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Approches Esthétique, Médiatique Et Sémantique Du Design Interactif

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Approches Esthétique, Médiatique Et Sémantique Du Design Interactif Approches esth´etique,m´ediatiqueet s´emantique du design interactif Christine Br´eandon To cite this version: Christine Br´eandon. Approches esth´etique, m´ediatiqueet s´emantique du design interactif. Sociologie. Universit´ede Toulon 2012. Fran¸cais. <NNT : 2012TOUL0007>. <tel-00958104> HAL Id: tel-00958104 https://tel.archives-ouvertes.fr/tel-00958104 Submitted on 11 Mar 2014 HAL is a multi-disciplinary open access L'archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destin´eeau d´ep^otet `ala diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publi´esou non, lished or not. The documents may come from ´emanant des ´etablissements d'enseignement et de teaching and research institutions in France or recherche fran¸caisou ´etrangers,des laboratoires abroad, or from public or private research centers. publics ou priv´es. s ÉCOLE DOCTORALE N°509 « CIVILISATIONS ET SOCIÉTÉS EURO-MÉDITERRANÉENNES ET COMPARÉES » LABORATOIRE I3M THÈSE présentée par Christine BRÉANDON soutenue publiquement le 26 septembre 2012 POUR L’OBTENTION DU GRADE DE DOCTEUR EN SCIENCES DE L’INFORMATION ET DE LA COMMUNICATION Approches esthétique, médiatique, et sémantique du design interactif JURY Directeur de recherche : M. Philippe Dumas Professeur émérite Université du Sud Toulon Var Tuteur de thèse : M. Franck Renucci Maître de conférences Université du Sud Toulon Var Rapporteurs : M. Jean-Jacques Boutaud Professeur des Universités Université de Bourgogne M. Bernard Darras Professeur des Universités Université Paris 1 Panthéon-Sorbonne Suffragants : Mme Sylvie Leleu-Merviel Professeur des Universités Université de Valenciennes et du Hainaut-Cambrésis M. Jean-Marc Réol Directeur de l’École Supérieure d’Arts de Toulon Approches esthétique, médiatique, et sémantique du design interactif Résumé : L'interface graphique de l’application numérique, soumise à l’injonction du geste de l’utilisateur, prolonge le corps de celui-ci. Quel rapport s’établit entre l’image qui émerge et celui qui la convoque ? Que reste-t-il du message du concepteur construit par un métarécit singulier ? La diversité de chaque exploration favorise-t-elle une interprétation individuelle ? Notre problématique porte sur la tension du concept de design entre sa stratégie de communication et la contingence de son émergence liée au métarécit de l’utilisateur en liberté surveillée. Pour répondre à ces interrogations, nous émettons l’hypothèse que l’interactivité génère un récit individualisé. Nous guidons notre analyse selon trois axes, celui du design tout d’abord, ensuite celui de l’individualisation, qui souligne la dimension sensible qu’apporte l’interactivité du design au moyen d’une délégation d’énonciation envers l’utilisateur, et enfin celui du récit, qui organise le lien narratif entre le message iconique et l’utilisateur. Trois variables sont retenues (esthétique, médiatique, sémantique) et croisées afin de parvenir à circonscrire la notion de design interactif. Notre recherche pratique s’appuie sur l’analyse du site web Communicate de la webagency londonienne Hi-ReS!. Cette étude de cas rend compte des intentions du concepteur et permet d’évaluer la tension entre le message polysémique émis et le message monosémique reçu. Une expérimentation d’oculométrie a été mise en place afin d’évaluer la portée de l’interactivité sur l’attitude et le ressenti des utilisateurs. Nous avançons alors la figure métaphorique du « dess@in » afin de modéliser le design interactif comme un corps malléable individualisé, système négocié entre la stratégie de communication du designer et la production singulière de l’utilisateur. Mot clés : design, interactivité, médiation, métarécit, individualisation Aesthetic, mediate, and semantic approaches of the interactive design Abstract : The graphic interface of the digital application, subjected to the order of the gesture of the user, prolongs the body of this one. What connection is established between the emerging picture and the one who summoned it? What else does it remain of the message of the designer built by a singular métarécit?Does the diversity of each exploration promotes an individual interpretation? Our problem concerns the design concept of tension between its communication strategy and contingency of its emergence-related metanarrative of the user on probation. To answer these questions, we hypothesize that interactivity generates a personalized narrative. We guide our analysis in three ways, the design first, then that of individualization, which emphasizes the sensitive dimension) which brings the interactivity of the design by means of a delegation of statement to the use, and finally that of the narrative, which organizes the narrative link between the iconic message and the user. Three variables are retained (aesthetic, mediatic, semantic) and to achieve cross frame the notion of interactive design. Our research practice is based on the analysis of website Communicate of the London web agency Hi-ReS!. This case study reflects the intentions of the designer and used to evaluate the tension between the message polysemic issued and the message monosemic received. An eye- tracking experiment was set up to assess the scope of interactivity on attitude and the feelings of users. Then we move the metaphorical figure of the “dess@in" to model the interaction design as a malleable body individualized, negotiated between the system's communications strategy of designer and the singular production of user. Keywords: design, interactivity, mediation, meta-narrative, individualization UNIVERSITE DU SUD TOULON-VAR THESE DE DOCTORAT EN SCIENCES DE L’INFORMATION ET DE LA COMMUNICATION Approches esthétique, médiatique, et sémantique du design interactif Christine BRÉANDON 26 septembre 2012 Remerciements Je remercie tous ceux qui, de près ou de loin, ont contribué à l’élaboration de cette figure singulière qu’est la production nécessairement plastique d’une thèse, performance in situ où le jury et le public contribuent à son émergence . À Philippe Dumas, Professeur des Universités émérite, HDR, maître d’ouvrage dont la bienveillance et l’attention constante ont encouragé cette ambition fragile. À Franck Renucci, MCF, Directeur de l’UFR Ingémédia, maître d’œuvre et gardien des textes, dont la culture, le soutien sans faille et l’amitié ont su adoucir les rugosités de ma quête. À Jean-Jacques Boutaud, Professeur des Universités, dont les travaux m’ont encouragée à risquer une recherche scientifique tenant compte du sensible, du subjectif et de l’interprétation contextuelle. À Bernard Darras, Professeur des Universités, dont la posture sémiologique et les publications m’ont guidée dans les méandres des divers courants théoriques d’une sémiotique appliquée à l’image. À Sylvie Leleu-Merviel, Professeur des Universités, dont les ouvrages de référence en matière de méthodologie et qualité en SIC m’ont incitée à élaborer une démarche expérimentale rigoureuse. À Jean-Marc Réol, Directeur de l’École Supérieure d’Arts de Toulon qui a manifesté de l’intérêt pour ma recherche. Je remercie tout particulièrement Florian Schmitt pour m’avoir accordé un entretien précieux durant lequel il a manisfesté patience et enthousiasme. Sa disponibilité et son accueil m’ont touchée. Je remercie également l’encadrement du Laboratoire i3M pour ses conseils avisés, et Philippe Pinczon du Sel dont les compétences techniques et la ténacité m’ont été d’un grand secours pour les enregistrements d’oculométrie. Mes remerciements s’adressent aussi aux étudiants de Master « e-rédactionnel » et « info-com » de l’UFR Ingémédia de l’Université de Toulon qui m’ont apporté leur aimable contribution en tant que participants à l’expérimentation d’oculométrie. Enfin je remercie mes proches qui ont supporté les contraintes ordinaires et m’ont assuré leur soutien. À Christian et Annie, universitaires et proches parents qui ont bercé mon enfance de joutes verbales passionnées me traçant ce chemin de curiosité Approches esthétique, médiatique, et sémantique du design interactif Plan de recherche •INTUITION - PROBLEMATISATION - HYPOTHESES •Triade: percept, concept, construct • trilogie: esthétique, médiatique, sémantique • tripartition: analyse, entretien et enquêtes, expérimentation INTRODUCTION •triptyque: chronologie, méthodologie, chapitrage •DEFINITIONS - CONTEXTE - METHODE •définition du design interactif, hypothèses, données abductives •définition de l'opérabilité, postures, données abductives ABDUCTION •épistémologie, méthodologie, question du sens, problématique •ETUDE DE CAS •variable esthétique, entretien, enquêtes, donnés inductives •variable médiatique, entretien, enquêtes, donnés inductives INDUCTION •variable sémantique, entretien, enquêtes, donnés inductives •EXPERIMENTATION •Mesures oculométriques, protocole expérimental •Analyse des résultats, données objectives •Interprétation des 3 variables croisées, des données abductives, inductives, DEDUCTION et objectives, perspectives • la figure du triptyque •la modélisation du "dess@in" •perspectives CONCLUSION Christine Bréandon. Thèse de Doctorat. Université du sud Toulon-Var Approches esthétique, médiatique, et sémantique du design interactif Sommaire REMERCIEMENTS PLAN DE RECHERCHE SOMMAIRE RESUME : 6000 CARACTERES ............................................................................................... I INTRODUCTION.......................................................................................................... 1 PREMIERE
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