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Le Jeu Vidéo, Un Art Mécanique?: Se Réapproprier La Contre-Culture

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Le Jeu Vidéo, Un Art Mécanique?: Se Réapproprier La Contre-Culture Le jeu vidéo, un art mécanique ? : se réapproprier la contre-culture Thierry Serdane To cite this version: Thierry Serdane. Le jeu vidéo, un art mécanique ? : se réapproprier la contre-culture. Art et histoire de l’art. Université Paul Valéry - Montpellier III, 2014. Français. NNT : 2014MON30093. tel-01231026 HAL Id: tel-01231026 https://tel.archives-ouvertes.fr/tel-01231026 Submitted on 19 Nov 2015 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. ! ! ! Délivré par : !Université Paul Valéry Montpellier III Préparée au sein de l’école doctorale 58 Langues, lettres cultures & civilisations Et de l’unité de recherche : EA 4209 RIRRA 21 !"#$ &"'("$)*+',"'("$*-.*$ .-+( )* du romantisme à l’aube du //0"*&+ 2-"* Doctorat en Arts (18 e section), spécialité : Arts plastiques Présentée par Thierry Serdane Sous la direction de Madame le professeur Valérie Arrault "#!$#%!&'( *+!%,!-./!0 1-,'2%#!3! 4#!. -55.*5.'#.!6-!1*,/.#71%6/%.#! ! ! ! ! ! Soutenue le 10 décembre 2014 devant le jury composé de Mme Valérie ARRAULT, Professeur des universités, en Arts plastiques, Université Paul Valéry Montpellier III M. Marc JIMENEZ, Professeur (émérite) des universités, en Rapporteur Philosophie de l’art, Université Paris I Panthéon-Sorbonne M. Xavier LAMBERT, Professeur des universités, en Rapporteur Arts plastiques, Université Jean Jaurès, Toulouse Université Paul Valéry Montpellier III Ecole doctorale 58 Langues, lettres cultures & civilisations Unité de recherche : EA 4209 RIRRA 21 Représenter, inventer la réalité, du romantisme à l’aube du XXIe siècle Doctorat en Arts (18 e section), spécialité : Arts plastiques Présentée par Thierry Serdane Sous la direction de Madame le professeur Valérie Arrault Le jeu vidéo, un art mécanique ? Se réapproprier la contre-culture Soutenue le 10 décembre 2014 devant le jury composé de Mme Valérie ARRAULT, Professeur des universités, en Arts plastiques, Université Paul Valéry Montpellier III M. Marc JIMENEZ, Professeur (émérite) des universités, en Rapporteur Philosophie de l’art, Université Paris I Panthéon-Sorbonne M. Xavier LAMBERT, Professeur des universités,en Rapporteur Arts plastiques, Université Jean Jaurès, Toulouse Résumé De la confrontation problématique d’un projet de jeu vidéo aux conditions plurielles de sa création, ce travail de thèse tente de mettre à jour les contraintes et les interrogations qu’elles suscitent. Le jeu vidéo, contemporain de la société de l’information est un témoin de l’évolution complexe du paradigme postmoderne, né avec la cybernétique. De la genèse du jeu vidéo au temps présent, les technologies, les façons de jouer et les productions se révèlent significatives de visions du monde opposées. La thèse montre que derrière l’image d’un divertissement et d’une industrie consensuelle, une résistance peut s’exprimer d’un point de vue technique, artistique et politique. A travers l’histoire et le devenir du jeu vidéo peuvent se lire certains enjeux de société en lien avec de nouvelles formes de pouvoir. C’est dans un interstice contre culturel que se développe une œuvre résistante, nourrie d’un examen critique préalable. Une création originale se construit progressivement en contre- culture du modèle libéral dominant, dans un mouvement d’opposition à l’action irréfléchie, l’accélération et la dématérialisation... Du point de vue plastique, la thèse interroge le retour des technologies de réalité virtuelle, et élabore deux nouvelles notions, le véhicule expérientiel et le leurre suffisant. Profitant de ce nouveau champ d’investigation de création, la thèse invite le joueur à laisser l’usage pour le faire. Mots clés : Jeu vidéo. Contre culture. Contre dématérialisation.Véhicule expérientiel. Leurre suffisant. 3 Abstract From the problematic confrontation of a video game project with the multiple conditions of its creation, the present thesis tries to highlight the constraints and the interrogations which they arouse. Contemporary to the information society, the video game is a witness of the complex evolution of the postmodern paradigm born from cybernetics. From the genesis of the video game to present time, technologies, the ways of playing and the productions reveal the significant oppositions in their visions of the world. The thesis shows that behind the image of entertainment and of a consensual industry, a form of resistance can express/voice itself from a technological, artistic and political point of view. Through the history of video game and its future, one can read some of society’s stakes/challenges linked to new forms of power. It is within a counter cultural interstice, and fed by a prior critical exam, that a resistant work/piece is developed. An original creation is progressively built in reflexive counter cultural opposition to the mainstream dominant liberal world and its acceleration and dematerialization... From a plastic point of view, the thesis questions the return of the virtual reality technologies, and elaborates two new notions: the experiential vehicle and the sufficient decoy. Taking advantage of this new field of investigation of creation, the thesis invites the player to let it be used so as to do so. Keywords: Video games. Counter culture. Experiential vehicle. Counter dematerialization. Sufficient decoy. Keywords: Video games. Counter culture. Experiential vehicle. Counter dematerial- ization. Sufficient decoy. 4 Remerciements Arriver à cette étape des remerciements, témoigne que quelque chose a eu lieu, et ce quelque chose c’est peut-être et avant tout de belles rencontres. La première d’entre elle est celle de ma directrice de recherche, Madame Valérie Arrault, sans qui rien n’aurait pu démar- rer, ou plutôt reprendre. C’est souvent ce qu’il y a de plus dur, reprendre, et savoir qu’une main sure vous pousse, fut indispensable pour me guider sur une route semée d’embuches, pour m’éclairer aussi, quant à l’immensité de ce qu’il me restait à saisir, Madame Valérie Arrault sans qui rien ne serait allé au bout. Je jalouse ce temps qui sera désormais consacré à d’autres, ils en auront de la chance. Mes remerciements vont ensuite à messieurs les pro- fesseurs Marc Jimenez et Xavier Lambert, qui ont accepté de m’accorder leur temps pour évaluer cette recherche. Accueilli par le laboratoire RIRRA 21, je veux remercier à la fois Madame Marie-Eve Therenty sa directrice, pour l’attention qu’elle porte aux conditions de recherche qui nous sont offertes, et la famille des doctorants pour les fructueuses rencontres qui nous ont rassemblé. Rien de tout cela n’aurait vu le jour sans la rencontre d’Emmanuelle Jacques, qui m’aura invité de partager son ambition de faire du jeu vidéo un champ de re- cherche autant qu’un projet pédagogique. La chance m’a été donné de partager la vie d’une équipe pédagogique depuis quelques années, au sein du département des Arts plastiques, j’y ai rencontré des personnes formidables, qui donnent sans compter. Antoine Verdier, Au- drey Cavaillé, Caroline Gimeno, Claire Siegel, Emmanuelle Jacques, Eric Villagordo, Jérôme Rizzo, Karine Pinel, Patrice Cervellin et Patrice Manconi et bien sur Valérie Arrault, merci. Une mention particulière à Alain Troiyat, dont les promenades péripatéticiennes à refaire le monde me manquent. Merci aussi à tous les chargés de cours qui ont participé et participent 5 encore à cette aventure de la filière jeux vidéo, et bien entendu aux étudiants sur lequels j’ai pu mettre à l’épreuve mes hypothèses. Je n’oublie pas ceux rencontrés dans mon parcours universitaire précédent, et si je ne peux tous les citer ils le seront à travers les remerciement que j’adresse à Claire Noy dont la bienveillance ne m’a pas quitté avec toutes ses années, ainsi qu’à Joël Quinqueton, co-directeur au début de ce parcours . Merci encore à Anthony Mangeon, Maxime Del-Fiol, Cédric Chauvin pour l’appétit culturel qu’ils ont suscité. Puis vient la dernière ligne droite, et le support précieux de ceux qui sont là pour lire, corriger, reprendre, Cécile, Louis-Laurent et Patrice, l’immense Patrice pour faire et refaire. Merci enfin à tous ceux qui ont su s’armer de patience durant toutes ces années, les amis, la fa- mille, et en premier lieu ceux qui auront eu à me supporter. Cécile ma très chère compagne, encore, à la fois critique et complice, patiente et aidante, qui aura tout assumée, mais aussi Clémence et Nath pour tout ce temps volé. Je terminerais par une pensée émue pour mes parents qui ne me liront pas. 6 Table des matières Résumé 3 Abstract 4 Remerciements 5 Table des matières 7 Introduction 13 Un Objet Vidéoludique Non Identifié, le road game - Créer dans un champ culturel en construction 20 Dialogue 21 1 Faire un road game 23 1.1 Définitions en tension . 23 1.1.1 Des approches contrastées . 23 1.1.1.1 Des définitions émises à partir de ses compo- santes formelles . 24 7 TABLE DES MATIÈRES 1.1.1.2 Des définitions selon diverses approches scien- tifiques . 25 1.1.2 Un road game est-il un jeu ou n’est-il pas un jeu ? . 31 1.1.2.1 Du point de vue des études sur le jeu vidéo . 31 1.1.2.2 Des approches relatives au jeu traditionnel . 38 1.1.3 Niveau économique et tentation artistique . 41 1.1.3.1 La fermeture . 41 1.1.3.2 L’ouverture possible - Le cas du studio That- gamescompany .................. 42 1.1.4 Jeu vidéo et art contemporain . 51 1.2 Héritages et influences artistiques .
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