Добірка наукової літератури з теми "Affectation de voies"

L’article 1030 du Code civil du Québec est mieux connu pour son principe du droit au partage que pour la possibilité qu’il offre de le tenir en échec lorsque le bien commun se trouve affecté à un but durable. Bien que l’affectation à but durable soit le plus souvent cantonnée aux affectations objectives de biens mis au service d’autres biens ou destinés à l’exploitation de ces derniers, la généralité de la rédaction de cet article ouvrirait la voie à des affectations sans relation directe avec d’autres biens. S’appuyant sur une analyse jurisprudentielle et doctrinale, cette étude révèle l’existence d’affectations subjectives qui détachent l’affectation du bien commun de toute relation de dépendance à d’autres biens. L’affectation durable reposerait dès lors sur un intérêt commun cristallisé dans la somme des intérêts propriétaires, voire sur un intérêt collectif autonome, dévoilant ainsi une nouvelle facette de l’indivision, outil moderne de gestion collective, réfléchie et durable des biens communs.

ACL Walking has long been neglected in urban mobility research. In the context of a sustainable mobility, it is now included into numerous works including various approaches. The well-known models of flows affectation are often used to study the behaviour of pedestrians and to identify their preferences. However, the factors that are usually chosen to describe the urban environment are usually limited or inappropriate to the pedestrian movement. In addition, these models assume that the choices made by pedestrians are predetermined at the start of each trip, without any possible decision intervening along these trips. In this paper, we propose to test the role of urban landscape by using a new route choice analysis method. An algorithm is used to find the “junctions”, i.e. the crossroads from which pedestrians chose a route longer than the shortest path. A set of junctions allows us to apply a discrete choice model in order to evaluate the influence of urban landscapes. La marche à pied est longtemps restée en marge des réflexions sur les déplacements urbains. Avec la nécessité d’une mobilité plus durable, elle fait désormais l’objet de nombreuses recherches, dans des voies variées. Concer­nant les choix d’itinéraires, les modèles d’affectation des flux permettent d’étudier les comportements des piétons et de révéler leurs préférences. Tou­tefois, les attributs pris en compte pour décrire l’environnement urbain sont souvent restreints et peu adaptés aux spécificités de la mobilité pédestre. Parallèlement, les choix effectués par les piétons sont supposés prédéterminés et aucune décision n’est susceptible d’intervenir au cours du trajet. Dans cet article, nous proposons une nouvelle méthode d’analyse des choix d’itinérai­res, adaptée pour tester l’influence des paysages urbains sur ces choix. Un algorithme est appliqué pour identifier les bifurcations, c’est-à-dire les carre­fours à partir desquels les piétons ont choisi un itinéraire plus long que le plus court chemin. L’analyse d’une série de bifurcation par un modèle de choix discret permet d’évaluer le rôle des paysages urbains dans ces choix spécifiques.

ABSTRACT This article examines corporal mimesis, a technique created and developed by LUME Teatro. The objective is to explain how, with this technique, the performer poetically embodies different stimuli that are found in everyday life, be they people, images, voices, sounds, animals, or even texts or monuments. The concepts of mimesis, observation, and affectation, which form the basis of this practice, are discussed. Then, different experiences with corporal mimesis are described. Finally, it is concluded that this technique is an open field for exploring acting, which is found in an intermediate place between creation and training based on the sensorial universe of the artists who develop it.

Voice synthesising software Vocaloid (Yamaha Corporation) is a popular tool for professional and amateur music production. At the time of writing, there are over 770,000 videos tagged ‘vocaloid’ on Niconico; karaoke chain Karatez displays the top five thousand tracks on its Website (Karatetsu); Hatsune Miku Wiki has over 59,000 pages, while the Vocaloid Lyrics Wiki has over 90,000. Vocaloid is part of Japan’s unique media mix, comprising of the software and music but also official collaborations and a significant amount of fan culture. However, while there is academic research on the way that Vocaloid music is produced and consumed (Sousa; Hamasaki et al.; Leavitt et al.; Kobayashi and Taguchi), there is a lack of research into the content of Vocaloid songs and music videos: that is, what kinds of themes and messages are present and what this might suggest for producers and consumers. This article highlights the importance of the content of Vocaloid music. To this end, I have focussed on Vocaloid composer/producer Neru’s 2018 album CYNICISM. Not to be confused with the Vocaloid Akita Neru, Neru’s music tends to focus on negative affect such as depression, loneliness, and anxiety. Documenting such themes helps to illustrate some of the struggles that producers and consumers experience. I provide a brief explanation of Vocaloid, followed by a reflection on their personas and functioning as a Body without Organs (Annett; Lam; Deleuze and Guattari, Anti-Oedipus). Then I introduce Small’s concept of musicking to provide a framework for the way that music transmits certain affects. In the second half of the article, I unpack Neru’s album and its use of imagery, lyrics, and sound. Vocaloids Voice synthesising software Vocaloid was initially released in 2004, the result of a collaboration between Japan’s Yamaha Corporation and Spain’s Pompeu Fabra University (Voctro Labs; Yamada 17). This software allows the user to create singing audio, drawing from recordings of real people called “voicebanks”. These voicebanks are produced by third-party companies, and are typically provided with a persona with an appearance and personality. For instance, the most well-known Vocaloid is Hatsune Miku, while Kagamine Rin and Kagamine Len are those most used by Neru. Essentially anyone who uses the Vocaloid software can become producers – the term used in Vocaloid cultures for composer. Vocaloid is an example of Japan’s “unique media mix”, where the media are produced not just by “the original company”, but also via “commercial collaborations with media franchises”, and “by a creative collective of individuals on the internet” (Leavitt et al. 204 & 211; see also Steinberg). As well as producers there are songwriters, lyricists, tuners, illustrators, and animators. Some people edit Vocaloid videos, creating compilations, ranking them, and so on (Hamasaki et al. 166). There is also a vibrant fan culture of database managers, fan translators, artists, and fiction writers, as well as human cover artists (utaite), such as Mafumafu, who became popular in part due to his covers of Neru’s music. Official corporate production mostly involves Hatsune Miku, and includes concerts, video games, and collaborations for consumer products. Such branding and collaboration illustrates the creation of a complex Vocaloid narrative. Accordingly, most researchers who examine Vocaloid discuss the complex relationships between various content creators and their methods of collaboration (Yamada), as well as Vocaloid as fan-generated media, examining issues such as commercial interest and exploitation (Bell; Sousa; Jørgensen et al.; To; Kobayashi and Taguchi). However, in this article I am interested in why fans strongly enjoy Vocaloid music and find meaning in it; as I will explore below, such fan collaboration is both a symptom and a cause. Personas and Bodies without Organs Although Vocaloid has a crowd-sourced and collaborative production environment, its use of digital voicebanks and significant consumer culture has led to criticism. For instance, Lam (1110–11) describes voicebanks as being “devoid of originality”, suggests that “all Vocaloid works are derivative”, and also that Vocaloid simply allows users “to indulge … within the virtual space of fabricated authenticity and depthlessness”. However, it is evident from comments on Niconico, YouTube, Reddit, the aforementioned Wikis, Vocaloid Discord servers, and any other space where fans socialise that listeners are emotionally moved by Vocaloid music. Zaborowski, for instance, describes two Japanese boys enthusiastically singing to ryo/Supercell’s Melt. Strikingly, Zaborowski (107) noted that the boys repeatedly told him that “precisely because the voice is the same, the listener can appreciate the quality of the melody and the lyrics”, and that a Vocaloid “sounds different when you are sad. Or when you are away from home”. Listeners are experiencing something when they engage with Vocaloid music, and it would be hasty to simply dismiss their experiences as “depthless”. One factor that makes Vocaloid music particularly authentic and affective for its audiences is the attachment of crowdsourced, constructed personas to Vocaloids. Authenticity here is not necessarily evaluated by the virtual nature of the artist (or instrument) itself, but the producers’ effort to create the work (Zaborowski 107). In this sense there is a need to consider the people involved in producing and listening to Vocaloid music, who find meaning in the songs and characters. Aside from Vocaloids, producers and utaite often also establish a character or imagery as a persona. Neru for instance is recognisable through his avatar—a closed eye with eyelashes and a single tear, and the various characters featured in his videos. The practice of creating a persona for non-human items is unique to Japanese culture, visible in the way that yuru kyara or “wobbly characters” are created to represent entities such as events, corporations, locations, policies, and so on (Occhi 77). These characters can be human-like or creature-like, drawing on Shinto’s anthropomorphism (Jensen and Blok 97). Kyara help minimise the separation between humans and nature, as well as humans and technology (Occhi 80–81). The attachment of kyara to voicebanks, which would otherwise have no face, helps to facilitate a sense of humanisation and connection with the software. It may be that the synthetic nature of the music as well as the use of personas in Vocaloid music means that the listener feels that the song is sung by the Vocaloid, but also processes the creator’s emotion. Kenmochi (4), for instance, suggests that since synthetic voices hold less emotion, it is the persona that functions as a symbol to connect the creator and listener. The producer is able to “impose their own values and perceptions on the virtual character” (Lam 1111), and in doing so, the persona functions as what Deleuze and Guattari call a Body without Organs (Anti-Oedipus 9; A Thousand Plateaus 151). That is, the persona has “no fixed identity” (Lam 1117), and can stratify or destratify, depending on what people do with it (Annett 172). They can become whatever the listener or creator wants, and so there is an emotional connection. Vocaloid music is meaningful to listeners, then, not despite its digital, virtual, constructed nature, but in fact because of what these elements facilitate. Musicking Christopher Small’s work Musicking also provides a framework useful to consider the emotional impact of Vocaloid music. Small argues that “the fundamental nature and meaning of music lie not in objects … but in action”, and therefore proposes a definition of ‘musicking’; to “take part, in any capacity, in a musical performance” (8–9, emphasis omitted). Importantly, for Small (77) simply listening to a recording is to take part in music, and “we may be sure that somebody's values are being explored, affirmed, and celebrated in every musical performance”. Small’s comments here provide a framework for focussing on the experiences of the people involved in producing and listening to Vocaloid music, rather than getting caught up in negative beliefs around the digital nature of production. Further, reflecting on remix, a significant aspect of Vocaloid music, Small (214) notes that relationships are “open to reinterpretation over and over again as listeners create new contexts for their reception and their ritual use of it”. Further, Small (134) suggests that the act of musicking functions as a powerful “means of social definition and self-definition”. Small’s suggestions here that music can be recycled, reinterpreted, and used for self-definition aligns with many aspects of Vocaloid music; tracks are frequently covered by producers using other Vocaloids, or utaite; the meanings of lyrics are frequently discussed in comment sections of YouTube videos and Wikis, and fans often align themselves with certain Vocaloids or producers that they enjoy and relate to. Such self-definition is an important theme to keep in mind when I consider Neru’s CYNICISM album as it touches on societal issues such as loneliness, nihilism, and low self-esteem. CYNICISM Vocaloid producer Neru, also known as z’5 or Oshiire-P, is quite popular. At the time of writing, he has 124,000 followers on Japanese video-sharing site Niconico (Neru, "Neru"), 242,000 on Chinese video-sharing site BiliBili (Neru, "Neru_Official"), 388,000 monthly listeners on Spotify (Spotify), and 560,000 subscribers on YouTube (Neru, "Neru OFFICIAL"). He released his first Vocaloid song in 2009, and to date has three major albums. CYNICISM is the latest, released in 2018. The standard edition contains 14 tracks, and all aside from one use the Vocaloids Kagamine Rin or Kagamine Len. Fig. 1: CYNICISM standard edition, illustrated by Sudou Souta (Apple Music) Fig. 2: Tracklist All quotes from songs are my own translations from the original Japanese. The CYNICISM album communicates a strong sense of nihilism. Nihilism is an ambiguous concept (Nietzsche 76; Diken 6; Marmysz 61). However, Marmysz (71) summarises that nihilists have three claims: that humans are alienated from the world; that this should not be the case; and that “there is nothing we can do” about this situation. As explored below, Neru’s nihilism appears to align with Kant’s “existential nihilism (believing that life has no meaning)” (Gertz, ch. 2, emphasis omitted). It is worth noting that Neru’s music has some commonalities with other genres. For instance, Prinz (584–85) suggests that punk music is irreverent, challenging social norms, and is nihilistic, reflecting on themes such as “decay, despair, suicide, and societal collapse”. As explored below, CYNICISM projects feelings including disappointment with society, poor self-esteem, and themes of irreverence. Irreverence and Society The namesake of the album is important to note within the context of nihilism, as cynicism can be understood as “a passive nihilist affect” (Diken 61). Cynicism is the attitude that comes about when one has failed “to come to terms with loss”, “to realize that something has been lost”, or understand exactly what has been lost. It incited a state of melancholy, trapping the cynic, who suffers an “utterly debilitating sense of disappointment, the root cause of which it cannot identify or move beyond” (Allen, ch. 7). In numerous ways Neru exhibits a lack of faith in humanity and society. Just the title of the track What a Terrible Era communicates a sense of hopelessness, particularly the line “強いて言うとするなら人類は失敗作だった” (“if I had to say, humanity was a work of failure”). The album’s lyrics repeatedly refer to the negative state of the world; “本日の世界予報向上性低迷後退” (“today’s world forecast: Progress is stagnant and regressing”) (Hey, Rain). SNOBBISM asks “バグ塗れの人類のデバッグはいつ終わる” (“humanity is stained with bugs; when will debugging end?”). Neru repeatedly laments the state of humanity and his disappointment with the world. Further, cynicism is an attitude of scorn towards “sincerity and integrity”, which are viewed as “a cover for self-interest” (Allen, ch. 1). In line with this, reflecting the cynic’s embrace of untruthfulness (Gertz, ch. 3), in SNOBBISM Neru states “一生、ブラフを威すがいいさ” (“it’s okay to threaten to bluff through your entire life”). Further, Diken (59) suggests that “capitalism is the age of cynicism”, and the Law-Evading Rock (Neru OFFICIAL, "Law-Evading Rock") music video, illustrated and animated by Ryuusee, exhibits such a critique of capitalism. The video is quite chaotic, designed to appear as a Japanese TV channel. Meme-style characters are superimposed onto photographic backgrounds to depict absurd advertisements and news programmes with flashing and dancing, as the lyrics call for the viewer to escape from reality. The character in this video, Datsu, appears to enter a state of nirvana when Neru’s CD is inserted into him. Here we can see how personas are particularly affectual in Vocaloid music, with fans stating that they relate to Datsu, among other forms of affectation, in comments on his Wikia page (Neru Wikia). Further, CYNICISM frequently calls for the self-identified ‘losers’ to band together, breaking the norms of society. Whatever Whatever Whatever, with its upbeat tune, bright colours, and proclamation of “能天気STYLE” (“Carefree STYLE”) exhibits a strong sense that ‘nothing matters so do whatever’. Let’s Drop Dead’s “僕等はきっとあぶれ者” (“we are surely hooligans”), Law-Evading Rock’s “負け犬になって 吠えろ 吠えろ” (“become a loser, roar, roar”) indicate a sense of knowing that one is ‘useless’ but attempting to take pride in or band together in spite (or indeed, because of this). These lyrics ascribe to a nihilistic notion that nothing matters, but are also a call to arms in a sense – a call for losers to band together for strength, and to act with irreverence. Some encourage the listener to become someone unfit for society (Law-Evading Rock), or to turn back on and break away from morals that are designed to get one into heaven (March of Losers). The music video for SNOBBISM (Neru OFFICIAL, "SNOBBISM"), illustrated and animated by Ryuusee, features Bizu, a demon man wearing a formal suit and top hat. The video has a retro style and is bright but muted with blurry backgrounds, streaking, and graininess. Bizu appears to take on a retro rubber hose animation style, dancing and sometimes hitting objects while calling on the viewer to “make a scene”; to be irreverent and break the norms of society. Personal Failure CYNICISM also in numerous ways refers to personal failures and a lack of faith in the future. Some lyrics refer to a plan or manual (SNOBBISM, Song of Running Away), or a future being wrecked or torn (Spare Me My Inferiority, What a Terrible Era). Corresponding with the nihilistic tone of the album, Whatever Whatever Whatever describes being lazy today, and putting effort in tomorrow, while Let’s Drop Dead simply states “明日はくたばろうぜ” (“tomorrow let’s drop dead”). Yet continuing forward into the future seems mandatory, as in Whatever Whatever Whatever Neru describes himself as being too much of a wimp to commit suicide, and March of Losers repeats the refrain “進め進め” (“forward, forward”), calling for the losers to continue even though “this kind of life has no meaning”. Some tracks indicate a more raw or vulnerable state, with Nihil and the Sunken City’s “もっとちょーだい ちょーだい 承認をちょーだい” (“more, give it to me, give it to me, please give me approval”). Importantly, Neru identifies himself as a loser, engaging in self-irreverence, making fun of himself (Kroth 104), referring to himself and his social group as ‘losers’. The music videos for Whatever Whatever Whatever (Neru OFFICIAL, "Whatever Whatever Whatever") and Let’s Drop Dead (Neru OFFICIAL, "Let’s Drop Dead"), illustrated and animated by Terada Tera, exhibit self-irreverent themes. The former uses vapourwave aesthetics, and both exhibit bright colours, with cartoonish characters I and Yaya dancing and drinking alcohol. I wears a Space Invaders jacket and grill glasses, while Yaya wears a t-shirt featuring a marijuana leaf and a pink animal-eared beanie; together in the video they communicate a ‘slacker’, partying attitude. What is particularly interesting here is the way that nihilistic lyrics have been employed alongside upbeat, catchy, pop-style music and flashy colours. Such dissonance is attention-grabbing and also reflects a sarcastic, careless sense of cynicism, one that is “irreverent” and “playful” – a style that Nietzsche adopted (Allen, ch. 7). Relatedly, Marmysz (4) suggests that humour is a useful response to nihilism because it shatters expectations. It is important to understand CYNICISM within the Japanese context. Discussing the Meiji Period, Nishitani (175) points out that Buddhism and Confucianism lost their power, and that with modernisation Japan became Europeanised and Americanised to the extent that there is a spiritual void. More recently, various economic crises and disasters throughout the 1990s and 2000s have contributed to national trauma (Roquet 89). Due to significant societal pressure, many Japanese people feel anxiety, sensitivity, vulnerability, and alienation (Ren 29). Accordingly, much Japanese anime engages with feelings of nihilism (Lozano-Méndez and Loriguillo-López; Tsang). In some respects Vocaloid culture is interrelated with hikikomori, a form of social withdrawal associated with various psychological, social, and behavioural factors (Li and Wong 603). Much academic literature exists on hikikomori, which in many ways is a Japanese phenomenon, being influenced by “culture, society and history”, and having come about in Japan during a period of “very rapid socioeconomic changes” (Kato et al. 1062). Many Vocaloid producers and utaite identify as hikikomori, including Mafumafu. However, studies on hikikomori outside Japan have shown that feelings of isolation, anxiety, and social exclusion are a global concern (Krieg and Dickie 61; Kato et al. 1062), contributing to Neru’s popularity among English-speaking audiences Conclusion My goal in this article is to point out that a significant number of people find Vocaloid music relatable and affectual, and it would be hasty to dismiss such music as “depthless” due to its use of voicebanks and connection to consumer culture. Vocaloid music is particularly affective in part due to the way that Vocaloids, producers, and utaite make use of personas which function as bodies without organs: something that listeners are able to project their own feelings onto. Further, Small’s concept of musicking encourages us to pay attention to what producers are saying as well as what listeners and fans are engaging with: what values are being explored and how they are being used for self-definition. It is important to consider not just the economic aspects of participatory culture and the networks of production surrounding Vocaloid, but the content of the music and the meanings that listeners get out of it. Neru’s CYNICISM album is particularly interesting in this regard. 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La gestion du trafic sur les réseaux routiers se heurte aux nouveaux enjeux du développement durable. L'objectif n'est plus seulement de proposer aux usagers des temps de parcours raisonnables. Il faut aussi limiter la consommation énergétique et les émissions des gaz à effet de serre et des polluants qui y sont associées, afin de garantir une meilleure qualité de vie pour les générations actuelle et futures. Les exigences en matière de sécurité routière sont également renforcées et visent à éliminer le nombre de tués sur les routes. Les exploitants ont donc recours à diverses stratégies, souvent innovantes, pour au moins approcher la situation idéale. Néanmoins, si les décideurs disposent d'une plus grande capacité à mettre en œuvre leurs programmes dans le domaine, ils ont également l'obligation d'en évaluer les performances à divers stades. Cette thèse analyse les nouvelles stratégies de gestion des réseaux autoroutiers en identifiant leurs domaines d'application ainsi que leurs impacts potentiels et réels. Les limites des méthodes existantes d'évaluation a priori et/ou a posteriori sont mises en évidence et une nouvelle approche est proposée. Celle-ci associe les trois principaux critères d'une mobilité durable à un seul concept: le niveau de service, largement employé par les exploitants de réseaux. La méthodologie a fait l'objet d'une validation sur différentes opérations. Par ailleurs, se basant sur les résultats obtenus sur un ensemble d'opérations d'affectation variable des voies au niveau européen, la thèse propose un outil d'aide au choix d'une stratégie d'exploitation d'un réseau en fonction de la configuration de l'infrastructure et du niveau de congestion. Cet outil se présente sous la forme d'un catalogue de cas-types applicable au réseau d'Ile-de-France. La nouvelle approche d'évaluation proposée dans cette thèse présente l'intérêt de pouvoir facilement s'intégrer aux outils de simulation du trafic. Les impacts d'une opération d'exploitation routière sur la congestion, la sécurité et l'environnement peuvent ainsi être fournis par ces simulateurs dans le cadre de l'évaluation a priori. L'intégration est également possible au niveau des systèmes des centres de gestion du trafic, pour l'évaluation a posteriori. Par ailleurs, la thèse identifie des pistes potentielles pour des investigations futures. Tout d'abord, la gravité des accidents pourrait être prise en compte dans l'approche d'évaluation proposée, qui considère pour l'instant tous les accidents corporels confondus en raison du manque de données. De même, seules quatre stratégies d'affectation variable des voies sont proposées dans le catalogue de cas-types. Celui-ci pourrait donc être étendu à l'ensemble des opérations d'exploitation en suivant la même méthodologie décrite dans la thèse

La gestion du trafic sur les réseaux routiers se heurte aux nouveaux enjeux du développement durable. L'objectif n'est plus seulement de proposer aux usagers des temps de parcours raisonnables. Il faut aussi limiter la consommation énergétique et les émissions des gaz à effet de serre et des polluants qui y sont associées, afin de garantir une meilleure qualité de vie pour les générations actuelle et futures. Les exigences en matière de sécurité routière sont également renforcées et visent à éliminer le nombre de tués sur les routes. Les exploitants ont donc recours à diverses stratégies, souvent innovantes, pour au moins approcher la situation idéale. Néanmoins, si les décideurs disposent d'une plus grande capacité à mettre en œuvre leurs programmes dans le domaine, ils ont également l'obligation d'en évaluer les performances à divers stades. Cette thèse analyse les nouvelles stratégies de gestion des réseaux autoroutiers en identifiant leurs domaines d'application ainsi que leurs impacts potentiels et réels. Les limites des méthodes existantes d'évaluation a priori et/ou a posteriori sont mises en évidence et une nouvelle approche est proposée. Celle-ci associe les trois principaux critères d'une mobilité durable à un seul concept: le niveau de service, largement employé par les exploitants de réseaux. La méthodologie a fait l'objet d'une validation sur différentes opérations. Par ailleurs, se basant sur les résultats obtenus sur un ensemble d'opérations d'affectation variable des voies au niveau européen, la thèse propose un outil d'aide au choix d'une stratégie d'exploitation d'un réseau en fonction de la configuration de l'infrastructure et du niveau de congestion. Cet outil se présente sous la forme d'un catalogue de cas-types applicable au réseau d'Ile-de-France. La nouvelle approche d'évaluation proposée dans cette thèse présente l'intérêt de pouvoir facilement s'intégrer aux outils de simulation du trafic. Les impacts d'une opération d'exploitation routière sur la congestion, la sécurité et l'environnement peuvent ainsi être fournis par ces simulateurs dans le cadre de l'évaluation a priori. L'intégration est également possible au niveau des systèmes des centres de gestion du trafic, pour l'évaluation a posteriori. Par ailleurs, la thèse identifie des pistes potentielles pour des investigations futures. Tout d'abord, la gravité des accidents pourrait être prise en compte dans l'approche d'évaluation proposée, qui considère pour l'instant tous les accidents corporels confondus en raison du manque de données. De même, seules quatre stratégies d'affectation variable des voies sont proposées dans le catalogue de cas-types. Celui-ci pourrait donc être étendu à l'ensemble des opérations d'exploitation en suivant la même méthodologie décrite dans la thèse
Traffic management is facing the new issues of the sustainable development concept. The objective is not only to guarantee acceptable travels times over the networks anymore. Energy consumption as well as associated greenhouse gaz and pollutant emissions must be reduced for a better quality of life for current and future generations. Standards in road safety have also been reinforced and aim at cutting off the number of accident fatalities. Thus, traffic operators use the most innovating strategies. Nevertheless, if decision-makers have greater possibilities to implement their programmes, they also are committed to assess their performance at different stages. This doctoral thesis analyses the new strategies in motorway network management by identifying their respective domains of application as well as their potential and real impacts. Limitations of existing a priori and a posteriori evaluation methods are highlighted and a new approach is proposed. It associates the three main criteria of sustainable mobility to one concept: the level of service, which is widely used by network operators. The methodology is validated on several operations. Besides, based on results obtained from the various lane management operations implemented all accross Europe, the thesis proposes a tool to help in choosing the appropriate strategy according to the motorway layout and congestion level. The tool is presented in the form of a catalog of typical cases for the Ile-de-France motorway network. The new evaluation approach proposed in this thesis may be easily integrated in the available traffic simulation tools. Hence, the impacts of a traffic management operation on congestion, safety and the environment may be obtained as output from those simulators in the framewok of an a priori evaluation. This integration is also possible in the traffic management center systems, for a posteriori evaluations. Besides, the thesis identifies potential subjects for future research. Firstly, accident severity could be considered in the proposed evaluation approach, which takes into account all injury accidents at once by now, due to a lack of data. Likewise, only four manged lane strategies are included in the catalog, which could be extended to all the existing traffic management operations through the same methodology described in the thesis

En systèmes « Cell-Free massive Multiple-Input-Multiple-Output (Cell-Free massive MIMO) » on distribue dans un territoire géographique un nombre massif de points d’accès, contrôlés par des unités centrales de processing (CPUs), afin de servir simultanément un nombre beaucoup moins inférieur au nombre d’équipements utilisateurs dans les mêmes ressources temporelles et fréquentielles. Contrairement aux systèmes MIMO massifs centralisés, « Cell-Free massive MIMO » est caractérisé par un durcissement de canal pas suffisamment accentué, c’est pourquoi il serait convenable d’inclure des pilotes envoyés en voie descendante afin d’estimer le canal descendant. Cette thèse met en exergue l’allocation de pilotes en voie descendante en systèmes « cell-free massive MIMO » moyennant une métrique qui prend en compte l’interférence inter-utilisateurs en voie descendante. Cette métrique nous donne une information sur le taux de sévérité du problème de «contamination de pilotes envoyés en voie descendante». Suite au calcul de cette métrique, un seuil d’interférence est déni pour déterminer les utilisateurs qui sont susceptibles de réutiliser le même pilote en voie descendante. Fixer un tel seuil vise à optimiser le nombre de pilotes envoyés en voie descendante, tout en maximisant le minimum du débit effectif par utilisateur en voie descendante. Cette approche donne lieu à un graphe de conflit, dans lequel chaque équipement utilisateur est considéré un nœud du graphe. C’est un problème d’optimisation combinatoire qui pourrait être résolu approximativement en utilisant un algorithme de coloriage. C’est un algorithme glouton dont les étapes sont les suivantes. En fixant un seuil adéquat, qui maximise le minimum du débit effectif en voie descendante par utilisateur, un graphe de conflit est ainsi construit. Il modélise l’interférence susceptible d’être présente parmi les équipements utilisateurs interférents, où chaque équipement utilisateur représente un noeud du graphe de conflit. Ensuite, la méthode de coloriage proposée permet de mitiger l’interférence inter-utilisateurs par l’affectation de différents pilotes en voie descendante aux équipements utilisateurs directement connectés dans le graphe de conflit, caractérisés par une interférence considérable et le même pilote aux utilisateurs, non directement connectés dans le graphe de conflit, présentent avec une interférence moins prédominante dans le graphe de conflit. Ce processus de coloriage s’effectue en accord à des règles bien déterminées. Les résultats de simulation démontrent que la méthode proposée présente des performances, en termes de débit effectif par utilisateur en voie descendante, mieux que celles des méthodes existantes à l’instar de la méthode celle qui s’appuie sur la connaissance de la statistique du canal « statistical channel state information », l’allocation orthogonale et aléatoire de pilotes en voie descendante. De surcroît, notre analyse met l’accent également sur la réduction de la charge de pilotes en voie descendante en utilisant l’allocation de pilotes en voie descendante reposant sur notre méthode proposée comparativement aux méthodes conventionnelles susmentionnés
In Cell-Free massive Multiple-Input-Multiple-Output (Cell-Free massive MIMO) systems, we distribute in a coverage area a massive number of access points, mastered by central processing units (CPUs), to simultaneously serve much smaller number of user equipments (UEs) over the same time/frequency resources. In contrast to the centralized massive MIMO, cell-free massive MIMO is characterized by a channel hardening not sufficiently accentuated, thus, it will be appropriate to include downlink (DL) pilots to estimate the DL channel. This thesis considers a DL pilot assignment for the cell-free massive MIMO systems by defining a metric, involving the inter-user interference (IUI). This metric gives insights about DL pilot contamination. A threshold is then defined to optimize the number of DL pilots, which maximizes the minimum per-user DL throughput. This approach gives a conflict graph, where each UE is regarded as a vertex of the graph. It consists in a combinatorial optimization problem that can be approximated using a graph coloring algorithm. It is a greedy algorithm whose steps are described as follows. By fixing the adequate threshold, maximizing the minimum per-user DL throughput, a conflict or interference graph is constructed. It models the potential interference among interfering UEs, the UEs between which there is an edge are in conflict, i.e., present a high IUI. Then, the proposed scheme mitigates the potential IUI by appointing different DL pilots to connected UEs with high IUI and same DL pilots to UEs with low IUI in the conflict graph in accordance with some coloring rules. The simulation results validate that the minimum per-user DL throughput based on the proposed approach outperforms the conventional methods, i.e., statistical channel state information, the orthogonal and the random pilot assignment in the DL training. Our analysis underlines also the reduction of the DL pilot overhead ratio using the DL pilot assignment based on our proposed scheme, compared to the conventional methods aforementioned

En qualité de Gestionnaire de l’Infrastructure ferroviaire nationale, SNCF Réseau a notamment pour mission de répartir annuellement les capacités de cette infrastructure, soit produire un ensemble d’intervalles de temps de réservation sur les voies pour permettre la circulation sécurisée de trains répondant à une demande des Autorités Organisatrices de Transports (AOT) : on parle d’ordonnancement de sillons. Ce projet de thèse s’inscrit dans une démarche d’aide à la décision pour les chargés d’études horaires produisant des sillons, dans un contexte où les demandes des AOT et l’état de l’infrastructure ferroviaire peuvent varier d’une année sur l’autre. Nous nous intéressons à une phase dite de structuration de la capacité, où le problème est de savoir si à partir d’une demande de sillons et d’une infrastructure connues, il existe un ordonnancement périodique répondant à cette demande de sillons et respectant les contraintes liées à l’exploitation ferroviaire. Nous proposons deux méthodes pour résoudre ce problème. La première méthode se base sur un modèle en Programmation Linéaire en Nombres Entiers inspiré de la littérature et que nous avons décomposé afin de faciliter sa résolution. La grille horaire est ainsi décidée en premier lieu, suivie de l’affectation des voies. Une fonction d’évaluation de conflits entre sillons sans utilisation de connaissance explicite sur l’affectation des voies permet d’effectuer le choix de la grille horaire tel qu’une affectation de voies est possible par la suite. Afin de résoudre des instances difficiles, nous proposons une heuristique constructive et une recherche tabou pour résoudre les conflits plus efficacement. La deuxième méthode s’appuie sur un modèle en Programmation Par Contraintes avec lequel nous optimisons les temps de retournement des rames stationnées en gares terminus. Nous avons développé des algorithmes de filtrage afin d’améliorer les algorithmes de maintien de consistance d’arc pour les contraintes de précédence et les contraintes disjonctives du problème, ayant toutes la particularité d’être périodiques. Nous proposons des bornes inférieures basées sur la contribution minimale de sous-ensembles de sillons à la fonction objective afin d’améliorer la preuve d’optimalité des solutions. Enfin, nous présentons des stratégies de branchement et une procédure de Branch-and-Check pour améliorer les performances de résolution. Ces approches sont testées sur différentes instances du problème, basées sur deux infrastructures fictives ainsi que sur l’Etoile de Savoie centrée autour de la gare de Chambéry - Challes-les-Eaux
As the French railway Infrastructure Manager, SNCF Réseau produces train timetables on a yearly basis, by deciding a set of time intervals on tracks to allow safe trains circulation that fulfils a mobility demand from the Transport Organisation Authority (TOA): this is a periodic slot scheduling task. This PhD project aims at providing a decision-aid tool to the timetable planners, in a context where the mobility demand expressed by the TOA and the infrastructure state change from a year to another. We focus on a production phase said capacity structuring, where the problem is to decide whether from a known slots demand and infrastructure state, there is a periodic scheduling fulfilling this slots demand and satisfying the safety constraints arising from rail operations. We propose two methods to solve this problem. The first method is based on an Integer Linear Programming model inspired from the literature and that we decomposed to ease the solution search. The timetable determination is then made before the tracks assignment. A conflict evaluation function that does not require explicit tracks assignment knowledge is used to obtain conflict-free timetables for which a tracks assignment is reachable. In order to solve challenging instances, we propose a constructive heuristic and a tabu search framework to resolve conflicts moreefficiently. The second method relies on a Constraint Programming model that we use to optimise the turnover time of rolling stock at terminus stations. We developed filtering algorithms to improve algorithms that maintain the arc-consistency of precedence and disjunctive constraints of the problem, all having a periodic aspect. We propose lower bounds based on the minimal cost contribution of slots subsets to the objective function in order to improve the optimality proof of the solutions. Finally, we present branching strategies and a Branch-and-Check procedure to improve the resolution performance.These approaches are tested on different instances of the problem, based on two fictive infrastructures as well as on the Savoie area centred around Chambéry - Challes-les-Eaux station