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Thesis Reference Thesis De l'impact de la technologie occidentale sur la culture chinoise : les pratiques des musiciens électroniques à Pékin comme terrain d'observation de la relation entre objets techniques et création artistique ZIMMERMANN, Basile Abstract Présentée dans le cadre des études chinoises contemporaines, cette thèse de doctorat propose une réflexion sur les objets techniques modernes utilisés en Chine au travers d'une analyse de l'interaction entre les appareils et logiciels dédiés à la composition musicale et le travail créatif de quatre artistes à Pékin entre les années 2001 et 2004. Son idée directrice est que les objets techniques ne sont pas neutres, mais véhiculent des contenus culturels qui influencent l'activité de leurs utilisateurs. Le travail est divisé en trois parties : une introduction, qui pose les fondements conceptuels et méthodologiques de la recherche; quatre études qui décrivent sous la forme d'observartions ethnographiques le travail de musiciens électroniques à Pékin; une analyse, qui fait la synthèse des observations précédentes et propose une réflexion théorique sur le rapport objet technique-utilisateur lorsque l'outil est de conception étrangère. Reference ZIMMERMANN, Basile. De l'impact de la technologie occidentale sur la culture chinoise : les pratiques des musiciens électroniques à Pékin comme terrain d'observation de la relation entre objets techniques et création artistique. Thèse de doctorat : Univ. Genève, 2006, no. L. 602 URN : urn:nbn:ch:unige-4091 DOI : 10.13097/archive-ouverte/unige:409 Available at: http://archive-ouverte.unige.ch/unige:409 Disclaimer: layout of this document may differ from the published version. 1 / 1 Université de Genève – Faculté des lettres De l’impact de la technologie occidentale sur la culture chinoise: les pratiques des musiciens électroniques à Pékin comme terrain d’observation de la relation entre objets techniques et création artistique Thèse de doctorat présentée à la Faculté des lettres de l’Université de Genève pour l’obtention du grade de Docteur ès lettres Basile Zimmermann Genève mai 2006 Direction Nicolas Zufferey, professeur, Université de Genève Co-direction Ellen Hertz, professeure, Université de Neuchâtel Président du Jury Pierre Souyri, professeur, Université de Genève Membres du Jury Michael Lackner, professeur, Université de Erlangen-Nuremberg Rainer Boesch, compositeur, Conservatoire de Musique de Genève et Conservatoire National Supérieur de Musique de Paris 2 A la bibliothèque de Droit d’Uni Mail. 3 TABLE DES MATIERES Remerciements..................................................................................... 10 INTRODUCTION .............................................................................................. 13 0.1. A propos de l'intitulé du travail.......................................................................................... 14 1. Objet de la recherche .................................................................................................... 17 1.1. Eléments généraux ........................................................................................................... 17 1.1.1. Sinologie et globalisation .................................................................................................. 18 1.1.2. Musique techno et informatique ......................................................................................... 19 1.2. Eléments théoriques ......................................................................................................... 20 1.2.1. Le "point de rencontre" entre concepteur et utilisateur d'un objet technique..................................... 20 1.2.2. Considérer les objets techniques comme des personnes................................................................ 25 1.2.3. La Chine comme outil contextuel ....................................................................................... 29 1.2.4. L’oeuvre d’art comme résultat d’une action collective ................................................................ 31 1.2.5. La notion de processus..................................................................................................... 33 1.2.6. Formulation de l'objet de recherche...................................................................................... 37 2. Une méthodologie adaptée au projet de recherche ................................................. 39 2.1. L’observation participante ................................................................................................. 39 2.1.1. Utilisation de l'expérience personnelle et professionnelle du chercheur ............................................ 40 2.1.2. Problèmes liés à l’interférence du chercheur dans la matière étudiée............................................... 41 2.2. Howard S. Becker et Anselm Strauss................................................................................... 42 2.2.1. La description massive..................................................................................................... 43 2.2.2. Les questions «qui? quand? pourquoi? où? quoi? comment? combien? avec quels résultats?» ............. 44 2.2.3. Générer la théorie à partir des données................................................................................. 45 2.2.4. L'Observation "non-filtrée" .............................................................................................. 46 QUATRE ETUDES ............................................................................................ 48 1. A propos des études de terrain ................................................................................... 49 1.1. Particularités inhérentes au travail de terrain ...................................................................... 51 1.1.1. Quelques avantages ........................................................................................................ 51 1.1.2. La fatigue physique ........................................................................................................ 52 1.1.3. Les différences d'ordre culturel ........................................................................................... 53 4 1.1.4. Conserver l'anonymat des artistes ....................................................................................... 54 1.1.5. Techniques de vérification ................................................................................................. 56 ETUDE 1 : XIAO DENG, PHIL KIEREN, ET PETER KRISCHKER ........ 59 1. Présentation générale................................................................................................... 60 1.1. Conditions d'observation................................................................................................... 60 1.2. Eléments biographiques .................................................................................................... 63 1.3. L'année 2003-2004........................................................................................................... 65 A. Les disques vinyles du mix...................................................................... 67 1. L'activité du mix............................................................................................................. 67 1.1. Le disque-jockey Xiao Deng............................................................................................... 68 1.1.1. Mise en place d'une soirée de mix ....................................................................................... 69 1.1.2. Le déroulement habituel d'une soirée de travail en 2003-2004................................................... 70 1.2. Le public des soirées dansantes ......................................................................................... 74 1.3. Le revenu financier du mix................................................................................................. 77 2. Les objets techniques "disques" ................................................................................. 79 2.1. Le statut incertain du DJ.................................................................................................... 80 2.1.1. Exemple 1: l'attention du public accordée au DJ au cours d’une même soirée ................................. 81 2.1.2. Exemple 2: la perception parfois faussée du DJ par certains membres du public.............................. 81 2.1.3. Exemple 3: le disque-jockey sans disques, situation A............................................................. 82 2.1.4. Exemple 4: le disque-jockey sans disques, situation B.............................................................. 83 2.1.5. Exemple 5: les disques... sans le disque-jockey....................................................................... 84 2.1.6. Le disque-jockey "est" ses disques....................................................................................... 85 2.2. Le mix à domicile.............................................................................................................. 87 2.2.1. Observations de mix à domicile.......................................................................................... 88 2.2.2. La disparition de Phil Kieren............................................................................................ 89 2.3. Le choix des disques sur Internet........................................................................................ 91 2.3.1. Le voyage de Phil Kieren.................................................................................................
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