightenment.Résumé.Ce texte étudie le rapport entre liberté et perfection dans la pensée allemande du dix-huitième siècle. C'est dans le contexte de ces débats que Kant élabore sa propre théorie juridique. En examinant les fondements théoriques de l'intervention politique, le texte fait une distinction entre le perfectionnisme éthique de Christian Wolff et de Karl von Dalberg (personnage historiquement important mais peu étudié), et le programme d'inspiration kantienne proposé par Fichte dans sonÉtat commercial fermé(1800).L'objectif du texte est de reconstruire le contexte intellectuel de la distinction kantienne entre bonheur, droit et vertu, et de démontrer l'usage problématique qu'en fait Fichte dans le domaine de l'économie politique. Le texte remet en question des interprétations récentes qui dévalorisent l'engagement politique et le modernisme des Lumières allemandes.

In a sense, these two books, bearing almost identical titles, could not be more different. Patten's work is a narrowly focused study of those passages in Hegel (primarily in the Philosophy of Right) that deal explicitly and pointedly with the idea of freedom. He proposes a "civic humanist" interpreta- tion of Hegelian freedom. Such an interpretation is designed to make sense of what Patten calls the "Sittlichkeit thesis," according to which ethical norms are composed of, or otherwise reducible to, duties and virtues embodied in the central institutions of modern social life. Franco's work is much broader in scope. It offers a commentary on the entirety of the Philosophy of Right and argues, plausibly enough, that Hegel's political philosophy is fundamentally a philosophy of freedom. It briefly situates that philosophy in the context of Hegel's immediate predecessors (Rousseau, Kant, Fichte) and reviews Hegel's own intellectual develop- ment, but its main goal is to show how Hegelian arguments about abstract right, morality, and ethical life constitute an account of what it means to be free.

O ‘rito de ofício’ a ser aplicado pelos julgadores possui propriedades eficazes para prevenir soluções alheias à realidade dos casos apresentados nos tribunais, afastando eventuais derrames imaginativos aos quais todos estamos sujeitos. Some-se a isso que a virtude da temperança é vertiginosamente deixada de lado e sem ela a Justiça não se realizará jamais. Estes alertas apontam para o cuidado que se deve ter durante a análise dos casos, banindo as vertentes de significações alienadas que corrompem a convicção do interpretante. A ideia da condição polissêmica remete à perda do espeque do signo, o que provoca a abertura de acepções díspares e fundamentadas em fatores repertoriais particulares, e que pode destoar do fato concreto. A base semiótica legada por Peirce e a herança de Fichte para o Direito, abordada segundo o respectivo sistema de seu idealismo, auxiliarão na investigação de um contexto coeso para este estudo. Assim, imprescindível a compreensão de que as interpretações, quando ocorrem com os ecos polissêmicos em relação aos objetos de processos judiciais, representam um equívoco deteriorante no exercício judicativo, o que se deve evitar.

Game of Thrones (GoT) has become the most popular way of referring to a universe that was previously known under the title A Song of Ice and Fire by fans of fantasy novels. Indeed, thanks to its huge success, the TV series is now the most common entry into what is today a complex narrative constellation. Game of Thrones began as a series of five novels written by George R. R. Martin (first published in 1996). It was adapted as a TV series by David Benioff and D.B. Weiss for HBO in 2011, as a comic book series (2011—2014), several video games (Blood of Dragons, 2007; A Game of Thrones: Genesis, 2011; Game of Thrones, 2012; Game of Thrones Ascent, 2013; Game of Thrones, 2014), as well as several prequel novellas, a card game (A Game of Thrones: The Card Game, 2002), and a strategy board game (2003), not to mention the promotional transmedia developed by Campfire to bring the novels’ fans to the TV series. Thus, the GoT ensemble does indeed look like a form of transmedia, at least at first sight.Game of Thrones’ UniverseGenerally, definitions of transmedia assemble three elements. First, transmedia occurs when the content is developed on several media, “with each new text making a distinctive and valuable contribution to the whole. … Each franchise entry needs to be self-contained so you don’t need to have seen the film to enjoy the game, and vice versa” (Jenkins 97-98). The second component is the narrative world. The authors of Transmédia Dans Tous Ses États notice that transmedia stories “are in some cases reduced to a plain link between two contents on two media, with no overall vision” (Collective 4). They consider these ensembles weak. For Gambarato, the main point of transmedia is “the worldbuilding experience, unfolding content and generating the possibilities for the story to evolve with new and pertinent content,” what Jenkins called “worldmaking” (116). The third ingredient is the audience. As the narrative extends itself over several platforms, consumers’ participation is essential. “To fully experience any fictional world, consumers must assume the role of hunters and gatherers, chasing down bits of the story across media channels” (Jenkins 21).The GoT constellation does not precisely match this definition. In the canonical example examined by Jenkins, The Matrix, the whole was designed from the beginning of the project. That was not the case for GoT, as the transmedia development clearly happened once the TV series had become a success. Not every entry in this ensemble unfolds new aspects of the world, as the TV series is an adaptation of the novels (until the sixth season when it overtook the books). Not every component is self-contained, as the novels and TV series are at the narrative system’s centre. This narrative ensemble more closely matches the notion of “modèle satellitaire” conceived by Saint-Gelais, where one element is the first chronologically and hierarchically. However, this statement does not devalue the GoT constellation, as the canonical definition is rarely actualized (Sepulchre “La Constellation Transmédiatique,” Philipps, Gambarato “Transmedia”), and as transmedia around TV series are generally developed after the first season, once the audience is stabilized. What is most noticeable about GoT is the fact that the TV series has probably replaced the novels as the centre of the ensemble.Under the influence of Jenkins, research on transmedia has often come to be related to fan studies. In this work, he describes very active and connected users. Research in game studies also shows that gamers are creative and form communities (Berry 155-207). However, the majority of these studies focused on hardcore fans or hardcore gamers (Bourdaa; Chen; Davis; Jenkins; Peyron; Stein). Usual users are less studied, especially for such transmedia practices.Main Question and MethodologyDue to its configuration, and the wide spectrum of users’ different levels of involvement, the GoT constellation offers an occasion to confront two audiences and their practices. GoT transmedia clearly targets both fiction lovers and gamers. The success of the franchise has led to heavy consumption of transmedia elements, even by fans who had never approached transmedia before, and may allow us to move beyond the classical analysis. That’s why, in that preliminary research, by comparing TV series viewers in general with a quite specific part of them, ordinary gamers of the videogame GOT Ascent, we aim to evaluate transmedia use in the GOT community. The results on viewers are part of a broader research project on TV series and transmedia. The originality of this study focuses on ordinary viewers, not fans. The goal is to understand if they are familiar with transmedia, if they develop transmedia practices, and why. The paper is based on 52 semi-structured interviews conducted in 2012 (11) and 2013 (41). Consumers of fictional extensions of TV series and fans of TV series were selected. The respondents are around twenty years old, university students, white, mostly female (42 women, 10 men), and are not representative outside the case study. Therefore, the purpose of this first empirical sample was simply to access ordinary GOT viewers’ behaviours, and to elaborate an initial landscape of their use of different media in the same world.After that, we focused our analysis on one specific community, a subset of the GOT’s universe’s users, that is, players of the GoT Ascent videogame (we use “gamers” as synonym for “players” and “users”). Through this online participative observation, we try to analyse the players’ attitudes, and evaluate the nature of their involvement from a user perspective (Servais). Focusing on one specific medium in the GOT constellation should allow us to further flesh out the general panorama on transmedia, by exploring involvement in one particular device more deeply. Our purpose in that is to identify whether the players are transmedia users, and so GoT fans, or if they are firstly players. During a three month in-game ethnography, in June-August 2013, we played Aren Gorn, affiliated to House Tyrell, level 91, and member of “The Winter is Dark and Full of Terrors” Alliance (2500 members). Following an in-game ethnography (Boellstorff 123-134), we explored gamers’ playing attitudes inside the interface.The Users, TV Series, and TransmediaThe respondents usually do not know what transmedia is, even if a lot of them (36) practice it. Those who are completely unaware that a narrative world can be spread over several media are rare. Only ten of them engage in fan practices (cosplay, a kind of costuming community, fan-fiction, and fan-vidding, that is fans who write fiction or make remix videos set in the world they love), which tends to show that transmedia does not only concern fans.Most of the ordinary viewers are readers, as 23 of them cite books (True Blood, Gossip Girl, Pretty Little Liars, Les Piliers de la Terre), one reads a recipe book (Plus Belle la Vie), and seven consume comics (The Walking Dead, Supernatural). They do not distinguish between novelisation (the novel adapted from a TV series) and the original book. Other media are also consumed, however a lot less: animation series, special episodes on the Internet, music, movies, websites (blogs, fictional websites), factual websites (about the story, the production, actors), fan-fiction, and cosplay.Transmedia does not seem to be a strong experience. Céline and Ioana respectively read the novels adapted from Plus Belle la Vie and Gossip Girl, but don’t like them. “It is written like a script … There’s no description, only the dialogues between characters” (Ioana). Lora watched some webisodes of Cougar Town but didn’t find them funny. Aurélie has followed the Twitter of Sookie Stackouse (True Blood) and Guilleaume D. sometimes consumes humoristic content on 9gag, but irregularly. “It’s not my thing” (Aurélie). The participants are even more critical of movies, especially the sequels of Sex and the City.That does not mean the respondents always reject transmedia components. First, they enjoy elements that are not supposed to belong to the world. These may be fan productions or contents they personally inject into the universe. Several have done research on the story’s topic: Alizée investigated mental disorders to understand United States of Tara; Guilleaume G. wandered around on Google Earth to explore Albuquerque (Breaking Bad); for Guilleaume D., Hugh Laurie’s music album is part of the character of Gregory House; Julie adores Peter Pan and, for her, Once Upon A Time, Finding Neverland, and Hook are part of the same universe. Four people particularly enjoy when the fictional characters’ couples are duplicated by real relationships between actors (which may explain all the excitement surrounding Kit Harrington and Rose Leslie’s real-life love story, paralleling their characters’ romance on GOT). If there is a transmedia production, it seems that there is also a kind of “transmedia reception,” as viewers connect heteroclite elements to build a coherent world of their own. Some respondents even develop a creative link to the world: writing fan-fiction, poetry, or building scale models (but that is not this paper’s topic, see Sepulchre “Les Constellations Narratives”, “Editorial”).A second element they appreciate is the GOT TV series. Approximately half of the respondents cite GoT (29/52). They are not fundamentally different from the other viewers except that more of them have fan practices (9 vs. 1), and a few more develop transmedia consumption (76% against 61%). To the very extent that there is consensus over the poor quality of the novels (in general), A Song of Ice and Fire seems to have seduced every respondent. Loic usually hates reading; his relatives have pointed out to him that he has read more with GoT than in his entire lifetime. Marie D. finds the novels so good that she stopped watching the TV series. Marine insists she generally reads fan-fiction because she hates the novelisations, but the GoT books are the only good ones. The novels apparently allow a deeper immersion into the world and that is the manifest benefit of consuming them. Guilleaume G. appreciates the more detailed descriptions. Céline, Florentin, Ioana, and Marine like to access the characters’ thoughts. Julie thinks she feels the emotions more deeply when she reads. Sometimes, the novels can change their opinions on a character. Emilie finds Sansa despicable in the TV series, but the books led her to understand her sensibility.Videogames & TransmediaThe vast majority of transmedia support from the GoT universe primarily targets “world lovers,” that is, users involved in media uses because they love the fantasy of the universe. However, only video games allow a personalized incarnation as a hero over a long term of time, and thus a customized active appropriation. This is in fact undoubtedly why the GoT universe’s transmedia galaxy has also been deployed in video games. GOT Ascent is a strategy game edited by Disruptor Beam, an American company specialising in TV games. Released in February 2013, the franchise attracted up to 9,000,000 players in 2014, but only 295,107 monthly active users. This significant difference between the accumulated number of players and those actually active (around 3 %) may well testify that those investing in this game are probably not a community of gamers.Combining role playing and strategy game, GoT Ascent is designed in a logic that deeply integrates the elements, not only from the TV series, but also from books and other transmedia extensions. In GoT Ascent, gamers play a small house affiliated to one of the main clans of Westeros. During the immersive game experience, the player participates in all the GoT stories from an insider’s point of view. The game follows the various GoT books, resulting in an extension whenever a new volume is published. The player interacts with others by PVE (Player versus Environment) or PVP (Player versus Player) alliances with a common chat and the possibility of sending goods to other members. With a fair general score (4,1 on 10), the game is evaluated weakly by the players (JeuxOnLine). Hence a large majority of them are probably not looking for that kind of experience.If we focus on the top players in GoT Ascent, likely representing those most invested, it is interesting to examine the names they choose. Indeed, that choice often reveals the player’s intention, either to refer to a gamer logic or the universe of GoT. During our research, we clearly distinguished two types of names, self-referential ones or those referring to the player’s general pseudonym. In concrete terms, the name is a declination of a pseudonym of more general avatars, or else refers to other video game worlds than GoT. In GoT Ascent, the second category of names, those very clearly anchored in the world of Martin, are clearly dominant.Is it possible to correlate the name chosen and the type of player? Can we affirm that people who choose a name not related to the GoT universe are players and that the others are GoT fans? Probably not obviously, but the consistency of a character’s name with the universe is, in the GoT case, very important for an immersive experience. The books’ author has carefully crafted his surnames and, in the game, assuming a name is therefore very clearly a symbolically important act in the desire to roleplay in that universe. Choosing one that is totally out of sync with the game world clearly means you are not there to immerse yourself in the spirit of GoT, but to play. In short, the first category is representative of the gamers, but the players are not restricted to those naming their avatar out of the world’s spirit.This intuition is confirmed by a review of the names related to the rank of the players. When we studied high-level players, we realized that most of them use humorous names, which are totally out of the mood of the GoT universe. Thus, in 2013, the first ranked player in terms of power was called Flatulence, a French term that is part of a humorous semantics. Yet this type of denomination is not limited to the first of the list. Out the top ten players, only two used plausible GoT names. However, as soon as one leaves the game’s elite’s sphere, the plausible names are quickly in the majority. There is a sharp opposition between the vast majority of players, who obviously try to match the world, and pure gamers.We found the same logic for the names of the Alliances, the virtual communities of players varying from a few to hundreds. Three Alliances have achieved the #1 rank in the game in the game’s first two years: Hear Me Roar (February 2013), Fire and Blood (January 2014), and Kong's Landing (September 2014). Two of those Alliances are of a more humoristic bent. However, an investigation into the 400 alliances demonstrates that fewer than 5 % have a clear humoristic signification. We might estimate that in GoT Ascent the large majority of players increase their immersive experience by choosing a GoT role play related Alliance name. We can conclude that they are mainly GoT fans playing the game, and that they seek to lend the world coherence. The high-level players are an exception. Inside GOT Ascent, the dominant culture remains connected to the GoT world.ConclusionA transmedia story is defined by its networked configuration, “worldmaking,” and users’ involvement. The GoT constellation is clearly a weak ensemble (Sepulchre, 2012). However, it has indeed developed on several platforms. Furthermore, the relationship between the novels and the TV series is quite unprecedented. Indeed, both elements are considered as qualitative, and the TV series has become the main entry for many fans. Thus, both of them acquire an equal authority.The GoT transmedia storyworld also unfolds a fictional world and depends on users’ activities, but in a peculiar way. If the viewers and gamers are analysed from fan or game studies perspectives, they appear to be weak users. Indeed, they do not seek new components; they are mainly readers and do not enjoy the transmedia experience; the players are not regular ones; and they are much less creative and humorous than high-level gamers.These weak practices have, however, one function: to prolong the pleasure of the fictional world, which is the third characteristic of transmedia. The players experiment with GoT Ascent by incarnating characters inserted into Alliances whose names may exist in the original world. This appears to be a clear attempt to become immersed in the universe. The ordinary viewers appreciate the deeper experience the novels allow. When they feed the world with unexpected elements, it is also to improve the world.Thus, transmedia appropriation by users is a reality, motivated by a taste for the universe, even if it is a weak consumption in comparison with the demanding, creative, and sometimes iconoclastic practices gamers and fans usually develop. It is obvious, in both fields, that they are new TV series fans (they quote mainly recent shows) and beginners in the world of games. For a significant part of them, GoT was probably their first time developing transmedia practices.However, GoT Ascent is not well evaluated by gamers and many of them do not repeat the experience (as the monthly number of gamers shows). Likewise, the ordinary viewers neglect the official transmedia components as too marketing oriented. The GoT novels are the exception proving the rule. They demonstrate that users are quite selective: they are not satisfied with weak elements. The question that this paper cannot answer is: was GoT a first experience? Will they persevere in the future? Yet, in this preliminary research, we have seen that studying ordinary users’ weak involvement (series viewers or gamers) is an interesting path in elaborating a theory of transmedia user’s activities, which takes the public’s diversity into account.ReferencesBerry, Vincent. L’Expérience Virtuelle: Jouer, Vivre, Apprendre Dans un Jeu Video. Rennes: UP Rennes, 2012.Boellstorff, Tom. “A Typology of Ethnographic Scales for Virtual Worlds.” Online Worlds: Convergence of the Real and the Virtual. Ed. William Sim Bainbridge. London: Springer, 2009.Bourdaa, Mélanie. “Taking a Break from All Your Worries: Battlestar Galactica et Les Nouvelles Pratiques Télévisuelles des Fans.” Questions de Communication 22 (2012) 2014. <http://journals.openedition.org/questionsdecommunication/6917>.Chen, Mark. Leet Noobs: The Life and Death of An Expert Player Group in World of Warcraft. New York: Peter Lang, 2012.Collective. Le Transmédia Dans Tous Ses États: Les Cahiers de Veille de la Fondation Télécom. Paris: Fondation Télécom, 2012. 29 Dec. 2017 <https://www.fondation-mines-telecom.org/wp-content/uploads/2016/01/2012-cahier-veille-transmedia.pdf\>.Davis, C.H. “Audience Value and Transmedia Products.” Media Innovations. Eds. T. Storsul and A. Krumsvik. Gothenburg: Nordicom, 2013. 179-190.Gambarato, Renira. “How to Analyze Transmedia Narratives?” Conference New Media: Changing Media Landscapes. Saint Petersburg, 2012. 2017 <http://prezi.com/fovz0jrlfsn0/how-to-analyze-transmedia-narratives>.Gambarato, Renira. “Transmedia Storytelling.” Serious Science, 2016. 2017 <https://www.youtube.com/watch?v=thZnd_K8Vfs>.Jenkins, Henry. Convergence Culture. Where Old and New Media Collide. Updated ed. New York: New York UP, 2006.JeuxOnLine. “Game of Thrones Ascent.” 2013. <http://www.jeuxonline.info/jeu/Game_of_Thrones_Ascent>.Peyron, David. Culture Geek. Limoges: FYP Editions, 2013.Philipps, Andrea. A Creator’s Guide to Transmedia Storytelling: How to Captivate and Engage Audiences across Multiple Platforms. New York: McGraw-Hill Education, 2012.Saint-Gelais, Richard. Fictions Transfuges. La Transfictionnalité et Ses Enjeux. Paris: Seuil, 2011.Sepulchre, S. Le Transmédia Dans Tous Ses États: Les Cahiers de Veille de la Fondation Télécom. Paris: Fondation Télécom, 2012. 29 Dec. 2017 <https://www.fondation-mines-telecom.org/wp-content/uploads/2016/01/2012-cahier-veille-transmedia.pdf>.———. “La Constellation Transmédiatique de Breaking Bad: Analyse de la Complémentarité Trouvée entre la Télévision et Internet.” ESSACHESS-Journal for Communication 4.1 (2011). 29 Dec. 2017 <http://www.essachess.com/index.php/jcs/article/view/111>. ———. “Les Constellations Narratives: Que Font les Téléspectateurs des Adaptations Multimédiatiques des Séries Télévisées?” TV/Series 3 (2013). 29 Dec. 2017 <http://journals.openedition.org/tvseries/729>. ———. “Editorial.” Inter Pares: Revue Électronique de Jeunes Chercheurs en Sciences Humains et Sociales 6 (2016). 29 Dec. 2017 <https://epic.univ-lyon2.fr/medias/fichier/inter-pares-6-maquette-v8web_1510576660265-pdf>.Servais, Olivier. “Funerals in the “World of Warcraft”: Religion, Polemic, and Styles of Play in a Videogame Universe.” Social Compass 62.3 (2015): 362-378.Stein, Louisa Ellen, and Kristina Busse. Sherlock and Transmedia Fandom: Essays on the BBC series. Jefferson: McFarland, 2014.

Le File Transfer System (ou FTS) est un logiciel de transfert de fichier conforme au modèle de référence ISO. Il recouvre les fonctions du protocole de fichier virtuel FTAM, et de la couche présentation. Il a été conçu pour interconnecter une large gamme de systèmes par le moyen de logiciels de réseaux divers. Il est donc portable et indépendant du réseau auquel il est raccordé. Le FTS gère plusieurs utilisateurs, et plusieurs transferts simultanés. Il gère lui-même ses tâches à l'aide de son propre noyau. L'une des applications essentielles du FTS est le transfert de données à haut débit (2Mbits/s) par le satellite TELECOM 1 via le réseau HELIOS. Enfin, un exemple d'implantation du FTS est illustré dans le cas du système VM/CMS d'IBM et du logiciel de réseau NETEX de NSC.

Dans cette thèse, nous proposons une architecture appelée GRAVY qui supporte les interfaces de systèmes de fichiers dans lequel les transferts de données peuvent être explicitement découplés des calculs et donc gérés comme des tâches de calculs, i. E. Mise en file d’attente, ordonnancées, contrôlées. GRAVY fournit aux composants de niveau plus élevé un accès efficace sécurisé dans la gestion des données sur les grilles. Ensuite, nous nous concentrons sur la gestion des réplications afin d’améliorer l’accessibilité des données, la performance d’accès aux données, et la consommation de bande passante du système. Nous proposons une stratégie de réplication appelée MaxDAR basée sur le classement sélectif des fichiers, qui indique le degré d’importance de ce fichier en considérant la capacité limite de stockage. Dans notre approche, les décisions de réplication sont motivées par l’optimisation sur le niveau global de disponibilité des données du système en fonction du classement sélectif des fichiers tout en réduisant leurs coûts de stockage. Les résultats de simulation en OptorSim montrent que MaxDAR obtient une meilleure performance pour l’exécution de tâche et la consommation de stockage en comparaison avec d’autres stratégies mise dans OptorSim. Enfin, nous proposons une architecture orientée services basée sur la technologie WSRF qui permet d’accéder aux ressources de données de manière dynamique et d’exécuter des tâches de transfert de données d’une manière décentralisée sur les différents sites afin d’améliorer les performances.

Les besoins en ressources de calcul sont en forte augmentation depuis plusieurs décennies, que ce soit pour des applications du domaine des réseaux sociaux, du calcul haute performance, ou du big data. Les entreprises se tournent alors vers des solutions d'externalisation de leurs services informatiques comme le Cloud Computing. Le Cloud Computing permet une mutalisation des ressources informatiques dans un datacenter et repose généralement sur la virtualisation. Cette dernière permet de décomposer une machine physique, appelée hôte, en plusieurs machines virtuelles (VM) invitées. La virtualisation engendre de nouveaux défis dans la conception des systèmes d'exploitation, en particulier pour la gestion de la mémoire. La mémoire est souvent utilisée pour accélérer les coûteux accès aux disques, en conservant ou préchargeant les données du disque dans le cache fichiers. Seulement la mémoire est une ressource limitée et limitante pour les environnements virtualisés, affectant ainsi les performances des applications utilisateurs. Il est alors nécessaire d'optimiser l'utilisation du cache de fichiers dans ces environnements. Dans cette thèse, nous proposons deux approches orthogonales pour améliorer les performances des applications à l'aide d'une meilleure utilisation du cache fichiers. Dans les environnements virtualisés, hôte et invités exécutent chacun leur propre système d'exploitation (OS) et ont donc chacun un cache de fichiers. Lors de la lecture d'un fichier, les données se retrouvent présentes dans les deux caches. Seulement, les deux OS exploitent la même mémoire physique. On parle de duplication des pages du cache. La première contribution vise à pallier ce problème avec Cacol, une politique d'éviction de cache s'exécutant dans l'hôte et non intrusive vis-à-vis de la VM. Cacol évite ces doublons de pages réduisant ainsi l'utilisation de la mémoire d'une machine physique. La seconde approche est d'étendre le cache fichiers des VM en exploitant de la mémoire disponible sur d'autres machines du datacenter. Cette seconde contribution, appelée Infinicache, s'appuie sur Infiniband, un réseau RDMA à haute vitesse, et exploite sa capacité à lire et à écrire sur de la mémoire à distance. Directement implémenté dans le cache invité, Infinicache stocke les pages évincées de son cache sur de la mémoire à distance. Les futurs accès à ces pages sont alors plus rapides que des accès aux disques de stockage, améliorant par conséquent les performances des applications. De plus, le taux d'utilisation de la mémoire à l'échelle du datacenter est augmenté, réduisant le gaspillage de manière globale
The need for computing resources has been growing significantly for several decades, in application domains from social networks, high-performance computing, or big data. Consequently, companies are outsourcing theirs IT services towards Cloud Computing solutions. Cloud Computing allows mutualizing computing resources in a data center, and generally relies on virtualization. Virtualization allows a physical machine, called a host, to be split into multiple guest virtual machines (VMs). Virtualization brings new challenges in the design of operating systems, especially memory management. Memory is often used to speed up expensive disk accesses by storing or preloading data from the disk to the file cache. However memory is a limited and limiting resource for virtualized environments, thus impacting the performance of user applications. It is therefore necessary to optimize the use of the file cache in these environments. In this thesis, we propose two orthogonal approaches to improve application performance through better use of the file cache. In virtualized environments, both host and guests run their own operating system (OS) and thus have their own file cache. When a file is read, the data is present in both caches. However, both OSes use the same physical memory. We hence have a phenomenon called pages duplication. The first contribution aims at alleviating this problem with Cacol, a host cache eviction policy, which is non-intrusive for the VM. Cacol avoids these duplicated pages, thus reducing the memory usage of a physical machine. The second approach is to extend the file cache of VMs by exploiting memory available on other machines in the datacenter. This second contribution, called Infinicache, relies on Infiniband, a high-speed RDMA network, and exploits its ability to read and write remote memory. Implemented directly in the guest cache, Infinicache stores on remote memory pages that have been evicted from its cache. Future accesses to these pages are then be faster than accesses to storage disks, thereby improving application performance. In addition, the datacenter-wide memory utilization rate is increased, reducing overall memory wasting

Le Document Virtuel Personnalisable est une approche intéressante pour personnaliser, réutiliser et automatiser l’accès à l’information. Un DVP compose dynamiquement un document réel à partir d’informations provenant de sources diverses qui satisfont au mieux à des besoins utilisateurs. En effet, les utilisateurs ne sont pas tous intéressés par les mêmes informations, ils n’ont pas les mêmes attentes, acquis et connaissances. Toutes ces caractéristiques sont représentées au sein d’un modèle utilisateur. Nous proposons une approche de conception de DVP qui repose d'une part sur un principe de spécification déclarative des processus de sélection, d’organisation et d’adaptation par un auteur, ce qui renforce la cohérence sémantique du document généré, et d’autre part sur un principe de composition d’un hypermédia pour un lecteur particulier. Cette approche est fondée sur quatre ontologies. Il s’agit d’une approche qui repose sur la réutilisation de fragments d’information et qui est elle-même réutilisable
The Adaptive Virtual Document is a very convenient approach to adapt, reuse and automate information access on the Web. An AVD creates a real document on the fly with informations coming from various sources and according to user’s needs. Every users are not concerned by the same information, they don’t have the same objectives, experience, background and knowledge. All theses user’s features are represented in a user model. We propose a new approach for AVD in two parts. First, an author creates a generic document which is a declarative specification for the processes of selection, organization and adaptation, this author oriented specification increases the semantic coherence of a document. Next, the system composes on the fly an hypermedia from this generic document and according to a particular reader. This approach is based on four ontologies. Our approach is based on the reusability of information on the Web, and it was thought in order to be reusable in different contexts

Cette these traite de la gestion de memoire virtuelle avec garanties de qualite de service (qos) pour les applications multimedia reparties. Sa contribution principale est d'apporter une solution permettant la garantie forte sur la disponibilite de la ressource memoire pour les ap- plications multimedia reparties. Cependant, les modeles, algorithmes et mecanismes proposes permettent egalement de prendre en compte la garantie faible ou le meilleur effort, dans le cas ou les applications et/ou les utilisateurs se satisfont d'exigences moins strictes. Nous avons ainsi etudie de maniere detaillee le schema de gestion de la memoire virtuelle dans un systeme reparti, afin d'identifier les composantes systeme participant a cette gestion et leurs roles respectifs. A l'issue de cette etude, nous avons propose un modele de gestion de qos qui est fonde sur la base du concept de flot de media continu reparti (fmc). Avant de commencer un fmc, l'application doit conclure un contrat de qos avec le systeme dans lequel decrivent la qos demandee par ce fmc et l'engagement du systeme pour garantir la fourniture de cette qos. Sur chaque site, un gestionnaire de qos (qosmgr) negocie et controle l'execution des contrats de qos. Ce gestionnaire est egalement responsable de la coordination et du controle des ressources sur le site. Afin d'integrer la qos dans les ressources systeme, nous proposons une approche permettant la cohabitation d'une partie qos avec des services standard dans chaque gestionnaire de ressource. Ensuite, nous avons applique cette approche d'integration de qos sur le serveur de fichiers unix, un gestionnaire de memoire secondaire. Les sources d'indeterminisme dans la gestion du systeme de fichiers unix ont ete localisees. Un nouveau serveur de fichiers avec qos a ete concu. En mode qos, ce nouveau serveur utilise les fonctions de la partie qos pour generer les donnees a la source d'un fmc a partir d'un fichier ordinaire unix en fonction d'un contrat de qos. Enfin, pour valider le modele et les solutions ainsi proposes, nous avons effectue la mise en oeuvre d'un prototype de notre modele sur un systeme reparti a base de micro-noyau, le systeme chorus/mix. Le prototype comprend un gestionnaire de qos reparti (qosmgr) et un serveur de fichiers avec qos (qosom). Les facilites offertes par la technologie chorus ont ete exploitees pour realiser les optimisations aux
This dissertation deals with the problem of virtual memory management with quality of service (qos) guarantees for distributed multimedia applications. Our main contribution is about the providing of a solution allowing a strong guarantee on the memory resource available for multimedia applications. However, proposed models, algorithms, and mechanisms allow the soft guarantee and the best effort services as well, if applications and/or users accept more loose requirements. We analyse first the virtual memory management scheme in a distributed system in order to identify system components participating in the memory accesses and their role. Based on analysis results, we propose a qos management model which is built on the continuous media flow (fmc) concept basis. Applications can start a fmc only after having concluded a qos contrat about this fmc with the system. On each site, we propose a new system qos magager (qosmgr) which is responsible for both the interface with local applications for qos contract negociation and control, and the coordination and control of local system resources in order to satisfy concluded qos contracts. System resources under qosmgr controls must be modified or integrated of qos management. In order to do that, we propose a general approach which allows the cohabitation of a qos services part behind the standard one in a system resource manager. We apply then this approach for modifying the unix file server, a secondary memory mana- ger. First, the indeterministic sources of the unix file system management have been identified. This server, in qos mode, uses new functions in the qos part to generate data for a fmc's source, from a data unix file, with respect to its associated qos contract. A prototype of our model has been implemented in a distributed microkernel-based system, namely the chorus/mix system. It consists of a distributed qos manager (qosmgr) and a qos file server (qosom). Chorus technology facilities have been used to optimize the implementation of proposed solutions. The experiences on the first version of this prototype actually running in our laboratory have demonstrated the feasibility and validated our model

Avec l'avènement du cloud computing, la virtualisation est devenue aujourd'hui incontournable. Elle offre isolation et flexibilité, en revanche elle implique une fragmentation des ressources, et notamment de la mémoire. Les performances des applications qui effectuent beaucoup d'entrées/sorties (E/S) en sont particulièrement impactées. En effet, celles-ci reposent en grande partie sur la présence de mémoire libre, utilisée par le système pour faire du cache et ainsi accélérer les E/S. Ajuster dynamiquement les ressources d'une machine virtuelle devient donc un enjeu majeur. Dans cette thèse nous nous intéressons à ce problème, et nous proposons Puma, un cache réparti permettant de mutualiser la mémoire inutilisée des machines virtuelles pour améliorer les performances des applications qui effectuent beaucoup d'E/S. Contrairement aux solutions existantes, notre approche noyau permet à Puma de fonctionner avec les applications sans adaptation ni système de fichiers spécifique. Nous proposons plusieurs métriques, reposant sur des mécanismes existants du noyau Linux, qui permettent de définir le niveau d'activité « cache » du système. Ces métriques sont utilisées par Puma pour automatiser le niveau de contribution d'un noeud au cache réparti. Nos évaluations de Puma montrent qu'il est capable d'améliorer significativement les performances d'applications qui effectuent beaucoup d'E/S et de s'adapter dynamiquement afin de ne pas dégrader leurs performances
With the advent of cloud architectures, virtualization has become a key mechanism for ensuring isolation and flexibility. However, a drawback of using virtual machines (VMs) is the fragmentation of physical resources. As operating systems leverage free memory for I/O caching, memory fragmentation is particularly problematic for I/O-intensive applications, which suffer a significant performance drop. In this context, providing the ability to dynamically adjust the resources allocated among the VMs is a primary concern.To address this issue, this thesis proposes a distributed cache mechanism called Puma. Puma pools together the free memory left unused by VMs: it enables a VM to entrust clean page-cache pages to other VMs. Puma extends the Linux kernel page cache, and thus remains transparent, to both applications and the rest of the operating system. Puma adjusts itself dynamically to the caching activity of a VM, which Puma evaluates by means of metrics derived from existing Linux kernel memory management mechanisms. Our experiments show that Puma significantly improves the performance of I/O-intensive applications and that it adapts well to dynamically changing conditions

Online learning, or e-learning, can be an interesting way of encouraging employees to collaborate in performing their work (Fichter, 2002). For example, it can help employees to learn quickly and efficiently, without the inconvenience of absence from the workplace. It can take place at the location desired by the employee, for example, at the office or at home, when the employee wants and needs it, and at a suitable pace (Mingasson, 2002). Employees can, therefore, control their learning progress without having to travel to a classroom. Some find online learning less intimidating and less risky than classroom-based courses given by trainers (Fichter, 2002). If online learning is to be effective, however, employees need a high local network capacity, an Internet connection, and a computer support system to ensure that both hardware and software function properly (Muianga, 2005). The purpose of the research described in this article is to examine the impact of interaction efficiency on the ability of teams to work together and on their learning performance. The article begins by examining the main variables of e-learning use, and goes on to propose a model of work team efficiency and performance in collaborative online learning. It also presents the study’s methodological considerations. Pilot projects were carried out in two universities in Québec, Canada. Virtual teams of five students were formed, and an academic task was handed in to the professors in charge of the projects. The students then completed a questionnaire. The article analyses the benefits of using new technology in university-level courses, and proposes avenues for future research.

The purpose of this chapter is to investigate the impact of information and communication technologies in the practice of records management in Ministry of Health, Nigeria. A diverse set of ICT tools of computer, CD-ROM, multi-media, scanner, internet, software applications (CDS/ISIS), among others are currently used in the practices of records management. The rationale that spurs the use of ICTs for record management is due to the ever-changing nature of operations that required capturing, processing, storing, and dissemination of records and other evolving phenomenon from traditional to virtual/technological platform. The qualitative research approach grounded on documents/textual content analysis of literature was employed in this study. Findings revealed that ICTs are used for different purposes in records management operations in the Ministry of Health in Nigeria. The evolving nature of transformation is that organisations no longer use old technologies of microfilm/fiches, floppy disc, papyrus, tape recorders, and typewriters. Strategies of security, different devices, and policy are significant.

Este Proyecto de Innovación Docente (PID) tiene como principal objetivo poder evaluar adecuadamente el trabajo de preparación de cada una de las personas que forman parte de un grupo experimental antes de su puesta en práctica en el Laboratorio de Física. Para ello, dicho trabajo de preparación previa se pretende monitorizar a través de recursos audiovisuales inteligentes (smartphone) que puedan integrarse en un Espacio Virtual 3.0 (EV-3.0). Esta monitorización podría realizarse “en vivo” (streaming) o mediante la grabación y almacenamiento del correspondiente fichero audiovisual (mini-vídeo) en un reservorio virtual accesible a todos los actores implicados: profesores y alumnos. Todo ello con la inestimable ayuda de la Metodología “Flipped Learning”, dentro del mencionado EV-3.0. En este PID se pone de manifiesto la importancia del uso de las Tecnologías de la Información y la Comunicación (TIC), no sólo en ámbitos de ocio, sino en otros de formación/aprendizaje universitario, así como el reconocimiento de alguna de las filosofías del Proyecto Bolonia 2020, como es la actualización continuada de los procesos de docencia-aprendizaje.

Les dernières technologies informatiques ainsi que le développement des imprimantes 3D ouvrent des perspectives intéressantes en terme de diagnostic et de thérapeutique en implantologie (1). Le plan de traitement prothétique doit guider le choix du nombre et du positionnement des implants. Les logiciels de planification implantaire permettent de superposer les fichiers DICOM (Digital Imaging and Communications in Medicine) de limagerie tridimensionnelle issue du CBCT et les données numériques de surface issues d’empreintes optiques ou de la numérisation de modèles conventionnels (2). Les modélisations occlusales peuvent être elles aussi réalisées virtuellement en statique et dynamique via l’utilisation darticulateurs virtuels (3,4). Un guide chirurgical est alors imprimé permettant de positionner les implants selon la planification virtuelle. Dans certains cas, la restauration provisoire peut être prévue à l’avance et mise en place à lissue de lintervention (5,6). Bien quil soit établit que la chirurgie guidée soit plus précise que la chirurgie à main levée (7), son utilisation en pratique quotidienne a été ralentie en grande partie à cause du coût de fabrication élevé. Le développement récent dimprimantes 3D de bureau de haute précision (8,9) et la multiplicité des logiciels de planification implantaire ont permis le développement de la chirurgie guidée. Cependant, à chaque étape du flux numérique, des imprécisions peuvent se cumuler pouvant aboutir à des erreurs de positionnement ayant des conséquences potentiellement graves : proximité avec les racines adjacentes, perforation des racines, lésion nerveuse. La précision des guides chirurgicaux sté- réolithographiques dépend de nombreux paramètres : lempreinte, l’impression du guide, le matériau utilisé, la nature du support, lexpérience du praticien. Les empreintes optiques réalisées avec des scanners intra-oraux de plus en plus puissants présentent de nombreux avantages par rapport aux techniques conventionnelles en terme de rapidité, de précision et de reproductibilité. (10-14). Les guides peuvent être à appui osseux, muqueux, dentaire ou mixte. Une revue systématique de la littérature de Gallardo et coll. en 2017 (15) compare la précision des guides chirurgicaux en fonction du type de support. Cette revue conclut que les guides à appui osseux présentent le plus de déviation au niveau de langle, du point dentrée et de la localisation de lapex de l’implant par rapport aux guides à appuis dentaires. Les guides à appuis muqueux montrent moins de déviation par rapport aux guides à appuis osseux. Les auteurs nont pas trouvé de différence statistiquement significative entre les guides à appuis dentaires et muqueux. Selon L’étude de Cassetta publiée en 2017 (16), lexpérience du praticien influence la précision du positionnement des implants en chirurgie guidée. Un praticien novice en implantologie présente plus de déviation sur le positionnement des implants avec lutili- sation d’un guide chirurgical stéréolithographique quun praticien expérimentée. La chirurgie implantaire guidée reste un outil et nécessite une expérience chirurgicale. Le flux numérique en implantologie peut aujourdhui se réaliser de la prise d’empreintes d’étude à la fabrication de la restauration prothétique implantaire en passant par la conception et l’impression d’un guide chirurgi- cal. Ce flux est une aide précieuse en terme de communication avec le patient mais aussi avec le prothésiste, il permet daugmenter la reproductibilité des résultats et daboutir à une restauration prothétique esthétique et fonctionnelle.