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VINCENNES-SAINT-DENIS UFR Arts, Philosophie, Esthétique UNIVERSITE PARIS 8 – VINCENNES-SAINT-DENIS U.F.R Arts, philosophie, esthétique Ecole doctorale : Esthétique, Sciences et Technologies des Arts THESE pour obtenir le grade de DOCTEUR DE L'UNIVERSITE PARIS 8 Discipline : Esthétique, Sciences et Technologies des Arts spécialité Images Numériques présentée et soutenue publiquement par CHANHTHABOUTDY Somphout le 18 novembre 2015 Vanité interactive : recherche et expérimentation artistique _______ Directrice de thèse : Marie-Hélène TRAMUS _______ JURY M. Gilles METHEL, Professeur Université Toulouse 2 Mme Chu-Yin CHEN, Professeure Université Paris 8 Mme Marie-Hélène TRAMUS, Professeure émérite Université Paris 8 Pascal Ruiz, Artiste multimédia 1 2 Résumé Vanité interactive : recherche et expérimentation artistique Ce travail se positionne dans le domaine de l'interactivité sensorielle, de la 3D temps réel et des arts visuels. Cette étude artistique et technique s’inscrit directement dans une recherche entamée depuis des années, sur la question de la représentation sublimée de la mort, qui se retrouve pleinement transfiguré dans l’emblème de la Vanité et sur la recherche de nouvelles façons d’entretenir un dialogue en rétroaction avec l’œuvre. Sur le point artistique, la recherche analyse le processus de création, qui a mené de la représentation sublimée de la mort en vidéo, à la réalisation et l’expérimentation de Vanité au sein de tableaux virtuels interactifs et immersifs. Cette analyse apporte des réponses aux questionnements envers la signification des intentions liées à la création et l’utilisation de Vanité en 3D dans des installations conversationnelles. Elle met en lumière les enjeux de ce procédé innovant par rapport à l’histoire de la Vanité depuis son apparition. Elle en approfondit le contenu en développant une démarche significative, sur la relation entre l’œuvre et le spectateur, par l’utilisation d’interface sensorielle comme support de dialogue. Sur le plan technique, l’étude porte sur l’utilisation d’une interface BCI (Brain computer interface) afin d’apporter une nouvelle façon d’appréhender et de dialoguer avec l’œuvre, dans le cadre d’un processus de rétroaction. Il en émane une interactivité où se mêlent la concentration et la méditation. Par le contrôle des ondes cérébrales et des contractions musculaires, le corps et l’esprit doivent se rejoindre, pour accéder à la maîtrise de l’interface BCI. Une symbiose qui souligne la méditation/concentration devant la Vanité classique tellement exhortée par les œuvres du XVIIe siècle, qui trouve ici, un lien émotionnel direct entre l’emblème et le regardeur. Une méditation/concentration inconsciente mise au jour par des entretiens d’explicitation post expérience, qui ont pour but d’analyser les ressentis et les sensations des spectateurs. Ces analyses ont pour vocation de démontrer que des représentations sublimées d’images de la mort dans des œuvres plastiques favoriseraient un changement d’attitude culturelle et émotionnelle par rapport aux habitudes de fuites de peur et d’occultation qu’engendre l’image de la mort. Mots-clés (index RAMEAU) : art numérique / vanités (art) / art interactif / infographie / systèmes homme-machine / temps-réel (informatique) 3 Abstract Interactive Vanitas : artistic experiment and research This work is about sensory interactivity, real-time 3D and visual arts. This artistic and technical study falls within a long-term research, introducing the notion of an enhanced representation of Death, embodied by the Vanitas and exploring new ways of inducing feedback about a work of art. From an artistic point of view, this research analyses the creation process which led us from the enhanced representation of Death on video, to the experience of the Vanitas through a total immersion into virtual pictures. This analysis brings out the motives for the creation and the use of 3D Vanitases in interactive installations. It highlights the issues raised by this innovative process regarding the History of the Vanitas since its outbreak. It goes further, by developing an original approach, to the communication between the audience and the work of art, introducing the use of a sensorial interface as a medium. At the technical level, the study revolves around the use of a Brain Computer Interface (BCI), inducing a new way of discovering and interacting with a work of art, as part of a feedback process. It creates a sense of interactivity, between concentration and meditation. The control of the brainwaves and muscular contractions brings the Body and the Mind together to achieve the mastery of the BCI. This symbiosis highlights the meditation/concentration in front of the classical Vanitas, so glorified in the XVIIth century pictures, which finds here a direct emotional link between the symbol and the viewer. A meditation/unconscious concentration revealed by feedback interviews, aiming at analysing the audience’s feelings and sensations. These analyses aim at proving that enhanced images of Death combined with a sense of interaction in artistic works may induce a change in our cultural and emotional behaviour towards Death, beyond the usual evasion, fear and denial. Mots-clés (index RAMEAU) : digital art / vanitases (art) / interactive art / computer graphics / man-machine interface / real-time (computer science) 4 Remerciements Je tiens à remercier ma directrice de recherche Marie-Hélène Tramus qui a accepté de me suivre sur ce sujet délicat durant toutes ces années. Ses conseils avisés et toujours constructifs m’ont permis d’aller au bout de cette thèse, mais également au-delà de mes convictions artistiques. Je remercie également les membres du jury de leur intérêt pour mon travail, ainsi que les prérapporteurs : M. Guy Chapouillié et M. Gilles Methel. Je remercie Chu-Yin Chen pour ses conseils qui ont fait murir ma réflexion artistique. Je remercie également mes camarades de thèse avec qui j’ai pu vivre de très beaux moments de partage et d’amitié, de réflexion et de création. Camila Eslava pour avoir passé toutes ces années de thèses avec moi, pour son amitié et le soleil qu’elle représente, Gilles-Alexandre Deschaud pour ses conseils et sa droiture d’esprit, Karleen Groupierre pour sa magnifique voix durant les sessions du groupe FMR et son amitié, Antoine Zanuttini pour ses points de vue toujours tranchés, ses conseils en 3D temps réel et ses rifts de guitare, Maxime Causeret pour ses qualités artistiques influentes, Suzanne Beer pour ses conseils méticuleux sur la recherche, Edwige Lelièvre pour son dynamisme qui donne envie de soulever des montagnes, Judith Guez pour les moments réflexifs autour de l’explicitation, Anne-Laure George-Molland pour sa vigueur au travail qui m’a inspiré. Je remercie particulièrement, Sandra Bernard pour son soutien indéfectible toutes ces années. Sa présence à mes côtés et ses conseils m’ont permis d’avoir le courage de finir cette thèse. Merci à ma Maman qui s’est toujours tenue au courant de mon avancée, de sa patience et de son soutien, car elle a toujours su que j’irai au bout de cette thèse. 5 6 Sommaire Table des matières Introduction générale __________________________________________________ 13 Contexte ____________________________________________________________________ 13 Problématique _______________________________________________________________ 14 Champ de recherche __________________________________________________________ 17 Première partie ____________________________________________________________________ 17 Deuxième partie ___________________________________________________________________ 19 Troisième partie ___________________________________________________________________ 20 Avant-Propos ________________________________________________________________ 22 Partie 1. D’une recherche sur la représentation de la mort à une recherche sur la Vanité interactive. ____________________________________ 25 1.1 Vers l’hypothèse de la recherche _______________________________________ 26 1.1.1 La place de la mort en occident ____________________________________________ 27 1.1.1.1 Introduction à Ariès _________________________________________________________ 27 1.1.1.2 La période du premier Moyen Âge ____________________________________________ 28 1.1.1.3 L’apparition de la mort individuelle au second Moyen Âge _______________________ 31 1.1.1.4 Un début de camouflage par la « représentation » _______________________________ 33 1.1.1.5 L’avènement d’une peur à l’époque moderne ___________________________________ 35 1.1.1.6 Le réveil de l’hygiène ________________________________________________________ 37 1.1.1.7 De la mort de soi vers la mort de toi____________________________________________ 39 1.1.1.8 Les interdits envers la Mort ___________________________________________________ 41 1.1.1.9 Cheminement vers une mort contemporaine ____________________________________ 46 1.1.2 La mutation de la place de la mort dans nos sociétés occidentales _____________ 48 1.1.2.1 Le business de la mort _______________________________________________________ 48 1.1.2.2 Absence de la communauté ___________________________________________________ 50 1.1.2.3 Le terme « Sauvage » _________________________________________________________ 51 1.1.2.4 Un ensauvagement de la mort dans les médias __________________________________ 52 1.1.2.5 Le cas du cinéma et la télévision _______________________________________________ 52 1.1.2.6 Le nouveau visage de la mort dans le numérique ________________________________ 56 1.1.3 L’attrait pour la mort virtuelle _____________________________________________
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