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ENQUÊTE SUR L'accoutumance AUX INTERFACES TACTILES PAR L'entremise D'une PRODUCTION SCULPTURALE D'objets DE CÉRAMIQUE IMITANT LE Iphone

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ENQUÊTE SUR L'accoutumance AUX INTERFACES TACTILES PAR L'entremise D'une PRODUCTION SCULPTURALE D'objets DE CÉRAMIQUE IMITANT LE Iphone UNIVERSITÉ DU QUÉBEC À MONTRÉAL CE QUE L'IMAGE EST À LA MATIÈRE ET VICE VERSA : ENQUÊTE SUR L'ACCOUTUMANCE AUX INTERFACES TACTILES PAR L'ENTREMISE D'UNE PRODUCTION SCULPTURALE D'OBJETS DE CÉRAMIQUE IMITANT LE iPHONE MÉMOIRE PRÉSENTÉ COMME EXIGENCE PARTIELLE DE LA MAÎTRISE EN ARTS VISUELS ET MÉDIATIQUES PROFIL CRÉATION PAR CHARLES-ANTOINE BLAIS MÉTIVIER JANVIER 2018 UNIVERSITÉ DU QUÉBEC À MONTRÉAL Service des bibliothèques Avertissement La diffusion de ce mémoire se fait dans le respect des droits de son auteur, qui a signé le formulaire Autorisation de reproduire et de diffuser un travail de recherche de cycles supérieurs (SDU-522 - Rév.0?-2011 ). Cette autorisation stipule que «conformément à l'article 11 du Règlement no 8 des études de cycles supérieurs, [l 'auteur] concède à l'Université du Québec à Montréal une licence non exclusive d'utilisation et de publication de la totalité ou d'une partie importante de [son] travail de recherche pour des fins pédagogiques et non commerciales. Plus précisément, [l 'auteur] autorise l'Université du Québec à Montréal à reproduire, diffuser, prêter, distribuer ou vendre des copies de [son] travail de recherche à des fins non commerciales sur quelque support que ce soit, y compris l'Internet. Cette licence et cette autorisation n'entraînent pas une renonciation de [la] part [de l'auteur] à [ses] droits moraux ni à [ses] droits de propriété intellectuelle. Sauf entente contraire, [l 'auteur] conserve la liberté de diffuser et de commercialiser ou non ce travail dont [il] possède un exemplaire. » REMERCIEMENTS En premier lieu , j'aimerais remercier mes directeurs, Emanuel Licha et David Tomas pour leur soutien, leur patience, et la rigueur dont ils ont fait preuve dans la direction de ma recherche. J'aimerais remercier aussi Lieven Meyer pour son soutien inconditionnel, et sa participation active à mon chialage quotidien. Je remercie aussi Pascale Girardin , pour ses précieux conseils, ainsi que pour la générosité dont elle a fait preuve en m'ouvrant les portes de son atelier, alors que I'EAVM décidait de nous fermer la porte à ses installations. J'aimerais remercier la technicienne Véronique Proulx pour sa présence, et ses services. Je remercie finalement mes ami(e)s et ma famille , Carolyne Scenna, Maxime Carbonneau , Élise Provencher, Normand, Anne, Guillaume, ainsi que Les Sabines. TABLE DES MATIÈRES LISTE DES FIGURES ...... .. .... .. .... ... ............. ... ... ..... ..... .. ...... .. ..... ...... ..... ......... vi RÉSUMÉ ............ ............ ...... ... .. ... ....... .. ..... ... : ...... .. ... .... ... ............ ...... .......... .. viii INTRODUCTION ............... ... ......... .... .. .... .. ...... .. .. ..... : .... .. ................. ............. .. 1 CHAPITRE 1 1.1 LES PARAMÈTRES DU PROGRAMME. .... ... ............. .. ... ...... .. ...... .... ...... 8 CHAPITRE Il 2.1 PHONEY ... ..... ............... .. ...................... ......... ................. .... ....... .. .... ...... 17 CHAPITRE Ill 3.1 C'EST JUSTE DU DESIGN .. ..................... .... ..... .................................... 29 CHAPITRE IV 4.1 DEVENIR MAÎTRE 1 ~ .... .... ... .. .. ..... ... ... .. ..... .. .. ... ... .... ... ..... .. .... :. .. ... .. 36 CONCLUSION : WHAT'S THE MATTER? ...... ....... .. .. .... ................................. .... ..... .44 ANNEXE A UQAM, MONTRÉAL, NOVEMBRE 2015 ...... ..... ... .. .. .. ..... .... .... ...... ..... .... ...... .48 ANNEXE B UQAM, MONTRÉAL, QUELQUE PART EN AVRIL 2015 ... ... .... .. ........... ..... .. .49 ANNEXE C 1, AVENUE LOUIS BONNET, PARIS , 10 SEPTEMBRE 2016 .. ...... ... .... .. ...... 51 iv ANNEXE D FONDATION PISTOLETTO, BIELLA, ITALIE, 13 SEPTEMBRE 2016 ... .... ... 52 ANNEXEE BRIXTON, LONDRES, 16 SEPTEMBRE 2016 ............. ... .... ...... ................. ... 53 ANNEXE F ENSP, ARLES, 14 OCTOBRE 2016 .... ..... ....... ... .... .. ...... .... ..... .... ....... ... ........ 54 ANNEXE G ENSP, ARLES, 22 NOVEMBRE 2016 .. .. .. ......... ... .... .. .... ........ .. ....... .... ........... 55 APPENDICE A ENSP, ARLES, 23 NOVEMBRE 2016 ............. .. ..... .. ... .. .... .. .. .... .... .. .... ....... ....57 APPENDICE B POSTDAMER PLATZ, BERLIN, 27 DÉCEMBRE 2016 .. ... .... .. .. .. ... ..... ...... .... 61 APPENDICE C ARLES, FRANCE, 5 JANVIER 2017 ... .... ............. ....................... ................ .. 63 APPENDICE D UQAM, MONTRÉAL, 22 FÉVRIER 2017 ... .... ............. ..... ..... ..... .... .. ...... ........ 64 APPENDICE E APPLE STORE, MONTRÉAL, 24 MARS 2017 ....................... ....... .......... ..... .65 APPENDICE F UQAM (MON ATELIER), MONTRÉAL, 14 AVRIL 2017 ............... ....... ....... .... 67 APPENDICE G EXPOSITION OBJET DE RECHERCHE GALERIE DE L'UQAM- 10 MAl AU 19 JUIN 2017 .... ..... ... ... .. ...... ... .. ... .. ....... 68 v RÉFÉRENCES .. ....... .... ... .. ............................ ..... ..... .. .... .. ....................... ... ..... 72 LISTE DES FIGURES Figure Page 1.1 ............. .. ........ ..... .... .................... .. ............ .. ............................. .. .... .. ......... .. 3 2.1 Extrait d'un échange avec Pascale Girardin .............. .............................. 9 2.2 Sculpture ayant été couverte d'une glaçure craquelée .. ...... .. ............ .. .. 12 2.3 Cycle de reproduction des images selon Gilbert Si mondon .............. 15.1 2.4 Relation dialogique entre le céramiste et l'argile .. ............................... 15.2 2.5. Relation dialogique entre un utilisateur et son interface tactile .... ....... 15.3 3.1 Vue de face et de dos d'une sculpture de céramique .. .... ...... .. .. ...... .. .. .. 18 3.2 Détail d'une sculpture ayant nécessité trois cu issons .......... .... .............. 20 3.3 Quelques fragments de poteries ............ .. .... .. .. .. .... ................................ 23 3.4 Exemple de skeuomorphisme dans l'iOS 6 .. .. .. .. .......... .. .. ...... .. .... .. .... .. .24 3.5 Schéma du fonctionnement du skeuomorphe ...... .......................... .. .. .... 25 3.6 Diverses techniques de design skeuomorphiques .... .. ...................... .... .26 4.1 Table de présentation du Apple Store .... ...... .. .... ...... ............ .. .. .... .... ...... 30 4.2 Slogan de la campagne publicitaire du temps des fêtes, Apple France.31 4.3 What Sha/1 We Do Next? Séquence #1 ................................................. 32 5.1 LIAM, extrait de Liam -An Innovation Story, 2016 .. .. .. .. ......................... 38 5.2 Tableau comparatif entre les iPhone et les pièces de céramique ........ .41 5.3 Kintsugi, porcelaine, glaçure, or blanc et colle epoxy, 2017 .................. 43 7.1 UQAM, Google Earth .. ............ .. .................................. .. .................... .. .. .48 7.2 Sculpture couleur corail ......... ........... ................................. ....... ..... ........ .49 7.3 Prototype d'iPad en porcelaine ............................ .. .. .. ...... .. .... .. .... .. .. ...... 51 7.4 Mariai su iPad, Michelangelo Pistoletto, 1989 ...................................... 52 7.5 Brixton, Londres, Google Earth ............ .......................................... ........ 53 7.6 ENSP, Arles, Google Earth .. .................... ............................................ ... 54 8.1 Photogrammes réalisés à partir de l'écran de mon iPhone, 2016 ........ .58 8.2 Le iPhone, écran vers le bas, dans l'agrandisseur 4x5 .. .. .. .. .................. 59 8.3 Image promotionnelle du iPhone 7 .. .. .................................................... 61 vi i 8.4 Osmose? ... ....... ..... ..... ..... .. ....... .. ...... ... .............. ............................... .. .... 64 8.5 Line up au Apple Store, 24 mars 2017 ................. .. .... ... ...... ................... 65 8.9 Vue d'ensemble, Exposition Objet de recherche, Galerie de I'UQAM ... 68 8.1 0 Détail, Exposition Objet de recherche, Galerie de I'UQAM ...... .... ... .....69 8.11 Détail, Exposition Objet de recherche, Galerie de I'UQAM ..... ........ ..... 70 8.12 Détail, Exposition Objet de recherche, Galerie de I'UQAM ....... .... .. .....71 RÉSUMÉ Cette recherche tente de retracer l'origine d'une production sculpturale en céramique inspirée de l'interface tactile du iPhone. À la fois objets tangibles, et écrans vecteurs de contenus, les interfaces tactiles ont la capacité de sublimer leur matérialité au profit d'une consommation fluide d'images et d'information à l'aide de nos mains. Par la pratique du façonnage de l'argile, l'objet de recherche permet de comprendre de façon analogique la relation dialogique qui se tisse entre le céramiste et son oeuvre, ainsi qu'entre un utilisateur et son appareil intelligent. À plusieurs reprises, les objets sculpturaux produits dans le cadre de cette recherche ont rendu possible l'observation de sensations synestésiques. Celles-ci semblent démontrer que les propriétés matérielles des sculptures de céramique, ainsi que les capacités haptiques de la main s'accordent pour reconnaitre visuellement et tactilement le véritable iPhone dans cette production sculpturale. S'appuyant, entre autres, sur les écrits de Simondon pour remonter à l'origine de cette production sculpturale, son cours Imagination et Invention (1965-66) fait le postulat de l'image comme étant à la fois, objet tangible, et fruit de l'imagination. Puis, la technique du skeumorphe (Blitz, 2015), dont on retrace les origines dans les poteries datant de plusieurs milliers d'années, croise le concept de l'objet trickster (Uzel, 2009), dont les
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