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Université De Montréal Transindividuation Et Individuation Université de Montréal Transindividuation et individuation collective : une exploration à travers l’improvisation libre et la rythmanalyse par François Zaïdan Département de communication Faculté des arts et sciences Mémoire présenté à la Faculté des études supérieures en vue de l’obtention du de maîtrise ès sciences (M.Sc.) en sciences de la communication Décembre 2016 © François Zaïdan, 2016 Université de Montréal Faculté des études supérieures Ce mémoire intitulé : Transindividuation et individuation collective : une exploration à travers l’improvisation libre et la rythmanalyse Présenté par : François Zaïdan a été évalué par un jury composé des personnes suivantes : Thierry Bardini ............................................. Président-rapporteur Line Grenier ................................................. Directrice de recherche Brian Massumi ............................................. Membre du jury iii SOMMAIRE En s’appuyant principalement sur le travail de Gilbert Simondon (1989) et sur celui de Bernard Stiegler (2010, 2012, 2013), ce mémoire de maîtrise explore la relation entre les notions d’individu et de collectif. D’une part, cette relation est conceptualisée et développée à travers les concepts de transindividuation et d’individuation collective ; et d’autre part, celle-ci est explorée via les théories de l’improvisation libre (free improvised music). S’intéressant aux différentes modalités de cette pratique musicale (Bailey, 1992 ; Saladin, 2002, 2010, 2014 ; Corbett, 2004, 2016 ; Peters, 2009), cette recherche conçoit l’improvisation libre comme une approche radicale permettant d’aborder autrement la relation entre les notions d’individu et de collectif. L’agencement, la confrontation et la négociation des singularités individuelles des musiciens.nes en présence étant au centre de la pratique de l’improvisation libre, la méthodologie mobilisée vise à cerner les dynamiques permettant de saisir la complexité de cette relation. En s’appuyant particulièrement sur la research-from-creation et la creation-as-research (Chapman & Sawchuk, 2012), l’aspect méthodologique de ce mémoire est ancré dans la recherche-création. En ce sens, les principaux matériaux d’analyse ont émergé de l’expérience de séances d’improvisation libre dans laquelle l’immédiateté et l’éphémérité de la création ont été vécues, discutées et ultérieurement analysées à travers les concepts de rythme et de présence propres à la rythmanalyse d’Henri Lefebvre (1980, 1992). Mots clés : transindividuation – individuation collective – Simondon – Stiegler improvisation libre – rythmanalyse – présence – Lefebvre iv ABSTRACT Relying mainly on the work of Gilbert Simondon (1989) and Bernard Stiegler (2010, 2012, 2013), this master’s thesis explores the relation between the notions of individual and collective. On one hand, the relation is conceptualised and developed through the concepts of transindividuation and collective individuation ; and on the other hand, it is explored through free improvisation / free improvised music theories. Looking at the different modalities of that musical practice (Bailey, 1992 ; Saladin, 2002, 2010, 2014 ; Corbett, 2004, 2016 ; Peters, 2009), this research conceives free improvisation as a radical approach to tackle differently the relation between the notions of individual and collective. The assemblage, confrontation and negotiation of individual singularities of musicians being at the centre of free improvisation, the chosen methodology tends to define the dynamics allowing to understand the complexity of that relation. Relying particularly on research-from-creation and creation-as-research (Chapman & Sawchuk, 2012), the methodological aspect of this thesis is anchored in research-creation. In that sense, the main analysis materials have emerged from the experience of free improvisation sessions in which the instantaneity and ephemeral aspect of creation were lived, discussed and subsequently analysed through the concepts of rhythm and presence inherent to Henri Lefebvre’s rhythmanalysis (1980, 1992). Keywords : transindividuation – collective individuation – Simondon – Stiegler – free improvised music – rhythmanalysis – presence – Lefebvre v TABLE DES MATIÈRES SOMMAIRE ................................................................................................................ iii ABSTRACT ................................................................................................................. iv TABLE DES MATIÈRES .......................................................................................... v LISTE DES FIGURES ............................................................................................... viii REMERCIEMENTS .................................................................................................. ix INTRODUCTION .................................................................................... p.1 PREMIÈRE PARTIE (conceptualisation) ............................................ p.5 1. Individu et collectif .................................................................................................... p.9 1.1 Transindividuation ...................................................................................... p.10 1.1.1 Avant-propos ................................................................................ p.10 1.1.2 La transindividuation à travers le travail de Bernard Stiegler ...... p.12 1.2 Individuation collective ........................................................................................... p.15 1.3 Individu et collectif : différentes approches ............................................................. p.18 1.3.1 Devenir ......................................................................................... p.19 1.3.2 Agencement ................................................................................. p.22 2. Improvisation ............................................................................................................ p.24 2.1 L’improvisation ....................................................................................................... p.25 2.1.1 Perspectives et confrontations ...................................................... p.26 2.1.2 L’improvisation et le rapport au temps ........................................ p.30 vi 2.2 L’improvisation libre .............................................................................................. p.33 2.2.1 Improvisation libre : une (tentative de) définition ....................... p.35 2.2.2 Possibilité de rencontres et de différences ................................... p.39 2.3 L’improvisation collective libre .............................................................................. p.42 2.3.1 (se)faire-ensemble ........................................................................ p.42 2.3.2 L’improvisation comme processus d’individuation ..................... p.45 DEUXIÈME PARTIE (méthodologie) ................................................... p.48 1. Recherche-création : expérience de l’improvisation libre ........................................ p.51 1.1 Recherche-création : research-from-creation ............................................. p.53 1.2 Recherche-création : creation-as-research ................................................. p.54 2. Interpersonal Process Recall .................................................................................... p.56 3. Limites de ces approches .......................................................................................... p.57 4. Participants et contexte d’improvisation ................................................................... p.59 5. Survol des matériaux d’exploration et d’analyse ...................................................... p.61 TROISIÈME PARTIE (analyse) ............................................................ p.64 1. Bases théoriques pour l’analyse ................................................................................ p.67 1.1 Rythmanalyse .............................................................................................. p.69 1.2 Bifurcation .................................................................................................. p.73 2. Analyse ..................................................................................................................... p.75 2.1 Peur, répétition et différence ...................................................................... p.76 vii 2.2 Temporalités des improvisations ................................................................ p.79 2.2.1 Analyse de la troisième improvisation ......................................... p.81 2.3 Présence vs. Présent .................................................................................... p.84 2.4 Transformation (Méditations sur la transindividuation et l’improvisation libre) ................. p.88 2.5 Unité (Méditations sur la l’individuation collective et l’improvisation libre) ...... p.90 2.6 Faire le tour ................................................................................................. p.92 CONCLUSION ......................................................................................... p.97 1. Synthèse .................................................................................................................... p.97 2. Ouverture .................................................................................................................. p.99 BIBLIOGRAPHIE .....................................................................................................
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