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L'infraction de traite d'êtres humains à des fins d'exploitation du travail a été introduite dans le code pénal suisse en 2006 à l'article 182 CP. Les limites de l'infraction sont encore relativement indéfinies. Que signifie la traite ? Que recouvre la notion d'exploitation du travail ? Quelle articulation existe-t-il entre ces deux notions ? Après un travail de délimitation vis-à-vis d'autres infractions pénales, à l'exemple du trafic de migrants et de l'usure, nous procédons à un examen approfondi de la typicité de l'article 182 CP. Par ailleurs, de nombreuses questions de droit pénal général sont analysées, telles que l'assentiment, la confiscation, la responsabilité de l'entreprise et la compétence du juge suisse En toile de fond de toute la thèse se pose la question de la conformité du droit suisse en matière de traite d'êtres humains à des fins d'exploitation du travail avec les différentes obligations conventionnelles de la Suisse.

Concerned about the implications of this unprecedented sanitary crisis for the anti-trafficking activities of the 47 states parties to the Council of Europe Anti-Trafficking Convention, on 2 April 2020, GRETA issued a statement calling for the effective protection of the rights and safety of trafficking victims during the COVID-19 pandemic. In this presentation the author describes the measures taken in various COE countries to adapt their anti-trafficking activities in the context of the pandemic.

The Group of Experts on Action against Trafficking in Human Being (GRETA) is one of the most important international expert bodies in combatting trafficking in human beings. At the same time, it is the key element in the complex mechanism for monitoring implementation of the Council of Europe Convention on Action against Trafficking in Human Beings, the leading international legal instrument in this area. The basis of this mechanism is the GRETA questionnaires developed for evaluation of the implementation of the Convention, and the so called first and second evaluation round. This paper aims to analyze the content, place and the procedural significance of GRETA questionnaires within the mechanism of evaluation of the implementation of the Convention, as well as the place of collecting the data on victims of trafficking in human beings.

International audience; In this paper, we provide a formalism for the characterization of tracking arrays with emphasis on the proper corrections required to extract their photopeak efficiencies and peak-to-total ratios. The methods are first applied to Gammasphere, a well characterized 4π array based on the principle of Compton suppression, and subsequently to GRETINA. The tracking efficiencies are then discussed and some guidelines as to what clustering angle to use in the tracking algorithm are presented. It was possible, using GEANT4 simulations, to scale the measured efficiencies up to the expected values for the full 4π implementation of GRETA.

Denna uppsats undersöker hur den svenska konstnären Greta Knutson historiskt sett har kanoniserats i relation till sitt förhållande med den kände dadaisten Tristan Tzara och den franska surrealiströrelsen under 1920- och 1930-talet. Knutson hade en lång och produktiv karriär och uppsatsens intention är att flytta fokus från de tidiga dagarna i Paris med surrealisterna till hennes senare konstnärliga period, räknad från slutet på 1960-talet fram till hennes död 1983. Min tes är att en radikal stilförändring då skedde till ett, paradoxalt nog, mer surrealistisk konstnärligt uttryck. Med hjälp av Griselda Pollock och det teoretiska begreppet ”kanonisering” ifrågasätts varför denna senare period i stort har gått förbi konsthistorien och hur Knutsons relation till surrealismen sett ut. Genom en formalistisk analys presenteras därefter verken La Surprise, Feu dans la maison och Det stulna brevet, vilka är representativa för Knutsons senare konstnärliga period. This essay examines how Swedish born artist Greta Knutson has been historically canonised in reference to her relationship with the famous Dadaist Tristan Tzara and the French surrealist movement of the 1920’s and 1930’s. Knutson had a long and productive career and the overall purpose of my essay is to change focus from the early days in Paris with the Surrealists into her later artistic period, counted from the late 1960’s until her death in 1983. It is claimed here that she then made a radical change of style into, paradoxically, a more surrealistic artistic expression. Through Griselda Pollock and the term “canonisation” I’m exploring and questioning why Knutson’s later career has gone unnoticed in art history and I’m also looking at Knutson’s relation to surrealism. Through a formalistic analysis the artworks La Surprise, Feu dans la maison and Det stulna brevet are presented, which are representative for Knutson’s later artistic period.

Denna uppsats undersöker hur den svenska konstnären Greta Knutson historiskt sett har kanoniserats i relation till sitt förhållande med den kände dadaisten Tristan Tzara och den franska surrealiströrelsen under 1920- och 1930-talet. Knutson hade en lång och produktiv karriär och uppsatsens intention är att flytta fokus från de tidiga dagarna i Paris med surrealisterna till hennes senare konstnärliga period, räknad från slutet på 1960-talet fram till hennes död 1983. Min tes är att en radikal stilförändring då skedde till ett, paradoxalt nog, mer surrealistisk konstnärligt uttryck. Med hjälp av Griselda Pollock och det teoretiska begreppet ”kanonisering” ifrågasätts varför denna senare period i stort har gått förbi konsthistorien och hur Knutsons relation till surrealismen sett ut. Genom en formalistisk analys presenteras därefter verken La Surprise, Feu dans la maison och Det stulna brevet, vilka är representativa för Knutsons senare konstnärliga period. This essay examines how Swedish born artist Greta Knutson has been historically canonised in reference to her relationship with the famous Dadaist Tristan Tzara and the French surrealist movement of the 1920’s and 1930’s. Knutson had a long and productive career and the overall purpose of my essay is to change focus from the early days in Paris with the Surrealists into her later artistic period, counted from the late 1960’s until her death in 1983. It is claimed here that she then made a radical change of style into, paradoxically, a more surrealistic artistic expression. Through Griselda Pollock and the term “canonisation” I’m exploring and questioning why Knutson’s later career has gone unnoticed in art history and I’m also looking at Knutson’s relation to surrealism. Through a formalistic analysis the artworks La Surprise, Feu dans la maison and Det stulna brevet are presented, which are representative for Knutson’s later artistic period.

This thesis presents a computational model to generate expressive communicative gestures accompanying speech for a humanoid agent. Our research work is based on studies of human communicative gestures. Three research issues are addressed in this work. First, human gestures are encoded and reproduced in such a way that these gestures are realizable for different humanoid agents. A set of properties of a gesture such as hand shape, wrist position, movement trajectory, etc is used in order to encode gestures. Second, gestures are planned to be synchronized with speech. The model relies on the relationship between gestures and speech to schedule gesture timing. Third, these gestures are rendered expressively. Depending on the personality or the current emotional states of the agent, its gestures are varied by modulating a set of gesture expressivity dimensions. The model was designed in such a way that its processes are as much as possible independent of an agent’s embodiment. So far, this model has been used to control gestures of the Greta virtual agents and the Nao physical humanoid robot., Cette thèse présente un modèle computationnel qui génère des gestes expressifs communicatifs accompagnant la parole, pour un agent humanoïde. Notre travail de recherche est basé sur l'étude de gestes humains. Trois questions de recherche sont abordées dans cette thèse. Tout d'abord, des gestes humains sont représentés de telle manière qu'ils soient réalisables pour les différents agents humanoïdes. Un ensemble de propriétés d'un geste comme la forme de la main, la position du poignet, la trajectoire du mouvement, etc. est défini afin d'encoder les gestes. Deuxièmement, les gestes sont planifiés pour être synchronisé avec la parole. Notre modèle repose sur la relation temporelle entre les gestes et la parole, dans un discours, pour calculer le temps des gestes. Troisièmement, ces gestes sont rendus expressifs. Étant dépendants de la personnalité ou des états émotionnels actuels de l'agent, la variété de ces gestes s'effectue en modulant un ensemble de paramètres d'expressivité du geste. Le modèle a été conçu de telle sorte que ces processus soient autant que possible indépendants de la représentation d'un agent. Jusqu'à présent, notre modèle est utilisé pour contrôler les gestes des agents virtuels Greta et le robot humanoïde réel Nao.

International audience; We aim at equipping the humanoid robot NAO with the capacity of performing expressive communicative gestures while telling a story. Given a set of intentions and emotions to convey, our system selects the corresponding gestures from a gestural database, called lexicon. Then it calculates the gestures to be expressive and plans their timing to be synchronized with speech. After that the gestures are instantiated as robot joint values and sent to the robot in order to execute the hand-arm movements. The robot has certain physical constraints to be addressed such as the limits of movement space and joint speed. This article presents our ongoing work on a gesture model generating co-verbal gestures for the robot while taking into account these constraints.

International audience; Our goal is to capture style from real human motion so it can be rendered with a virtual agent that represents this human user. We used expressivity parameters to describe motion style. As a first contribution, we propose an approach to estimate a subset of expressivity parameters defined in the literature (namely spatial extent and temporal extent) from captured motion trajectories. Second, we capture the expressivity of real users and then output it to the Greta engine that animates a virtual agent representing the user. We experimentally demonstrate that expressivity can be another clue for identifiable virtual clones of real humans.

We extend and develop an existing virtual agent system to generate communicative gestures for different embodiments (i.e. virtual or physical agents). This paper presents our ongoing work on an implementation of this system for the NAO humanoid robot. From a specification of multi-modal behaviors encoded with the behavior markup language, BML, the system synchronizes and realizes the verbal and nonverbal behaviors on the robot.

International audience; Our objective is to animate an embodied conversational agent (ECA) with communicative gestures rendered with the expressivity of a real human user it represents. We describe an approach to estimate a subset of expressivity parameters defined in the literature (namely spatial and temporal extent) from captured motion trajectories. We first validate this estimation against synthesis motion and then show results with real human motion. The estimated expressivity is then sent to the animation engine of an ECA that becomes a personalized autonomous representative of that user

A new method of clustering for forward-tracking algorithms has been developed to reconstruct the tracks of gamma-rays in high-resolution detector systems such as AGATA (Advanced GAmma Tracking Array). This technique, called Deterministic Annealing Filter (DAF), comes from statistical physics and is used in high-energy physics. After a description of the DAF method and of the forward-tracking algorithm, the performance of this clustering method is discussed in terms of photopeak efficiency and peak-to-total ratio obtained with GEANT4 simulations for the AGATA geometry. A comparison with the standard so-called "cone clustering method" shows similar performances with a better photopeak efficiency at high multiplicity for the DAF algorithm. (C) 2010 Elsevier B.V. All rights reserved.

International audience

National audience; This paper presents our ongoing work on an expressive gesture model for the humanoid robot Nao and the virtual agent Greta.

Note sous arrêts Arrêts non-reproduitsJurisprudence commentée et sommaires; International audience

International audience; Cet article propose de montrer comment les usages des Technologies de l'Information et de Communication (TIC) peuvent révéler une nouvelle segmentation du groupe professionnel. L'approche de l'appropriation met en évidence la grande diversité des usages et, par conséquent, des types d'usagers. L'usage social se construit en fonction des pratiques antérieures, d'une acculturation progressive aux objets techniques, mais également à travers les significations qu'il revêt pour l'usager. En outre, les différentes stratégies d'appropriation des outils TIC développées par les formateurs sont étroitement liées à leurs représentations sociales. Ainsi, se concentrer sur les significations d'usages permet d'appréhender les « manières de voir » des usagers, les différentes définitions qu'ils font de la situation, et particulièrement des TIC. Trois types de formateurs apparaissent clairement, et cet article montre comment les TIC interviennent dans le processus de déconstruction/reconstruction identitaire.